In Brief

• DistroKid has confirmed removing recordings in response to claims made by Universal Music Group (UMG).
• UMG filed a federal lawsuit against DistroKid on September 15, 2026, alleging copyright infringement and deceptive business practices.
• Several independent musicians say original recordings were removed without advance notice or adequate explanation.
• DistroKid disputes UMG’s allegations and says the removals affect a very small number of recordings.
• The company has not disclosed how many tracks were removed or whether affected artists will have their music restored.
• The dispute raises questions about how digital distributors handle copyright complaints, communicate with musicians and provide opportunities to challenge takedowns.

The removals were first confirmed in an October 10 investigation by The Verge, which documented complaints from musicians who discovered their recordings were no longer available on streaming platforms.

DistroKid Vice President of Artist Services Amanda Ferri acknowledged that recordings had been removed in response to UMG’s claims. The company maintains that the number is small and says it is working to reduce the disruption to affected musicians.

For artists whose music has disappeared, however, the immediate problem is not the legal dispute between two music companies. It is the loss of access to recordings they may have spent years promoting, sometimes without a clear explanation of what triggered the removal.

Why Universal Music Sued DistroKid

Universal Music Group filed its lawsuit on September 15 in the U.S. District Court for the District of Delaware, accusing DistroKid of distributing recordings that infringe copyrights controlled by the major music company.

The complaint alleges that DistroKid has enabled the mass distribution of unauthorized recordings, including remixes, altered-speed versions, tracks containing uncleared samples and recordings generated using artificial intelligence.

According to Reuters’ reporting on the complaint, UMG identified alleged infringement involving at least 1,000 recordings associated with artists including The Beatles, Drake, Lady Gaga and Rihanna.

UMG argues that the volume of allegedly infringing and low-quality recordings distributed through DistroKid creates problems for legitimate rightsholders and working musicians. Its complaint also connects the dispute to the growing availability of AI-generated music and the ability to upload large quantities of recordings to streaming platforms.

The company is seeking monetary damages and a court order intended to prevent the alleged infringement from continuing.

DistroKid rejects the allegations. Following the lawsuit’s filing, the distributor said it disagreed with UMG’s claims and intended to defend its practices in court.

The lawsuit remains a dispute over allegations, not an established finding that DistroKid engaged in the conduct described by UMG.

Independent Artists Say Their Original Music Was Removed

The consequences of the dispute became more visible in early October as musicians began reporting unexplained removals from streaming services.

In its original reporting, The Verge documented complaints from several artists who said they had received little or no information before their music disappeared.

Musician McGwire reported that six recordings had been removed. According to his account, the affected material included a cover of Stevie Wonder’s “Isn’t She Lovely” that he said was properly licensed, along with another track incorporating a beat purchased through a music marketplace.

McGwire also disputed a claim concerning an uncleared sample, saying the recording he was accused of sampling had been released two years after his own track.

Those circumstances raise questions about the accuracy of the complaints, although the underlying licensing documents and ownership records have not been independently established in the reporting.

McGwire told The Verge that he encountered difficulties obtaining assistance from DistroKid and initially had to navigate an automated support conversation before reaching a representative.

Nerdcore rapper Insane Ian similarly reported that an original recording had been removed without warning or a clear explanation.

Another musician, King Chase, described an entire album disappearing from streaming platforms after several years of availability. He said the release had not previously received copyright complaints or other warnings.

These accounts do not establish that every removal was erroneous. They do, however, illustrate the difficulty artists can face when their recordings are taken down before they understand the allegations or have an opportunity to respond.

DistroKid Confirms Removals but Disputes UMG’s Claims

In a statement provided to The Verge, Amanda Ferri confirmed that DistroKid had removed a small number of recordings in response to UMG’s claims.

The company also rejected the allegations underlying the lawsuit and expressed regret over the disruption experienced by affected musicians.

Ferri said DistroKid was working to minimize that disruption while protecting artists’ ability to distribute their music.

The statement confirms a connection between the legal dispute and at least some of the takedowns, but leaves several important questions unanswered.

DistroKid has not publicly disclosed the total number of recordings removed, the criteria used to select them or how many affected musicians have successfully challenged a removal.

It is also unclear whether every recording identified by artists was removed because of UMG’s complaints or whether some takedowns arose from separate copyright or distribution issues.

The distinction is important because digital distributors regularly process different types of content complaints, including alleged infringement, fraudulent streaming activity and violations of individual platform policies.

Without a specific explanation attached to each removal, musicians may struggle to determine what evidence is needed to resolve the problem.

A Copyright Complaint Is Not a Court Ruling

One of the central questions is why recordings are being removed while the underlying lawsuit remains unresolved.

A copyright owner does not necessarily need to obtain a final court judgment before asking a distributor or streaming service to remove allegedly infringing content.

Digital music companies maintain their own contractual requirements and complaint-handling procedures. A distributor may decide to remove material in response to a credible rights complaint while the parties investigate ownership or licensing issues.

That does not mean a complaint establishes infringement. A recording may be removed as a precaution or under a platform’s contractual policies without any court having determined that the artist violated copyright law.

The available reporting does not establish that a court ordered the specific removals now affecting DistroKid customers.

The distinction is especially relevant when allegations involve licensed covers, purchased beats or samples. Those recordings may involve multiple rights, and the existence of a license does not necessarily resolve every potential copyright issue.

For example, a license covering the musical composition in a cover song does not automatically authorize the use of another artist’s sound recording. Similarly, purchasing a beat does not guarantee that every sample contained within it was properly cleared.

At the same time, the existence of a third-party rights complaint does not establish that an artist’s license is invalid.

Determining whether a particular removal is justified requires examining the recording, the rights being asserted and any relevant licenses or agreements.

What Happens When a Distributor Removes an Album?

For an independent artist, a distributor is the connection between their recordings and the streaming platforms where listeners discover and consume them.

Services such as DistroKid deliver recordings and metadata to digital music platforms, manage updates and facilitate the collection of certain recording revenues.

When a distributor withdraws a release, the consequences can extend beyond a temporary interruption in streaming income.

Listeners may find tracks unavailable in their libraries or playlists. Promotional links may stop working, and advertising campaigns directing fans to a release can become ineffective.

An artist promoting a new single or album may also lose access to recordings during an important release window.

Longer-term consequences depend on how a recording is restored and how the receiving streaming platforms process the replacement or reinstatement.

Existing identifiers, including the recording’s ISRC, can be important when attempting to preserve continuity, but retaining an identifier does not guarantee that streaming counts, playlist placements or other platform data will be restored.

