September 27, 2025 • 56 mins
w/Jenn Coffey
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Don't you have an angel ripsons.
Speaker 2 (00:17):
You see you know.
Speaker 3 (00:18):
Night something don't feel quire right to me.
Speaker 4 (00:28):
I've been taking some time to reutilize was choir right
for me?
Speaker 5 (00:37):
Where I said, people who call, people.
Speaker 6 (00:39):
Who go to why try not skating vote?
Speaker 7 (00:43):
You never really know for sure who's gonna speaking around you?
Speaker 5 (00:49):
Change your child. It doesn't matter if.
Speaker 8 (00:52):
You want all right.
Speaker 5 (00:53):
You need to speak between the lines.
Speaker 7 (00:56):
And keep concasing.
Speaker 5 (00:58):
Keep concasing.
Speaker 3 (01:10):
Because you said you change for your feels a shame
to me, but at the end of the days, for.
Speaker 5 (01:23):
Worse best to me.
Speaker 7 (01:30):
Well, I said, people who come, the people go, so
why try not skating vote?
Speaker 5 (01:36):
You never read you know.
Speaker 6 (01:38):
Fo sure who's gonna stick around you?
Speaker 2 (01:42):
Take your child? It doesn't matter if you wrong, all right.
Speaker 5 (01:47):
You need to.
Speaker 7 (01:48):
Speak between the lines, keep rocasing, keep pocasing, saying your time.
It doesn't matter every wrong, all right.
Speaker 5 (01:57):
You need to.
Speaker 7 (01:58):
Speak between the line, keep pocusing, keep pocussing, say your child.
Speaker 1 (02:16):
It doesn't matter.
Speaker 5 (02:17):
Every wrong, go right.
Speaker 7 (02:19):
Givet be between the lies, keep focusing, keep pocussing, Take
your child.
Speaker 5 (02:27):
It doesn't under show if you all go right, git
be between the lies.
Speaker 7 (02:32):
Don't keep focusing.
Speaker 5 (02:34):
Keep pocusing.
Speaker 3 (03:05):
You're free of the future.
Speaker 4 (03:07):
Cust the fiel pass still lives in you.
Speaker 9 (03:12):
You're scared for the present, cuzy like how it used
to be, but stuning the goal you want to set
all on folks, you get the feeling that you've been
here before.
Speaker 4 (03:44):
There you go again, staring through the looking back. There
you go against reministion about the pasts.
Speaker 5 (03:55):
How the time to change? And you play your games
and you watch.
Speaker 4 (03:59):
The oh go on gave you me of misteaks, get
out again, out again, the blank expression, oil face. They
have a society, start suit change, you go back to
you're happy face.
Speaker 7 (04:22):
A hundreds analia miles away.
Speaker 5 (04:25):
You put your life, you start to change, you dream
of this.
Speaker 7 (04:30):
That's the fruit day.
Speaker 6 (05:20):
You know what I have to too bad.
Speaker 2 (05:22):
I don't want to be like sho.
Speaker 10 (05:25):
I recognizable from the person I lost.
Speaker 6 (05:31):
Shouldn't know better?
Speaker 5 (05:34):
Sounded for a while now proudly recutting, godn't that you
sound no.
Speaker 2 (05:43):
Show, no way?
Speaker 5 (05:48):
Chill had a long guy.
Speaker 2 (05:54):
Had a long?
Speaker 5 (05:59):
How back yarn cat? That ain't long?
Speaker 10 (06:03):
Guy?
Speaker 2 (06:05):
How do you love?
Speaker 5 (06:10):
Can say?
Speaker 2 (06:10):
Hit the way? Said, but I don't want to start?
Speaker 5 (06:14):
John said, ain't no please like choke butty start.
Speaker 11 (06:19):
Like you want my friend who wasn't what your mother.
Speaker 5 (06:24):
Said?
Speaker 2 (06:24):
You're by john s. We you'll waste some many and
we want to wait some min.
Speaker 5 (06:29):
So you waits some man, don't wait child, That ain't
long guy, that an't nobody r cat.
Speaker 2 (06:47):
That ain't long guy.
Speaker 5 (06:50):
How do you like?
Speaker 11 (07:00):
H I've got that sick gen feeling love west feeling.
Speaker 6 (07:11):
I don't know what's to do it still love we
sup you?
Speaker 1 (07:16):
I got that sick.
Speaker 11 (07:18):
Jeff figure ride don't know where I don't know what
some time so.
Speaker 5 (07:50):
No way that a long guy.
Speaker 2 (07:57):
That lou don't not a long guy, not a long.
Speaker 11 (08:12):
Not got down, said Jeff. Fail noways.
Speaker 1 (08:18):
I said no want so time out.
Speaker 12 (08:20):
Say I O U.
Speaker 2 (08:42):
S right right riding.
Speaker 5 (09:31):
The sound the dog.
Speaker 1 (09:44):
Smile to say the flight song that keep the light song,
to say any second, I'm gonna show you where this
knife is gone. You see the line strong they chuck
on the side walk and he remember. So if you
get the suicides off like I get so, I'm so,
I guess you're taking enough. We drop a bo to
send a message and mombo.
Speaker 11 (10:05):
And we do it because we are the kingdom.
Speaker 5 (10:07):
Come son a more A lesson, but one of them.
Speaker 13 (10:12):
So ye, so.
Speaker 1 (10:32):
Just the saying a current called or what if I
would come? And it's getting on to tell the difference
between me and long. I'm screaming with my guy and
I can't stick to the park. Oh such the sky
(10:54):
I'm letting. Then someone slowly gone. Then you got to
stuck him down.
Speaker 5 (10:58):
I don't call im loning now like a long before
come and die and nothing.
Speaker 1 (11:02):
You don't want to feel like I don't belong. I
guess it's just a sinner. I don't come a bar.
Speaker 11 (11:08):
So I'm trying.
Speaker 5 (11:17):
That's what I said. It's just s.
Speaker 13 (12:38):
S S was my.
Speaker 2 (12:49):
S No doll, no nos not.
Speaker 10 (13:02):
When mattso wakes up in the morning and he gets
into the shower and to the top of his lungs
he sings wine because all right, bank to the radio show.
Speaker 1 (13:19):
Now all the best jammery.
Speaker 6 (13:26):
Well, hey there we are.
Speaker 14 (13:27):
You're listening to Matt Connorton Unleashed and we are live
from the studios of w m NH ninety five point
three FM and Glorious Manchester, New Hampshire. If you are
listening live today is Saturday September twenty seven, twenty twenty five,
and of course Jenny is here at the news table
present and accounted for the song that we just heard
that is called Carly. That is the band Temptress, and
(13:49):
I played that one because they're actually going to be
joining us here in the third hour today, but that
is of the four studio tracks that they wanted to
feature today, that is my personal favorite, so selfishly, I
decided to to play that one. I love that track
so much. You might hear it again in the third
hour if you're listening live. But I'm really looking forward
to meeting them. They are going to be a part
of Swarmy Fest coming up September fifteenth, right across the
(14:09):
street at Jewel actually here in Manchester. Are looking forward
to that, but.
Speaker 15 (14:13):
We are proud to be og original sponsors.
Speaker 14 (14:17):
That's right, this show, specifically Matt Connorton Unleashed. We are
one of the sponsors of Swarmy Fest this year once again.
But I had not previously been aware of this band, Temptress,
But I love their sound. I think they're awesome, so
really looking forward to meeting them in the third hour
today of the show. Jenny, a couple things a mosaic
you wanted to mention the Mosaic Are Collective, and then
(14:38):
we'll get into some music news.
Speaker 5 (14:40):
Oh.
Speaker 16 (14:40):
Absolutely, there's a lot going on that's great over at
the Mosaic Are Collective right now. Actually, the show that's
up right now is called the Full Circle Show will
be remaining up until the twenty sixth. Excuse me till
a couple more days. It'll be sorry about that, guys. Anyway,
let me go on. If you are in art, there's
(15:01):
an open call for the Exquisite Corpse art show coming
up and that car. That show is going to start
running through October six until November two. You have to
submit your work by midnight on the twenty eighth, so
only one more day. This is an exhibit inspired by
surrealist game What's hidden in the hands? Shapes, Unexpected creations,
(15:27):
what's coming out of you that you want to share
with the world. Enter it in and go to the
open call to be in the show for the Exquisite Corpse.
They're actually going to also be having artist talks. There's
one coming up on the twenty ninth. Florent pos An
r I pos O. Maybe I'm probably butchering the poor
(15:48):
man's name.
Speaker 15 (15:49):
It's p O U S.
Speaker 16 (15:50):
S I n e a U that's gonna be at
five forty five pm excuse me until seven thirty is
going to talk about his multidisciplinary visual r It's based
from France, so this is an opportunity to come see him.
There's another artist coming in on October twenty second, Karen
Jersic and she is a self taught international published photographer
(16:12):
from the Boston area, graduated from UNH and she's going
to be in the gallery having a live talk with everybody.
And there's also a watercolor class Watercolor Foundations and Explorations
starting on October seventh at ten am till noon. It's
a five week course, so there's a lot of great
stuff going on over at Missaic. You definitely want to
(16:34):
go check them out if you've never been. It's located
right here in the Queens City at sixty six an
over Sweet Sweet.
