What does it take to make a living as a songwriter in today's music industry? The answer may surprise you. Multi-platinum songwriter, producer and keyboardist Sam Barsh would know. His smash-hit credits include co-writer on Aloe Blacc's "The Man," writer and keyboardist on Kendrick Lamar's To Pimp A Butterfly, contributions to albums by Anderson .Paak, BJ The Chicago Kid, Ledisi and many more.

We sat down with Barsh to hear his perspective from the front lines of music creating as a living, and his insights are powerful. Below, Barsh shines a light on the reality of making a living as a songwriter in the streaming age and provides valuable advice to aspiring songwriters and a glimpse at why all music creators can find optimism in the recently passed Music Modernization Act.

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As a major songwriter how has the streaming age affected your bottom line?

The biggest change that streaming has brought to the songwriting business is the replacement of physical or download sales with streaming, and the corresponding difference in revenue. Physical sales continue to disappear while streaming is the way of the present and the future.

The mechanical royalty payment for a physical or download sale of a song is $0.091 per sale, while the average streaming mechanical royalty payment is $0.00043 per stream. (The $0.00043 per stream figure is the average per stream payment from Spotify, which is the most used streaming platform in the US. Apple and Tidal pay more, Google pays less, so the Spotify number is a good median). And since songwriters have their rates set by the U.S Government, we can’t really go out and sell our songs to those services for what they should be worth.

The good news is the Music Modernization Act is set to change that [with the institution of a market-based "willing buyer, willing seller" standard], and that’s exciting and encouraging, but at the end of the day the new royalty rates will still be set by the government and as we’ve seen recently subject to appeals and court fights. So even though I have a catalog of over 100 songs, a large number of which are with major artists, including four songs featured on No. 1 albums on the Billboard 200 and multiple Gold and Platinum plaques, that doesn't translate into riches.

Could you go into more detail on the royalties you earn? 

To paint a very clear picture of how most songwriters earn money from streaming, let's examine the “album cut,” or a song that wasn't a single, on a major platinum album.

Fifth Harmony's [second album] 7/27 is a perfect example to use, since it's an album by a huge act that has a lot of different songwriters on it… It's a quintessential professional pop songwriter album, if you will.

Like almost every platinum album, 7/27 was led by its singles. On Spotify, “Work from Home” has almost 900 million streams, “All in My Head (Flex)” has close to 300 million, and “That's My Girl” has 130 million plus.

By contrast, seven of the songs on the album have less than 22 million streams each on Spotify. Taking into account that Spotify has a little less than 40 percent market share for streaming, let’s just approximate that each of those seven album cuts streamed 50 million times total across all platforms.

With the average streaming rate mentioned before of $0.00043 per stream, that means a song with 50 million streams earns $21,500. With an average of 5 writers per song on 7/27, assuming in this case that they all got even splits, each writer on one of these cuts would earn around $4,300 from streaming.

Considering that album cuts are much less likely to get major sync licenses or radio play, in many cases that $4,300 is practically all the songwriter will make from landing a song with an A-list pop act. Of course, artists like Fifth Harmony still sell some physical copies, but that is a small number in the scheme of overall sales. And keep in mind that there are songs on major platinum albums with WAY less than 50 million streams. Also, most writers have either an admin deal or a publishing deal, which will take anywhere from 10 to 50 percent of their earnings.

Contrast this with if Fifth Harmony had released this album in 2003 with the same numbers. For the entire CD era, if people wanted to buy an artist's single, they would purchase the album that the song was on. Given that “Work From Home” went 5x Platinum in the USA alone, for this purpose we'll assume people would have purchased 5 million copies of the album. With a statutory mechanical rate at that time of around 9 cents per song, each song on the album would have generated $450,000 from U.S. sales, with the individual songwriter's 20 percent of one song earning them $90,000 in US mechanicals alone, as opposed to today's number of $4,300 from the entire world.

This analysis is not an exact science, but it paints the picture of how things have changed.

In light of the difficulties of earning a living in the streaming age, what would you say to an aspiring hit songwriter?

