NMPA and Spotify have reached an agreement allowing independent and major publishers to claim and receive royalties for certain compositions used on Spotify in the United States where ownership information was previously unknown.

In addition to identifying the rightful recipients of Spotify royalties, the agreement establishes a bonus compensation fund that is a substantial percentage of what is currently being held by Spotify for unmatched royalties, and creates a better path forward for finding the owners of publishing rights who should receive streaming royalties.

For years, the issue of “unmatched works” — the lack of proper ownership information — has made it difficult to pay timely royalties to writers and publishers. Not only does the agreement distribute royalties to writers, it also improves processes for identifying and compensating writers for their work and establishes a better database for future payments.

The deal will allow copyright owners to identify their works and receive the money Spotify has set aside for the past usage of unmatched works. It will allow the entire industry to benefit by filling in the gaps in ownership information, which help to ensure that royalties are promptly paid to their rightful owners in the future. Any royalties associated with works that remain unmatched after each claiming period will be distributed to publishers and songwriters who participate in the settlement, but the agreement will not affect the royalties owed to any publisher or writer who does not choose to participate.

The agreement is a key step in improving transparency in the music community and ensuring that music’s creators receive royalties when their music is used. In addition to allowing copyright owners to identify and receive payment for unmatched works, the agreement enables publishers and Spotify to establish improved practices to identify proper ownership and ensure timely payment of royalties in the future.

National Music Publishers’ Association President and CEO David Israelite praised the agreement, saying, “NMPA’s goal has always been to ensure publishers and songwriters receive the money they deserve. I am thrilled that through this agreement both independent and major publishers and songwriters will be able to get what is owed to them. We must continue to push digital services to properly pay for the musical works that fuel their businesses and after much work together, we have found a way for Spotify to quickly get royalties to the right people. I look forward to all NMPA members being paid what they are owed, and I am excited about the creation of a better process moving forward.”

Spotify Global Head of Communications and Public Policy Jonathan Prince said, “As we have said many times, we have always been committed to paying songwriters and publishers every penny. We appreciate the hard work of everyone at the NMPA to secure this agreement and we look forward to further collaboration with them as we build a comprehensive publishing administration system.”

The agreement:
· Includes payment of bonus compensation.
· Provides the ability to easily identify and properly claim “unmatched” works online.
· Ensures that Spotify will continue working with the NMPA and its members to implement practices that will allow Spotify to match works more accurately and efficiently.
· Where ownership has not been identified or claimed by publishers, there will be a distribution to publishers and songwriters of royalties held by Spotify based on known usage on Spotify’s service.
· Provides a path to direct licensing between Spotify and publishers, with the goal of strengthening business relationships.

Music films American Epic and Born in Bristol have been added to the 2016 Nashville Film Festival lineup, running April 14-23 at Regal Cinema Green Hills.

American Epic will be shown as a three-night closing spotlight event. The film journeys across time to the birth of modern music, with appearances by T Bone Burnett, Jack White, Nas, Alabama Shakes, Willie Nelson, Merle Haggard, Steve Martin, Edie Brickell, Beck, Elton John, Taj Mahal, and The Avett Brothers. The film was directed by Bernard MacMahon

Born in Bristol explores the origins of one of America’s most important genres of music. This is the story of country music’s historic event, The Bristol Sessions. Through cinematic reenactments, the movie revisits 12 days in 1927 when musicians recorded the songs that would go on to be known as the “Big Bang of Country Music.” The cast includes Dolly Parton, Vince Gill, Ashley Monroe, Sheryl Crow, Keb Mo and Carl Jackson. The film was directed by Chusy.

The festival’s official daily schedule has not been released.

Carla Wallace and Robert Neese are proud to announce the birth of their daughter Ella June Neese. She was born Feb. 23, weighing 6 lb., 7 oz., and measuring 19 3/4″ long.

Wallace is co-owner of Big Yellow Dog Music and Neese is a captain in the downtown Metro fire department.

A first-rate lineup of country performers took the stage at Nashville’s Bridgestone Arena last night (March 16) to pay tribute to the storied and eclectic life of songwriter, singer, entertainer, and actor Kris Kristofferson.

Of course, there are many more superlatives to add to that list: Kristofferson has also been a Golden Gloves boxer, a Rhodes scholar, a college football player, a military officer, a helicopter pilot, a Grammy-winner, and an icon. Kristofferson’s acting roles have included A Star is Born (opposite Barbra Streisand, who sent in a video tribute for the evening), as well as Alice Doesn’t Live Here Anymore, Blade and more films.

