IMRO: A Year In The Life

IMRO

IRISH MUSIC RIGHTS ORGANISATION

A YEAR IN THE LIFE

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IMRO: PUTTING MUSIC FIRST In advocating and campaigning for Irish music creators, IMRO plays an essential role not just in the domestic music industry, but in Irish culture as a whole.

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the Irish music scene.

In a real sense, there are two frontlines, one of art and the other of commerce, and they are not always comfortable bedfellows. To nurture the former, IMRO has created and supported numerous collaborative initiatives, which encourage songwriters and composers to explore and develop their skills and ambitions.

They have been equally active on that other key battlefront, playing a crucial role in educating the general public – as well as those in the media and in the broader commercial community – about the legal ramifications of copyright ownership and respect for intellectual property rights. IMRO actively protects the copyrights of all its members, campaigning for more appropriate remuneration for the use of their copyrighted material, and advocating against the casual misuse of their works by those who undervalue music, or who do not even acknowledge the rights of copyright holders.

On a daily, and a weekly basis, IMRO strives to improve the collection, distribution and redistribution of royalties on behalf of their Irish and international members, through the use of stateof-the-art digital technology. IMRO has helped to create a sustainable situation whereby songwriters, composers and copyright owners the world over are now in a better position to protect their copyrights, and to demand adequate remuneration for the use of their works. Alongside others, IMRO has fought against the bizarre notion that all music should be free, and are clearly winning that argument, as recent developments at EU level have indicated.

IMRO provides over 12,000 members with a range of invaluable services, from global royalty collection, bursaries and grants, to national and international

Glen Hansard Photo: Dani Fro

“IMRO’s achievements and level of professionalism have been widely praised in the international music industry.”

he setting up of the Irish Music Rights Organisation (IMRO) as an independent music copyright collection agency in the ‘80s was confirmation of the Irish music industry “taking its place among the music nations of the world”. Ireland had already been acknowledged internationally as a major source of musical talent, being the fifth largest producer of hit artists for the global market. The country had also become a “bucketlist” destination for superstar touring acts, talent scouts, fans, musical explorers and recording artists alike.

To music scene insiders, this impact was no surprise. Our treasure chest of classic songs had touched successive generations of artists all over the world, including Bob Dylan, The Beatles, Kate Bush, The Byrds, The Beach Boys – and that’s only some of the Bs! But we also had a deep respect for the music of other cultures. Thus, IMRO arrived into a fertile music scene with a notable past and a glorious future. That scene has continued to grow and prosper, with a pride and professionalism that’s the envy of many outsiders, who marvel that an island of about six million inhabitants can be so culturally rich and commercially astute.

But then, music isn’t a casual part of who we are. It is central to our culture, and an essential ingredient in our daily lives. It’s the soundtrack to virtually every event, every rite of passage – all of our triumphs and disappointments. But a rich musical landscape does not materialise by itself. It must be nurtured by musicians, composers, music lovers, the media and the industry. And IMRO has been notably proud to play its part on the frontline of the forward march of

IMRO AND MENTAL HEALTH

Clockwise from opposite page: Fontaines D.C., Glen Hansard, Pillow Queens, The Academic, WIld Youth, Vulpynes.

Vulpynes / Wild Yotuh/ Pillow Queens Photo: Miguel Ruiz

showcasing opportunities. They engage with government and the political system in an effort to enhance the environment for music creators in Ireland. In addition, they have helped the wider public to value music as a career, and work constantly towards improving supports for those already working in the music industry.

IMRO have been key players in the improvements in music education in Ireland, and are sponsors and supporters of a wide range of initiatives and events. These include television programmes showcasing original talent, competitions, festivals, showcases, summer schools, and the IMRO Radio Awards. The provision of travel grants has been a particular boon to members, and application forms can be accessed on imro. ie. The website is also a mine of useful information for songwriters and copyright holders, providing ample evidence of IMRO’s engagement with all aspects of the creative musician’s life.

It has also collaborated with other relevant organisations, including the Screen Composers Guild of Ireland; AIC (Association of Irish Composers); IASCA (Irish Association of Songwriters, Composers and Authors); Hot Press; First Music Contact and RTÉ. This is all part of IMRO’s ongoing commitment to Irish talent. With mental health a daily topic around the globe, IMRO has also sponsored initiatives that focus on the health issues affecting musicians in their professional and personal lives.

Constantly looking to innovate, IMRO’s achievements and level of professionalism have been widely praised in the international music industry. To date, it has partnered with more than 80 global licensing bodies. None of this has

happened by accident –IMRO are continually innovating. As a data driven business that is digital to its core, the focus has always been on innovating not for the sake of it, but for the sake of its members.

Understandably, many Irish people see music as either an exciting source of entertainment or as a valuable part of our culture, but it also makes a significant commercial impact on the nation.

The music industry contributes more than €700 million to the Irish economy annually, and at least 13,000 people in Ireland are employed in the music sector. The success of a spectacular, and apparently endless, parade of Irish artists on the international stage brings respect and admiration to the country as a whole all across the world. As a central ingredient in our national identity, music also attracts tourists. According to data gathered

by Fáilte Ireland, of the nine million who visited in 2017, 85% said that our history and culture were important to their decision to come here.

Furthermore, the composing and playing of music has an impact that goes way beyond artistic and commercial factors. It plays an underappreciated role in helping young musicians learn life-enhancing skills that can assist them in other spheres.

On so many levels, our lives are made richer by music.

In a very real sense, IMRO has shown that everyone in the music community can play a role in building a brighter future for music in Ireland and in building a brighter future for Ireland in the world. In putting music first, IMRO is doing an invaluable job for Irish culture and society.

Long may it run.

Last year, IMRO hosted a seminar on Mental Health and Wellbeing Issues Facing Music Creators. It highlighted the reality that, while fans often take solace and comfort in music, songwriters and musicians can feel isolated and pressurised, by the demands of what is a very competitive and often unforgiving trade.

Encouraged by the positive feedback to last year’s event, IMRO have since hooked up with SelfMade, an organisation whose goal it is to celebrate the work of DIY musicians, and to create supportive spaces, where people can explore what’s involved in getting a music project, or career, off the ground.

Under the Dublin II banner, an event – sponsored by IMRO and housed in the Tara Building (11-15 Tara Street, Dublin 2) – was designed specifically to look at mental health issues as they affect the Irish music scene, and to identify the challenges facing musicians in their professional and personal lives, with contributions from Maria Kelly, Paddy Hanna, Caoimhe Barry (Wyvern Lingo), Michael Pope (Le Galaxie), Louise Bruton and Aoife Ruth.

