Triller praises 'smooth process' leading to deal with European licensing hub ICE

 

By Emmanuel Legrand

 

Triller has closed a crucial agreement with licensing hub ICE that will give the fast-growing AI-powered music video app access to repertoire represented by the UK's PRS for Music, Germany's GEMA, Sweden's STIM and Ireland's IMRO as well as the catalogues from Concord, Downtown/Songtrust and peermusic.

 

  The multi-territory licensing deal covers all the musical works represented by the ICE Core, and rolls back to when Triller started. The licensing deal extends to160+ territories and "reflects the essential value that songwriters bring to these types of services and includes a partnership on developing data reporting to ensure accurate and timely distribution of royalties to rights owners," according to a joint statement from Triller and ICE.

  Both sides explained that they have "worked constructively to deliver a deal that supports the innovative utilisation of music in a way that is sustainable for creators."

 

Seeking fair deals with rights holders

  "We found this to be a really smooth process, reflecting both ICE's experience in licensing a wide range of digital services and our own approach in seeking fair deals with rights holders," said Triller CEO Mike Lu. "Together the shared knowledge proved invaluable in both addressing a range of challenges, agreeing the present and mapping out how this could develop in the future. We look forward to offering our users an unparalleled experience on the Triller app." 

 
  For Ben McEwen, VP Commercial at ICE, this deal "is a good example of forward thinking. In addition to agreeing commercial terms, we've been able to explore collaboration in areas of data-flows and reporting. Working together, this reflects a digital service pioneering new ways of utilising music, and doing so on a basis that recognises the vital contribution songwriters make to their service. Triller has displayed a positive approach to our dealings to date, and there's a strong foundation for future development."

  Thriller's music publishing licensing efforts follow deals sealed with the three majors (Universal Music Group, Warner Music Group and Sony Music Entertainment) and indie labels' licensing agency agency Merlin for recordings, with 7digital providing administration and data usage on behalf of the labels.

 

140 million downloads

  ICE claimed to have paid over €1 billion back to rights holders since March 2016, when it launched ICE Core, and has processed trillions of online music uses from music streaming services and 6. ICE's copyright database holds over 39 million musical works. ICE has a nine-strong licensing team based in based in the UK, Germany and Sweden. Thriller's app has been downloaded over 140 million times.

 

[This ICE deal brings Thriller closer to being a fully licensed service, or at least shows the intent of Triller's management to become fully licensed. The "smooth process" highlighted by Triller's CEO Mike Lu also comes as a sharp counterpoint to TikTok's complicated, and at times confrontational, road to licensing.
  Thriller still lacks publishing licenses for key territories, not least the USA, and David Israelite, President and CEO of the NMPA, made clear in a recent interview with Creative Industries Newsletter that he was keen to see the app do the right thing. In Europe, the next big deal that Triller needs to close is with SACEM and the various catalogues it represents.
  Why does it matter? With TikTok's future thrown into question by President Trump's executive order in the US and a ban in India, Triller has become the new "go-to" place for consumers seeking an app with the functionality of TikTok. The app's growing reach makes it a compelling tool for music companies to promote artists and new music. That's why it is crucial that rights holders get their fair share of the business that Triller is building.
  In times of Covid, rights holders need every stream of revenue they can get their hands on, and Triller's promising future should also benefit the music sector.

Emmanuel Legrand]