Speaker 15 (16:41):
Two oh one. Check them out. Mosaic Arccollective dot com.
Speaker 6 (16:46):
That is exquisite corpse. That sounds spooky, I.
Speaker 16 (16:48):
Know right, I have a piece I've been working on
and I'm struggling. I'm hoping I'm going to finish it.
Speaker 14 (16:53):
In time to enter It isn't there an expression live
Fast Die Young leave behind an exquisite corpse or something
like that.
Speaker 6 (17:00):
That is that is that? Not how it goes?
Speaker 15 (17:02):
That's not how okay, No, that's not it.
Speaker 6 (17:04):
Oh it's not.
Speaker 14 (17:05):
There's no behind. I made it too long. Live Fast
Eye Young leave an exquisite corpse.
Speaker 15 (17:10):
That's not it.
Speaker 14 (17:10):
Isn't that the no no no, people say that no
no okay, oh only me, only you? Well, very good,
very good. We have some music news.
Speaker 6 (17:21):
This is interesting.
Speaker 14 (17:22):
So we've talked about Spotify before. This is interesting to
me for a couple of reasons. But you had sent
me this. This is from the Hollywood Reporter.
Speaker 10 (17:29):
Uh.
Speaker 14 (17:29):
Spotify removes seventy five million spammy in quotes, spammy songs,
cracks down on AI use by bad actors. The music
streaming giant is looking to modernize. I'm sorry, I moderate
rather AI generated music as it floods its platform. I
can see how that would be a problem. By the way,
(17:51):
before we get into the the story in a little
bit of depth. Here again, this is from the Hollywood Reporter.
This just went up two days ago, so this is
pretty fresh. But not only not only is this obviously,
I mean, I can see why this would be a problem. Right,
AI makes it so easy, like the Puno app for example,
we've used it on this show. You can create music,
(18:12):
you know, music that sounds like it was created by
real people, really realistic music.
Speaker 15 (18:16):
Because they're stealing it from real people, but not realistically.
Speaker 14 (18:19):
But not only that, but so obviously this would be
a problem, right, If it's that easy to create it,
it's easy to you know, submit it to Spotify or
any other streaming platform, right, and then uh, and then
they will use it. But the other thing that's interesting
to me, and this came up a few years ago Spotify,
because we had talked about this on the show. This
was yeah, this was at least two or three years ago.
I think there was a story about how Spotify was
(18:41):
having to go through and remove a lot of lower quality,
you know, low quality in terms of production value, like
stuff that sounded like demos, for example, not actually fully
produced mixed and mastered music, because people were uploading so
much music to Spotify, and a lot of it wasn't
even necessarily you know, just just the quality, like anything
(19:06):
that you hear on Spotify should should at minimum be
the same quality that you might hear on the radio
or that you might buy in a store, right, So
that was becoming a problem. So Spotify was having to
go through and remove a lot of that. And what
was interesting about that is, you know, people don't necessarily
realize these streaming services. It's not like, think of how
(19:26):
much music gets uploaded to these streaming services every day
across the world. But it's not as though they have
unlimited storage. True, you know, there is, I mean, you know,
they can always make more, right, but it's not as
simple as like just you can just upload millions and
millions of songs all at once and it's just fine.
(19:48):
It's not so they have to as there. And look,
I'm not please, I'm not expressing any sympathy for Spotify
because I you know, artists complain often and I'll always
add vocate on the side of artists that uh, Spotify
pays out painfully low amounts of uh, you know, for
for the music that uh you know, pays low amounts
(20:09):
of these artists for making their music available to stream.
But it's it's but but these are problems. You know,
it's not a perfect business model in the sense that
there are problems with you know, in terms of storage.
And and now they're having to go through and deal
with the onslaught of AI and release all these and
remove rather all these spammy songs that are produced produced
(20:32):
by AI and and not only that, but there's also
going to be the effect of some people. And I
remember we talked about this on the show once before.
Some people are going to get caught in that net
inevitably because of technology I'm sure is not perfect. Some
people are going to get caught in that net who
are not in fact, Uh you know these AI artists
(20:53):
like what was her name, zany m One we talked
about last week, or that's signed so you can't say
that or that or that band. I forget the name
of the band now, but we played something of theirs Interfury.
Speaker 6 (21:06):
No Interfury is.
Speaker 14 (21:07):
The one that you found or that guy found you.
But there was another band we talked about on the
show who U Is Charting? Who people thought, well people
people figured out they're not a real band. But anyway,
I forget who the who it is?
Speaker 6 (21:19):
Now?
Speaker 14 (21:19):
But what all their songs are like about war? Like
very pro war but very strange. But uh but yeah,
so so these are problems. But but there's going to
be some artists who the software or whatever they're doing.
However they're applying this because you can't have a human
being sitting there doing all this, right, that software is
going to detect artists who aren't necessarily AI generated, but
(21:41):
maybe have AI elements, and there you know AI. I mean,
you use AI in a recording studio anyway, you.
Speaker 6 (21:47):
Can't avoid it.
Speaker 14 (21:48):
Right, But let's let's look at this, so it says
here again. This is from the Hollywood Reporter. Spotify is
set to strengthen AI protections for artists and music producers
with a series of measures including improved enforcement of impersonation violations,
a new spam filtering system, and AI disclosures for music
and industry standard credits. The music streaming giant made the
(22:10):
announcement in a for the Record post on its website Thursday,
noting that it had removed seventy five million spamy tracks.
The post began quote the pace of recent advances in
generative generative AI technology has felt quick and at times unsettling,
especially for creatives. At its best, AI is unlocking incredible
(22:34):
new ways for artists to creat music and for listeners
to discover it. At its worst, AI can be used
by bad actors and consent farm and content farms to
confuse or deceive listeners, push slop into the ecosystem, and
interfere with authentic artists working to build their careers. That
kind of harmful AI content degrades the user experience for
(22:57):
listeners and often attempts to divert roties to bad actors.
Speaker 6 (23:02):
The future.
Speaker 14 (23:03):
Again, this is from the statement the future of music industry.
Of the music industry is being written, and we believe
the aggressive that aggressively protecting against the worst parts of
gen AI is essential to enabling its potential for artists
and producers. We envision a future where artists and producers
(23:24):
are in control of how or if they incorporate AI
into their creative processes. As always, we leave those creative
decisions artists themselves, while continuing our work to protect them
against spam, impersonation, and deception, and providing listeners with greater
transparency about the music they hear.
Speaker 6 (23:42):
Unquote.
Speaker 14 (23:44):
Regarding specifics on the issue of impersonation, Spotify has committed
itself to stronger rules and better enforcement.
Speaker 6 (23:51):
Quote.
Speaker 14 (23:52):
We've introduced a new impersonation policy that clarifies how we
handle claims about AI voice clones and other forms terms
of unauthorized vocal impersonation, giving artists stronger protections and clearer recourse.
Vocal impersonation is only allowed in music on Spotify when
the impersonated artist has authorized its usage unquote. By the way,
(24:17):
that is, there's more to this article, but that's one
of the points where you know, I talked about people
getting caught in the net. Again, I'm not I'm not
criticizing Spotify for doing this. I think this is probably
a really good thing, but it's not going to be perfect.
What if you have an artist who just sounds like
they just have a voice similar to another artist. You know,
(24:38):
a lot of artists sound similar, and but there's I bet.
Speaker 16 (24:42):
There's things computers can pick up that's different about the
may sound similar to the human ear.
Speaker 14 (24:47):
But maybe this isn't maybe maybe maybe, But but what
if I just I can I can see there're being
mistakes here. It's not going to be perfect. And what
if an artist here's someone who they think sounds like
them and they make a complaint, they make a claim,
and then it turns out that the artist who sounds
(25:10):
like them is a real person with a real voice
who happens to sound like them. So there's going to
be problems with this. I mean, ask anybody who's dealt
with YouTube, you know, getting getting all kinds of you know,
the stuff YouTube will put you through if you're a
content creator, And we won't get in all of that,
(25:30):
because that's a whole other conversation. But it's related in
the sense that, you know, sometimes people get caught in
a net and it's it's it's not a good uh
I not a good thing to have happened to you.
Speaker 15 (25:44):
So it's it's going to be kind of a difficult
thing to navigate.
Speaker 6 (25:49):
Yes, yes, it says here.
Speaker 14 (25:52):
Additionally, Spotify said it was ramping up quote investments to
protect against another impersonation tactic. We're up loaders fraudulently deliver
music AI generated or otherwise to another artist profile across
streaming services. Uh, testing new prevention tactics with leading artists
(26:13):
distributors to equip them to better stop these attacks. As
at the source unquote. Yeah, so if you if you
make a song that sounds like Taylor Swift and then
you try to upload it as Taylor Swift, Let's say
this is a new Taylor Swift.
Speaker 15 (26:31):
Remember, Yeah, people do slimy stuff like that.
Speaker 14 (26:34):
Well, oh, remember we talked about it on the show
Selene Dion, where there was this AI generated Celene Dion
song that fooled a lot of people and it was
being uh it was pretty successful and I think it
even charted on some chart somewhere.
Speaker 6 (26:48):
I don't know, but it was.
Speaker 14 (26:49):
It was on YouTube and people thought it was really
her and it wasn't horrible. Uh yeah, but uh, but
but there's also so sometimes if artists have similar names.