First of all, I would say don’t quit writing songs if that's what you love to do. It’s part of our DNA as writers to create songs, and it is a hell of a lot more fun than most other things people do for a living. However, if you’re in it just to chase hits and make money, you need to know what the stakes are. 

Be forewarned that if your primary goal in becoming a songwriter is to get rich, your odds are infinitesimal. You’re not only competing with millions of writers for one of the top 30-50 songs (the songs that generally make real money), you also have to account for the fact that most hits today have between three and six writers on them, so the pie is divided accordingly. 

Also, the concept of an “evergreen” copyright has changed, since streaming has put a major dent into catalog sales for older songs.

"I was told recently by a legacy artist who had big hits in the 70s that their catalog royalties went down about 70 percent since streaming took over." -Sam Barsh

Given that most hit songs generate the majority of their revenue during a two to three-year peak period, you would have to write multiple hit singles and/or have a substantial percentage of a global super-smash to make the “set for life” money that many people think comes from writing just one hit song. It's definitely not impossible, but you can have a lot of success as a songwriter and still just be living royalty check to royalty check.

On the positive side, streaming is a great tool for artists. So if you're a writer/artist, self-releasing music is a way to both gain exposure and make money. It's much easier to get somebody to check out your music via streaming than it was when you just had to hope someone who never heard of you would randomly decide to buy your CD at the record store. And payments for the master side of recordings are about 10 times higher than mechanical streaming royalties for songwriters. 

Lastly, for my musician friends that are dabbling in songwriting and production, know that you’re competing with people who do nothing but write songs and produce, and have been honing their craft with as much dedication as we have with our instruments. I myself have put in my 10,000 hours at least threefold, as a musician, a songwriter and as a producer and engineer. And it still took me 10 years of seriously working at songwriting to write major records.

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What’s one tip you’d give that a young songwriter might not be aware of?

Be mindful of splits ahead of time. I recommend having a conversation with your co-writers directly, before getting management involved, whenever possible. That doesn’t always prevent somebody from tripping or going back on their word, but if you can communicate directly with your collaborators and agree on splits before the song gets placed or recorded, it will alleviate headaches later on. 

You mentioned your role as a producer earlier. Can you talk a bit about what it’s like to be a producer?

One of my favorite things about being a producer is that it requires me to utilize the entire range of my musical, emotional and intellectual skill sets. I'm a people person, and every situation is different, so I always get an intrinsic feel for the energies in the room and do my best to facilitate a day of great work. Making the artists, writers, musicians, engineers and anyone else who happens to be in the room feel comfortable and stay focused is essential, because most of the time they're looking to the producer to set, or at least guide, the tone of the session.

All that being said, nowadays producers spend a lot of time working alone. In modern pop, hip-hop and R&B music, producers are responsible for creating the instrumental tracks, hiring outside musicians if necessary, recording and editing the vocals (sometimes with help of engineers and vocal producers), editing audio, adding effects, making requested changes from artists and labels, and delivering a quality rough mix and individual audio files (aka stems). In my experience, the average pop track takes a producer 30-50 hours to complete, often more.

I produce jazz records as well, which tend to take less time because in most cases the artist has selected the material and gotten the arrangements done in advance of the session, and the recordings are usually done by a live band all at once in the span of 2-3 days. Jazz producing is largely about time management and setting a good vibe in the tracking sessions, helping the artist pick takes and solos, and shaping the sound of the instruments in conjunction with the tracking and mix engineers.

For all of this work, producers receive an upfront fee upon delivery of the final product and a backend royalty [The Music Modernization Act guarantees direct payment of this royalty if you register with SoundExchange]. Despite the fact that a lot of people may not understand all it is that we do, as you can see from the amount of skill and time it requires to create and take a record across the finish line, the work of a producer has big-time value and should be treated as such.

Lastly, what can songwriters do to ensure their rights are protected and demand better compensation?

There’s no union for songwriters, but there are organizations like the Recording Academy or Songwriters of North America that we can join that fight for our rights and compensation. These groups were instrumental in getting the Music Modernization Act passed.