For more info, check out weareselfmade.io or see imro.ie

RECENT CHANGES TO BOARD STRUCTURE IMRO is run for and by its members.

With the issue of corporate governance in the air, its board last year initiated a review focusing on the election of directors. As a result, two key changes were proposed and approved by the IMRO membership.

The first is to elect directors using the PR voting system, as used in Ireland’s general elections, rather than the “first past the post” method.

There is a widespread belief among academics that the PR voting system is a more democratic method. And, of course it is. The second change approved is that elected directors who have served 20 years will not be eligible to serve for a further term.

External directors, who are co-opted by the board, will be limited to 12 years’ service. The regular rotation of directors is adopted in countless organisations, as it maintains a constant supply of fresh thought.

These changes are further evidence of IMRO’s ongoing willingness to respond to the developing needs of its members.

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IMRO SPECIAL

VICTOR FINN

TAKING OUR RIGHTFUL PLACE IN EUROPE IMRO played a pivotal role in getting the EU to adopt the Copyright Directive, which will ensure that creators get properly paid for their work. CEO VICTOR FINN talks to STUART CLARK about the latest industry developments, and why when it comes to success there are no frontiers for Irish artists.

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here’s been no shortage of top notch amps on ‘11’ Irish bands these past few years – Otherkin, And So I Watch You From A Far, Fighting With Wire, Fangclub and Vulpynes all take a bow.

The Fontaines D.C. infiltrating the UK Top 10, with their album Dogrel is the latest in a long line of break-through acts.

“Rock is back in a major way,” enthuses IMRO CEO, Victor Finn. “I was driving up from Wexford over the weekend and listened to the album three times back to back. It’s punk one moment, almost ska the next and very much of its place.They’re a Dublin band singing about the city their from in their own accents.

It looks like America will be next for them.”

That certainly seems to be the case with the Fontaines D.C. appearing last week alongide Hollywood A-Listers Alexander Skarsgård and Sebastian Stan on The Tonight Show With Jimmy Fallon.

“Irish music is stronger than ever at the moment,” Victor resumes. “I don’t think people realise how big Walking On Cars, for example, are in Germany. A

lot of acts tend to look at the UK or the US first, but continental Europe is a massive market to tap into and could become even more attractive post-Brexit.

Just this morning we heard that Hozier is up for ‘Best Song Musically and Lyrically’ with ‘Nina Cried Power’ at the Ivor Novello awards. Him getting to number one in America in March with Wasteland, Baby! is another incredible achievement and puts him in the same elite club as U2, Sinéad O’Connor and Niall Horan who’ve also topped the Billboard album chart.”

Turning a nomination into silverware last week was Irish DJ and composer David Holmes whose Killing Eve soundtrack earned him a BAFTA TV Craft Award.

“The likes of Netflix, Amazon Prime, HBO and Showtime have created far more opportunities for writers to get their songs and scores out on TV,” Victor reflects.

“Recent key song placements by The Cranberries, Kodaline & James Vincent McMorrow, to name but a few, in critically acclaimed hit shows is taking IMRO members music to new audiences around the globe.”

When it comes to Irish acts being successful, Victor notes, there really are no frontiers anymore.

Gavin James has a song that’s played every time

“From the smallest to the largest,we ensure that everybody gets paid.”

VICTOR FINN

there’s a romantic scene in one of the mostwatched Brazilian soap operas or telenovelas as they’re known there. We did a social media listening project recently with Gavin, which tracks where people are being talked about on the likes of Twitter and Facebook.

That’s increasingly something we’re doing for our members.”

Of whom there are now over 12,000.

“From the smallest to the largest, we ensure that everybody gets paid,” Victor stresses. “Among them are songwriters that don’t perform who are 100% dependent on copyright royalties for an income. The market dictates who’s most popular but all songwriters and publishers get the same amount per play. We’re using music recognition technologies in overseas markets where Irish repertoire is especially strong to make sure every single play is recorded.

“I think everybody, when they start out, feels divorced from the music industry, but it’s important for them to get in contact with IMRO as early as possible in their careers.

The minute they get any broadcast activity at all, they should be joining us. We stand up for music and the people who make it and perform it.”

ALWAYS WORKI NG FOR YOU Tucked away behind Baggot Street, IMRO’s Copyright House HQ hosts regular free events, the latest of which on May 17 was the all-day Essentials of Music Management Seminar.

“There seems to be a course, masterclass or seminar every other night of the week in the area downstairs,” Victor enthuses. “I’ve been struck by both the generosity of those who are established in the industry, and want to share their experiences of it, and the level of engagement from the people attending the events who are carefully weighing up what they want to do in the business. The questions being asked are really perceptive.”

IMRO’s effectiveness as a lobbying group was evident in March when they played a significant role in getting the European Parliament to pass the Copyright Directive, which recognises the creative and cultural value of copyright and artistic works.

“We directly met with every one of Ireland’s 11 MEPs,” Victor explains. “The first reading only passed by five votes, so that proved to be very important. All of our affiliates around Europe were mobilised to lobby their own MEPs through GESAC, our umbrella body in Brussels. The Copyright Directive wouldn’t have passed without that coordinated effort. The work’s not done yet.

We still have two years to implement the directive and need to ensure that it’s done in a way that’s fair to creators and fair to the tech industry. As we’ve always said, IMRO and its members work side by side with tech.”

“Spotify and streaming services are where it’s at. They’re tremendously convenient.

The free ad service model is a necessity to get people used to streaming music, and hopefully to encourage them into being fully paid subscribers, which is happening.”

In a significant development, Victor was last year appointed to the Board of GESAC or, to give it its full name, the European

“I’m not sure if any other country is so defined by its creative arts.”

IMRO SPECIAL

From top: Hozier, Colm Mac Con Iomaire and Lisa Hannigan

Grouping of Societies of Authors and Composers, which represents over a million creators.

“It’s important for IMRO to have our own seat around the table in Brussels,” he acknowledges. “The Copyright Directive campaign has made a profound difference to how the creative community is viewed by our regulators and our parliaments. They finally realised that the status quo couldn’t be allowed to continue because creative earnings were just going through the floor.

The old mechanical income simply isn’t there anymore. The tech industry, nevertheless, was building vast fortunes and empires on the back of using creative content for free.

We’re not saying we don’t want them to use our content; we’re saying please do disseminate it as widely as possible, but it’s entirely fair and reasonable that we get fair payment for it. That’s the argument in a nutshell.”