I don't remember who it was. It was somebody we
had on the show who they had tried to upload
(27:12):
their music to Spotify, but their name was somewhat similar
to someone else's name. It wasn't the same name, but
it was somewhat similar and it kept it. Yeah, it
was causing all kinds of problems. I don't remember the details.
But it also says here again. This is from the
Hollywood Reporter. Spotify hopes its new spam filtering measures will
(27:33):
cut down on issues such as mass uploads, duplicates, SEO hacks,
artificially artificially short track abuse, and other forms of slop
that have all become easier and more prevalent due to
AI tools. The new spam filter quote will identify uploaders
(27:56):
and tracks engaging in these tactics, tag them, and stop
recommending them unquote. The company says it will roll out
a new music spam filter over the coming months and
will be careful not to penalize the wrong uploaders. The
third measure. Oh yeah, yeah, it won't be perfect. The
third measure. Spotify has introduced is AI disclosures for music
(28:20):
with industry standard credits.
Speaker 6 (28:23):
This is going to be messy.
Speaker 14 (28:24):
With AI increasingly being used in the music industry, the
company wants to increase transparency of its use.
Speaker 6 (28:31):
Quote.
Speaker 14 (28:31):
We know the use of AI tools is increasingly a spectrum,
not a binary, where artists and producers may choose to
use AI to help with some parts of their productions
and not others. The industry needs a nuanced approach to
AI transparency, not forced to classify every song as either
(28:52):
is AI or not AIS. That's going to get very,
very messy. That's going to be I want to know.
That's going to be hard though.
Speaker 15 (29:03):
But when you have breck now.
Speaker 16 (29:05):
We have record label signing AI artists, well yeah, how
does that work?
Speaker 14 (29:09):
Well, that's but that's not messy. That's obvious. So it's
easy to be transparent about that. But if you're especially
if you're creating any type of electronic music in the
studio or or at home on your on your laptop,
you know, and then how is this, Uh, that's going
to be tricky. I don't I don't know how this
is going to work. Spotify says it will help develop
(29:29):
and support new industry standard for AI disclosures in music
credits that are being developed through the Digital Data Exchange,
the International standard setting organization. The AI disclosure information will
be displayed across the Spotify app. Spotify's new AI crackdown
comes despite the company embracing AI and other aspects of
(29:51):
its business. In February, Spotify said it will accept more
AI narrated audio books on its platform through a partnership
with Eleven. Still, the new AI measures will be welcomed
by the major labels and fans after a number of
recent news reports of undeclared AI artists racking up thousands
of streams on Spotify. In July, The Guardian, Oh, this
(30:14):
is the band I was trying to think of. I
couldn't remember the name. In July, The Guardian reported the
band the Velvet Sundown released two albums and accrued over
one million streams on Spotify before it was revealed that
the band and its music were AI generated. A Universal
Music Group spokesperson told the harl of Hollywood Reporter, quote,
(30:36):
we welcome Spotify's new AI protections as important steps toward
toward consistent forward, I'm sorry, steps forward, consistent with our
longstanding artist centric principles. We believe AI presents enormous opportunities
for both artists and fans, which is why platforms, distributors,
and aggregators must adopt measures to protect the health of
(30:59):
the music ecosystem in order for these opportunities to flourish.
These measures include content filtering, checks for infringement across streaming
and social platforms, penalty systems for repeat of fringe infringers,
chain of custodies, custody certification, and name and likeness verification.
The adoption of these measures would enable artists to reach
(31:21):
more fans, have more economic creative opportunities, and dramatically diminish
the sea of noise and irrelevant content that threatens to
drown out artists' voices. Unquote all right, so that is
that's what's going on. At Spotify and again Spotify is
nobody's favorite company again because of the way they pay
(31:43):
or don't pay artists. But but I think this is
a good thing that they're doing. But we'll see, there's
going to be some pitfalls with it. Let's we have
time to do at least one more music news story.
Always so many interesting things going on in the industry.
Let's see this is from Music Business Worldwide dot com,
(32:04):
one of my favorite sites. You know, we were talking
about it was it last week or the week before,
we were talking about Ticketmaster and Live Nation. They're being
sued by the Federal Trade Commission for unfair practices with
you know, they have these these resellers on the secondary market,
some of whom are owned or at least controlled by
Live Nation itself. It's a dirty business to ticketing business.
But this just went up a couple of days ago. Uh,
(32:27):
Ticketmaster did not use dynamic pricing for Oasis concerts in
the UK. Will change how it sells tickets in the market,
says a watchdog group. So dynamic pricing, if you don't know,
this is where this is a relatively new concept in
the ticketing industry where prices will change on tickets. So
you know, it used to be not long ago, when
(32:51):
a promoter put tickets to a show on sale, the
price was the price, and that was it. You don't
raise the price if demand seems high, and you don't
lower the price if demand is too low and the
tickets aren't selling. Once you set the price, that's it
for a promoter to actually adjust prices. Whether it be
a major promoter or the biggest promoter of course Live
(33:14):
Nation and their ticket selling arm Ticketmaster, or as a
small local promoter just doing local shows, you don't see
ticket prices being adjusted. But with dynamic pricing, it's like
a it's almost like a real time sort of like eBay,
but well no, that's a that's not a there's a
(33:34):
better uber would be a much better analogy uber or lift.
You know how, if you go to book a ride,
the price may vary. It depends on demand, right if
there's If demand is high, that ride the book is
going to cost you more money. If demand is low,
if the app isn't very busy, if the drivers aren't
very busy, that trip is going to cost you a
(33:56):
lot less. Right, So the pricing automatically fluctuates based on
demand or lack thereof, Dynamic pricing does the same thing.
So if there's high demand for a show, that dynamic pricing,
if they're using that model, that's automatically going to inflate
the prices. If demand is low the tickets aren't selling,
it's going to deflate the price and that can swing
kind of like add the airlines do that right, a
(34:18):
sort of a form of dynamic pricing with flights for
airline tickets. That's always been and they've been doing that forever,
I believe, probably for decades, but this is relatively new
to the concert industry, and Live Nation they're the first
ones to actively do it that I know of. But
so here part of why this is coming up again
is because when Oasis tickets went on sale in the
(34:40):
UK for the Reunion tour, there was a lot of
frustration from people and the band was getting a lot
of bad press, even though they're not in direct control
of this part of the process, but a lot of
bad press because of how expensive the tickets had become,
and at the time Live Nation was being accused of
using dynamic pricing, but according to this they actually were
not in this since so this is interesting.
Speaker 6 (35:01):
This is part of why this story caught my eye.
Speaker 14 (35:03):
So the UK's competition watchdog says it has secured commitments
from Ticketmaster to make tickets sales more transparent following an
investigation into the sale of tickets to the UK and
Ireland leg of Oasis' reunion tour. The Competition and Markets
Authority CMA also, if you haven't heard from it again,
(35:25):
this is in the UK, also said it has not
found evidence that Ticketmaster used dynamic pricing in the sale
of Oasis tickets. Dynamic pricing adjust tickets prices in real
time based on demand and has proven controversial among some
concert goers due to sudden spikes in prices. In a
(35:45):
statement released on Thursday, September twenty five, the CMA said
Live Nation owned Ticketmaster committed to telling fans twenty four
hours in advance if it's using a tiered pricing system.
By the way, we've covered this on the show Live
Nation and Ticketmaster they have a little bit of a history.
This will come as a shock to precisely know, and
(36:06):
I'm sure of making certain statements about commitments to their
customers in terms of transparency and so forth, and then
not following through on much or any of it, just
to be clear, Okay, but apparently they made this commitment
tell fans twenty four hours in advance if they're going
to be using dynamic pricing or some sort of tiered
(36:28):
pricing system. CMA said, quote. This means fans will know
beforehand if there are multiple prices for the same type
of ticket, and that more expensive ones will be released
once the cheapest sell out. Unquote, by the way, just
to be clear if it's the same type of ticket.
In other words, because there's always some form of tiered
pricing in that if you're buying tickets for a show
(36:51):
at an arena, you know, front row tickets are going
to be more expensive than the middle. Middle row are
going to be more expensive than you know, they call
them the cheap seats way in the back, right. But
what they're saying here is the same type of ticket,
there will not be multiple tiers. So in other words,
a front row ticket won't cost, however, many hundreds or
thousands of dollars for one person and even more money
(37:13):
for another person for that same type of ticket. So
because there's there's always a tier system of sorts, but
not a predatory and abusive one, necessarily should they be using.
If you want to frame it that way, I have
a lot of mixed feelings about it myself. Okay, so
it says your Ticketmaster well, will also inform ticket buyers
who join a queue of the range of ticket prices available,
(37:37):
and will inform those in line when cheaper tickets sell out.
