Dataclef – part of the SOCAN Group of companies – and the Indian Performing Right Society Limited (IPRS) are significantly expanding their services agreement, from claiming and reports processing to comprehensive back-office and rights management services, including tariff administration, member self-service tools, and brand support.

As one of the world’s fastest-growing music economies, India is attracting attention and product launches from national and global music brands. The rapid expansion of music and technology use in India means that rights holders require modern, scalable music identification and royalty administration solutions. IPRS has determined that Dataclef Suite, a fully-configurable agreements-based platform, is perfect for the forward-thinking music rights organization.

“The commencement of this deal will re-structure IPRS into a world-class, technology-driven copyright society focused on transparency and efficiency,” said IPRS Chairman Javed Akhtar. “The Dataclef team’s deep industry and technology expertise makes Dataclef Suite the obvious choice for building the future of Indian copyright management.”

IPRS is India’s only registered copyright society for music composers, lyricists, and music publishers, committed to instituting technology-driven processes that improve member engagement, licensing, and transparency in the distribution of royalties.

On average, Indian music users consume 21.58 hours of music per week, surpassing the global average of 17.89 hours. With this usage, and unique Indian musical intellectual property, expected to grow in coming years, IPRS is uniquely positioned to support India’s music economy growth and lead the way in auditable, data-focused rights management.

Dataclef Suite, with its flexible APIs (Application Program Interfaces), ERP (Enterprise Resource Planning) backbone, and massive rights database, will ensure this growth is achieved with maximum payouts and minimum overhead. Dataclef’s exclusive matching technologies and ground-breaking agreements structure are purpose-built for the complex, high-scale challenges that  IPRS is solving.

“IPRS is fundamentally changing how music usage is processed and paid in the Indian music market,” said SOCAN Group CEO Eric Baptiste. “We are thrilled to be bringing the power of Dataclef Suite to IPRS, the Indian music economy, and the music creators and rights holders who make it an exciting and vibrant market.”

IPRS and Dataclef will immediately begin collaborative efforts to deploy and operate the new IPRS back office. The services being planned and assessed include functions, processes, and technologies required to launch a world-class copyright society using Dataclef Suite.

“With Dataclef Suite, we can manage the scale and complexity of licensing and payment agreements in the Indian music marketplace like no other partner,” said Dataclef COO Janice

Scott. “Combined with IPRS’s focus on improving efficiency and transparency through technology, this is the beginning of significant positive financial and operational outcomes for Indian songwriters, musicians, and rightsholders.”

Port Cities – band members Dylan Guthro, Breagh MacKinnon, Carleton Stone, and their co-writer Thomas ”Tawgs” Salter – won the SOCAN Songwriter of the Year honour for their song “Montreal” at the 2019 Music Nova Scotia Awards, held Nov. 10, 2019, at the Holiday Inn in Truro. SOCAN Board of Directors President Marc Ouellette presented the honour to Port Cities, who also earned an award for Digital Artist of the Year.

Erin Costelo was the big winner of the night, with four awards: Recording, Solo Recording, Americana Bluegrass Recording, and Producer of the Year, all for her album Sweet Marie.

Five nominated artists earned two awards each:

  • Leanne Hoffman won New Artist Recording and Pop Recording of the Year, for What Remains;
  • Wintersleep took Alternative Recording (for In The Land Of) and Music Video of the Year (for “Forest Fires”);
  • Keith  Mullins won for Traditional/Roots Recording of the Year, for Upward (Howlin’ at the Moon), and Educator of the Year, which he shared with Shannon Quinn;
  • Thomas Stajcer took home Country Recording of the Year for Will I Learn To Love Again?, and Studio Engineer of the Year; and
  • PINEO & LOEB won DJ and Electronic Artist of The Year.

Music Nova Scotia presented Gordie Sampson with the first-ever Director’s Choice Award, recognizing an outstanding individual from the Nova Scotia music community. And Maxim Cormier earned the Acadian/Francophone Artist of the Year Award.

Various SOCAN licensees also won awards in the industry categories, including the Marigold Cultural Centre, for Community Presenter of the Year; The Halifax Jazz Festival, for Event of the Year: Andrew Jackson (of the Halifax Jazz Festival), for Promoter of the Year; The Marquee Ballroom, The Seahorse Tavern, and The Local, a three-way tie for Venue of the Year; Halifax Is Burning (CKDU-FM, 88.1 FM), for Radio Program of the Year; and CKDU itself, for Radio Station of the Year.

SOCAN was also on the scene throuhgout the pre-awards conference, connecting with our many East Coast members, and attending daily conference panels and nightly festival showcase performances.

For a complete winners list, click here.

The International Confederation of Societies of Authors (CISAC) has announced that creators’ royalties have hit a new record high of $14.2 billion (all figures Canadian dollars) worldwide in 2018. Music creators – songwriters, lyricists, composers and music publishers – saw their global royalty collections grow by 1.8 per cent to $12.4 billion, helped by a 29.6 percent increase in digital revenues.

According to the organization’s annual Global Collections Report, revenues from digital sources – largely driven by streaming subscription services – have nearly tripled since 2014, and now account for 17 percent of all collections, as compared to 7.5 percent in 2014.

The increase in major markets’ digital collections – notably the U.S., France, and Japan – are the biggest drivers of global growth. This growth is helped by new and extended licensing deals between societies and digital platforms, from dedicated content services like Spotify, to social media platforms such as Facebook, to video-on-demand platforms like Netflix and Amazon.

Over the five years since 2014, global collections by CISAC societies are up 25.4%. Digital growth, combined with resilience in the two other major uses (TV/radio and live/background), are continuing to offset declining income from physical media.

CISAC Director General Gadi Oron said, “This report provides many reasons for optimism about our sector. Digital revenues show an impressive increase, have nearly tripled in the last five years, and have enormous potential for further growth. More markets are seeing digital income taking the top position of all revenue streams, which is an extremely positive sign. In a landscape of fragmenting income sources, the role of authors’ societies in generating monetary value for millions of creators has never been more vital.”

For more highlights from CISAC’s 2019 Global Collections Report (for 2018 data), visit