Ireland’s stock in the global industry is already high thanks to our cultural icons.

“I haven’t been anywhere in the world where they don’t know U2 or, in China especially, Riverdance. Often the only thing they know about Ireland is the music, which really opens doors. I’m not sure if any other country is so defined by its creative arts.”

Along with copyright reform, the other key issue for GESAC of late, unsurprisingly has been Brexit.

“The influence of our UK colleagues will be significantly lessened if not eliminated in Brussels, so it’s really important that there’s a voice for the Anglo-Irish-American repertoire there. GESAC meets four times a year, so we’re able to react to issues in a timely fashion. IMRO itself has various contingencies for dealing with Brexit depending on what form it takes. If it’s a really hard Brexit, it could affect sterling earnings, which is why we’re encouraging people to look at other markets as well.”

Victor is generous in his praise for Eleanor McEvoy who brings a wealth of musical experience to her position as IMRO Chairperson.

“Eleanor’s been gigging and recording for years, and is on top of all the issues,” he states. “She knows how the business operates on a practical level. She knows the importance of copyright and intellectual property, and how the two intertwine with commerce and art. Eleanor was instrumental in spearheading the fight for getting the Copyright Directive through the European Parliament. She was the public face of the campaign here in Ireland and managed to garner the support of a lot of artists who mightn’t otherwise have put their hands up.

It’s more credible when it comes from the artist or the creators themselves rather than guys like us in the background.”

Overall, Victor concludes, the health of the industry here is pretty rude.

“Our financials this year have been really good; we’re up 14% across the board,” he says. “The huge appetite in Ireland for open air festivals means that live is significantly up. We’re moving from the free phase to the subscription phase, which is increasing revenues globally. There’s an awful lot to be positive about.”

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IMRO SPECIAL

ELEANOR McEVOY

Fighting for Your Rights Having lobbied for a new EU directive which will ensure much-needed digital rights for artists, IMRO Chairperson Eleanor McEvoy tells us about some of the other achievements she’s been part of since taking on her role.

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went out and told the truth, if only because it’s the easiest thing for me to remember!” laughs Eleanor McEvoy, when asked about being given the opportunity to speak in front of the European Parliament.

The Irish songwriter and musician – who has been the chairperson of IMRO since mid-2017 – doesn’t like to mince her words. In the handful of times that Hot Press has interviewed her in recent years, she’s spoken in clear terms, outlining exactly what IMRO does, how it helps music creators, and how proper legislation for content creators – on a European-wide level – is essential in the age of the internet. This is perhaps why she was elected to the role in the first place.

“I saw that income was going down and I could see it was only going to get worse,” she says, speaking about her own place as a musician. “So I thought, ‘OK maybe there’s something that we can do’. I thought that – because I have some kind of understanding of what IMRO does and about musicians’ rights and royalties – maybe I can explain this to a wide range of creators and to people that are coming up, in a way that might help rally their support.”

As a professional musician for several decades now, Eleanor noticed the sharp effects of the advent of online platforms for music and streaming sites. She notes that many of these effects were positive, but that some were becoming increasingly harmful.

“Looking back to 20-30 years ago, when I started, you can see how incomes have declined with the advent of online music sharing and streaming,” she says. “And look, we can

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embrace a lot of what the internet has done for musicians – it’s great that I can Google whatever I want, I can Google a piece of Handel, I can Google Walking On Cars and get it right away – I love that, I love technology for that. But at the same time, you need to be paying people if you want to use their content.

Which is what the multinational tech companies are doing here: using people’s music.”

IMRO, alongside other music rights organisations throughout Europe, lobbied heavily for the EU Copyright Directive. The directive ensures a better deal for content creators by requiring the likes of YouTube and Facebook to take responsibility for copyrighted material being shared on their platforms, as well as by giving creators an opportunity for better remuneration by the big sites which use their content.

The European Parliament passed the directive by a slim, but conclusive, margin back in April. Eleanor explains that it was a tough battle to achieve this victory.

“It was a hugely lengthy process,” she explains. “It was a culmination of four or five years’ work to be honest. But the last two years were very, very intense. It involved lobbying constantly, at European level. That was hard enough, but the real problem was the people we had lobbying against us.”

She gives a wry laugh. “You had all the richest people on the planet, the most powerful people on the planet, lobbying against us – people who’ve interfered in elections – so it was quite something that we managed to pull everyone together, that we managed to get everyone in Europe to come together on this. So I think it’s good that democracy won out in the end, because as we’ve seen, democracy is constantly under threat.”

Big tech wasn’t happy with the result, but there were also a

“You need to be paying people if you want to use their content, which is what the multinational tech companies are doing here.”

Clockwise: Ruth-Anne Cunningham, Picture This, Johnny McDaid, Walking on Cars

number of internet users who proclaimed that this move would be the ‘death of the Internet’ and the ‘death of memes’, despite the fact that there were numerous provisions in the directive to ensure, and further protect, freedom of expression.

“It just wasn’t true,” says Eleanor. “The text allowed for memes, it allowed for gifs, it allowed freedom for smaller enterprises starting off. So, basically, people who proclaimed the death of the internet lied – or they got people to lie for them. It was quite sinister actually, it was the very definition of fake news, and it was great that that didn’t win out in the end. And now, we want to embrace technology. We want to work with the big companies. We’re saying to them, ‘We’re delighted for you to be earning money, we just want creators to be earning money as well.’”

Aside from the Copyright Directive, what are some of Eleanor’s other proudest moments during her tenure?

“Snow Patrol’s Johnny McDaid gave this amazing speech at the Independent Broadcasters Awards recently and he talked about IMRO and that was incredibly moving for me. He spoke about the IMRO team and all the positive work that they were doing. It meant a lot, for someone who is at his level, that he felt we were serving him well.

“I also feel proud when I’m in the IMRO building and we have all these young acts in performing. We have all these events and we meet the up-and-coming artists and it’s great to hear them talking about the work that IMRO’s done for them.”

Eleanor is also quick to mention that both the IMRO board and the IMRO team have been behind everything that they’ve achieved in recent years. What are the organisation’s plans going forward?

“The big thing now – after legislation passing in the EU – is getting it made into law in Ireland. We’ve got two years to do that. It’s not going to be easy because Twitter, Facebook, LinkedIn, Google – they all have their headquarters here. So that’s going to be quite a challenge but it’s important that we do that.

“Something else that we’re doing now is we’re going into the schools to talk to students about copyright law.