The company also committed to not using any misleading ticket labels,
the CMA said. The watchdog launched its investigation into Ticketmaster
in September twenty twenty four, following the sale of Oasis tickets,
which some news reports said involved dynamic pricing and saw
(37:58):
large spikes and the prices of tickets during the sale. Yeah,
so that was a year ago, and I remember we
talked about it on this show. In fact, it was
a very popular segment. If you just want to find
the segment, you can find it on YouTube on the
IPM Nation YouTube channel. But we put that up because,
you know, something people were very interested about. And at
that time, it was being reported that they were using
(38:20):
dynamic pricing. But according to this this watchdog group is
saying that actually they did not in that instance. So
that's interesting. So the sale was marred again. Talking about
the Oasis tickets that went on sale in the UK
a year ago. The sale was marred by technical problems
which may have been linked to a large number of
bots attempting to buy up the available tickets. And we've
(38:42):
talked about that a lot on the show too. These
bots that buy up tickets on behalf of the secondary
market who then take those their scalpers. They're scalpers, these
secondary market ticket sellers. They buy up the tickets. They
use bots to buy up the tickets. Why would you
use bots? Why wouldn't you just go in as one
person and just buy a whole bunch of tickets Because supposedly, uh,
(39:05):
ticket Master prevents you from doing that. They put limits
supposedly Again, they don't always keep their word. They don't
always follow through on these things, and there are examples
where they haven't. But they're supposed to limit how many
tickets you can buy at once to prevent scalping. Doesn't
always work out. But if you have bots, if you
have multiple bots, Ticketmaster doesn't know that all these different
(39:28):
bots are buying multiple tickets, or you know, if you
have if you have one hundred bots and they're each
buying five tickets, because you have a five ticket limit,
but you've got one hundred bots, so then you've just bought,
you know, five hundred tickets, right, or if you have
one thousand bots, five thousand tickets I think, right, I'm
bad at math, but anyway, you get my point. So
(39:52):
in March of this year, the CMA said it had
identified two key problems with Ticketmaster's sale of Oasis tickets. Okay,
so I again not the dynamic pricing the watch this
watchdog group CMA is saying they didn't do that. But
here's what went wrong. Two things. One, the watchdog claimed
Ticketmaster labeled certain seats tickets as platinum and sold them
(40:12):
for nearly two and a half times the price of
equivalent standard tickets quote without sufficiently explaining that they did
not offer additional benefits and were often located in the
same area of the stadium unquote. So in other words,
so that's I think is pretty deceptive.
Speaker 6 (40:26):
Right.
Speaker 14 (40:27):
So they offered you a platinum ticket that was two
and a half times more money, but you didn't actually
get anything extra. It's the same it's the same seat.
You're literally you know that expression when you buy a
brand name product instead of instead of the generic version.
You're just paying for the name, and this this is
an example of that. You're literally paying for the name
you're playing for. You're paying for something that's quote unquote platinum,
(40:49):
but it's actually the exact same thing. So that's pretty sketchy.
And the second thing that CMA said went wrong. They
alleged that Ticketmaster quote did not inform consumers that there
were two categories of standing tickets at different prices, with
all of the cheaper standing tickets sold first before the
more expensive standing tickets were released unquote. The CMA then
(41:11):
appeared to put pressure on Ticketmaster, writing in a letter
in July that it had quote discharged its obligation to
consult with Ticketmaster as no undertakings have been offered or
agreed unquote. That appears to have now changed, with the
CMA saying that Ticketmaster had agreed to several undertakings in
response to the CMA probe. Okay, so this progress, CMA said,
(41:32):
quote These undertakings have been provided to the CMA voluntarily
and without any admission of wrongdoing or liability. Ticketmaster has
stopped using platinum labels in the UK. Separate to providing
undertakings fans who spend their hard earned money to see
artists say love deserve to see clear, accurate information. We
can't ensure every fan gets a ticket for events as
(41:54):
popular as the Oasis Tour, but we can help ensure
the next time an event like this comes along, fans
have the information they need when they need it unquote.
According to Sarah Cardell, a CMA Chief executive, the CMA
also indicated that dynamic pricing was not used in the
Oasis on sale. This is an important detail because at
(42:15):
the time it was being reported that yes, they were
using dynamic pricing, and that was the crux of the issue.
But this watchdog group actually clears Live Nation on this
and says, quote, we welcome the CMA's confirmation. Oh I'm sorry, Ticketmaster.
Oh let me back up, Let me back up. Okay,
here's here's what CMA said. And then Ticketmaster responded, So
CMA said quote. While many fans were under the impression
(42:37):
that Ticketmaster used an algorithmic pricing model during the Oasis sale,
with ticket prices adjusted in real time according to changing
conditions like high demand, also known as dynamic pricing, the
CMA has found no evidence that this was the case.
Speaker 6 (42:51):
Unquote. Okay.
Speaker 14 (42:53):
So then and Ticketmaster responded with a statement saying, quote,
we welcome the CMA's confirmation that there was no dynamic pricing,
no unfair practices, and that we did not breach consumer law.
To further improve the customer experience, we voluntarily committed to
clearer communication about ticket prices in queues. This builds up
our capped resale. This builds on our capped resale, strong
(43:15):
bought protection and clear pricing displays. And we encouraged the
CMA to hold the entire industry to these same standards.
Unquote in comments earlier. Well, actually hold on, wait, let
me stop on that quote for just a second. So
they're saying, I mean, it's great that they're making all
these commitments. We'll see if they follow through, but it's
kind of interesting that one little last part we encouraged
(43:35):
CMA to hold the entire industry to these same standards.
What's funny about that to me is so that sounds like, Okay,
you know we're gonna agree to this, but you better
make sure you hold everyone else to that same standard. Well,
but who else is there you gotta I mean, just
keep in mind Live Nation and ticket Master. It's the
same company. They they control, They controlled the concert industry.
(44:00):
I mean, obviously they are independent, smaller promoters throughout the country,
throughout the world, throughout the UK. But this is a monopoly.
This is absolutely a monopoly. So that sounds a little petty.
Oh we hope you hold everyone to the same standards. Yeah, okay,
but you guys are the ones that we're concerned with
(44:22):
because you guys are the ones who control everything, right,
So I just thought that was interesting. In comments earlier
this year, Live Nation CEO Joe birch Told said that
more often than not, dynamic pricing results in lower, not higher,
ticket prices.
Speaker 6 (44:40):
I'm skeptical about that, although I can see how that
might be.
Speaker 14 (44:43):
The case if a show, I mean, if a show
isn't selling very well, then dynamic pricing would of course
make for lower prices.
Speaker 6 (44:50):
But that's not where we get concerned. A show that
isn't well.
Speaker 5 (44:55):
I don't know.
Speaker 14 (44:55):
Sometimes sometimes big tours end up underperforming. But birch Told
said at a JP Morgan Chase conference in May, quote,
most of our so called dynamic pricing is actually I'm
reducing the price of tickets that haven't sold yet, because
I see that the market clearing price. I'm not quite there.
(45:16):
By definition, you can never raise the price of a
ticket you've already sold. So that's why most of your
dynamic pricing is actually lowering the price.
Speaker 6 (45:23):
Unquote.
Speaker 14 (45:24):
I'm open to that. I mean, there might be math
that supports that. I understand his argument. I'm skeptical. I'm
always skeptical of these people, but I understand his argument.
All Right, one more very quick thing, and then we're
going to hit our commercial break show some love to
our amazing sponsors. But Jenny sent me this. Reuters is
(45:45):
reporting that Universal Music UMG, Universal Music Group. We talk
about them a lot on the show. UMG defeats copyright
lawsuit over Mary J. Blige's nineteen ninety two sample. I
didn't know anything about this until Jenny brought it to
my attention. But this is from a routers. This just happened.
UMG convinced a New York federal court on Tuesday to
(46:07):
dismiss a copyright infringement lawsuit over an allegedly unauthorized sample
in Mary J. Blige's nineteen ninety new hit song Real Love,
Real Love. You know that song if you're old enough.
US District Court Judge dale Oh dale Hoe, that's his name.
(46:27):
US District Court Judge dale Hoe ruled that Real Love
was not sufficiently similar to the honey Drippers. Nineteen seventy three,
Song impeached the President to support Tough City records case
against UMG.
Speaker 6 (46:44):
See, I didn't know about any of this.
Speaker 14 (46:47):
See when I when I hear the honey Drippers, I
think of, did Robert Plant have that Robert Plant and
the honey Drippers or something? There's this other group called
the I don't know anyway. Spokespeople on attorneys for Tough
City in UMG did not immediately respond to requests or
comment on the decision. Blige is not involved in the lawsuit.
(47:10):
That's how this often goes. Lawyers suing lawyers. Tough City
said in the lawsuit that it owns tens of thousands
of music copyrights from the genres of blues, rhythm and blues, jazz, funk, soul,
hip hop, New Orleans, and Latin music, much of which
might be otherwise might fall into obscurity. Okay, The lawsuits
(47:33):
against the BC Boys and jay Z were later dismissed,
So they've sued a lot of people apparently, So maybe
that's how this label makes money. All right, we're going
to take a commercial break. We're going to show some
love to all of our amazing sponsors. If you are
listening live on Saturday, we have Temptress coming up in
the third hour. Really looking forward to talking with them.
(47:54):
I do really love their sounds, so they will be
joining us shortly. This is Matt Connorton unleashed and there
is plenty more to come. Don't go anywhere.
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Behold the harmony of airwaves as you immerse yourself in
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w m n H.
Speaker 1 (53:15):
Rips the domos.
Speaker 5 (53:28):
Now admistration bombs.
Speaker 2 (53:34):
No one sent me no word for waiting.
Speaker 5 (53:39):
Now it's what the world against men. I take the
(54:05):
same mile. You don't want a sense man, I'm man,
Jessy goes. It's getting closer.
Speaker 2 (54:14):
Nothing you am mad half things? Where my bell? Swell
man sells? Tell you man, you where's so? Where's your man?