However, even with these groups fighting for our rights, according to US law anybody can record any song without permission, and any terrestrial or streaming radio station can play any recording without permission, as long as they pay the statutory rate of compensation to the rights holders. Without the ability to withhold the product, and with compensation rates set by government, we don’t have much leverage in that fight. 

The exceptions to this are for the first recording of a song, and for sync licensing in film, television and commercials. 

If you write a song that you believe is a smash meant for a major artist, but a label wants to have an unknown artist record it, or an indie artist wants to record it, you have the right to say no, as long as the song has never been officially released on another recording. However, once the song has been recorded and released, anyone has the right to record it again.

And if someone wants to license your song for a show, film or commercial, you have the right to negotiate the fee or to say no.

The underlying theme of all of this is that knowledge is power. The more we all stay aware of the realities of our business and communicate with each other, the better off we all will be. Earning money as a songwriter or music producer is the definition of art intersecting commerce, but a lot of us ignore the commerce part of it. Nobody would accept a job in another field without knowing how much it paid first, and a contractor wouldn't build a custom home for a client without first negotiating a price. If we can approach our work the same way, it could go a long way to convincing our clients and consumers to acknowledge the value of our work.

The opinions expressed are those of the writer and do not necessarily reflect official positions of the Recording Academy.

GRAMMYs On The Hill 2019: Music & Politics Unite At Washington's Largest Advocacy Event For Music

The Recording Academy's annual GRAMMYs on the Hill will kick off Washington, D.C.'s biggest week in music on Tuesday, April 30, with the 2024 GRAMMYs on the Hill Awards, followed by Advocacy Day on Wednesday, May 1, and the first-ever Future Forum on Friday, May 3.

For more than two decades, the Recording Academy has returned to Washington, D.C., to advocate for equality, fairness and justice in music law and celebrate the intersection of music and politics by honoring congressional leaders and music creators who lead the fight for creators’ rights.

This year, the Recording Academy GRAMMYs on the Hill music honoree is nine-time GRAMMY winner Sheryl Crow. A powerhouse of activism and philanthropy, Crow co-founded the Recording Artists' Coalition in 2000 to champion creators' rights with previous GRAMMYs on the Hill honoree Don Henley. Her relentless advocacy efforts span congressional testimonies and artistic expressions like her recent song "Evolution," and her fervent support of a plethora of charitable causes.

The awards will also honor Senators John Cornyn (R-TX) and Amy Klobuchar (D-MN.)

Cornyn and Klobuchar are the congressional honorees being recognized for their stalwart support of creators and their collaborative efforts championing key policies in support of the music community. Together, they have championed the Save Our Stages Act, which provided $16 billion to venues closed during the COVID-19 pandemic, the largest ever U.S. federal investment in the arts. This year, they are working to reform live event ticketing through the Fans First Act. 

Read more: GRAMMYs on the Hill Awards 2024 Honorees Announced: Sheryl Crow, Sens. John Cornyn & Amy Klobuchar

As this year's GRAMMYs on the Hill draws near, discover all you need to know about the GRAMMYs on the Hill Awards Dinner, Advocacy Day and Future Forum during Washington D.C.'s biggest week in music.

What Is GRAMMYs on the Hill?

GRAMMYs on the Hill is a three-day event consisting of the GRAMMYs on the Hill Awards, Advocacy Day and this year's premiere event, the Future Forum. 

Over the course of these events, music creators come together with members of Congress to advocate for the passage of legislation that will further improve those rights while celebrating those who have been exceptional in their support of music maker's rights.

At the Awards Dinner, the Recording Academy honors an individual or group from the music industry who has used their reach to advocate for, and take positive action in support of, advancing creator's rights. These honorees have gone above and beyond fighting for their peers. Additionally, the Recording Academy honors two elected officials who have been leaders in advancing creator's rights by supporting legislation and passing policy that benefits music creators.

During GRAMMYs on the Hill Advocacy Day, the Recording Academy brings recent GRAMMY winners and nominees to Capitol Hill to meet with Members of Congress and their staff. Throughout the day, these artists utilize meeting time to tell their stories and urge congressional offices to take action on key issues facing the music community.  

