News from ECSA: July 2025

On 22 July, the European Commission announced that it opened an in-depth investigation to assess Universal Music Group (UMG)’s proposed acquisition of Downtown Music under the EU Merger Regulation. We welcome the announcement of this investigation, and hope that the outcome will prevent further market concentration across the music ecosystem. Prior to this announcement, ECSA published a statement on 2 July, urging the European Commission to block UMG’s proposed acquisition. As the music market is already dominated by a handful of global players, the acquisition of Downtown Music would hinder fair competition across the music value chain and reduce the freedom of choice for composers and songwriters. Approving this deal would further exacerbate market concentration which is detrimental to composers and songwriters – and a healthy music sector. ECSA President Helienne Lindvall stated: “We are seeing large multinationals hoovering up their competition and limiting our options and negotiation power. UMG acquiring Downtown would exacerbate this situation, with the corporation dominating every part of the industry, including distribution and rate setting. We urge the Commission to reverse this trend and help create a diverse and healthy music ecosystem that benefits all by blocking this deal.” Read the full statement below, and find press coverage from Wall Street Journal, Music Business Worldwide, and Complete Music Update.

Earlier this month, Member of European Parliament (MEP) Axel Voss (EPP, Germany) shared the first draft of the report “Copyright and generative artificial intelligence – opportunities and challenges”, for which he is rapporteur in the European Parliament’s Legal Affairs (JURI) Committee. ECSA welcomes this first draft, which stresses several important concerns for creators and other rightsholders and calls on the Commission to act on several fronts. In particular, the report rejects the application of the text and data mining (TDM) exception to generative AI, calls on the Commission to impose a remuneration obligation on general-purpose AI providers, recommends upholding a copyright framework with fair remuneration of creators, and calls for full and actionable transparency by AI providers, with a presumption of use of protected works in AI training. MEPs are now invited to submit their amendments by 12 September. ECSA will continue engaging with Members of the JURI Committee to maintain these vital elements in the report and to ensure that it places authors’ consent, remuneration, and transparency at its centre.

Earlier this month, the European Parliament published a study on copyright and generative AI authored by Professor Nicola Lucchi and requested by its Legal Affairs (JURI) Committee. ECSA welcomes this study, which presents various crucial findings. Among other things, the study reiterates that generative AI models are trained on large datasets which include human-made, copyrighted works, often without rightsholder consent, remuneration, and without possibility to contest this process. Moreover, it states that the text and data mining (TDM) exception in the CDSM Directive was not designed to accommodate generative AI training: the exception exists to support innovation and scientific research, not to enable the wholesale use of creative content without consent or compensation. As the TDM exception does not trigger any obligations to pay or license, it suggests that the current legal framework lacks any kind of remuneration mechanism for authors and other rightsholders. Citing various statements and documents from authors’ and performers’ organisations, including ECSA, the study also highlights how AI providers reap commercial rewards by using authors’ and performers’ works without any transparency, consent, nor remuneration. Based on these and other findings, the study presents several recommendations. We thank the JURI Committee for this key study and encourage EU policymakers to take these findings into account in the discussions of the upcoming European Parliament report on copyright and generative AI.

On 16 July, the European Commission unveiled its proposal for the next Multiannual Financial Framework (MFF), the EU’s long-term budget for the period 2028-2034. The total figure amounts to approximately €1.8 trillion and represents a small increase over the previous budget (2021-2027) of €1.2 trillion (from 1.1 to 1.15% of EU’s gross national income). Notably, the new proposed AgoraEU Programme for culture, media and civil society under the European Competitiveness Fund would receive €8.6 billion, unifying and replacing the previous Creative Europe and Citizens, Equality, Rights and Values (CERV) programmes with a revamped budget. AgoraEU would see €1.8 billion being allocated to the Creative Europe (culture) strand and €3.2 billion going to the MEDIA+ strand, representing an increase from the previous overall budget of Creative Europe, which amounted to €2.4 billion. ECSA welcomes the budget increase for culture in the Commission’s proposal, as well as the focus on improving artists’ working conditions, which is featured as a key priority in the proposed AgoraEU programme. This creates a crucial opportunity to tackle the needs of the European cultural ecosystem, including through sector-specific actions for music and concrete measures to enhance the livelihoods of music creators.