(54:49):
But sure of your ways? Where's your man?
Speaker 5 (54:56):
We're sure?
Speaker 13 (54:58):
With sure no.
Speaker 2 (55:27):
I can do way masters, so we have giving.
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I can get a crowd masket. I can hear about
the sweets.
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You mean sad like, don't go where's your man?
Speaker 5 (56:13):
Where's your many?
Speaker 2 (56:15):
Let's show of your ways?
Speaker 5 (56:18):
And nothing was?
Speaker 1 (56:20):
Is your man?
Speaker 5 (56:22):
What's your
Speaker 2 (56:25):
What's your name
Don't you have an angel ripsons.
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You see you know.
Speaker 3 (00:18):
Night something don't feel quire right to me.
Speaker 4 (00:28):
I've been taking some time to reutilize was choir right
for me?
Speaker 5 (00:37):
Where I said, people who call, people.
Speaker 6 (00:39):
Who go to why try not skating vote?
Speaker 7 (00:43):
You never really know for sure who's gonna speaking around you?
Speaker 5 (00:49):
Change your child. It doesn't matter if.
Speaker 8 (00:52):
You want all right.
Speaker 5 (00:53):
You need to speak between the lines.
Speaker 7 (00:56):
And keep concasing.
Speaker 5 (00:58):
Keep concasing.
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Because you said you change for your feels a shame
to me, but at the end of the days, for.
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Worse best to me.
Speaker 7 (01:30):
Well, I said, people who come, the people go, so
why try not skating vote?
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You never read you know.
Speaker 6 (01:38):
Fo sure who's gonna stick around you?
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Take your child? It doesn't matter if you wrong, all right.
Speaker 5 (01:47):
You need to.
Speaker 7 (01:48):
Speak between the lines, keep rocasing, keep pocasing, saying your time.
It doesn't matter every wrong, all right.
Speaker 5 (01:57):
You need to.
Speaker 7 (01:58):
Speak between the line, keep pocusing, keep pocussing, say your child.
Speaker 1 (02:16):
It doesn't matter.
Speaker 5 (02:17):
Every wrong, go right.
Speaker 7 (02:19):
Givet be between the lies, keep focusing, keep pocussing, Take
your child.
Speaker 5 (02:27):
It doesn't under show if you all go right, git
be between the lies.
Speaker 7 (02:32):
Don't keep focusing.
Speaker 5 (02:34):
Keep pocusing.
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You're free of the future.
Speaker 4 (03:07):
Cust the fiel pass still lives in you.
Speaker 9 (03:12):
You're scared for the present, cuzy like how it used
to be, but stuning the goal you want to set
all on folks, you get the feeling that you've been
here before.
Speaker 4 (03:44):
There you go again, staring through the looking back. There
you go against reministion about the pasts.
Speaker 5 (03:55):
How the time to change? And you play your games
and you watch.
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The oh go on gave you me of misteaks, get
out again, out again, the blank expression, oil face. They
have a society, start suit change, you go back to
you're happy face.
Speaker 7 (04:22):
A hundreds analia miles away.
Speaker 5 (04:25):
You put your life, you start to change, you dream
of this.
Speaker 7 (04:30):
That's the fruit day.
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You know what I have to too bad.
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I don't want to be like sho.
Speaker 10 (05:25):
I recognizable from the person I lost.
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Shouldn't know better?
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Sounded for a while now proudly recutting, godn't that you
sound no.
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Show, no way?
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Chill had a long guy.
Speaker 2 (05:54):
Had a long?
Speaker 5 (05:59):
How back yarn cat? That ain't long?
Speaker 10 (06:03):
Guy?
Speaker 2 (06:05):
How do you love?
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Can say?
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Hit the way? Said, but I don't want to start?
Speaker 5 (06:14):
John said, ain't no please like choke butty start.
Speaker 11 (06:19):
Like you want my friend who wasn't what your mother.
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Said?
Speaker 2 (06:24):
You're by john s. We you'll waste some many and
we want to wait some min.
Speaker 5 (06:29):
So you waits some man, don't wait child, That ain't
long guy, that an't nobody r cat.
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That ain't long guy.
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How do you like?
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H I've got that sick gen feeling love west feeling.
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I don't know what's to do it still love we
sup you?
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I got that sick.
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Jeff figure ride don't know where I don't know what
some time so.
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No way that a long guy.
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That lou don't not a long guy, not a long.
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Not got down, said Jeff. Fail noways.
Speaker 1 (08:18):
I said no want so time out.
Speaker 12 (08:20):
Say I O U.
Speaker 2 (08:42):
S right right riding.
Speaker 5 (09:31):
The sound the dog.
Speaker 1 (09:44):
Smile to say the flight song that keep the light song,
to say any second, I'm gonna show you where this
knife is gone. You see the line strong they chuck
on the side walk and he remember. So if you
get the suicides off like I get so, I'm so,
I guess you're taking enough. We drop a bo to
send a message and mombo.
Speaker 11 (10:05):
And we do it because we are the kingdom.
Speaker 5 (10:07):
Come son a more A lesson, but one of them.
Speaker 13 (10:12):
So ye, so.
Speaker 1 (10:32):
Just the saying a current called or what if I
would come? And it's getting on to tell the difference
between me and long. I'm screaming with my guy and
I can't stick to the park. Oh such the sky
(10:54):
I'm letting. Then someone slowly gone. Then you got to
stuck him down.
Speaker 5 (10:58):
I don't call im loning now like a long before
come and die and nothing.
Speaker 1 (11:02):
You don't want to feel like I don't belong. I
guess it's just a sinner. I don't come a bar.
Speaker 11 (11:08):
So I'm trying.
Speaker 5 (11:17):
That's what I said. It's just s.
Speaker 13 (12:38):
S S was my.
Speaker 2 (12:49):
S No doll, no nos not.
Speaker 10 (13:02):
When mattso wakes up in the morning and he gets
into the shower and to the top of his lungs
he sings wine because all right, bank to the radio show.
Speaker 1 (13:19):
Now all the best jammery.
Speaker 6 (13:26):
Well, hey there we are.
Speaker 14 (13:27):
You're listening to Matt Connorton Unleashed and we are live
from the studios of w m NH ninety five point
three FM and Glorious Manchester, New Hampshire. If you are
listening live today is Saturday September twenty seven, twenty twenty five,
and of course Jenny is here at the news table
present and accounted for the song that we just heard
that is called Carly. That is the band Temptress, and
(13:49):
I played that one because they're actually going to be
joining us here in the third hour today, but that
is of the four studio tracks that they wanted to
feature today, that is my personal favorite, so selfishly, I
decided to to play that one. I love that track
so much. You might hear it again in the third
hour if you're listening live. But I'm really looking forward
to meeting them. They are going to be a part
of Swarmy Fest coming up September fifteenth, right across the
(14:09):
street at Jewel actually here in Manchester. Are looking forward
to that, but.
Speaker 15 (14:13):
We are proud to be og original sponsors.
Speaker 14 (14:17):
That's right, this show, specifically Matt Connorton Unleashed. We are
one of the sponsors of Swarmy Fest this year once again.
But I had not previously been aware of this band, Temptress,
But I love their sound. I think they're awesome, so
really looking forward to meeting them in the third hour
today of the show. Jenny, a couple things a mosaic
you wanted to mention the Mosaic Are Collective, and then
(14:38):
we'll get into some music news.
Speaker 5 (14:40):
Oh.
Speaker 16 (14:40):
Absolutely, there's a lot going on that's great over at
the Mosaic Are Collective right now. Actually, the show that's
up right now is called the Full Circle Show will
be remaining up until the twenty sixth. Excuse me till
a couple more days. It'll be sorry about that, guys. Anyway,
let me go on. If you are in art, there's
(15:01):
an open call for the Exquisite Corpse art show coming
up and that car. That show is going to start
running through October six until November two. You have to
submit your work by midnight on the twenty eighth, so
only one more day. This is an exhibit inspired by
surrealist game What's hidden in the hands? Shapes, Unexpected creations,
(15:27):
what's coming out of you that you want to share
with the world. Enter it in and go to the
open call to be in the show for the Exquisite Corpse.
They're actually going to also be having artist talks. There's
one coming up on the twenty ninth. Florent pos An
r I pos O. Maybe I'm probably butchering the poor
(15:48):
man's name.
Speaker 15 (15:49):
It's p O U S.
Speaker 16 (15:50):
S I n e a U that's gonna be at
five forty five pm excuse me until seven thirty is
going to talk about his multidisciplinary visual r It's based
from France, so this is an opportunity to come see him.
There's another artist coming in on October twenty second, Karen
Jersic and she is a self taught international published photographer
(16:12):
from the Boston area, graduated from UNH and she's going
to be in the gallery having a live talk with everybody.
And there's also a watercolor class Watercolor Foundations and Explorations
starting on October seventh at ten am till noon. It's
a five week course, so there's a lot of great
stuff going on over at Missaic. You definitely want to
(16:34):
go check them out if you've never been. It's located
right here in the Queens City at sixty six an
over Sweet Sweet.
Speaker 15 (16:41):
Two oh one. Check them out. Mosaic Arccollective dot com.
Speaker 6 (16:46):
That is exquisite corpse. That sounds spooky, I.
