In the days when the music business was awash with cash, it usually treated neighbouring rights income as you might treat finding loose change down the back of the sofa: a nice bonus, sure, but neither here nor there in the great scheme of things.
In the years of recorded music business decline since the turn of the millennium, however, that money – public performance revenue generated for labels and performers by the use of sound recordings by broadcasters and ...
Register for a Music Week trial to access this article.
Sign up for your free trial to Music Week, the no 1 weekly trade magazine for anyone who needs to understand the business of music. For four whole weeks we will provide you with great, in-depth journalism that gets right inside the business of music in print and 24/7 online. With both the print and digital edition you will be able to enjoy the whole Premium experience of a subscription to Music Week - absolutely free.Start your free trial