A lot of the kids now are getting their music for free and they maybe don’t understand how music creators make a living and how it all works. So teaching them, while they’re young, is a great way of being able to explain, ‘OK, you love music, we love music, this is what you have to do for artists to be able to sustain their craft.’

And they get it. Students understand it. And once they understand it, they’re happy to pay for it. So that’s been an amazing thing to do.

“In recent months we’ve also backed Keychange, an organisation that’s trying to achieve gender balance in the music industry. We’re also working with a collective of artists called Sounding The Feminists. We’re basically looking at different ways in which we can improve gender balance in the music industry. It’s about creating balance and making sure that people, who’ve been overlooked, now get a fair opportunity.”

Can’t say fairer than that...

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IMRO SPECIAL

EQUALITY IN MUSIC

NEW POWER GENERATION

Over the years, IMRO has consistently pushed for gender balance in the Irish music industry. We take a look at its work with important organisations like Keychange, Sounding The Feminists and Girls Rock Dublin. By Lucy O’Toole

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ou may be aware of IMRO’s important work collecting and distributing performance royalties, but did you know that the organisation also plays a crucial role in fighting to end inequality in the music industry? Whether sponsoring groundbreaking gender balance initiatives, hosting seminars, or supporting the next generation of young female musicians, IMRO has continuously positioned itself at the forefront of the battle for gender equality in music.

Although female pop stars like Beyoncé and Ariana Grande are headlining some of the biggest stages around the world, it’s important to also recognise that women remain severely underrepresented in numerous roles across the music sector. In January, the Annenberg Inclusion Initiative in Los Angeles published their second annual report on gender and race in popular music, and found that, across 700 popular songs from 2012 to 2018, only 2.1% of producers were women.

The situation in Ireland and wider Europe is just as challenging. However, IMRO is one of several major organisations looking at ways to address this lack of representation.

In December 2018, IMRO announced its proud sponsorship of PRS Foundation’s Keychange initiative – a project that’s tackling gender inequality at music festivals head-on.

“We have a pledge that festivals can sign up to, so they can target reaching a 50:50 gender balance by the year 2022,”

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“Right now we have an opportunity to respond and commit to tangible change within the music industry.” project manager Jess Partridge told Hot Press earlier this year. “Over 150 festivals have signed up since we started a year ago, and it’s constantly growing.”

Keychange is also a talent development programme, investing in the next generation of female talent in music. In the first stage of the programme, Partridge revealed that Keychange brought “a group of 60 women to different festivals, and has put on workshops to give the women an opportunity to network.”

By partnering up with Keychange, IMRO has joined a prestigious list of sponsors that includes the likes of Spotify, Soundcloud, the British Council, Songtrust and various other national performance rights organisations. IMRO’s support is enabling female artists from Ireland to take part in this unique initiative, and to collaborate with artists from a network of 12 countries, as Keychange continues to expand its programme. Ireland’s Hard Working Class Heroes Festival is a participant in the initiative.

Speaking at the announcement of the partnership, IMRO’s

EQUALITY IN MUSIC

IMRO SPECIAL

Opposite page: Girls Rock; this page, clockwise: Wyvern Lingo, Ailbhe Reddy and Le Boom

Eleanor McEvoy stressed that that “international collaboration is essential to the creative and business development of all artists and the music industry’s future success.

“Enabling more women access to international networks and new markets at critical stages in their career will help them realise their potential as future leaders of an industry that is ready for and will benefit from change,” she continued.

“Right now we have an opportunity to respond and commit to tangible change within the music industry. Our hope is that this will be the start of a more balanced industry which will result in benefits for everyone.”

Of course, the fight for gender equality in the music industry is a multifaceted one. Seminars, public meetings and workshops are all crucial steps towards sparking a wider conversation about representation in the music sector. With support from IMRO, Sounding The Feminists (STF), an Irish-based, voluntary-led collective of composers, performers, musicologists, critics and promoters, have organised a series of free music industry seminars for female (cis and trans) and non-binary artists of any age or experience level.

Through these ‘Pitch Perfect’ professional development workshops, STF looks to address the lack of representation across the music sector, while also building a community where gender issues can be readily discussed. Participants are offered instruction in how to best pitch their ideas to organisations, publishers, agents and radio stations. In doing so, the women learn how to carve out a positive space for themselves within the music sector.

Through IMRO’s sponsorship, STF have been able to cover the expenses of participants travelling to the workshop from outside Dublin City Centre – ensuring that the free seminars can be accessed by all.

IMPORTANT RESOURCE IMRO are also passionate about building an inclusive world for the next generation of Irish talent, and as such, are nurturing young female musicians through their sponsorship of Girls Rock Dublin. Part of the global Girls Rock movement, the camp provides a unique environment in which 20 teenage girls can express themselves through music tuition and collaborative workshops.

Led by coaches active in the local independent music scene, along with some very special guests, the camp provides an invaluable space for young female artists, many of whom describe feeling intimidated by the male-dominated music world when starting out.

“Our aim is to build up self-esteem in girls, but what we’re ultimate-

ly trying to do is bring about a new, confident generation of female musicians, and a gender balanced music scene,” Rossella Bottone of Girls Rock Dublin tells Hot Press.

“Last year I found out about the IMRO sponsorship, and decided to get in touch with them to see if we matched their criteria,” she continues. “They loved our gender balance focus. This year we’ve applied again and got the same sponsorship, which is great. It’s nice to know that they really care about what a group of volunteers like us are doing.”

Based in the Sound Training College in Temple Bar, Girls Rock Dublin caters for those who identify as female (trans and cis) or gender non-binary, aged between 12 and 17. Since its launch three years ago, the non-profit group has passionately embraced and promoted diversity.

“Half of our 20 places go to applicants from low-income households and direct provision,” Rossella says. “We’ve recruited girls in direct provision through organisations that work with them directly, like MASI [Movement of Asylum Seekers in Ireland] and RAMSI [Refugee and Migrant Solidarity Ireland]. It’s an issue we’re really passionate about.”

2019 will also see the introduction of a Ladies Camp on the October Bank Holiday for artists over 18, as well as the launch of the Girls Rock Dublin Gear Library, in partnership with Dublin Public Libraries. The programme, which will allow teenagers to loan out music equipment, is sure to become an important resource for upand-coming, cash-strapped musicians.

WIDER SOCIETY With the support of IMRO, Girls Rock Dublin has also hosted the ‘Switched On’ interactive evening workshop, for women over 18.