Speaker 16 (16:48):
Know right, I have a piece I've been working on
and I'm struggling. I'm hoping I'm going to finish it.
Speaker 14 (16:53):
In time to enter It isn't there an expression live
Fast Die Young leave behind an exquisite corpse or something
like that.
Speaker 6 (17:00):
That is that is that? Not how it goes?
Speaker 15 (17:02):
That's not how okay, No, that's not it.
Speaker 6 (17:04):
Oh it's not.
Speaker 14 (17:05):
There's no behind. I made it too long. Live Fast
Eye Young leave an exquisite corpse.
Speaker 15 (17:10):
That's not it.
Speaker 14 (17:10):
Isn't that the no no no, people say that no
no okay, oh only me, only you? Well, very good,
very good. We have some music news.
Speaker 6 (17:21):
This is interesting.
Speaker 14 (17:22):
So we've talked about Spotify before. This is interesting to
me for a couple of reasons. But you had sent
me this. This is from the Hollywood Reporter.
Speaker 10 (17:29):
Uh.
Speaker 14 (17:29):
Spotify removes seventy five million spammy in quotes, spammy songs,
cracks down on AI use by bad actors. The music
streaming giant is looking to modernize. I'm sorry, I moderate
rather AI generated music as it floods its platform. I
can see how that would be a problem. By the way,
(17:51):
before we get into the the story in a little
bit of depth. Here again, this is from the Hollywood Reporter.
This just went up two days ago, so this is
pretty fresh. But not only not only is this obviously,
I mean, I can see why this would be a problem. Right,
AI makes it so easy, like the Puno app for example,
we've used it on this show. You can create music,
(18:12):
you know, music that sounds like it was created by
real people, really realistic music.
Speaker 15 (18:16):
Because they're stealing it from real people, but not realistically.
Speaker 14 (18:19):
But not only that, but so obviously this would be
a problem, right, If it's that easy to create it,
it's easy to you know, submit it to Spotify or
any other streaming platform, right, and then uh, and then
they will use it. But the other thing that's interesting
to me, and this came up a few years ago Spotify,
because we had talked about this on the show. This
was yeah, this was at least two or three years ago.
I think there was a story about how Spotify was
(18:41):
having to go through and remove a lot of lower quality,
you know, low quality in terms of production value, like
stuff that sounded like demos, for example, not actually fully
produced mixed and mastered music, because people were uploading so
much music to Spotify, and a lot of it wasn't
even necessarily you know, just just the quality, like anything
(19:06):
that you hear on Spotify should should at minimum be
the same quality that you might hear on the radio
or that you might buy in a store, right, So
that was becoming a problem. So Spotify was having to
go through and remove a lot of that. And what
was interesting about that is, you know, people don't necessarily
realize these streaming services. It's not like, think of how
(19:26):
much music gets uploaded to these streaming services every day
across the world. But it's not as though they have
unlimited storage. True, you know, there is, I mean, you know,
they can always make more, right, but it's not as
simple as like just you can just upload millions and
millions of songs all at once and it's just fine.
(19:48):
It's not so they have to as there. And look,
I'm not please, I'm not expressing any sympathy for Spotify
because I you know, artists complain often and I'll always
add vocate on the side of artists that uh, Spotify
pays out painfully low amounts of uh, you know, for
for the music that uh you know, pays low amounts
(20:09):
of these artists for making their music available to stream.
But it's it's but but these are problems. You know,
it's not a perfect business model in the sense that
there are problems with you know, in terms of storage.
And and now they're having to go through and deal
with the onslaught of AI and release all these and
remove rather all these spammy songs that are produced produced
(20:32):
by AI and and not only that, but there's also
going to be the effect of some people. And I
remember we talked about this on the show once before.
Some people are going to get caught in that net
inevitably because of technology I'm sure is not perfect. Some
people are going to get caught in that net who
are not in fact, Uh you know these AI artists
(20:53):
like what was her name, zany m One we talked
about last week, or that's signed so you can't say
that or that or that band. I forget the name
of the band now, but we played something of theirs Interfury.
Speaker 6 (21:06):
No Interfury is.
Speaker 14 (21:07):
The one that you found or that guy found you.
But there was another band we talked about on the
show who U Is Charting? Who people thought, well people
people figured out they're not a real band. But anyway,
I forget who the who it is?
Speaker 6 (21:19):
Now?
Speaker 14 (21:19):
But what all their songs are like about war? Like
very pro war but very strange. But uh but yeah,
so so these are problems. But but there's going to
be some artists who the software or whatever they're doing.
However they're applying this because you can't have a human
being sitting there doing all this, right, that software is
going to detect artists who aren't necessarily AI generated, but
(21:41):
maybe have AI elements, and there you know AI. I mean,
you use AI in a recording studio anyway, you.
Speaker 6 (21:47):
Can't avoid it.
Speaker 14 (21:48):
Right, But let's let's look at this, so it says
here again. This is from the Hollywood Reporter. Spotify is
set to strengthen AI protections for artists and music producers
with a series of measures including improved enforcement of impersonation violations,
a new spam filtering system, and AI disclosures for music
and industry standard credits. The music streaming giant made the
(22:10):
announcement in a for the Record post on its website Thursday,
noting that it had removed seventy five million spamy tracks.
The post began quote the pace of recent advances in
generative generative AI technology has felt quick and at times unsettling,
especially for creatives. At its best, AI is unlocking incredible
(22:34):
new ways for artists to creat music and for listeners
to discover it. At its worst, AI can be used
by bad actors and consent farm and content farms to
confuse or deceive listeners, push slop into the ecosystem, and
interfere with authentic artists working to build their careers. That
kind of harmful AI content degrades the user experience for
(22:57):
listeners and often attempts to divert roties to bad actors.
Speaker 6 (23:02):
The future.
Speaker 14 (23:03):
Again, this is from the statement the future of music industry.
Of the music industry is being written, and we believe
the aggressive that aggressively protecting against the worst parts of
gen AI is essential to enabling its potential for artists
and producers. We envision a future where artists and producers
(23:24):
are in control of how or if they incorporate AI
into their creative processes. As always, we leave those creative
decisions artists themselves, while continuing our work to protect them
against spam, impersonation, and deception, and providing listeners with greater
transparency about the music they hear.
Speaker 6 (23:42):
Unquote.
Speaker 14 (23:44):
Regarding specifics on the issue of impersonation, Spotify has committed
itself to stronger rules and better enforcement.
Speaker 6 (23:51):
Quote.
Speaker 14 (23:52):
We've introduced a new impersonation policy that clarifies how we
handle claims about AI voice clones and other forms terms
of unauthorized vocal impersonation, giving artists stronger protections and clearer recourse.
Vocal impersonation is only allowed in music on Spotify when
the impersonated artist has authorized its usage unquote. By the way,
(24:17):
that is, there's more to this article, but that's one
of the points where you know, I talked about people
getting caught in the net. Again, I'm not I'm not
criticizing Spotify for doing this. I think this is probably
a really good thing, but it's not going to be perfect.
What if you have an artist who just sounds like
they just have a voice similar to another artist. You know,
(24:38):
a lot of artists sound similar, and but there's I bet.
Speaker 16 (24:42):
There's things computers can pick up that's different about the
may sound similar to the human ear.
Speaker 14 (24:47):
But maybe this isn't maybe maybe maybe, But but what
if I just I can I can see there're being
mistakes here. It's not going to be perfect. And what
if an artist here's someone who they think sounds like
them and they make a complaint, they make a claim,
and then it turns out that the artist who sounds
(25:10):
like them is a real person with a real voice
who happens to sound like them. So there's going to
be problems with this. I mean, ask anybody who's dealt
with YouTube, you know, getting getting all kinds of you know,
the stuff YouTube will put you through if you're a
content creator, And we won't get in all of that,
(25:30):
because that's a whole other conversation. But it's related in
the sense that, you know, sometimes people get caught in
a net and it's it's it's not a good uh
I not a good thing to have happened to you.
Speaker 15 (25:44):
So it's it's going to be kind of a difficult
thing to navigate.
Speaker 6 (25:49):
Yes, yes, it says here.
Speaker 14 (25:52):
Additionally, Spotify said it was ramping up quote investments to
protect against another impersonation tactic. We're up loaders fraudulently deliver
music AI generated or otherwise to another artist profile across
streaming services. Uh, testing new prevention tactics with leading artists
(26:13):
distributors to equip them to better stop these attacks. As
at the source unquote. Yeah, so if you if you
make a song that sounds like Taylor Swift and then
you try to upload it as Taylor Swift, Let's say
this is a new Taylor Swift.
Speaker 15 (26:31):
Remember, Yeah, people do slimy stuff like that.
Speaker 14 (26:34):
Well, oh, remember we talked about it on the show
Selene Dion, where there was this AI generated Celene Dion
song that fooled a lot of people and it was
being uh it was pretty successful and I think it
even charted on some chart somewhere.
Speaker 6 (26:48):
I don't know, but it was.
Speaker 14 (26:49):
It was on YouTube and people thought it was really
her and it wasn't horrible. Uh yeah, but uh, but
but there's also so sometimes if artists have similar names.
I don't remember who it was. It was somebody we
had on the show who they had tried to upload
(27:12):
their music to Spotify, but their name was somewhat similar
to someone else's name. It wasn't the same name, but
it was somewhat similar and it kept it. Yeah, it
was causing all kinds of problems. I don't remember the details.