This year, the Recording Academy is expanding GRAMMYs on the Hill to include one more day of programming on May 3 that will explore the evolving role of artificial intelligence in music and its ethical implications and future applications. The inaugural GRAMMYs on the Hill Future Forum will explore one of the music industry’s most pressing topics today — the impact of artificial intelligence on human creativity and connection. Programming will include engaging panel discussions around leveraging the potential power of AI and the ethical and political implications of this new technology.

Who Are Some Past GRAMMYs on the Hill Honorees?

For over 20 years, GRAMMYs on the Hill has recognized the achievements of people making an impact on creator's rights. Past honorees include: 

Music icons: 

• 13-time GRAMMY winner Pharrell Williams

• Five-time GRAMMY-winning duo Jimmy Jam & Terry Lewis

• Four-time GRAMMY Winner Yolanda Adams

• Two-time GRAMMY winner Garth Brooks

• 15-time GRAMMY winner Alicia Keys

• Three-time GRAMMY winning group Zac Brown Band

• Seven-time GRAMMY winner John Mayer

• Four-time GRAMMY winner Missy Elliot

• Four-time GRAMMY winner Keith Urban

• Three-time GRAMMY winner Kelly Clarkson

• Five-time GRAMMY winning group Lady A

• Three-time GRAMMY winner Gloria Estefan

Congressional Honorees: 

• Then-Vice President Joe Biden

• Senate Majority Leader Chuck Schumer (D-NY)

• House Democratic Leader Hakeem Jeffries (D-NY)

• Former Speaker of the House Nancy Pelosi (D-CA)

• Former Speaker of the House Kevin McCarthy (R-CA)

• Former United States Secretary of State Hillary Rodham Clinton

• Senate Majority Whip Dick Durbin (D-IL)

• Senator Marsha Blackburn (R-TN)

• Former Sen. Orrin Hatch (R-UT)

• Former Sen. John McCain (R-AZ)

• Senator Bill Cassidy, M.D. (R-LA)

What Has Advocacy Day Accomplished?

PEACE Through Music Diplomacy Act: In 2022, the Recording Academy worked closely with our GRAMMYs on the Hill honorees, Rep. Michael McCaul (R-TX) and Ted Deutch (D-FL) introduced the PEACE Through Music Diplomacy Act in the House of Representatives. And shortly following meetings during GRAMMYs on the Hill Advocacy Day, Senators Patrick Leahy (D-VT) and Thom TIllis (R-NC) introduced companion legislation in the Senate. 

The bill, which directs the State Department to use music and music-related global exchange programs as a tool to build cross-cultural understanding and advanced peace abroad, was ultimately signed into law by President Biden in December 2022.

Music Modernization Act: In 2018, Rep. Bob Goodlatte brought the Music Modernization Act to the House floor during GRAMMYs on the Hill.

Throughout the Advocacy Day, our advocates met with congressional offices urging them to support this bill, which included provisions to improve compensation for songwriters, help pre-1972 legacy artists get paid by music streaming services, and recognize producers and engineers in music copyright protection. 

In the months following GRAMMYs on the Hill, the bill was unanimously passed by the House and Senate. On Oct. 11, 2018 the historic bill known as the Orrin G. Hatch–Bob Goodlatte Music Modernization Act (aka Music Modernization Act) was signed into law.

Who Do The GRAMMYs on the Hill Awards, Advocacy Day and Future Forum Benefit?

The GRAMMYs on the Hill Awards Dinner, sponsored by City National Bank, is a charitable event benefiting the GRAMMY Museum. The GRAMMYs on the Hill Advocacy Day and this year's Future Forum, in partnership with the Human Artistry Campaign, benefit the music industry and the public at large by advocating for their rights and interests.

What Will The Recording Academy Be Advocating For At This Year's GRAMMYs on the Hill?

• No AI FRAUD Act: Protecting the image, likeness and voice of individual creators from AI fakes through legislative measures such as the No AI FRAUD Act in the House of Representatives and the Senate’s No FAKES Act discussion draft. 

