Amid last minute lobbying, opponents of the measures have challenged the rebalancing of copyright controls as a threat to free speech and the open internet. Article 13 of the Copyright Directive, which would require filtering to prevent copyright infringement, has become the most contentious area of the legislation.
However, rights holder organisations – including CISAC, IMPALA, PRS For Music and the IFPI – have welcomed the proposed reforms, while artists including Imelda May have headed to Brussels to make their voice heard ahead of the vote.
The Copyright Directive Article 13 restores fairness to the digital market. It’s about looking out for workers in the creative industries, helping to secure them a future that is financially viable where we continue to benefit from their services #ValueGap https://t.co/TQZyXSUaKu pic.twitter.com/aSFghgp91r— IFPI (@IFPI_org) June 19, 2018
First #Copyright overhaul in 17 years is being put to a vote. Members of EU Parliament, we need your support, we need positive change for creators, re-balance the online playing field. Composer @MarkAyresRWS shares his views. #CreatorsRightsFight #MakeInternetFair pic.twitter.com/J8nlPaWC6O— PRS for Music (@PRSforMusic) June 19, 2018
#Article13 will #BringBalanceBack in the negotiations between #creators and #platforms. On 20/06 #VoteVoss! #ValueGap @AxelVossMdEP @1PavelSvoboda @JeanMarieCAVADA @LFerraraM5S @mady_delvaux @Chrysogonos_K @enricogasbarra @HeidiHautala @maryhoneyball pic.twitter.com/AqTj1Se9el— IMPALA (@IMPALAMusic) June 15, 2018
Travelling to Brussels today to speak @Europarl_EN about solving The Value Gap for Creative Industries i.e. big corporations paying a fair price for music and all arts. Wish me luck!— Imelda May (@ImeldaOfficial) June 19, 2018
The move is seen by many as the best chance of fixing the so-called value gap from user-generated content on video services such as YouTube.
Speaking to Le Monde, CISAC president Jean-Michel Jarre said: “We must avoid abusive monopolies. YouTube must not become one and prevent diversity.
“Streaming is in its infancy. We have to act, but I'm not pessimistic. The concept of intellectual property has taken almost a century to become a concept accepted by everyone. The Internet is 20 years old. We are still in the pre-history of digital. It's normal that it’s a bit chaotic organising its regulation.”
However, YouTube head of global music Lyor Cohen has defended his platform as it implements industry-friendly measures such as songwriter credits, artist discovery programmes and a major new premium subscription service.
Speaking at the Cannes Lion conference (June 19), he described the relationship with the biz as a “new love affair”.
“Everybody’s hopeful and excited,” he said. “All I hear when I go to industry events is ‘how can I be helpful?’, ‘Count us in’. ‘It’s so nice to see you guys in the game’. And I really appreciate that they have the confidence in us working together.”
But Jarre questioned the timing of the launch ahead of the voting.
“As if by chance, the platform launches its pay service two days before the European vote,” he said. “It's indirect lobbying, which proves our voice is beginning to be heard. YouTube rightly fears the reaction of the European Parliament and hopes to tell it: ‘Look, there is no need to change the legislative framework.’”