Artists may also face uncertainty about royalties earned before a recording was removed. The handling of those payments can depend on the reason for the takedown, the distributor’s policies and the requirements of individual streaming services.

For musicians relying on recorded music revenue, the lack of clear communication can therefore become as disruptive as the removal itself.

AI Music Enforcement Creates Another Challenge

The DistroKid dispute arrives as streaming services, record labels and distributors face growing pressure to address large-scale uploads of AI-generated and potentially infringing recordings.

Generative music tools have made it easier to create and distribute substantial volumes of audio. Some of that material may be original and lawfully distributed, while other recordings may incorporate protected material or imitate existing artists in ways that raise legal concerns.

UMG’s complaint focuses partly on allegations that DistroKid has enabled large quantities of unauthorized and AI-generated content to enter the streaming ecosystem.

But AI-generated music is not automatically copyright infringement, and human-created recordings can also violate copyright law if they contain unauthorized protected material.

Effective enforcement therefore requires more than simply distinguishing AI-generated recordings from human performances.

It also requires accurate information about ownership, licensing and the specific content allegedly being copied.

When those processes produce incorrect results, independent musicians may lose access to legitimate recordings even though they were not responsible for the conduct that prompted broader enforcement efforts.

The current complaints illustrate the potential consequences of enforcement systems that operate without sufficiently transparent explanations or accessible dispute procedures.

What Independent Artists Should Do If Their Music Is Removed

Artists who discover that a release has disappeared should begin by documenting what is missing and checking their distributor account for any notices or outstanding actions.

They should preserve the recording’s identifying information, including its ISRC, UPC, release date and the URLs where it was previously available.

If the distributor identifies a copyright complaint, the artist should request the specific recording and rights at issue, along with the basis for the alleged infringement and the available dispute process.

Relevant documentation may include master ownership agreements, cover-song licenses, beat licenses, sample clearances and correspondence with collaborators or publishers.

Artists should avoid assuming that a purchased license resolves every potential rights issue. The exact terms and the rights controlled by the licensor need to be reviewed.

It may also be tempting to immediately upload the same recording through another distributor. However, doing so without resolving the underlying complaint could result in additional takedowns or account problems.

Where a removal appears incorrect, the priority should be obtaining a clear explanation and pursuing the applicable review process. Artists facing substantial financial losses or complex ownership disputes may need advice from a qualified music attorney.

Maintaining independent copies of recordings, artwork, metadata and licensing documentation can also reduce the operational difficulties associated with a distributor dispute.

Who Is Accountable When Legitimate Music Disappears?

The lawsuit between Universal Music Group and DistroKid raises legitimate questions about how streaming platforms and distributors should address copyright infringement at scale.

Rightsholders have an interest in preventing unauthorized recordings from generating revenue or competing with licensed releases. Distributors, meanwhile, must process large quantities of music submitted by customers with widely varying levels of experience and documentation.

Independent artists have a different concern: ensuring that legitimate recordings are not removed without adequate notice, an understandable explanation or a practical opportunity to challenge a mistake.

Those interests do not have to be mutually exclusive, but the current dispute exposes how difficult it can be to balance them.

DistroKid has acknowledged the removals and disputed UMG’s allegations, but it has not provided enough public information to establish how widespread the disruption is or how quickly affected artists can expect a resolution.

As the lawsuit proceeds, the treatment of musicians whose recordings have been removed may become an important measure of how effectively the distribution industry protects its customers while responding to copyright complaints.

For independent artists, the episode is a reminder that paying a distributor to deliver music does not guarantee uninterrupted availability on streaming platforms. The reliability of the service also depends on what happens when a recording is challenged, and whether the artist has a clear path to resolving the dispute.

The post DistroKid Removes Independent Artists’ Music Following Universal Music Lawsuit appeared first on The Music Ninja.

Was it performed by a person? Generated entirely by AI? Did a human artist use AI somewhere in the production process? And perhaps most importantly, can technology reliably tell the difference without penalizing legitimate musicians?

HumanStandard is developing verification infrastructure designed to answer those questions. But founder Rasha Rahman believes the biggest challenge isn’t simply identifying AI music. It’s determining what happens after a recording gets flagged.

In Brief

• HumanStandard develops technology designed to distinguish human-created, AI-generated and hybrid music.
• Founded by Rasha Rahman in November 2025, the company provides AI music detection technology for platforms, distributors and rightsholders.
• Its system combines multiple detection models with additional analysis of vocals, instruments, lyrics, composition and other characteristics.
• HumanStandard says it has roughly halved its false-positive rate month after month during development and publishes detection benchmarks.
• Rahman argues that decisions affecting artists’ income should require human review, transparent explanations and an opportunity to appeal.

The Music Industry Is Developing a Verification Problem

The debate over AI-generated music has largely centered on creation: whether AI companies can train on copyrighted recordings, whether synthetic voices violate artists’ rights and whether listeners actually want music made by machines.

But widespread AI music creates another, more operational problem.

Someone eventually has to decide what is AI-generated.

Streaming services, distributors, labels and other music companies are developing policies around synthetic media. Those policies become difficult to enforce if there is no reliable way to determine how a recording was created.

HumanStandard is attempting to build that verification layer.

Founded by Rasha Rahman in November 2025, the company describes its mission as protecting and valuing human creation in the AI era. Music is its initial focus, with technology intended to help platforms and other industry organizations evaluate recordings as part of moderation, rights and compliance workflows.

Not Everything Is Human or AI

One of the more interesting aspects of HumanStandard’s approach is that it doesn’t treat every recording as belonging to one of two categories.

Modern music production makes that increasingly unrealistic.

A recording could feature a human singer over AI-generated instrumentation. A producer might use generative tools to create one element of an otherwise conventional production. An artist could use AI-assisted mixing or restoration tools. Another recording might be generated almost entirely from a prompt.

HumanStandard therefore distinguishes between human, synthetic and hybrid characteristics rather than treating all AI involvement as equivalent.

Rahman says the technology can examine individual components of a recording, including cases where an AI-generated vocal appears within an otherwise human-produced song.

“Hybrid work also gets its own verdict so human and AI collaborations aren’t treated as fully AI,” Rahman told The Music Ninja.

That point could become increasingly important as the industry moves from debating whether AI should be used toward determining which uses need to be disclosed, licensed, restricted or treated differently.

Building Evidence Instead of Delivering a Verdict

HumanStandard’s approach goes beyond producing a single probability score suggesting whether a recording was generated by AI.

According to Rahman, the company combines multiple detection models with additional checks involving instruments, vocals, lyrics, cover artwork and composition. It also uses what the company calls origin mapping, which attempts to identify the generative models associated with a recording, including cases where multiple models may have been used.