Led by expert coaches, the participants were offered the opportunity to explore one of three key topics: live sound engineering, guitar and bass pedal effects, and vocal looping. The fee for the ‘Switched On’ workshops also went back towards funding the Girls Rock Dublin summer camp – allowing female musicians to support their younger counterparts, while also learning invaluable skills.

IMRO has also reached out to the next generation of emerging female talent by hosting songwriting masterclasses with Grammy nominee Carla Marie Williams. The interactive workshop coincided with Women’s History Month in March this year, and covered the fundamentals of songwriting, while simultaneously serving to empower Ireland’s future female songwriters, producers and artists.

While the struggle for gender equality in the music industry is far from over, the work of groups like Keychange, Sounding The Feminists and Girls Rock Dublin has ensured that the issue is finally coming to the attention of wider society. By working closely with these valuable organisations and initiatives, IMRO has taken significant steps towards making gender balance in the Irish music scene the accepted norm, allowing artists to concentrate on the important stuff – making music.

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IMRO SPECIAL

LIVE MUSIC AWARDS

All Together Now receive their Live Music Festival of the Year award

Mona Lxsa

Live at St Lukes receive the Munster award

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LIVE & KICKING IMRO’s longstanding support for the live music sector, including their annual Live Music Awards, has proven invaluable.

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REPORT: PETER MCGORAN PHOTOGRAPHY: RUTH MEDJBER & MIGUEL RUIZ

ou’ll be well-used to hearing it by the time you’ve finished reading our 16page feature on IMRO, but Ireland’s 12,500-strong music rights organisation really does go to every length possible to ensure that music creators get the royalties they deserve from the music they make.

But that’s only part of IMRO’s story. With music creators’ incomes dwindling due to the impact of the tech industry, artists are increasingly relying on their live performances in order to make money.

IMRO is crucial here as well. Since their creation, the organisation has championed all manner of live music venues in Ireland, celebrating the dedication and passion of those who work in the live music industry.

This is important on two fronts. At its most basic, it makes sense to support artists and those responsible for making live music happen.

Without the proper support, we would not have even half of the incredible artists that have

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become integral to Ireland’s cultural make-up.

For every Lisa Hannigan, Declan O’Rourke, Delorentos, Cathy Davey, you have the Irish venues where they honed their craft and built up their fanbases.

On another level, a healthy live music sector makes economic sense. A 2017 report compiled by industry expert Justin Green, titled Let’s Celebrate, highlighted the value of the music industry to the Irish economy, indicating that for every €1 spent on a ticket in Ireland, an additional €6.06 was generated in the wider economy. This is plain to see, because whether it’s an artist performing in front of 80,000 people at Croke Park, or 80 regulars in a local bar, live music gets people out and gets them spending.

A L L - I R E L A N D A F FA I R One of the most tangible results of a thriving music scene is that there are world-beating venues across the island. The state-of-the-art 3Arena building, in the Docklands, has ensured that some of the biggest musicians in the world

always include a Dublin date on their touring calendars, while venues like the Olympia Theatre, Whelan’s, Roisin Dubh and more have taken on legendary status amongst musicians and music lovers.

But it’s also important not to overlook some of the more left-field venues which have been doing great things in recent years.

Earlier this year, Hot Press chatted to Una Molloy, who, as the tour manager for the extensively-travelled Lisa Hannigan, knows perhaps better than anyone else the sheer range of venues across Ireland.

“The scene is more vibrant than ever,” she told us. “What’s amazing is that there’s lots of venues popping up outside of the main hub of Dublin.

Myself and Lisa did a tour of loads of different towns throughout Ireland. That gave us a chance to go to some smaller venues. I couldn’t believe the amount of amazing places we discovered.”

Una is quick to point out that arts centres, small-town theatres, converted churches, and local bars have become the bedrock of the live

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Aiden O’Connor of Mike The Pies receives The Hot Press Venue of the Year Awards from Hot Press Editor Niall Stokes

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music scene for touring musicians. Listowel venue Mike The Pies and Bundoran’s The Chasin’ Bull are just two examples of how smaller, more remote locations are taking advantage of the fact that musicians are prepared to tour more extensively than ever.

L I V E M U S I C AWA RD S All of this hasn’t gone unnoticed by IMRO. The organisation’s own support for the live music sector culminates annually in the IMRO Live Music Awards, where venues and festivals are judged by IMRO members – then by the public – based on all the core elements which make a venue great, including atmosphere, sound and lighting, staging, diversity of programming, and staff and management.

Speaking at this year’s ceremony in Dublin, IMRO CEO Victor Finn praised the “vibrant and eclectic live music scene,” in Ireland, calling it “the backbone of the industry as a whole.”

He added: “We feel it is vital to acknowledge the venues and festivals who support live music from a musician’s first performance right through to internationally known headline artists on main stages. It is these venues and festivals across the country that allow music creators to continue making music and bring it to new audiences.”

IMRO’s 2019 Live Music Awards were a snapshot of the wide-range of different

venues that are keeping the music scene thriving in Ireland.

The Sugar Club, which was the National Live Venue of the Year and the Dublin Venue of the Year, is a perfect example of how an excellently managed venue can curate unique, innovative events, as well as bringing exciting artists to an intimate setting.

The Leinster Live Music Venue of the Year, The Spirit Store, is a marker of how Dundalk has become a hub for great music, while Ulster winner An Grianán Theatre is further proof that the North-West is rapidly developing into an another live hotspot.

Elsewhere, the stunning Live at St Luke’s Cork – the Munster winner – is one of the best examples of how previously hallowed places can be transformed in ways which are aesthetically pleasing, financially viable and which maintain the integrity of the location.

And Monroe’s of Galway, which has consistently championed local and national artists, was entirely deserving of the Connacht Live Music Venue of the Year award.

These entirely deserving winners – as well as Hot Press’ own selections of Mike The Pies, St Luke’s and The Chasin’ Bull – reinforced the fact that live music is flourishing in every part of the country.

Thanks to the support of the music-loving public, and IMRO, this will hopefully remain the case for years to come.