On 1 July, marking the end of the Polish Presidency of the Council of the EU, the One Voice for European Music initiative presented a set of policy recommendations for the music sector. The initiative was signed by 20 organisations in the European music sector, including ECSA. The document formulates a European strategy for music, which includes: a reinforced support framework for the European music sector, including a dedicated music strand in Creative Europe and the establishment of a European Music Observatory; a European policy for music in the age of AI, ensuring that generative AI model providers respect the core principles of consent, transparency, and remuneration; and planning for a future-proof European music ecosystem, with better rights and working conditions for European music creators and professionals. We look forward to working with the EU institutions to put in place these recommendations, building an ambitious and comprehensive strategy for the European music sector.

On 9 July, ECSA Secretary General Marc du Moulin held a keynote speech at the opening of the AI Music Conference of SoundTrack_Cologne in Cologne, Germany. In his keynote, Marc elaborated on the current legislative situation in the EU when it comes to AI and copyright, notably on the recent developments regarding the AI Act, such as the Code of Practice, and ECSA’s priorities in this regard. SoundTrack_Cologne, which took place from 8 to 11 July, is one of Europe's leading congresses for music and sound in film, games and media, and included over 40 round tables, panels, workshops and networking events. The AI Music Conference was organised as a specific part of the programme focusing on the challenges and chances of AI in music. Many thanks to SoundTrack_Cologne for hosting an inspiring conference!

On 1-3 July, the French Ministry of Culture organised the 11th edition of the Forum Entreprendre dans la Culture (Entrepreneurship in Culture Forum) at the École nationale supérieure d'architecture de Paris-Belleville in Paris, France. On 1 July, ECSA Secretary General Marc du Moulin spoke at the roundtable discussion Union européenne : quel soutien pour la musique ? (“European Union: What support for music?”), together with Corinne Sadki (Centre national de la musique), Stéphane Segreto-Aguilar (Relais Culture Europe), Judith Videcoq (European Commission) and moderator Fabien Miclet (European Affairs and Music Policy consultant). During the discussion, they talked about the main challenges and opportunities for the European music sector in the coming years, while focusing on the role of music in the EU’s cultural policies as well as on current and future support mechanisms at EU level, such as Music Moves Europe. We thank the French Ministry of Culture as well as all speakers for an engaging session!

On 9 July, the Independent Music Publishers International Forum (IMPF) launched its Brussels Music House initiative. The event brought together key industry stakeholders, policymakers, and music professionals to launch the establishment of Brussels Music House and to explore its role in shaping a sustainable future for music. The initiative serves as a dedicated space aiming to provide essential resources, organise networking opportunities, and facilitate key discussions on industry trends, ensuring that the music sector remains innovative and well-supported. ECSA Secretary General Marc du Moulin participated in the event, outlining ECSA’s policy priorities for the coming years. Many thanks to IMPF for hosting an engaging dialogue.

On 8 July, the first hearing of a lawsuit filed by Dutch ECSA member BAM! Popauteurs together with De Kunstenbond/Ntb against Universal Music, on behalf of three Dutch artists, took place in Amsterdam. The case relates to the supposedly unfair contracts between the three artists and Universal when it comes to the distribution of income from music streaming. With the current contracts, the three artists receive an unreasonably small share of the income from music streaming on the recording side: the contracts include royalty splits that were based on a time when streaming did not yet exist or at least was not yet the main way to listen to music, as De Kunstenbond states. In the three lawsuits, the contracts of Universal with Arriën Molema (Room Eleven), Henk Westbroek, and Marinus de Goederen (a balladeer) are being examined. Previous discussions between the parties involved have not led to a fair revision of the fees. The verdict of the case will be delivered on 20 August, unless a postponement is requested. Find more info (in Dutch) via BAM! or De Kunstenbond.

On 9 July, Honourary ECSA Vice-President Luis Ivars (Musimagen) held a keynote at FIMUCITÉ Festival Internacional de Música de Cine de Tenerife. In the frame of the festival’s Film Scoring Academy, Luis talked about the recent developments in Artificial Intelligence at the EU level, AI’s legal and ethical challenges for music creators, and ECSA’s recent advocacy efforts in this regard. During his keynote, Luis expressed the importance of legislation centered around the key principles of transparency, consent, and remuneration for music authors.