Each scan can include supporting evidence indicating where the system detected potentially synthetic characteristics, giving moderation teams additional information to evaluate.

That matters because AI detection is inherently difficult. Generative models improve, recordings can be edited after generation and synthetic elements can be combined with human performances. A detector that works well against one generation of AI models may perform differently against another.

Rather than relying on a single model, HumanStandard says its system evaluates recordings through several independent detection methods and combines their findings.

Rahman says the objective is to build evidence that can support a decision, rather than provide a simple AI-or-not classification.

The False Positive Problem

For an independent artist, the greatest risk from AI detection may not be a synthetic recording going undetected. It may be an entirely legitimate recording incorrectly identified as AI-generated.

If that result is merely informational, the mistake could be inconvenient. If it affects distribution, monetization or royalties, the consequences become considerably more serious.

HumanStandard has made reducing false positives a central part of its development.

Rahman says the company has roughly halved its false-positive rate month after month since it began building its detection technology approximately nine months ago.

The company also publishes a public benchmark and methodology. Its reported evaluation includes 7,300 full-length human-created production-music recordings and 2,165 AI-generated tracks from systems including Suno, Udio, Lyria and Mureka.

At its stated live operating threshold, HumanStandard reports flagging three of the 7,300 human recordings while detecting approximately 88% to 92% of the AI-generated recordings, depending on the test configuration. The company reports higher detection rates at thresholds that also produce more false positives.

Those are published benchmark results rather than a guarantee of equivalent performance across every genre, recording environment or future AI model. HumanStandard describes its testing as independently blind-tested, although its public methodology does not establish that every possible real-world use case has been independently validated.

There is also an important limitation: the published benchmark primarily evaluates detection of fully generated music. HumanStandard says hybrid and partially AI-generated recordings require additional models and evaluation methods used in its industry deployments.

Rahman acknowledges that the technology doesn’t catch every AI-generated song and that false positives remain possible.

Even a very small error rate can matter when applied to millions of recordings.

Why Human Review Still Matters

For Rahman, improving detection accuracy is only part of the solution.

“The safeguards that matter most are that a human reviews any decision affecting someone’s income, that artists are told why they were flagged and can appeal, and that vendors publish their error rates,” he said.

That is an important position for a company selling automated verification technology.

A detection system could provide evidence that a recording warrants further investigation. But automatically removing music, withholding royalties or restricting distribution based solely on that result creates a different level of risk.

Rahman’s proposed safeguards establish a distinction between detection and enforcement. Technology can identify potentially suspicious content, while people remain responsible for decisions that could materially affect an artist’s livelihood.

He also supports more transparent evaluation of detection vendors, including the possibility of third-party comparative benchmarks.

For platforms processing enormous volumes of uploads, those safeguards may create additional operational work. But they could also help prevent automated moderation from becoming a system in which legitimate artists are penalized without understanding why.

From Detection to Music Industry Infrastructure

The bigger opportunity for HumanStandard may be less about building an AI detector and more about becoming part of the infrastructure companies use to evaluate digital media.

A distributor processing thousands of uploads every day cannot manually investigate every recording. A streaming platform operating at global scale faces an even larger challenge.

Verification technology could provide another signal within those systems.

A recording showing strong indications of synthetic generation could be routed for additional review. Hybrid content could be labeled differently. Provenance information could be compared with metadata supplied by artists and distributors. Rights owners could use similar tools when investigating suspected unauthorized synthetic recordings.

HumanStandard already offers an enterprise API for integrating its detection technology into existing systems.

Rahman says his conversations and testing with platforms suggest they appreciate receiving supporting evidence rather than a simple binary classification. Those discussions and their commercial outcomes have not been independently detailed, but they indicate the kind of industry workflow HumanStandard is targeting.

Importantly, Rahman says the company does not intend to determine the policies platforms should enforce. Its role is to provide information that helps those organizations make decisions.

The Industry May Need More Than Detection

There is also a larger question surrounding the entire category: should the music industry be trying to detect AI after a recording has already been created, or should information about its creation travel with the recording from the beginning?

Detection and provenance solve different problems.

Provenance systems can document where media came from and potentially record information about how it was created. Detection attempts to evaluate content when that information is unavailable, incomplete or potentially untrustworthy.

In practice, the industry may eventually need both.

An artist or label could disclose how AI was used during production, while verification systems provide an independent signal that platforms can use alongside those disclosures. Content with conflicting information could then receive additional scrutiny rather than being automatically accepted or rejected.

That kind of layered system is less satisfying than a technology that can simply declare something human or AI, but it may be more practical as production methods become increasingly complex.

Why We’re Watching HumanStandard

AI-generated music isn’t disappearing, and the difference between human and synthetic creation is likely to become less obvious.

That means the infrastructure surrounding music will need to evolve alongside the tools used to create it.

HumanStandard is interesting because it is tackling one of the less visible consequences of that transition. If labels, distributors, streaming services and rightsholders develop different policies for human, synthetic and hybrid recordings, they will need some way to evaluate the content moving through their systems.

But perhaps the most interesting part of HumanStandard’s approach is its acknowledgment that detection technology can cause harm when used incorrectly.

The company is publishing error rates, developing additional evidence-based analysis and advocating human oversight for decisions affecting artists’ income. Those commitments will need to be tested as its technology encounters more platforms, recording types and increasingly capable generative models.

Rahman describes the ultimate objective as reducing harm to rightsholders while improving the experience for listeners.

“If we can level the playing field, artists, rights holders, and listeners all win,” he said.

Whether HumanStandard becomes a widely adopted verification provider remains to be seen. But the question it is addressing is becoming increasingly urgent.

The music industry’s next challenge may not simply be deciding what it thinks about AI-generated music. It may be figuring out how to identify it accurately, explain its decisions and protect the human artists caught in the middle.

The post As AI Music Floods Streaming, HumanStandard Is Building a Test for What’s Human appeared first on The Music Ninja.

Listen to Never Coming Back by Thessa

• MusicAtlas
• Spotify
• YouTube
• Apple Music

The post [Progressive Metal] Thessa – Never Coming Back appeared first on The Music Ninja.

In Brief

• YouTube announced changes to its Shorts recommendation system on October 1, 2026.
• Channels that primarily repost other creators’ videos without substantial additions may receive less distribution in the Shorts feed.
• Original commentary, distinctive editing and storytelling can still make reused footage eligible for recommendations.
• Minor technical changes and template-based edits are unlikely to satisfy YouTube’s expectations for originality.
• The announcement concerns video recommendations, not a new copyright prohibition or a blanket ban on reused clips.
• The changes could affect music promotion strategies that rely on reposting artist footage, performances and other existing video content.