• Fans First Act: Reforming the live event ticket marketplace to better protect artists and fans through legislation including the Fans First Act and a similar House bill, the TICKET Act.

While the Recording Academy's Advocacy Team tirelessly tackles these critical issues throughout the year, this year's Advocacy Day and Future Forum serve as a significant and impactful continuation of these ongoing legislative efforts.

Be sure to stay engaged for opportunities to participate remotely during this year's GRAMMYs on the Hill.

Ticketing Reforms Make A Big Leap In Maryland: Here's What You Need To Know

Last week, spanning from Springfield to Sacramento, the Recording Academy continued to empower artists and creators through impactful state Advocacy Days. These Advocacy Days highlighted the Academy's unwavering commitment to championing legislative measures that protect and favor artists in the ever-evolving digital landscape.

In Springfield, Illinois, Recording Academy members from the Chicago Chapter convened with members of the Illinois General Assembly to address pressing concerns surrounding the misuse of individuals likeness in the age of generative artificial intelligence.

Central to the discussion was the proposed legislation, HB 4875/SB 3325, which aims to modernize Illinois's Right of Publicity law to specifically address the challenges artists face from AI-generated creations. Since the legislation's introduction the Recording Academy has been a staunch advocate for HB 4875/SB 3325 and how it establishes key safeguards and enforcement mechanisms to ensure an individual's identity is not misappropriated.

Just 24 hours after Advocacy Day in Illinois, the legislation swiftly passed the House by a vote of 79-24 and is now headed to the Senate. Should it be enacted into law, Illinois would become the second state in the nation to proactively protect creators from having their likeness misused by generative AI, setting a vital precedent for other states and the federal government to follow suit. The Recording Academy's advocacy efforts in Springfield reflect a broader commitment to fostering an environment where artists can thrive without fear of exploitation or infringement.

Meanwhile, across the country in Sacramento, California, Recording Academy members from the San Francisco and Los Angeles Chapters joined California for the Arts for its annual Arts Advocacy Day, amplifying their voices in support of legislation that empowers creators and protects their interests. In addition to advocating for robust support for the arts and arts-related funding, among the bills discussed were AB2602 and AB1836, which tackle critical issues ranging from informed consent regarding the use of digital likeness to posthumous protections for deceased individuals.

AB2602 represents a significant step forward in empowering creators by granting them greater control over their digital identity. By requiring informed consent in contracts or negotiations involving digital likeness, the bill promotes transparency and fairness, ensuring that creators retain agency over how their likeness is represented and utilized.

Similarly, AB1836 addresses a glaring gap in California's current Right of Publicity law by extending protections to include deceased creators. In an era dominated by AI-generated replicas, safeguarding individuals' likeness from unauthorized use, even after death, is paramount to preserving their legacy and protecting their families' interests.

As Recording Academy members continue to advocate tirelessly on behalf of artists nationwide, these advocacy days serve as a reminder of the Academy's pivotal role in shaping legislation that fosters a more equitable and supportive environment for creators. By working with creators and amplifying their collective voice, the Academy is effecting meaningful change and paving the way for a brighter future for the music community.

The New York State Senate Passes Bill to Protect Creative Expression: Here's What You Need To Know

On Tuesday, April 30, the Recording Academy will host its annual GRAMMYs on the Hill Awards, Washington's premier annual celebration of music and advocacy, bringing together congressional leaders and music makers to recognize those who have led the fight for creators' rights. 

Sponsored by City National Bank and benefitting the GRAMMY Museum, this year's awards will honor nine-time GRAMMY winner Sheryl Crow and Senators John Cornyn (R-TX) and Amy Klobuchar (D-MN) for their contributions to support music creators. Hosted by singer and actress Candiace Dillard Bassett, the awards dinner will be held at the Hamilton Live in Washington, D.C., and will feature live performances and special guests. 

"Protecting the rights of creators lies at the core of the Recording Academy's mission," said Harvey Mason jr., CEO of the Recording Academy. "GRAMMYs on the Hill is an opportunity to celebrate the artists and our nation's leaders who champion this cause, and to acknowledge music's unifying power. We're grateful to Sheryl and Sens. Cornyn and Klobuchar for their tireless efforts in safeguarding the music community and are thrilled to be recognizing them later this month in our nation's capital."