But it also says here again. This is from the
Hollywood Reporter. Spotify hopes its new spam filtering measures will
(27:33):
cut down on issues such as mass uploads, duplicates, SEO hacks,
artificially artificially short track abuse, and other forms of slop
that have all become easier and more prevalent due to
AI tools. The new spam filter quote will identify uploaders
(27:56):
and tracks engaging in these tactics, tag them, and stop
recommending them unquote. The company says it will roll out
a new music spam filter over the coming months and
will be careful not to penalize the wrong uploaders. The
third measure. Oh yeah, yeah, it won't be perfect. The
third measure. Spotify has introduced is AI disclosures for music
(28:20):
with industry standard credits.
Speaker 6 (28:23):
This is going to be messy.
Speaker 14 (28:24):
With AI increasingly being used in the music industry, the
company wants to increase transparency of its use.
Speaker 6 (28:31):
Quote.
Speaker 14 (28:31):
We know the use of AI tools is increasingly a spectrum,
not a binary, where artists and producers may choose to
use AI to help with some parts of their productions
and not others. The industry needs a nuanced approach to
AI transparency, not forced to classify every song as either
(28:52):
is AI or not AIS. That's going to get very,
very messy. That's going to be I want to know.
That's going to be hard though.
Speaker 15 (29:03):
But when you have breck now.
Speaker 16 (29:05):
We have record label signing AI artists, well yeah, how
does that work?
Speaker 14 (29:09):
Well, that's but that's not messy. That's obvious. So it's
easy to be transparent about that. But if you're especially
if you're creating any type of electronic music in the
studio or or at home on your on your laptop,
you know, and then how is this, Uh, that's going
to be tricky. I don't I don't know how this
is going to work. Spotify says it will help develop
(29:29):
and support new industry standard for AI disclosures in music
credits that are being developed through the Digital Data Exchange,
the International standard setting organization. The AI disclosure information will
be displayed across the Spotify app. Spotify's new AI crackdown
comes despite the company embracing AI and other aspects of
(29:51):
its business. In February, Spotify said it will accept more
AI narrated audio books on its platform through a partnership
with Eleven. Still, the new AI measures will be welcomed
by the major labels and fans after a number of
recent news reports of undeclared AI artists racking up thousands
of streams on Spotify. In July, The Guardian, Oh, this
(30:14):
is the band I was trying to think of. I
couldn't remember the name. In July, The Guardian reported the
band the Velvet Sundown released two albums and accrued over
one million streams on Spotify before it was revealed that
the band and its music were AI generated. A Universal
Music Group spokesperson told the harl of Hollywood Reporter, quote,
(30:36):
we welcome Spotify's new AI protections as important steps toward
toward consistent forward, I'm sorry, steps forward, consistent with our
longstanding artist centric principles. We believe AI presents enormous opportunities
for both artists and fans, which is why platforms, distributors,
and aggregators must adopt measures to protect the health of
(30:59):
the music ecosystem in order for these opportunities to flourish.
These measures include content filtering, checks for infringement across streaming
and social platforms, penalty systems for repeat of fringe infringers,
chain of custodies, custody certification, and name and likeness verification.
The adoption of these measures would enable artists to reach
(31:21):
more fans, have more economic creative opportunities, and dramatically diminish
the sea of noise and irrelevant content that threatens to
drown out artists' voices. Unquote all right, so that is
that's what's going on. At Spotify and again Spotify is
nobody's favorite company again because of the way they pay
(31:43):
or don't pay artists. But but I think this is
a good thing that they're doing. But we'll see, there's
going to be some pitfalls with it. Let's we have
time to do at least one more music news story.
Always so many interesting things going on in the industry.
Let's see this is from Music Business Worldwide dot com,
(32:04):
one of my favorite sites. You know, we were talking
about it was it last week or the week before,
we were talking about Ticketmaster and Live Nation. They're being
sued by the Federal Trade Commission for unfair practices with
you know, they have these these resellers on the secondary market,
some of whom are owned or at least controlled by
Live Nation itself. It's a dirty business to ticketing business.
But this just went up a couple of days ago. Uh,
(32:27):
Ticketmaster did not use dynamic pricing for Oasis concerts in
the UK. Will change how it sells tickets in the market,
says a watchdog group. So dynamic pricing, if you don't know,
this is where this is a relatively new concept in
the ticketing industry where prices will change on tickets. So
you know, it used to be not long ago, when
(32:51):
a promoter put tickets to a show on sale, the
price was the price, and that was it. You don't
raise the price if demand seems high, and you don't
lower the price if demand is too low and the
tickets aren't selling. Once you set the price, that's it
for a promoter to actually adjust prices. Whether it be
a major promoter or the biggest promoter of course Live
(33:14):
Nation and their ticket selling arm Ticketmaster, or as a
small local promoter just doing local shows, you don't see
ticket prices being adjusted. But with dynamic pricing, it's like
a it's almost like a real time sort of like eBay,
but well no, that's a that's not a there's a
(33:34):
better uber would be a much better analogy uber or lift.
You know how, if you go to book a ride,
the price may vary. It depends on demand, right if
there's If demand is high, that ride the book is
going to cost you more money. If demand is low,
if the app isn't very busy, if the drivers aren't
very busy, that trip is going to cost you a
(33:56):
lot less. Right, So the pricing automatically fluctuates based on
demand or lack thereof, Dynamic pricing does the same thing.
So if there's high demand for a show, that dynamic pricing,
if they're using that model, that's automatically going to inflate
the prices. If demand is low the tickets aren't selling,
it's going to deflate the price and that can swing
kind of like add the airlines do that right, a
(34:18):
sort of a form of dynamic pricing with flights for
airline tickets. That's always been and they've been doing that forever,
I believe, probably for decades, but this is relatively new
to the concert industry, and Live Nation they're the first
ones to actively do it that I know of. But
so here part of why this is coming up again
is because when Oasis tickets went on sale in the
(34:40):
UK for the Reunion tour, there was a lot of
frustration from people and the band was getting a lot
of bad press, even though they're not in direct control
of this part of the process, but a lot of
bad press because of how expensive the tickets had become,
and at the time Live Nation was being accused of
using dynamic pricing, but according to this they actually were
not in this since so this is interesting.
Speaker 6 (35:01):
This is part of why this story caught my eye.
Speaker 14 (35:03):
So the UK's competition watchdog says it has secured commitments
from Ticketmaster to make tickets sales more transparent following an
investigation into the sale of tickets to the UK and
Ireland leg of Oasis' reunion tour. The Competition and Markets
Authority CMA also, if you haven't heard from it again,
(35:25):
this is in the UK, also said it has not
found evidence that Ticketmaster used dynamic pricing in the sale
of Oasis tickets. Dynamic pricing adjust tickets prices in real
time based on demand and has proven controversial among some
concert goers due to sudden spikes in prices. In a
(35:45):
statement released on Thursday, September twenty five, the CMA said
Live Nation owned Ticketmaster committed to telling fans twenty four
hours in advance if it's using a tiered pricing system.
By the way, we've covered this on the show Live
Nation and Ticketmaster they have a little bit of a history.
This will come as a shock to precisely know, and
(36:06):
I'm sure of making certain statements about commitments to their
customers in terms of transparency and so forth, and then
not following through on much or any of it, just
to be clear, Okay, but apparently they made this commitment
tell fans twenty four hours in advance if they're going
to be using dynamic pricing or some sort of tiered
(36:28):
pricing system. CMA said, quote. This means fans will know
beforehand if there are multiple prices for the same type
of ticket, and that more expensive ones will be released
once the cheapest sell out. Unquote, by the way, just
to be clear if it's the same type of ticket.
In other words, because there's always some form of tiered
pricing in that if you're buying tickets for a show
(36:51):
at an arena, you know, front row tickets are going
to be more expensive than the middle. Middle row are
going to be more expensive than you know, they call
them the cheap seats way in the back, right. But
what they're saying here is the same type of ticket,
there will not be multiple tiers. So in other words,
a front row ticket won't cost, however, many hundreds or
thousands of dollars for one person and even more money
(37:13):
for another person for that same type of ticket. So
because there's there's always a tier system of sorts, but
not a predatory and abusive one, necessarily should they be using.
If you want to frame it that way, I have
a lot of mixed feelings about it myself. Okay, so
it says your Ticketmaster well, will also inform ticket buyers
who join a queue of the range of ticket prices available,
(37:37):
and will inform those in line when cheaper tickets sell out.