In an announcement published through its official creator community, YouTube said it was updating its recommendation systems to give greater priority to original videos and limit the reach of material uploaded by accounts that contribute little or nothing of their own.

The company says its recommendations are informed by billions of signals, including viewing history, subject interests and engagement. The latest adjustment introduces a more explicit emphasis on originality, particularly when evaluating channels that aggregate videos produced by other creators.

For musicians and music companies, the announcement raises questions about promotional practices that have become common across short-form video platforms. Artist footage, concert clips, music video excerpts and interview segments are frequently republished by fan accounts, entertainment pages and promotional channels, sometimes with only minor changes.

Those practices may now face greater scrutiny within YouTube’s recommendation system.

What YouTube Is Changing

The update is directed primarily at channels built around republishing other creators’ videos without adding substantial original material.

According to YouTube, channels identified as primarily aggregating or re-uploading existing videos without significant changes are likely to receive less distribution in the Shorts feed.

The company is encouraging creators who incorporate third-party footage to contribute their own commentary, editing or storytelling rather than simply modifying the original video’s appearance.

That leaves room for commentary channels, educational videos, reactions and other formats that build something new around existing material.

A creator analyzing a concert performance, for example, could incorporate excerpts while offering original observations about the arrangement, musicianship or production. A channel that simply republishes the same performance with a different crop or caption would have a harder time demonstrating a substantial contribution.

YouTube has not published a formula for determining how much original material is required. It also has not disclosed the relative importance of originality compared with other recommendation signals or provided a precise rollout schedule.

As a result, the announcement establishes the direction of the change without making it possible to predict exactly how an individual video or channel will perform.

Why Reposted Clips Matter in Music Promotion

Short-form video has become an important part of music marketing, with artists and labels using clips to introduce recordings, highlight live performances and encourage listeners to explore full-length releases.

The distribution of those clips frequently extends beyond an artist’s official accounts.

Fan pages may share moments from concerts or interviews. Entertainment accounts repost music-related videos to audiences interested in particular genres or performers. Promotional services may distribute variations of the same footage through multiple channels.

These activities can introduce music to viewers who would not otherwise encounter an artist’s official content. However, they can also create feeds filled with repeated versions of the same material, sometimes with little indication of where the original video came from.

YouTube’s update appears intended to reduce that kind of duplication while giving creators who produce or substantially develop their own videos a better opportunity to reach viewers.

The potential consequences for music marketing are not yet clear. A fan account that publishes original commentary about an artist may be treated differently from one that primarily uploads unmodified concert clips, but YouTube has not described how its systems will evaluate every type of music-related content.

Similarly, the company has not explicitly explained how the change will apply to authorized promotional partners that repost material with an artist’s permission.

Permission to use a video and originality within a recommendation system are separate questions. A channel can have authorization to publish footage without necessarily contributing the kind of original material YouTube says it wants to prioritize.

Originality Is Becoming a Distribution Issue

YouTube already maintains policies addressing reused and repetitive content, particularly in connection with channel monetization.

Its existing rules distinguish between material that incorporates meaningful commentary or creative changes and content that largely duplicates work published elsewhere.

The October announcement extends that emphasis into the recommendation process, where visibility can influence audience growth regardless of whether a channel participates in YouTube’s monetization programs.

That is an important development for creators whose businesses depend on attracting viewers through algorithmic recommendations.

A video does not need to violate copyright law to receive limited distribution. Recommendation systems make decisions about what audiences are likely to find useful or engaging, and platforms can adjust those systems independently of copyright enforcement.

Conversely, adding commentary or creative editing does not automatically establish that someone has the legal right to use another person’s footage or music.

YouTube’s announcement should therefore not be interpreted as a change to copyright ownership, licensing requirements or the availability of its copyright enforcement tools.

The company has not announced new penalties or copyright strikes associated specifically with this recommendation update.

What It Means for Independent Artists

For independent musicians who already create their own short-form videos, the change may be encouraging, although YouTube has not promised increased reach for every original upload.

Artists commonly publish rehearsal footage, studio sessions, live performances, behind-the-scenes material and videos explaining the creative process behind a song.

These formats generally provide material created by the artist or their team rather than relying on content collected from unrelated accounts.

They also offer opportunities to develop a recognizable identity beyond the recording itself. A performance clip can demonstrate musicianship, while a studio video can reveal how a track was constructed or why a particular production decision was made.

The update does not mean artists need to abandon promotional editing or reuse footage from their own catalogs. YouTube’s announcement specifically focuses on channels that primarily republish other creators’ material without substantial changes.

However, independent artists who employ third-party clipping services or promotional accounts may want to examine how those services operate.

Some music promotion strategies involve distributing identical or lightly modified videos through multiple accounts in an attempt to increase exposure. If those accounts rely heavily on reposted material, they may become less effective under the revised recommendations.

Artists should also distinguish between a promotional service’s claims about potential views and evidence that its content reaches genuine, interested listeners.

A large number of impressions does not necessarily translate into sustained listening, ticket purchases or a growing audience.

What About Fan Accounts and Music Commentary Channels?

The announcement does not necessarily threaten every account that publishes videos about music it did not create.

Music commentary, criticism and education frequently involve references to existing recordings and performances. Reviewers may use brief clips to discuss production techniques, while creators covering music history may incorporate archival footage into original narratives.

YouTube’s guidance explicitly recognizes commentary, editing and storytelling as ways creators can add value to existing material.

The question is how clearly those contributions distinguish a new video from its source.

Accounts that primarily repost interviews, performances or music videos without analysis or other substantive additions appear more exposed to reduced recommendations.

For fan communities, the consequences may depend on the balance between original discussion and repeated uploads. A channel built around artist news, commentary and fan-created material is different from one that functions mainly as an archive of copied clips.

Nevertheless, YouTube has not released detailed criteria explaining how it will classify borderline cases. Creators will need to assess the effects through their own performance data as the changes take effect.

Will the Changes Improve Music Discovery?

One potential outcome is that original artist videos and music commentary receive more attention relative to accounts distributing duplicate footage.

That could benefit musicians who invest time in creating distinctive videos, particularly if viewers begin encountering fewer repeated uploads of material already circulating elsewhere.

However, originality is only one factor in YouTube’s recommendation system. Viewer behavior, subject relevance and engagement will continue to influence which Shorts appear in individual feeds.

There is also a possible trade-off for emerging artists.