"Receiving this award from the Recording Academy is a tremendous honor for me, because protecting the rights of creators is more important now than ever before,” said Crow. “In this age where technology is changing the world faster than we can adapt, we need clear eyes to see both the opportunities and the challenges ahead, so that artists are not disadvantaged any more than they already are. Music nourishes our humanity, and I am proud to be recognized as an advocate for the protection of the people who make it."

"As a Texan, a love of live music is in my blood, and I've been proud to lead the charge on legislation that helps artists, entertainers, and venues meet the needs of their fans, including the Save Our Stages Act and the Fans First Act," said Sen. Cornyn. "I want to thank the Recording Academy for honoring me, and I look forward to continue to work on behalf of performers and fans across Texas and the nation."  

 "It's an honor to be recognized by the Recording Academy, an organization that uplifts performers, songwriters, and other music professionals in our country," said Sen. Klobuchar. "Music has the power to bring us together and it is something we can never take for granted. That’s why I fought to pass the bipartisan Save Our Stages Act with Senator Cornyn to ensure independent arts venues survived the pandemic, and why we are working together to improve the ticketing experience with the Fans First Act. There's nothing like live music and concerts, and I remain committed to ensuring artists can continue to share their music with the fans who love it." 

Crow has dedicated much of her life to activism, supporting policies and philanthropic endeavors close to her heart. In 2000, she co-founded the Recording Artists' Coalition with previous GRAMMYs on the Hill honoree Don Henley to protect creators' rights and change unfair industry practices. Her advocacy for artists and songwriters continued through congressional testimony, editorials, artist petitions, and more. In 2009, the Recording Artists' Coalition formed an alliance with the Recording Academy to continue its mission as a program within the Academy's Advocacy office. Recently, she has been vocal about the threat that AI presents to music creators, including on her new song "Evolution," which grapples with the future impact of artificial intelligence on humanity and the planet. As a philanthropist, Crow is known for her passionate support of multiple charities, including MusiCares, The Breast Cancer Research Foundation, The World Food Program, Feeding America, ADOPT A CLASSROOM, the Elton John AIDS Foundation, Pelotonia, the Delta Children's Home and many other worthy causes. 

Read more: How The Recording Academy Is Redoubling Its Efforts To Protect Creators From AI Risks

Crow is a nine-time GRAMMY winner and was inducted into the Rock and Roll Hall of Fame in 2023. Her first nine studio albums have sold 35 million copies worldwide; seven charted in the Top 10, and five were certified for multi-platinum sales. Her songs defined the third wave of feminism, a rocker's ability to sweep the pop charts without losing any edge and enough wide-open Midwestern joy to captivate the world.

Cornyn and Klobuchar are the congressional honorees being recognized for their stalwart support of creators and their collaborative efforts championing key policies in support of the music community. During the COVID-19 pandemic, Sens. Cornyn and Klobuchar provided a critical lifeline for music through the Save Our Stages Act, which provided $16 billion in federal assistance to shuttered venues and represents the largest federal investment in the arts in U.S. history. In this Congress, they are working to reform live event ticketing through the Fans First Act. Introduced in December 2023, the legislation would address flaws in the ticketing marketplace by increasing transparency, protecting consumers from deceptive practices, and holding bad actors accountable. 

The day after the event, on May 1, the Recording Academy will host the annual GRAMMYs on the Hill Advocacy Day, which brings current and past GRAMMY winners and nominees, along with other esteemed industry leaders, to meet with lawmakers to discuss issues facing today's music creators. The day is recognized as Capitol Hill's largest and most prestigious legislative event for music. This year, music creators will convene with members of Congress to advance key issues that the Academy and its members continue to advocate for, including: 

• Protecting the image, likeness and voice of individual creators from AI fakes through legislative measures such as the No AI FRAUD Act and the No FAKES Act discussion draft.