From 23-29 May, Polish ECSA member Society of Polish Audiovisual Composers (SPACe) organised SyncCamp Zakopane, bringing together 15 composers from Poland, Czech Republic, Hungary, Iceland, Estonia, and Latvia for a week-long intensive creative residency in Zakopane, Poland. Led by renowned music supervisors Anna Malarowska (PL), Lena Obara (DE), Josh Rabinowitz (USA), and David Leon (USA), the participants collaborated on original compositions developed specifically for briefs brought in by the supervisors, covering upcoming projects for film, advertising, and trailers. The camp also featured celebrated composer Glen Gabriel (SE) as a mentor. This international initiative offered an opportunity for emerging and established composers to work hands-on with professionals from the sync industry, fostering creative growth and cross-border partnerships.

The 2025 edition of Apulia Soundtrack Awards took place from 4-6 July in Carovigno, Puglia, Italy. The festival featured three days of music, cinema, masterclasses, and  an award ceremony. During the festival, ECSA Honourary Vice-President Luis Ivars (Musimagen) participated in the masterclasses alongside festival director Cyril Morin and the masterclass instructors, including Anne Dudley, Simon Greenaway, Carlo Crivelli, Fabrizio Mancinelli, and Rai Costa. Find more information on the masterclass and the festival via SoundTrackFest.

In June, the first Norwegian Official Report (NOU) dedicated to music was released. The report, titled Musikklandet, was initiated by several music organisations and developed over 1.5 years by a Committee appointed through Royal Decree. NOPA Vice-Chair Samsaya Sampda Sharma  took part in the Committee. On 23 June, it was formally presented to the  Norwegian Ministry of Culture. The report is the result of extensive work undertaken to explore what music means to individuals, groups, and society at large; how the Norwegian music sector is organised; the conditions under which its actors operate; and the opportunities and challenges that characterise the music industry. It provides a knowledge base that can contribute to a more coherent, forward-looking, and polyphonic music policy. Ole Henrik Antonsen, Chair of NOPA, states: “My clear impression is that it offers a thorough and accurate overview of the state of musical life in Norway in 2025. The report discusses relevant issues and paradoxes and explores untapped potential across all areas of the sector. The committee puts forward many strong proposals for improvements and future music policy.” Find the report, with an English summary on page 20, on the link below.

This year’s Krakow Film Music Festival was a celebration of emerging talent — and members of Society of Polish Audiovisual Composers (SPACe) were at its heart. The Jan A.P. Kaczmarek Award – THE DREAMER was presented for the first time during the festival, honouring the legacy of the late Oscar-winning composer and supporting the next generation of film music creators. The inaugural laureate, Fryderyk Lutyński (SPACe), received a €5,000 grant—payable upon signing a film scoring contract—symbolizing a generational handover from those who turned dreams into profession, to those just taking off. Meanwhile, Mikołaj Gosiewski, also a SPACe member, received the FMF Young Talent Award—a prestigious international competition for composers under 35. His winning score, composed to a scene from I Am: Celine Dion, was selected by an international jury chaired by Emmy-nominated and Camille Award winning composer Miriam Cutler.

Nordic Film Music Days has published a call for submissions for the 2026 HARPA Nordic Film Composers Award. Composers working in the Nordic countries and being a member of the national Nordic collecting society are asked to submit their best film and TV scores. The composition must be for a narrative feature, documentary, or TV series released between 21 July 2024 and 21 July 2025 and the length of the submission must be at least 50 minutes. The release date should be stated on the official IMDB page of the submitted work. The submission deadline is 1 September. Find more info and submit your score on this link.

UK ECSA member PCAM (The Society for Producers and Composers of Applied Music) has upped its game in the last two years as far as podcasts are concerned.  PCAM released a series of six podcasts in 2024, offering career advice to all those working in media music, on subjects such as Royalties & Publishing, Quoting & Budgeting, How to Get into the Industry, Soundalikes, and Responding to a Brief.  Six more podcasts are being recorded in 2025, on topics such as Building a Music Department, AI and Applied Music, Operating in a Challenging Marketplace, and Wellness in the Applied Music Industry. All PCAM podcasts can be accessed via PCAM on Soundcloud.