Fan accounts and third-party promotional channels can help music spread beyond an artist’s existing audience. If some of those accounts lose distribution, artists may have fewer opportunities to benefit from the secondary circulation of their content.

The outcome will likely depend on whether original artist uploads and more substantial fan-created videos can replace that exposure.

For now, YouTube has not released performance data demonstrating how the update has changed recommendations or music discovery. Claims that original artists are already receiving a measurable boost would be premature.

A Shift Away From Reposting as a Growth Strategy

YouTube’s October update reflects a growing concern among video platforms about the volume of repetitive material competing for viewers’ attention.

For the music industry, it places additional emphasis on the difference between creating a video and simply redistributing one.

Labels, managers and independent artists have increasingly treated short-form video as a marketing channel, often experimenting with different accounts, formats and promotional partners to expand the reach of a release.

The revised recommendation system does not eliminate those options, but it may reduce the effectiveness of strategies built primarily around reposting existing footage.

Artists who produce their own videos, develop recognizable creative formats and work with partners contributing original commentary or storytelling may be better positioned to adapt.

The longer-term effect will depend on how aggressively YouTube applies its originality criteria and whether the changes produce measurable differences in audience discovery.

For now, the announcement establishes a clear priority: YouTube wants its Shorts feed to feature more content that creators have genuinely contributed to, rather than repeated copies of videos already available elsewhere.

The post YouTube Shorts Changes Recommendations to Favor Original Content appeared first on The Music Ninja.

Listen to Changed Things by Jake Minch

• MusicAtlas
• Spotify
• Apple Music
• YouTube
• Deezer
• Qobuz
• SoundCloud

The post [Indie Folk] Jake Minch – Changed Things appeared first on The Music Ninja.

Listen to Who We Are by Mystic Vision

• MusicAtlas
• Spotify
• Apple Music
• YouTube
• Deezer
• Qobuz
• Bandcamp

The post [Synth Pop] Mystic Vision – Who We Are appeared first on The Music Ninja.

Here’s looking at you, Blas.

Listen to La Esquina de los Sueños Rotos by Marineros

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• Spotify
• Apple Music
• YouTube
• Deezer

The post [Dream Pop] Marineros – La Esquina de los Sueños Rotos appeared first on The Music Ninja.

In Brief

• Mondo.NYC 2026 takes place October 13–16 at the Arlo Williamsburg Hotel in Brooklyn, New York.
• Organizers are planning more than 45 panels and conversations featuring over 200 speakers, alongside more than 35 artist showcases.
• Artificial intelligence, music technology, copyright, catalog ownership and independent artist revenue are among the major topics.
• The Guild of Music Supervisors will host a dedicated education event covering synchronization licensing and the use of AI in music supervision.
• Speakers include executives from BMG, A2IM, CD Baby, Virgin Music Group, the Recording Academy and other music organizations.

Now in its 11th year, Mondo.NYC combines a music business conference with live performances by emerging artists. Its 2026 program arrives as the industry continues to grapple with questions about artificial intelligence, ownership, licensing and the relationship between artists and the companies that distribute and monetize their work.

The conference’s published agenda places those issues alongside more established music business concerns, including artist development, touring, investment and revenue diversification. Rather than concentrating on a single technology or business model, Mondo is bringing together several debates that increasingly overlap.

AI and Music Technology Move Beyond the Hype

Artificial intelligence features prominently in this year’s program, but the scheduled discussions extend beyond the question of whether machines can create convincing music.

On October 14, a dedicated track titled The Future of Music Creation & Technology will examine how emerging tools are changing music production, distribution and monetization. The sessions are curated by Daniel Rowland of LANDR Audio and Jessica Powell, co-founder and CEO of AudioShake.

The program includes discussions about artist-focused technology, the relationship between AI and creative work, and the implications of new tools for rights management and attribution.

These questions have become more urgent as AI-generated music moves from experimentation into commercial distribution. Technology companies are developing tools for music generation, audio separation, automated production and catalog analysis, while rightsholders continue to debate the licensing arrangements and protections that should govern their use.

For established music companies, the challenge involves protecting intellectual property while evaluating technologies that could improve existing workflows. Independent artists face many of the same questions, often without comparable legal resources or negotiating leverage.

The conference also includes a discussion about AI’s international implications during its October 16 Music & Tech Law Symposium. That session is expected to examine the different approaches being taken to AI, copyright and music rights across jurisdictions.

The Economics of Independent Music

Independent music occupies a substantial portion of the conference agenda, with sessions examining how artists and smaller music companies can build sustainable businesses.

On October 14, Virgin Music Group co-CEO JT Myers and CD Baby President Molly Neuman are scheduled to discuss independent artists and human creativity in an increasingly technology-driven industry. The conversation will be moderated by Billboard executive editor Dan Rys.

Another session pairs music industry entrepreneur Scott Cohen with A2IM CEO Ian Harrison to discuss how creators and rightsholders can participate more fully in the economic value generated by their music.

The emphasis reflects a persistent problem in independent music: artists have access to more distribution, marketing and production tools than ever before, but access alone does not guarantee sustainable income.

Streaming revenue, touring costs, audience acquisition and the growing number of competing releases continue to shape the economics of independent careers. The business models available to artists are expanding, but so are the operational responsibilities that come with managing those businesses.

Tuesday’s agenda includes discussions about artist development, building professional teams and direct-to-consumer sales. A panel featuring representatives from Merge Records, Shopify and IDOL will examine why artists and labels are increasingly approaching merchandise, fan relationships and direct sales as parts of a broader commercial strategy.

Another session will address the tools independent artists need to manage their businesses, while Mondo’s partnership with Harvard Law School’s Recording Artists Project will provide pro bono legal sessions for musicians.

These sessions suggest that independent music is being discussed less as a distribution category and more as a collection of businesses with distinct financing, marketing and operational needs.

Music Licensing and Supervision Get a Dedicated Day

Synchronization licensing will receive particular attention on Thursday, October 15, when Mondo partners with the Guild of Music Supervisors East for its ninth annual New York education event.

The daylong program brings together music supervisors, composers, licensing executives and other professionals working across film, television, advertising and related media.

One scheduled discussion, “Navigating the Murky Waters of AI in Music Supervision,” will examine the legal, ethical and commercial questions raised by AI-generated music entering creative workflows.

The issue is particularly relevant to synchronization licensing, where music users need to establish who controls the relevant rights and whether a recording can be cleared for a specific production.

AI-generated or AI-assisted recordings can introduce additional uncertainty around authorship, training data, contractual warranties and the ownership of underlying musical elements. The practical consequences depend on how a recording was created, which rights are implicated and the terms of the proposed license.