• Reforming the live event ticket marketplace to better protect artists and fans through legislation including the Fans First Act and the TICKET Act.

For the first time in 2024, GRAMMYs on the Hill will expand beyond the traditional two-day event to reflect Music's Biggest Week in Washington. On May 3, the GRAMMYs on the Hill Future Forum will be held in partnership with the Human Artistry Campaign, and will explore the impact of artificial intelligence on the music community.

Since its inception, GRAMMYs on the Hill has hosted award-winning artists and applauded congressional leaders alike, including 13-time GRAMMY winner Pharrell Williams, then-Vice President Joe Biden, two-time GRAMMY winner Garth Brooks, former United States Secretary of State and Sen. Hillary Rodham Clinton (D-NY), four-time GRAMMY winner Missy Elliott, former Sen. Orrin Hatch (R-UT), 28-time GRAMMY winner Quincy Jones, seven-time GRAMMY winner John Mayer, former Speakers of the House Nancy Pelosi (D-CA) and Kevin McCarthy (R-CA), 16-time GRAMMY Winner Alicia Keys, U.S. Senate Majority Leader Chuck Schumer (D-NY), and more. The annual advocacy event has also led to several major legislative wins for the music industry, most notably the Music Modernization Act. 

Ticketing Reforms Make A Big Leap In Maryland: Here's What You Need To Know

The Recording Academy celebrated last week the advancement of improved ticketing reforms as Maryland achieves a groundbreaking milestone with the passage of SB 539. This legislative triumph not only means a new era of consumer and artist protections for live event tickets, but also positions Maryland as a national leader in holding ticket resellers accountable for fraudulent and deceptive practices hosted on their platforms.

"While fans suffer because of this broken system, so do artists" declares a collective statement of support from the Fix the Tix Coalition, which includes the Recording Academy as a founding member. "Predatory resellers view tickets as nothing more than commodities to be traded for outrageous sums, throwing away the cultural and communal value they provide for our society. They exist to undermine the hard work, talent, and livelihoods of artists, inserting themselves as unnecessary and unwanted middlemen who make their money off the backs of the artists and venues who partner to make these events happen."

This legislation introduces a series of pivotal measures aimed at safeguarding consumers and enhancing transparency in the ticketing industry. First, the bill prohibits deceptive practices such as the selling of speculative or counterfeit ticket sales, shielding concertgoers from exploitative practices used by some ticket brokers and resellers. Second, online ticket resale platforms will face increased accountability under Maryland's Consumer Protection Act.

Additionally, transparent pricing practices will be enforced throughout the ticket purchasing process, ensuring consumers have clear and accurate information. Most notably, this includes standards that ensure a breakdown of the face value price, and any fees, is made clear to the consumer throughout the purchase.  

"We're getting used to paying these exorbitant prices. It's funny, now if you get a ticket for face value, that's apparently a big deal," stated Delegate C.T. Wilson, who introduced the legislation in Maryland's House. "That shouldn't be a big deal. We've been tricked into accepting this."

The enforcement of SB 539 seeks to dismantle predatory practices that have long plagued the ticketing industry. From the moment a show is announced, genuine fans are confronted with the uphill battle against scalpers and resellers, who exploit loopholes and employ deceptive tactics to profit at the expense of both fans and artists.

"Legislation like SB 539 is vital to protecting fans, preserving equitable access to entertainment, and restoring balance to the currently broken ticketing ecosystem," the collective statement emphasizes. By removing the profit motive from these practices, such as using illegal bots and price gouging, Maryland's bold legislative actions sets a precedent for other states to follow suit in protecting consumer rights and ensuring a better concert experience for fans and artists alike.

The Recording Academy was one of the many stakeholders who actively worked to pass the legislation and will continue to work towards equitable ticketing practices across the country. There is a collective aspiration that the passage of this legislation in Maryland will serve as a catalyst for change at both the local and federal level.

The Academy remains a staunch advocate for ticketing reform, ensuring that every fan can enjoy the magic of live entertainment without fear of deception or exploitation.

The New York State Senate Passes Bill to Protect Creative Expression: Here's What You Need To Know