IMRO Live Music Venue of the Year 2018 Winners IMRO National Live Venue of the Year 2018 The Sugar Club, Dublin IMRO Dublin Live Music Venue of the Year 2018 The Sugar Club, Dublin IMRO Rest of Leinster Live Music Venue of the Year 2018 – The Spirit Store, Dundalk, Co. Louth IMRO Connacht Live Music Venue of the Year 2018 – Monroe’s, Galway IMRO Munster Live Music Venue of the Year 2018 – Live at St Luke’s, Cork IMRO Ulster Live Music Venue of the Year 2018 An Grianán Theatre, Letterkenny, Co. Donegal IMRO Music Festival of the Year 2018 All Together Now IMRO Small Music Festival of the Year 2018 Wexford Spiegeltent Festival IMRO Tech Crew of the Year Award 2018 Olympia Theatre, Dublin Hot Press Live Venue of the Year for 2018 Mike The Pies, Listowel with special Hot Press commendations going to Live at St Luke’s, Cork and The Chasin’ Bull, Bundoran.

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PA R T N E R S H I P S

SHOWCASE IN POINT Through their many partnerships and sponsorships, IMRO have provided countless invaluable platforms for Irish artists.

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IN 2017

, IMRO partnered with Dave Judge – proprietor of the most rock n’ roll barbershop in town, Abner Brown’s – to showcase the best of Ireland’s up-and-coming and established acts. IMRO’s First Cut Showcases have arranged intimate performances with the likes of Marc O’Reilly, Gavin James, Ailbhe Reddy, Mark Geary, Farah Elle, Bronagh Gallagher, Chasing Abbey and Wild Youth. Highlights are later streamed online across IMRO’s social media channels.

A truly unique venue, Abner Brown’s has long been a hotbed of rock action. Over the years, such luminaries as Ash, Mundy, Duke Special and The Hot Sprockets have all graced the cosy confines of the barbershop. Indeed, when REM frontman Michael Stipe visited the capital in 2015, he made a point to visit the special barbershop-cum-after hours venue.

Also in 2017, IMRO announced a new partnership with the Indiependence Music & Arts Festival that saw it take over hosting duties at the event’s (newly christened) IMRO Big Top Stage. Set in the foothills of the Galtee Mountains, on the idyllic Deer Farm, Indiependence has steadily grown in size from its first successful staging in 2006. The 2019 outing expects to attract 19,000 music fans from all over Ireland, the UK and Europe. Last year, the IMRO Big Top Stage attracted a huge amount of Irish and international talent, including Delorentos, HamsandwicH, King Kong Company, Everything Everything, Le Galaxie and rising Irish stars Fontaines D.C. IMRO have also brought their dedication for championing the best in homegrown acts to Ireland’s biggest festival. The Play The Picnic stage has been a huge success at the Electric Picnic since its inception in 2017, and has allowed some lesser known Irish artists to tread the boards at the massive festival. Following an open-call, the stage’s line-up is programmed by some of the key players in the Irish music industry: IMRO, RTÉ 2FM, Abner Brown’s, Keiron Black and Music Maker; and has featured such up-and-comers as Thumper, The Girl Talk, The Wood Burning Savages, Roisín Ó and Chasing Abbey.

As if that wasn’t enough, IMRO have been putting the brightest

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young Irish talent squarely in the crosshairs of some of the biggest names in the music industry at the annual Music Cork Conference (held last week), and at Output Belfast. Their Music Cork Showcase at Crane Lane Theatre and their IMRO & Music Cork Showcase in The Duke of York at Output are free events, allowing young artists to perform for, and meet and network with, both the public and industry professionals. These music conferences are about creating a forum for musicians and the public to hear the best industry professionals talk about their work and experiences; see the best new talent perform; and enjoy plenty of opportunities to network with speakers and delegates at intimate social gatherings and shows.

In addition to all of this, IMRO has also been a long time champion of the legendary Garageland Gigs, which have run in the capital for nearly 20 years. Started by Blink frontman and Irish music scene staple, Dermot Lambert, Garageland has been showcasing the best and the brightest at their monthly gigs in various venues around the city centre and nationwide, and on record with their 2017 compilation Garageland Volume 1. Garageland also exists online with RTÉ Radio 2XM’s Garageland with Dermot Lambert, and the newly launched Garageland TV on buzz.ie. For years the project has had unrivalled form for discovering the hottest new talents, with The Script, Kodaline, HamsandwicH, Delorentos and more all starting life out on the hallowed Garageland stages.

PARTNERSHIPS IMRO | RTÉ Scoring For Film Programme Following on from the success of previous collaborative film scoring programmes, IMRO and the RTÉ Concert Orchestra, in association with The Contemporary Music Centre (CMC) and Screen Skills Ireland, have brought together some of the very best emerging Irish filmmakers and composers to work on an exciting collaborative project

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“LUMINARIES LIKE ASH, MUNDY, DUKE SPECIAL AND THE HOT SPROCKETS HAVE ALL GRACED THE COSY CONFINES OF THE BARBERSHOP.”

INDIEPENDENCE PHOTO: KIERAN FROST SHOWCASE PHOTO CREDIT: CIARA MCMULLAN

to premiere in 2019. Following an open call, the focus of the project was a one day recording session at RTÉ studios with the RTÉ Concert Orchestra, recording original scores for short film submissions selected for the initiative. Films featured in this initiative have gone on to win awards at various national and international film festivals, clearly signalling the impressive creative output of Irish film composers and filmmakers.

Ireland’s Favourite Folk Song A new RTÉ series and national campaign in association with IMRO set out to identify and celebrate the songs that define us as a people. Ireland has a rich tradition of folk music. If we look at legends of the form like Luke Kelly, The Dubliners and The Clancy Brothers, right up to exciting new flag-bearers like Lankum, Ye Vagabonds and The Gloaming, we’re still barely scratching the surface. The campaign was launched by Ryan Tubridy on The Late Late Show, and thousands of songs were nominated for the award. The judging panel, chaired by Mary Black, selected 10 for the shortlist. The winning song ‘On Raglan Road’ was announced on the Late Late Show at the end of May.

Choice Music Prize IMRO are also partners in one of the biggest nights of the Irish music calendar, the annual RTÉ Choice Music Prize. Established to encourage, highlight, showcase and promote Irish music of excellence, the Choice Music Prize has been championing homegrown artists since the first gong was handed out in 2005.

Since then, such celebrated icons of the Irish scene as Julie Feeney, The Divine Comedy, Jape (a two-time winner!), Delorentos, Villagers, SOAK and Rusangano Family have all benefited from

the exposure that the prestigious award brings, not to mention the generous €10,000 prize fund offered by IMRO and the Irish Recorded Music Association (IRMA).

