In a rapidly evolving music industry, traditional models are constantly being tested by new technologies, shifting consumer behaviors, and innovative partnerships. One such partnership making waves is the collaboration between CTM and Outlander Capital, a company looking to bridge the gap between music rights management and emerging technologies like NFTs and holographic performances.
I had the pleasure of sitting down with Steve Lewis, an industry veteran with decades of experience in music publishing, to explore this exciting venture and the future of music rights in the digital age. With his extensive background in rights acquisition and his forward-thinking approach to technology, Lewis offers a unique perspective on how blockchain, NFTs, and AI are reshaping the industry.
A Storied Career: From Virgin Records to CTM
Before diving into the technological innovations that are shaping the future of music publishing, I wanted to start with Steve’s journey through the industry.
“I met Richard Branson in 1969 and worked for Virgin’s Shops, mail order retail company and the newly established Virgin Records label whilst still at school and university. By 1974, I was appointed MD of Virgin’s artist management company, stewarding the careers of Mike Oldfield, Kevin Coyne and Gong. I moved into a variety of roles, but the one that truly became my passion was music publishing,” Steve reflects. “In 1983, I took over as MD of Virgin Music Publishers, and that’s where I found my true calling. It became clear to me that nothing in the music business has any value without a song.”
After leaving Virgin in 1992, Steve went on to join Chrysalis Group Plc where he met Andre de Raaff who was working as one of his subpublishers, Steve says “He was by far the best of all our subpublishers and I set up some joint ventures between Chrysalis and Andre in France and Germany.”
Fast forward to 2010 Steve found a new passion in advising music tech companies and in 2018 he was asked by Andre to join him at CTM. He says “I had no hesitation in accepting his offer. By that time we’d become good friends and I had the greatest respect for his abilities.”
CTM’s Approach to Music Publishing and Catalog Acquisitions
At the heart of CTM’s strategy is the acquisition of under-exploited music catalogs and maximizing their value. But what makes CTM’s approach unique?
“We believe we can identify under managed catalogs and better exploit them than they had been.”
“We believe we can identify under managed catalogs and better exploit them than they had been.” Steve shares. “We believe that better management can lead to increased royalty income for artists and writers who want to remain involved, or a greater cash payout for those who choose to exit.”
But Steve also emphasizes the value of making sure every last penny is collected. “Music rights management is complex, especially when dealing with trillions of data points from PROs and collection societies. We allocate resources to identify them and ensure our writers are paid every penny they deserve.”
Emerging Tech: NFTs and Holograms
As part of its partnership with Outlander Capital, CTM is exploring new technologies like NFTs and holographic performances to further push the boundaries of music rights management.
“Outlander’s focus on NFTs and holograms is a game-changer for us,” Steve says with palpable enthusiasm. “If our copyrights are incorporated into these emerging spaces, it means extended revenue potential for our artists. Holographic performances, for instance, could allow artists to continue performing long after they’ve passed away, extending the life of their copyrights.”
AI will fundamentally change the industry and amongst other things, enable artists to continue touring and promoting their music even after they’re dead.”
Streamlining Rights Management with Data and Emerging Technologies
While CTM embraces the latest technologies, it also continues to prioritize efficient and accurate royalty collection for artists and writers, a task that’s only growing more complex in the digital age.
“Our advanced technology gives us confidence that we are collecting every penny due to our writers, something vital when societies are processing trillions of data.”
“We have invested heavily in technology in previous years and continue to do so. As a result, CTM is now able to account accurately to all our writers and other partners quarterly,” Steve explains. “Our advanced technology gives us confidence that we are collecting every penny due to our writers, something vital when societies are processing trillions of data.”
Looking to the Future
As CTM continues to evolve and innovate, Steve is particularly focused on how emerging tech will shape the industry moving forward. “AI will shape the future of the industry. It will be used in the creative process and in rights management.”
CTM also has some exciting projects on the horizon. “We’re working on our biggest acquisition yet, which we’ll be able to share soon. In Nashville, we’ve got writers enjoying chart success”:
- Michael Tyler (Cowboy Songs recorded by George Birge and Holy Smokes recorded by Bailey Zimmerman,
- Shane McAnally (Coming Home recorded by Old Dominion and Messed Up As Me recorded by Keith Urban,
- Sam Hunt (his own recording of Country House)
- Natalie Hemby (What Kinda Man recorded by Parker McCollum)
Furthermore, Shane McAnally is Grammy nominated for his composition “The Architect” as recorded by Kacey Musgraves.
Steve also explained that the CTM Latin music office in Miami has seen great success too and they will be expanding their operation for a huge increase in releases expected in 2025.
While looking ahead Steve wanted to highlight “the release this year of the third album by Our Man In The Field which will be produced by Guy Fletcher, Dire Straits’ producer.” Of which the band’s song “L’Etranger” composed by Alex Ellis has been nominated in the Best Song category at the UK Americana Awards in January at which he is performing. The band will also be appearing at some big events on big stages in front of big audiences this summer.
After decades in the industry, Steve’s passion for supporting songwriters remains at the core of his work. “I’ve been fortunate to be part of some incredible projects”, from signing Take That, Fine Young Cannibals, Outkast and receiving numerous awards. Steve was also equally thrilled to have been voted “Best Managing Director” of a publishing company by his peers in a poll published by Music Week in 1992. But one stand out moment for Steve was his involvement with George Martin on his last album and receiving thanks from George in his credits.
In spite of all of those achievements Steve explained that “most of all I’ve found it rewarding to share songwriters’ journeys from the early stage of their career to global success and playing a small part in the process.”
However, Steve is also quick to point out the industry’s shortcomings, particularly in how songwriters are compensated. “Songwriters continue to be financially underappreciated and undercompensated for their critical contribution to the industry.”
“Rates paid to writers and publishers for the use of their copyrights in the streaming world must be increased. The song is the one element of success that cannot be replaced yet the creators are undervalued.”
“Rates paid to writers and publishers for the use of their copyrights in the streaming world must be increased. The song is the one element of success that cannot be replaced yet the creators are undervalued.”
“Ultimately rates are determined by the major label groups who also own the major publishing houses. Their business model provides an incentive to depress payments to songwriters and publishers. Change will only come when legislators impose it. Steps in this direction are being taken by the UK Government and the EU. In the UK, the Culture, Media and Sport Committee of MPS has called for streaming reform with “an optimal rate” for songwriters. It’s vital that it is done.”
The Intersection of Music and Technology
As the music industry evolves, the intersection of music publishing, blockchain, NFTs, and other cutting-edge technologies represents a promising frontier. With visionary leaders like Steve Lewis guiding the way, CTM’s partnership with Outlander Capital is helping shape a new era for music rights management, one where artists, fans, and tech can coexist in more innovative and lucrative ways.