Reba, Alison Krauss, Buddy Miller, Larry Gatlin, Jessi Alexander, Jon Randall, Jessi Colter, Shooter Jennings, Lady Antebellum, Dierks Bentley, Ryan Bingham, Rosanne Cash, Eric Church, Emmylou Harris, Jack Ingram, Jamey Johnson, Martina McBride, Willie Nelson, Jennifer Nettles, Darius Rucker, Hank Williams Jr. and Lee Ann Womack all took a turn in the spotlight to pay honor with their renditions of his hit songs.

Nettles brought one of the evening’s early standing ovations, for her passionate, spirited rendition of “Worth Fighting For,” a track recorded on Kristofferson’s 1995 album A Moment Of Forever.

Johnson and Krauss opted for a quieter, lush performance of “For The Good Times,” followed by Krauss’ solo take on “Casey’s Last Ride,” a track from the 1970 Monument Records release Kristofferson.

Bentley offered a bluegrass spin on “From The Bottle To The Bottom,” with help from the Travelin’ McCourys. The track was included on Bentley’s 2010 album Up On The Ridge, and featured Kristofferson.

Throughout the evening, Kristofferson collaborated with performers, including “Lonely Way Back Home” with Harris. Reba coaxed a sing-along chorus on his classic “Me and Bobby McGee.”

“This song and Kris saved my life,” said Church, before performing “To Beat The Devil.” Church told the crowd he almost packed it up and headed back to North Carolina early in his career. “I had a rough time in Nashville, like a lot of people who get told ‘No’ a lot. I played that game where if I get told no one more time, I’m outta here.” He met with a publisher the next day. I played maybe half a song and the guy said, ‘I don’t know where you are from, and I don’t know much about ya, but I’d go back there.'” Church went to his car and “To Beat The Devil” came on. “It talked about the very thing I was going through.”

After hearing the song, he pressed on, determined to stay just one more day in Nashville. “That next day, I got a publishing deal,” said Church. “So I’m here because of that man right there,” he said, as Kristofferson sat on the side of the stage.

Nashville Mayor Megan Barry made a surprise appearance to proclaim March 16, 2016 as Kris Kristofferson Day in Nashville. “I’m speechless. You blew me away. Nashville saved my life again,” said Kristofferson.

The crowd was on its feet as Nelson took the stage, offering the song “Living Legend,” before he was joined by Kristofferson for “Sunday Morning Coming Down.”

Kristofferson and Nelson, the surviving half of 1980s country supergroup The Highwaymen, were joined by Waylon Jennings’ son Shooter, as well as Johnson, for a rendition of “The Highwaymen.”

The evening culminated in an all-star singalong, led by Kristofferson, on his classic “Why Me Lord.”

Set List:

“Kristofferson,” performed by Jessi Alexander, Jon Randall and Larry Gatlin
“Jesus Was A Capricorn,” performed by Jack Ingram
“Please Don’t Tell Me How The Story Ends,” performed by Buddy Miller
“Here Comes That Rainbow Again,” performed by Martina McBride
“The Taker,” performed by Ryan Bingham
“Nobody Wins,” performed by Lee Ann Womack
“Worth Fighting For,” performed by Jennifer Nettles
“Lovin’ Her Was Easier (Than Anything I’ll Ever Do Again),” performed by Rosanne Cash
“Chase The Feeling,” performed by Emmylou Harris and Rodney Crowell
“The Pilgrim, Chapter 33,” performed by Emmylou Harris (featuring Kristofferson)
“Bottle To The Bottom,” performed by Dierks Bentley and the Travelin’ McCourys
“Help Me Make It Through The Night,” performed by Lady Antebellum
“Under The Gun,” performed by Darius Rucker
“For The Good Times,” performed by Alison Krauss and Jamey Johnson
“Casey’s Last Ride,” performed by Alison Krauss
“If You Don’t Like Hank Williams,” performed by Hank Williams, Jr.
“To Beat The Devil,” performed by Eric Church
“Me and Bobby McGee,” performed by Reba
“Living Legend,” performed by Willie Nelson
“Sunday Morning Comin’ Down,” performed by Willie Nelson and Kris Kristofferson
“The Highwaymen,” performed by Kris Kristofferson, Willie Nelson, Shooter Jennings, and Jamey Johnson
“Why Me Lord,” all-star finale led by Kristofferson