The day’s programming also includes “Pitch Perfecto: Get Heard by Music Supervisors,” an interactive session intended to connect music creators with professionals involved in selecting music for productions.

A separate meetup will feature supervisors and licensing representatives associated with organizations including Paramount, Droga5, Wise Music and Kobalt Music Publishing.

For independent artists and smaller catalog owners, the event offers an opportunity to better understand how music is evaluated and selected for commercial uses. It also provides a forum for discussing the practical difficulties of rights clearance, music discovery and pitching.

Catalog Ownership, Investment and New Revenue Models

Beyond technology and licensing, the 2026 conference will examine the growing financial importance of music catalogs and intellectual property.

Tuesday’s program includes a conversation with music investor Charles Goldstuck about investment opportunities across the music economy. Another discussion will address the relationship between rights, revenue and the commercial reach of music assets.

On Wednesday, Duetti CEO Lior Tibon is scheduled to discuss the changing economics of independent music in a conversation moderated by Billboard’s Elizabeth Dilts Marshall.

The program also includes a session about how artists can build, finance and monetize catalogs, labels and other long-term intellectual property.

These discussions reflect the increasing overlap between traditional music industry operations and financial investment. Recorded music and publishing rights can generate revenue over extended periods, making catalogs attractive to investors seeking predictable income streams.

However, catalog valuations depend on assumptions about future royalties, licensing activity, market growth and the durability of individual recordings’ popularity. Financial arrangements that provide immediate capital can also require artists and rightsholders to relinquish future income or control.

For independent musicians, the central question is not simply whether catalog financing is available, but whether a particular deal supports their long-term business interests.

Copyright and Music Policy Remain Central

Legal and regulatory issues run throughout the conference, culminating in the Music & Tech Law Symposium on October 16.

The opening day’s program includes a conversation with BMG General Counsel Amanda Molter about legal leadership and the changing relationship between music companies and technology providers.

Friday’s sessions will examine music rights in the creator economy, AI and international copyright policy, and the regulatory environment surrounding live music.

Representatives from music companies, legal practices, industry associations and policy organizations are expected to participate.

The agenda illustrates how closely technology adoption is tied to legal questions. New methods of generating, identifying, distributing and monetizing music can create opportunities for rightsholders while raising disputes about ownership, permission and compensation.

Those issues affect the entire industry, although their consequences can be particularly significant for smaller companies and artists that lack dedicated legal and rights administration teams.

Emerging Artists Remain Part of the Conference

Alongside the business programming, Mondo will host more than 35 artist showcases at independent New York venues and through selected online performances.

The live component gives emerging performers an opportunity to appear in front of music industry professionals while introducing conference attendees to artists outside the established commercial mainstream.

It also provides a counterpoint to the technology-focused discussions taking place during the day. While software and data increasingly influence how music is discovered and monetized, live performance remains an important part of artist development and audience relationships.

Mondo’s combination of conference sessions and artist showcases is intended to connect those two sides of the industry, although participation does not itself guarantee commercial opportunities or professional representation.

What Mondo.NYC 2026 Reveals About the Industry

The range of subjects on this year’s agenda points to an industry in which technology, intellectual property and artist entrepreneurship are becoming increasingly difficult to separate.

AI tools are changing production and music analysis, but their adoption depends partly on licensing and copyright rules. Catalog investment is creating new financing options, while raising questions about ownership and long-term revenue. Independent artists have more ways to reach audiences directly, yet still face substantial challenges converting attention into income.

Mondo.NYC will not resolve those questions over four days. The conference does, however, bring together many of the companies and professionals whose decisions will influence how those issues develop.

For artists, labels, publishers and music technology businesses, the most consequential discussions may be less about any single new product and more about how the industry’s evolving tools, rights structures and business models fit together.

The full conference schedule and registration information are available through the official Mondo.NYC agenda.

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In Brief

• Michael Smith was sentenced to 18 months in federal prison on October 6, 2026.
• Federal prosecutors had requested 46 months, while probation officials recommended 24 months and Smith’s attorneys sought probation without incarceration.
• Smith pleaded guilty in March to conspiracy to commit wire fraud.
• His operation used hundreds of thousands of AI-generated songs and billions of fraudulent streams to collect more than $8 million in royalties.
• The court also imposed two years of supervised release and ordered $8,091,843.64 in forfeiture.
• The case was the first U.S. federal criminal prosecution involving artificially inflated music streaming.

U.S. District Judge John G. Koeltl imposed the sentence in Manhattan federal court, bringing the criminal case to a conclusion more than two years after Smith was initially charged.

The U.S. Attorney’s Office for the Southern District of New York confirmed the sentence in an October 6 announcement. Smith, 54, of Cornelius, North Carolina, also received two years of supervised release and was ordered to forfeit $8,091,843.64.

The sentencing follows a dispute over the appropriate punishment for the scheme. As reported on October 1, prosecutors requested a 46-month prison term, arguing that Smith’s conduct diverted millions of dollars from legitimate musicians and rightsholders. Federal probation officials recommended 24 months, while the defense sought a sentence without imprisonment.

Koeltl ultimately imposed an 18-month term, six months below the probation recommendation and 28 months below the prosecution’s request.

How Smith Generated More Than $8 Million in Fake Streaming Royalties

Smith’s operation ran from 2017 through 2024 and relied on two interconnected systems: a network of automated streaming accounts and a large catalog of recordings that those accounts could play.

According to federal prosecutors, Smith created thousands of fraudulent accounts on services including Spotify, Apple Music, Amazon Music and YouTube Music. He then used software to continuously stream recordings he controlled, creating the appearance of legitimate listening activity.

Generating enough streams to produce substantial royalties was only part of the operation. Smith also needed to avoid detection by the platforms’ fraud prevention systems.

Repeatedly streaming a small number of recordings could have produced conspicuous listening patterns. To spread the activity across a much larger catalog, Smith turned to AI-generated music, obtaining hundreds of thousands of recordings that could be played by his automated accounts.

The resulting catalog helped distribute billions of artificial streams across numerous tracks rather than concentrating the activity on a handful of releases.

Federal prosecutors said Smith used as many as 10,000 bot accounts simultaneously. To establish those accounts, he relied on fake email addresses and fraudulently obtained debit cards.

The scale of the activity is illustrated by an example included in the Justice Department’s sentencing announcement. In April 2023, Smith’s bot accounts generated approximately 80.9 million fraudulent YouTube Music streams through family plans. During the same month, Taylor Swift’s entire catalog received approximately 9.3 million family-plan streams on the service, according to prosecutors.