The company also committed to not using any misleading ticket labels,
the CMA said. The watchdog launched its investigation into Ticketmaster
in September twenty twenty four, following the sale of Oasis tickets,
which some news reports said involved dynamic pricing and saw
(37:58):
large spikes and the prices of tickets during the sale. Yeah,
so that was a year ago, and I remember we
talked about it on this show. In fact, it was
a very popular segment. If you just want to find
the segment, you can find it on YouTube on the
IPM Nation YouTube channel. But we put that up because,
you know, something people were very interested about. And at
that time, it was being reported that they were using
(38:20):
dynamic pricing. But according to this this watchdog group is
saying that actually they did not in that instance. So
that's interesting. So the sale was marred again. Talking about
the Oasis tickets that went on sale in the UK
a year ago. The sale was marred by technical problems
which may have been linked to a large number of
bots attempting to buy up the available tickets. And we've
(38:42):
talked about that a lot on the show too. These
bots that buy up tickets on behalf of the secondary
market who then take those their scalpers. They're scalpers, these
secondary market ticket sellers. They buy up the tickets. They
use bots to buy up the tickets. Why would you
use bots? Why wouldn't you just go in as one
person and just buy a whole bunch of tickets Because supposedly, uh,
(39:05):
ticket Master prevents you from doing that. They put limits
supposedly Again, they don't always keep their word. They don't
always follow through on these things, and there are examples
where they haven't. But they're supposed to limit how many
tickets you can buy at once to prevent scalping. Doesn't
always work out. But if you have bots, if you
have multiple bots, Ticketmaster doesn't know that all these different
(39:28):
bots are buying multiple tickets, or you know, if you
have if you have one hundred bots and they're each
buying five tickets, because you have a five ticket limit,
but you've got one hundred bots, so then you've just bought,
you know, five hundred tickets, right, or if you have
one thousand bots, five thousand tickets I think, right, I'm
bad at math, but anyway, you get my point. So
(39:52):
in March of this year, the CMA said it had
identified two key problems with Ticketmaster's sale of Oasis tickets. Okay,
so I again not the dynamic pricing the watch this
watchdog group CMA is saying they didn't do that. But
here's what went wrong. Two things. One, the watchdog claimed
Ticketmaster labeled certain seats tickets as platinum and sold them
(40:12):
for nearly two and a half times the price of
equivalent standard tickets quote without sufficiently explaining that they did
not offer additional benefits and were often located in the
same area of the stadium unquote. So in other words,
so that's I think is pretty deceptive.
Speaker 6 (40:26):
Right.
Speaker 14 (40:27):
So they offered you a platinum ticket that was two
and a half times more money, but you didn't actually
get anything extra. It's the same it's the same seat.
You're literally you know that expression when you buy a
brand name product instead of instead of the generic version.
You're just paying for the name, and this this is
an example of that. You're literally paying for the name
you're playing for. You're paying for something that's quote unquote platinum,
(40:49):
but it's actually the exact same thing. So that's pretty sketchy.
And the second thing that CMA said went wrong. They
alleged that Ticketmaster quote did not inform consumers that there
were two categories of standing tickets at different prices, with
all of the cheaper standing tickets sold first before the
more expensive standing tickets were released unquote. The CMA then
(41:11):
appeared to put pressure on Ticketmaster, writing in a letter
in July that it had quote discharged its obligation to
consult with Ticketmaster as no undertakings have been offered or
agreed unquote. That appears to have now changed, with the
CMA saying that Ticketmaster had agreed to several undertakings in
response to the CMA probe. Okay, so this progress, CMA said,
(41:32):
quote These undertakings have been provided to the CMA voluntarily
and without any admission of wrongdoing or liability. Ticketmaster has
stopped using platinum labels in the UK. Separate to providing
undertakings fans who spend their hard earned money to see
artists say love deserve to see clear, accurate information. We
can't ensure every fan gets a ticket for events as
(41:54):
popular as the Oasis Tour, but we can help ensure
the next time an event like this comes along, fans
have the information they need when they need it unquote.
According to Sarah Cardell, a CMA Chief executive, the CMA
also indicated that dynamic pricing was not used in the
Oasis on sale. This is an important detail because at
(42:15):
the time it was being reported that yes, they were
using dynamic pricing, and that was the crux of the issue.
But this watchdog group actually clears Live Nation on this
and says, quote, we welcome the CMA's confirmation. Oh I'm sorry, Ticketmaster.
Oh let me back up, Let me back up. Okay,
here's here's what CMA said. And then Ticketmaster responded, So
CMA said quote. While many fans were under the impression
(42:37):
that Ticketmaster used an algorithmic pricing model during the Oasis sale,
with ticket prices adjusted in real time according to changing
conditions like high demand, also known as dynamic pricing, the
CMA has found no evidence that this was the case.
Speaker 6 (42:51):
Unquote. Okay.
Speaker 14 (42:53):
So then and Ticketmaster responded with a statement saying, quote,
we welcome the CMA's confirmation that there was no dynamic pricing,
no unfair practices, and that we did not breach consumer law.
To further improve the customer experience, we voluntarily committed to
clearer communication about ticket prices in queues. This builds up
our capped resale. This builds on our capped resale, strong
(43:15):
bought protection and clear pricing displays. And we encouraged the
CMA to hold the entire industry to these same standards.
Unquote in comments earlier. Well, actually hold on, wait, let
me stop on that quote for just a second. So
they're saying, I mean, it's great that they're making all
these commitments. We'll see if they follow through, but it's
kind of interesting that one little last part we encouraged
(43:35):
CMA to hold the entire industry to these same standards.
What's funny about that to me is so that sounds like, Okay,
you know we're gonna agree to this, but you better
make sure you hold everyone else to that same standard. Well,
but who else is there you gotta I mean, just
keep in mind Live Nation and ticket Master. It's the
same company. They they control, They controlled the concert industry.
(44:00):
I mean, obviously they are independent, smaller promoters throughout the country,
throughout the world, throughout the UK. But this is a monopoly.
This is absolutely a monopoly. So that sounds a little petty.
Oh we hope you hold everyone to the same standards. Yeah, okay,
but you guys are the ones that we're concerned with
(44:22):
because you guys are the ones who control everything, right,
So I just thought that was interesting. In comments earlier
this year, Live Nation CEO Joe birch Told said that
more often than not, dynamic pricing results in lower, not higher,
ticket prices.
Speaker 6 (44:40):
I'm skeptical about that, although I can see how that
might be.
Speaker 14 (44:43):
The case if a show, I mean, if a show
isn't selling very well, then dynamic pricing would of course
make for lower prices.
Speaker 6 (44:50):
But that's not where we get concerned. A show that
isn't well.
Speaker 5 (44:55):
I don't know.
Speaker 14 (44:55):
Sometimes sometimes big tours end up underperforming. But birch Told
said at a JP Morgan Chase conference in May, quote,
most of our so called dynamic pricing is actually I'm
reducing the price of tickets that haven't sold yet, because
I see that the market clearing price. I'm not quite there.
(45:16):
By definition, you can never raise the price of a
ticket you've already sold. So that's why most of your
dynamic pricing is actually lowering the price.
Speaker 6 (45:23):
Unquote.
Speaker 14 (45:24):
I'm open to that. I mean, there might be math
that supports that. I understand his argument. I'm skeptical. I'm
always skeptical of these people, but I understand his argument.
All Right, one more very quick thing, and then we're
going to hit our commercial break show some love to
our amazing sponsors. But Jenny sent me this. Reuters is
(45:45):
reporting that Universal Music UMG, Universal Music Group. We talk
about them a lot on the show. UMG defeats copyright
lawsuit over Mary J. Blige's nineteen ninety two sample. I
didn't know anything about this until Jenny brought it to
my attention. But this is from a routers. This just happened.
UMG convinced a New York federal court on Tuesday to
(46:07):
dismiss a copyright infringement lawsuit over an allegedly unauthorized sample
in Mary J. Blige's nineteen ninety new hit song Real Love,
Real Love. You know that song if you're old enough.
US District Court Judge dale Oh dale Hoe, that's his name.
(46:27):
US District Court Judge dale Hoe ruled that Real Love
was not sufficiently similar to the honey Drippers. Nineteen seventy three,
Song impeached the President to support Tough City records case
against UMG.
Speaker 6 (46:44):
See, I didn't know about any of this.
Speaker 14 (46:47):
See when I when I hear the honey Drippers, I
think of, did Robert Plant have that Robert Plant and
the honey Drippers or something? There's this other group called
the I don't know anyway. Spokespeople on attorneys for Tough
City in UMG did not immediately respond to requests or
comment on the decision. Blige is not involved in the lawsuit.
(47:10):
That's how this often goes. Lawyers suing lawyers. Tough City
said in the lawsuit that it owns tens of thousands
of music copyrights from the genres of blues, rhythm and blues, jazz, funk, soul,
hip hop, New Orleans, and Latin music, much of which
might be otherwise might fall into obscurity. Okay, The lawsuits
(47:33):
against the BC Boys and jay Z were later dismissed,
So they've sued a lot of people apparently, So maybe
that's how this label makes money. All right, we're going
to take a commercial break. We're going to show some
love to all of our amazing sponsors. If you are
listening live on Saturday, we have Temptress coming up in
the third hour. Really looking forward to talking with them.
(47:54):
I do really love their sounds, so they will be
joining us shortly. This is Matt Connorton unleashed and there
is plenty more to come. Don't go anywhere.
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Hey everyone, there's Rob Azevido, host of Granite State of Mind,
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Speaker 20 (51:36):
Night to Light with DJ Bitas right here on WMNH
Manchester because.
Speaker 4 (51:43):
Saturdays and Sunday nights midnight to four am.
Speaker 21 (51:46):
This hour on WMNH is sponsored by CGI Business Solutions,
located at five Dartmouth Drive in Auburn. They serve all
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into the hearts of our creative realm at one nineteen
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(52:41):
moder of Manchester Public Television Service in the venerable City
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(54:05):
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With sure no.
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Where's your many?
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Let's show of your ways?
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Is your man?
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What's your
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