Other Voices: IMRO Other Room For 18 years, the Other Voices festival has brought musicians and artists from across the word to the tiny town of Dingle in West Kerry. What began as an intimate gathering in 2001 has blossomed into a three-day festival of music, song and storytelling, and has established itself as a distinctive fixture on the Irish music calendar. The IMRO Other Room at Other Voices was set up to provide a platform to rising musicians. In recent years they have moved from a closed set to one filmed in front of a live audience. Artists who have played the IMRO Other Room include Saint Sister, Villagers, James Vincent McMorrow, Spies, Talos and many more.

IMRO Radio Awards In 2017 IMRO became the title sponsors of the IMRO Radio Awards, the annual awards programme that recognises all areas of radio throughout the entire island of Ireland. The awards are judged by radio industry personnel selected on the basis of their relevant experience and expertise in the area, with awards covering all areas from music programming, sport, documentary, Irish language and more. Each year the IMRO Radio Awards inducts new members into its prestigious Hall of Fame. The 2018 recipients range from the well-known on-air personality Pat Kenny to CEO of FM104/Q102 Margaret Nelson. Also inducted last year were radio veterans best known for their behind the scenes work, Willie O’Reilly and Ian Wilson.

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SONGWRITING CAMPS

CHORUS OF APPROVAL

Over the past year, IMRO has continued to support songwriters by running a series of innovative songwriting camps. By Brooke Weber

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rom targeted workshops that enfranchise young women in the recording industry to events that allow writers to experiment with top-of-the-line equipment, IMRO’s camps have allowed up-and-coming talent to flourish. Notable initiatives include Grammynominated songwriter Carla Marie Williams’ camp last March in conjunction with IMRO, and Williams’ music empowerment organisation Girls I Rate. London native Williams began songwriting to deal with the ups and downs of past relationships. Combining her passion for artists like Alanis Morisette and Mary J. Blige, she crafted a sound all her own with the help of a guitarplaying mentor. That passion soon translated into a massively successful career, which saw Williams turn out top tunes for the likes of Girls Aloud and The Saturdays in the early 2000s.

After starting independent production company NewCrowd, Williams wrote the hit ‘Runnin’ (Lose It All)’ for Naughty Boy and Beyoncé, and her connection with the iconic singer doesn’t end there. She also penned the Lemonade track ‘Freedom’, featuring hip-hop game-changer Kendrick Lamar, which earned Williams Grammy recognition. Pop icon Britney Spears, too, can credit Williams with songs like ‘Private Show’ and ‘What You Need’.

Still, the path to becoming a top flight songwriter wasn’t always easy.

“I came from a hard-to-reach background, a single-parent

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“I was given opportunities by people who just believed in my talent.” home, and I was given opportunities by people who just believed in my talent,” reflects Williams. “I feel compelled to always give opportunities to other people who are like me, who may not necessarily have the financial backing or support at home. But they might have the talent, and they need someone to give them a foot in the door.”

Through Girls I Rate, Williams has done just that – for the past three years, she’s been working to provide a platform for young women in an industry that tells them they don’t belong.

“I just feel like sometimes women need their own space,” says Williams. “In my world, the space is very male-dominated, and women sometimes find that quite intimidating. I just feel like encouraging collaboration amongst women is really important, because we’re not encouraged, usually, to work together.

We’re encouraged to work against each other or by ourselves – a ‘there’s only room for one’ kind of mentality. I’m trying to encourage the new girls to get rid of that, and lean on each other to create great work.”

IMRO have become Williams’ partner in executing this mission, after reaching out to her and proposing an initial collaboration.

“I loved their energy and we’ve been growing since,” says Williams of IMRO. “It’s gone from strength to strength, our relationship. They’re really encouraging.”

While the masterclass saw Williams share her creative process with attendees, it was by no means limited to the theoretical side of music making. Women from the audience joined Williams on stage, freestyling to brand-new beats and working together to craft new melodies. In the wake of the first event’s success, Williams has since worked with IMRO on a songwriting weekender, where 10 attendees produced demos in just two days, and a special talk for IMRO members. Even so, Williams says she’s ready for more.

“I was really shocked how diverse it was in Dublin,” says Williams. “It’s like London! I think it’s even better… I’d really like to keep building with IMRO and everybody in Dublin.”

Another high point of IMRO’s year of workshops was the Dublin Studio Hub Songwriting Camp. The legendary Windmill

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Opposite page: Song Camp at Camden Studios (right) Ryan O’Shaughnessy and Grammy Nominated Carla Marie WIlliams

Lane studio has seen artists like U2, Sinead O’Connor, the Rolling Stones and Nile Rodgers record within its walls, and for just one weekend last March, songwriters from all over the world descended on the facility for the ultimate creative experience.

With 12 representative songwriters from Notting Hill Music Publishing, 23rd Precinct Music and Dublin Studio Hub collaborating in small groups over the course of two days, this camp allowed songwriters to execute their ideas to the max. Vocalists, band members, remixers, production teams, recording equipment – all were provided for the writers to tackle briefs given to them by the head of Notting Hill Music’s talent division.

Given a distinct goal and all the tools to achieve it, this workshop was an exercise in inspiration for its attendees as they completed eight songs together.

It was an exercise in inspiration, too, for the up-andcoming artists from Dublin Studio Hub’s Top Line Academy, an initiative designed to bridge the gap between aspiring writers and industry insiders that was launched at the camp. With a Q&A/networking session afterwards for the Top Line Academy attendees and a film crew from IMRO capturing the experienced writers’ creative processes and insight throughout the weekend, this event helped make songwriting more accessible than ever.

IMRO’s initiatives of 2018 didn’t stop there. An event led by Irish Eurovision representative Ryan O’Shaughnessy in Cavan last summer took the idea of a songwriting “camp” to the next level: ten aspiring singer-songwriters gathered in a lakeside house to collaborate and perform. Put in a different duo or trio each day, attendees composed together, drafting songs and getting to know the other writers before presenting their creations to each other. This way, the inspiration never stopped flowing – with fellow artists to bounce off of and evolve alongside, these campers produced original tunes in a supportive environment fostered by IMRO. A similar atmosphere was forged during the debut Sonic Chambers songwriting camp, hosted last February in conjunction with IMRO and Noisy Neighbour Music. Born out of a desire for organic collaborations and new tunes for existing acts, this camp brought together artists, writers and producers like Bressie, Mark McCabe, Stephanie Rainey and more in Shankill’s Rosehill House for a few days of collective innovation. “These could be really productive for writers and producers,” Bressie said of the experience.

“I think it’s very important in the Irish music industry that this is promoted… it works as a collective, it’s not an individual, so I think that’s what we’re pushing here.”