Over the course of the operation, Smith collected more than $8 million in royalty payments that federal authorities determined were fraudulent.

Why the Fraud Affected Other Artists’ Royalties

Artificial streaming can have financial consequences beyond the accounts responsible for generating the activity.

Under the pooled, market-share-based royalty arrangements used by major streaming platforms, payments are generally allocated according to each recording’s proportion of eligible listening activity. Fraudulent streams that enter those calculations can therefore reduce the share available to recordings played by genuine listeners.

That mechanism was central to the government’s case. Prosecutors argued that Smith was not simply manipulating popularity statistics or generating misleading performance data. His automated listening activity caused royalty payments to be directed toward recordings that had not attracted the corresponding consumer demand.

The amounts involved demonstrate why streaming manipulation can be profitable even when individual plays generate only small payments. At the scale of billions of streams, fractions of a cent can accumulate into millions of dollars.

Independent artists and smaller rightsholders are particularly exposed to the wider consequences of royalty manipulation because their earnings are often modest to begin with. However, the public sentencing announcement does not identify individual artists who lost specific amounts of money through Smith’s scheme.

AI-Generated Music Was a Tool, Not the Crime Itself

Smith’s case has frequently been described as an AI music fraud prosecution, but the criminal conduct was not the creation of AI-generated recordings.

Smith pleaded guilty to conspiracy to commit wire fraud because he used automated accounts to manufacture listening activity and obtain royalty payments under false pretenses.

AI technology made the scheme easier to scale by supplying an enormous catalog of recordings. The fraudulent element was the use of bots to represent artificial listening as genuine consumer activity.

This distinction separates the case from ongoing copyright disputes involving generative AI music companies. Those lawsuits address questions such as whether copyrighted recordings can be used to train AI models without authorization.

Smith’s prosecution instead concerned the manipulation of streaming platforms’ payment systems. The same underlying fraud problem can exist with human-recorded music if automated accounts are used to generate deceptive streams.

What made Smith’s operation unusual was the combination of large-scale music generation and automated listening, allowing the scheme to operate across hundreds of thousands of recordings.

Prosecutors Sought a Longer Prison Sentence

Before sentencing, federal prosecutors argued that the duration and financial scale of Smith’s conduct warranted a 46-month prison term.

Their recommendation emphasized the years of planning involved, the measures used to avoid fraud detection and the money diverted from legitimate royalty recipients.

The defense sought probation without incarceration, while federal probation officials recommended a two-year sentence.

The final 18-month term was substantially below the prosecution’s request, although the court still imposed imprisonment and a forfeiture order covering more than $8 million.

The Justice Department’s sentencing announcement does not provide a detailed explanation of Judge Koeltl’s reasoning for selecting the shorter term. The difference between the requested and imposed sentences should therefore not be interpreted as a judicial finding that the fraud caused less financial harm than prosecutors alleged.

The forfeiture order addresses proceeds associated with the criminal activity. It should not be confused with a confirmed reimbursement of every musician or rightsholder affected by the scheme.

Streaming Fraud Remains a Challenge for Music Platforms

Smith’s conviction establishes that large-scale streaming manipulation can result in criminal penalties, but it does not resolve the underlying detection problem.

Streaming platforms and distributors have long confronted fraudulent plays, including bot networks, artificial playlist activity and services promising guaranteed streams.

Generative AI adds another complication by reducing the time and resources required to produce large volumes of recordings. An operation seeking to disguise artificial listening across thousands of tracks can now assemble a substantial catalog without conventional recording sessions or production costs.

That does not make every large AI-generated catalog suspicious. The relevant warning signs concern the behavior of accounts, listening patterns, distribution activity and attempts to manipulate royalty calculations.

For platforms, effective enforcement requires distinguishing legitimate listening from automated manipulation without incorrectly penalizing artists whose music attracts genuine audiences.

For artists and rightsholders, the case reinforces the importance of accurate royalty accounting and reliable fraud detection. Money distributed to fraudulent activity is money that cannot simultaneously be allocated to legitimate streams within the same royalty pool.

A Landmark Case Reaches Its Conclusion

When Smith was charged in September 2024, federal authorities described the prosecution as the first criminal case involving artificially inflated music streaming.

His March 2026 guilty plea eliminated the need for a trial, and the October 6 sentence establishes the criminal penalty for his role in the operation.

The case also provides a documented example of how generative AI can amplify an existing form of music industry fraud without fundamentally changing the legal nature of the offense.

Smith’s use of AI-generated recordings attracted attention, but the central issue was the deliberate creation of billions of streams that did not represent real listening.

With Smith now sentenced, the larger question for the music industry is whether streaming services, distributors and royalty administrators can identify similar schemes before automated activity produces another multimillion-dollar payout.

The post AI Music Streaming Fraudster Sentenced to 18 Months in Prison in $8 Million Case appeared first on The Music Ninja.

In Brief

• The Mechanical Licensing Collective plans to begin monthly distributions of remaining unmatched and unclaimed royalties in April 2027.
• The first distribution will cover royalties generated by music usage in January 2021, with subsequent months processed individually.
• Just over $6 million from January 2021 remained unmatched or unclaimed following the MLC’s September 2026 distribution.
• Remaining funds will be distributed to eligible rightsholders according to their relative share of previously distributed royalties, rather than being assigned to the unidentified original owners.
• Songwriters and publishers still have an opportunity to register works, correct ownership information and claim eligible royalties before the process begins.
• The MLC recommends completing those steps well before its February 2027 database snapshot.

The organization confirmed the timeline during its annual membership meeting on September 29, announcing that it would begin the congressionally mandated process of distributing remaining unclaimed royalties under the Music Modernization Act.

According to the MLC’s September 30 announcement, the first distribution will address royalties associated with January 2021, the month its blanket mechanical licensing system began operating.

Additional distributions will follow monthly, moving through the remaining royalty pools from subsequent months of 2021.

The decision introduces a new phase for an organization that has spent more than five years collecting streaming royalties, matching recordings to musical compositions and identifying the songwriters and publishers entitled to payment.

Why Millions in Music Royalties Remain Unclaimed

The MLC was established under the Music Modernization Act of 2018 to administer blanket mechanical licenses for eligible digital music services in the United States.

Its responsibilities include collecting mechanical royalties from services such as Spotify, Apple Music and Amazon Music and distributing those payments to the songwriters, composers and publishers who control the underlying musical works.

Mechanical royalties compensate the owners of musical compositions for certain reproductions and distributions of their works. They are separate from the sound recording royalties typically paid to recording owners through labels or distributors.