I MR O IN E DU CA T I O N IMRO’s involvement with up-and-coming artists isn’t limited to their own members. As of late, IMRO has worked with the Department of Education and other strongholds of learning to spread knowledge of the music industry to all ages and levels of experience. Just

“The programme will transform students into music-makers, putting creativity at the forefront of the classroom” last month, IMRO, Junior Cycle for Teachers and Sing Ireland collaborated to craft an entire curriculum for Junior Cycle Music.

The programme will transform students into musicmakers, putting creativity at the forefront of the classroom conversation as participants study and craft compositions. This is no ordinary music class – beyond learning how to read notes, these students will be actively encouraged to use music as an outlet of expression, translating both their emotions and external prompts into whatever medium they choose.

IMRO have also created several infographics for use in Junior Cycle instruction that detail the underlying process behind the music industry and explain copyright practice. The music industry structure model, in typical IMRO fashion, refuses to centre any one aspect, representing the true interconnectedness of songwriters and composers, artists, record companies, publishers, IMRO themselves and more.

IMRO have also continued their commitment to bolstering music education at third-level institutions.

The organisation recently partnered with BIMM Institute Dublin, a music college that trains students in everything from guitar to music production, to sponsor a scholarship for the college’s new Diploma in Music Business. The scholarship’s inaugural recipients, NibZz Jamal and Adam McNamara, will use the funds to get their start studying Music & Audio Production and Music Business, respectively.

Aside from monetary contributions, IMRO shares their time-honoured expertise with hopefuls in higher education through special seminars aimed at music students. Ballyfermot College of Further Education, for one, saw a range of IMRO employees specialising in distribution and marketing speak with pupils last October.

IMRO’s recent activity has broadened its mission beyond supporting already existing artists to helping create those artists in the first place, equipping a new generation with the knowledge necessary to enter the music game as well-rounded, informed individuals ready to take on the world.

LEARNING FROM EXPERIENCE Music Industry Masterclasses The past year has been a star-studded one for IMRO – with plenty of masterclasses bursting with talent from every corner of the industry, there was no shortage of knowledge to go around. Browse their previous events below to get ready for what the next year will bring…

• IMRO Live Music & International Touring Seminar • IMRO | The Business of Music Seminar Series | The Role of the Music Video • Songwriting Masterclass with Carla Marie Williams • Songwriting Masterclasses Ruth Anne Cunningham • IMRO | Conducting Masterclass with Maestro Eimear Noone • Music Licensing in Today’s World: Making Money as a Songwriter and Music Publisher | Hosted By Todd Brabec • IMRO Songwriter Drop–in Advice Clinic with Hit Writer and Lyric Doctor Ralph Murphy • IMRO | Music Production Seminar with Emmy-nominated and award winning music producer and composer, Craig Stuart Garfinkle • IMRO | The Business of Music Seminar Series | Placing Music in TV/Film • It’s All in the Mix | The Importance of Mixing for Music • IMRO Songwriting Masterclass with Buddy Mondlock • IMRO Present How To Write A Radio Hit

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EU COPYRIGHT DIRECTIVE

THE COPYRIGHT STUFF Jackie Hayden outlines how the new EU Copyright Directive will greatly benefit songwriters.

EMMANUEL MACRON

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ack in March, after a long and hard-fought battle that started back in 2016 – which saw IMRO join forces with various copyright organisations around Europe – the European Parliament in Strasbourg voted for reforms to copyright laws. These are expected to have a significant impact on the income potential for owners of copyrighted music works in Ireland and elsewhere.

In particular, Article 13 of the new law is aimed at strengthening the bargaining power of copyright owners when negotiating with the likes of YouTube, Facebook and Soundcloud. The reformed law would make internet platforms legally responsible for verifying the copyright of all music that their users post.

The campaign had drawn intense hostility from those tech giants who use music to generate substantial profits, but who do not see why they should pay adequate recompense for that music. Google – who own YouTube – were apparently virulently opposed to the new bill. Some EU observers claim that the intensity of the anti-reform lobbying was arguably the most vicious ever seen at that level, fuelled by the bizarre, and rather illogical, notion that the use of copyrighted music should be free.

European copyright laws had not been updated since 2001, before the birth of YouTube or Facebook, and were seen as totally inadequate to deal with the widespread abuse of music copyrights in the digital age. Not surprisingly, the move was widely supported by songwriters, composers, media companies, music publishers and collection agencies, who have all long argued that the remuneration they receive from Facebook and YouTube, among other platforms, is substantially below what it should be.

When IMRO’s chair Eleanor McEvoy recently talked to Hot Press about the groundbreaking development, she described it as “a victory for democracy”, and referred to the spin put about by the tech giants as they tried to force MEPs into voting against this legislation. As she explained, “they even manipulated search engines and shut down Wikipedia in Slovakia and other countries, in order to restrict access to information that did not suit their aims.”

As a renowned songwriter herself, McEvoy is merely one of an army of musicians and their supporters who argue that it’s never acceptable for internet platforms to steal and misuse their copyrights, in a world

“If a small community radio station can avoid misusing music copyrights, surely Google and the other giants of modern technology can do so too?” where all other legitimate media, including radio and television stations, pay for their use of music. This is a key point, as some of the tech giants wept crocodile tears about having to install complex and expensive new technology in order to comply with the new legislation, when it is blatantly clear to sensible observers that they already have the wherewithal to track your every move and purchase. Besides, if a small community radio station can avoid misusing music copyrights, surely Google and the other giants of modern technology can do so too?

The EU-wide campaign had prompted protest marches and fanciful claims that the new laws would “kill the internet”.

One wag observed that this was as fatuous as bemoaning the fact that tighter laws against stealing would ruin the entire burglary industry.

The reform is actively backed in France and several other EU member states, with France’s President Macron refuting the notion that the new law is akin to censorship. He tweeted that “copyright is not censorship, it is freedom of creation and diversity of information. Without copyright, there is no longer a Europe of innovation and culture.”

But there’s a way to go yet. The next stage in the process will be for each EU member state to approve the decision and vote it into law in their own countries. It is usual for that aspect of the process to have to deal with appeals and proposals for amendments to the law as it will apply in each country.

All new legislation needs to be tested for loopholes and anomalies and compatibility with existing laws, as well as having to survive challenges from those who might object to it or be affected by it.

Legal experts in Ireland expect that it could be two years before the new reforms are voted into Irish law, but in the meantime, those who value copyright as a civilised aspect of people’s wider human rights are entitled to feel that matters are moving in the right direction, at last.