To make those payments, the MLC must connect recordings reported by streaming services with the appropriate compositions and ownership information.

That process is not always straightforward. A recording may have incomplete songwriter credits, inconsistent titles, missing identifiers or ownership information that has not been properly registered. Multiple publishers may also control different shares of the same composition.

When the MLC cannot identify the appropriate composition, the royalties remain unmatched. When the composition is identified but an ownership share has not been claimed, the corresponding royalties remain unclaimed.

Both situations can prevent money from reaching the people entitled to receive it.

The MLC maintains a public musical works database and offers tools that allow rightsholders to register compositions, review ownership information and suggest matches between recordings and musical works.

These efforts have substantially reduced the amount of money awaiting distribution, but they have not eliminated the problem.

How Much Money Is Involved?

The MLC says it has distributed more than $4.2 billion in royalties since beginning operations in 2021, while processing nearly $5 billion in total.

Its remaining unmatched and unclaimed royalties from January 2021 were below $7 million following the January 2026 distribution. By September, the amount had declined to just over $6 million.

That figure is not the total amount of unclaimed royalties held by the organization. It represents the remaining eligible pool for a single month of music usage.

The MLC plans to address subsequent months separately, meaning additional distributions will follow after the initial April 2027 payment.

The organization also expects the January 2021 amount to decline further as it continues matching recordings, correcting data and processing claims before the distribution.

According to the MLC, its average royalty match rate for 2021 usage has reached approximately 94 percent. The organization says it has continued working to identify the owners of the remaining royalties even after the statutory minimum holding period expired.

The initial distribution will therefore concern money that remains unresolved after more than six years of matching and claiming efforts.

Who Receives Royalties That Cannot Be Claimed?

The most consequential aspect of the new process is what happens to money that remains unclaimed.

Under the Music Modernization Act, the MLC must hold unmatched and unclaimed royalties for at least three years while attempting to identify and pay the appropriate rightsholders.

Once the required conditions are met, remaining royalties can be distributed using a market-share-based allocation.

The MLC’s published distribution policy specifies that the remaining funds will be allocated proportionally among eligible musical works and ownership shares based on the organization’s actual royalty distribution data.

The calculation will be performed separately for each digital music service and subscription or other offering. The MLC says it will use actual distribution records rather than estimates.

In practical terms, a composition that previously received a larger share of eligible mechanical royalties from a particular service and offering will generally receive a larger share of the remaining unclaimed pool associated with that service and offering.

The process does not establish that those recipients originally earned the unmatched royalties. Instead, it applies the statutory method for distributing money whose original ownership could not be fully resolved.

That approach is intended to prevent royalties from remaining in administrative accounts indefinitely. It also creates a longstanding concern within the music industry: money originally attributable to unidentified rightsholders can ultimately be paid to other copyright owners.

Why the Distribution Method Is Controversial

Market-share distributions have been debated since the Music Modernization Act established the MLC’s responsibilities.

Supporters of the framework argue that a defined process is necessary for royalties that cannot be matched or claimed despite sustained efforts. The alternative would be to continue holding increasingly old funds without a clear endpoint.

Critics have raised concerns about whether market-share allocations adequately protect smaller songwriters and publishers, particularly those whose works may be harder to identify because of incomplete metadata or limited administrative resources.

The underlying issue is that the rightsholders most likely to receive a market-share distribution are not necessarily the same people whose royalties originally went unmatched.

In its June 2026 review of the MLC’s designation, the U.S. Copyright Office acknowledged the need for transparency around the distribution process.

The Recording Academy, among other stakeholders, called for a detailed explanation of the proposed procedures and opportunities for industry input before distributions began.

Other commenters questioned whether distributing unmatched royalties according to market share could weaken incentives to continue improving identification and matching systems.

The MLC maintains that it has continued its matching efforts well beyond the minimum three-year holding period. It also plans to process the remaining royalties month by month rather than distributing all outstanding funds at once.

That extended schedule gives the organization additional time to identify rightsholders associated with later months of usage.

What Independent Songwriters Should Do Before 2027

For independent songwriters, the announcement creates a practical reason to review their composition registrations and royalty information.

Artists who write and release their own music may be entitled to mechanical royalties associated with the underlying compositions, in addition to revenue received from their recording distributors.

Those royalties may be administered by a music publisher, publishing administrator or the songwriter directly, depending on the arrangements in place.

Songwriters who administer their own publishing should confirm that their works are registered with the MLC and that the relevant ownership shares and recording information are accurate.

They should also review whether any recordings remain unmatched or whether ownership shares have not been claimed.

The MLC provides free membership and online tools for eligible rightsholders. Its website includes information about registering works, claiming shares and suggesting matches.

For the April 2027 distribution, the organization expects to use a database snapshot taken on or around February 10, 2027.

Changes submitted after that snapshot may not be reflected in the processing of the initial market-share distribution. The MLC therefore recommends that rightsholders take action well in advance, allowing time for registrations, claims and matching requests to be processed.

Registering a work does not guarantee that previously unmatched royalties will be recovered. Eligibility depends on the underlying usage, ownership information and the MLC’s ability to connect the relevant records.

Nevertheless, accurate registration and metadata provide the basis for identifying royalties before they are allocated through the market-share process.

What About Older Unmatched Royalties?

The April 2027 process concerns royalties generated under the blanket license that began operating in January 2021.

It is separate from the historical unmatched royalties transferred to the MLC by digital music services for usage before that date.

Those older funds were transferred under provisions of the Music Modernization Act so the organization could attempt to identify the appropriate compositions and rightsholders.

The MLC says it intends to address the remaining historical unmatched royalties after the new monthly market-share distribution process has been established.

As a result, the April 2027 announcement should not be interpreted as a final distribution of every unmatched or unclaimed royalty held by the organization.

A New Phase in Music Royalty Administration

The MLC’s decision marks an important milestone in the implementation of the Music Modernization Act.

Since 2021, the organization has focused on building its database, processing streaming reports and improving the accuracy of royalty payments. Its upcoming market-share distributions introduce a different responsibility: determining how remaining funds should be allocated when the original rightsholders cannot be identified or paid.

The process will bring additional money into circulation, but it also exposes the limitations of music metadata and rights administration.

For independent songwriters and publishers, the immediate priority is ensuring that their works and ownership information are properly recorded before the relevant distribution deadlines.

For the industry, the longer-term challenge is reducing the number of royalties that reach this stage in the first place.

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Listen to Best Wishes by Dosimo

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• Qobuz

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Listen to on the spaceway (frfr) by megiapa

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• Qobuz

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