Radio Audience Ratings Now Count Three-Minute Listening Sessions
This week, a significant adjustment was made to how radio audiences are measured in the United States. Audience crediting rules were revised so that a listening session of just three minutes now counts toward official ratings, rather than the previous five-minute minimum. This change has already impacted audience data, with stations in popular formats such as country and contemporary hit radio noting a measurable uptick in unique listener counts. The shift is expected to provide more accurate measurement of audience reach, reflecting the reality that many modern listeners engage with radio for shorter bursts rather than extended periods. As a result, radio stations have begun moving their advertising segments to better align with the new system, hoping to maximize both listenership and commercial effectiveness. Analysts anticipate that upcoming quarterly ratings reports will reveal the full extent of how this new policy affects both traditional broadcast stations and digital radio platforms.
Public Radio Announces New Lineups and Show Additions
Public radio stations are rolling out changes to their broadcast schedules, with updated lineups set to launch in mid-August. The schedule refresh includes the addition of new daily and weekend programs focusing on news, music discovery, and interactive entertainment content. For instance, listeners will now find expanded local news blocks, popular music feature segments, and innovative quiz shows that aim to broaden the appeal of public radio to younger and more diverse audience groups. Program directors report that these updates are designed to give audiences more choice and reflect shifting listener interests, as well as to fill previously identified gaps in coverage.
Multiple Local Stations Undergo Format Changes
A series of music and talk radio stations across the country have updated their programming formats in response to shifting audience tastes and strategic business considerations. Several stations have shifted to classic rock and alternative playlists, while others have adopted oldies, soft adult contemporary, or country music formats to better serve evolving demographic profiles. These changes are sometimes driven by technical factors, such as transmitter site adjustments or ownership transfers, but are more often a strategic response to monitoring audience data and pursuing stronger ratings. Owners and managers of these stations expect the new programming will help them both retain existing listeners and attract new groups by aligning more closely with local preferences and broader music trends.
Radio Industry Focuses on Shorter, More Engaging Content
The broader U.S. radio sector is adapting to a new reality of shorter average listening times among audiences. Station management teams are responding by rethinking content structure, investing in technology to support simulcasts and digital streaming, and developing programming that can quickly attract and hold attention. There is a greater emphasis on delivering targeted, high-value content blocks, and more stations are exploring hybrid approaches that combine traditional broadcasting with on-demand, app-based, and podcast-style options. These strategies are being implemented to retain audience share and ensure radio remains competitive as digital streaming and personalized audio services continue to change consumer habits.
Hamline University to Launch Comprehensive Music Production Degree
Beginning in fall 2025, Hamline University in Saint Paul, Minnesota will debut a Bachelor of Arts in Music Production. The new major was developed as a direct response to the demands of the modern music industry for well-rounded graduates with both technical and creative skills. The program will offer instruction in cutting-edge recording studios and feature classes not only in audio engineering and digital production using industry-standard software, but also in business practices such as music law, contract negotiation, and tax strategy. Faculty with industry experience will lead the courses, ensuring students gain practical, hands-on knowledge. Students will have access to developing internship opportunities with regional studios and venues, plus involvement with various ensemble groups to foster performance and production collaboration. This holistic approach is designed to prepare students for a variety of careers including producer, sound engineer, and independent music artist.
Spotify Price Increases and Privacy Policy Spark Global and UK Reaction
Spotify announced another round of price increases for its Premium Individual subscription, raising the monthly price in major global markets from €10.99 to €11.99 starting in September 2025. The affected regions include Europe, Latin America, the Asia-Pacific, South Asia, the Middle East, and Africa. The company stated that these changes aim to support innovation and improve the consumer experience. This marks Spotify’s third price hike in three years, occurring after a Q2 2025 earnings report showed rising costs and profit pressures despite strong user growth. While Spotify did not adjust prices in the U.S. and Canada during this round, previous increases had already taken place there earlier in the year. The announcement also ignited controversy in the UK, where a newly mandated age verification policy led to concerns from privacy advocates and users regarding the collection of personal data and the risk of misuse. Amid these developments, Spotify’s share price rose by 3-5% in anticipation of improved profitability, even as subscribers voiced displeasure and debated switching services or using unauthorized listening options.
$372 Million Bond Sale Secured by Justin Bieber and Shakira Music Catalogs
Recognition Music Group, backed by private equity firm Blackstone, issued $372 million in bonds collateralized by royalties from a catalog of more than 47,000 compositions and recordings. This includes works from international pop stars like Justin Bieber and Shakira, along with legacy acts such as the Red Hot Chili Peppers and Journey. With 76% of the catalog’s assets released a decade or more ago, the bonds capitalize on the consistent revenue that older hit songs generate in streaming and licensing. The transaction was rated A-2 by Kroll Bond Rating Agency and observed to be oversubscribed, further signaling investors’ growing enthusiasm for music royalties as long-term, stable revenue streams. Proceeds from this sale will be used to repay existing debt, bolster reserve funds, and support general operations as music financialization continues to evolve. As of March 2025, the catalog was valued at nearly $3 billion, underscoring the sector’s ongoing shift where music publishing and rights management drive significant industry capital.
Sony Sues Napster for $9.2 Million in Streaming Royalty Dispute
Sony Music has filed a lawsuit in U.S. federal court alleging that Napster, now owned by Infinite Reality, owes more than $9.2 million in unpaid royalties. According to Sony, Napster failed to forward royalty payments for over a year, leading Sony to terminate its licensing agreement in June 2025. However, Sony’s legal complaint also states that Napster continued to make Sony’s catalog available for streaming after agreement termination, opening the service to allegations of copyright infringement in addition to non-payment. Napster’s representatives note that they value their industry partnerships and hope for an amicable resolution; the company had been previously criticized by other distributors and record labels for outstanding royalty payments, reflecting broader industry anxieties about digital distribution and the necessity of transparent royalty management. The lawsuit adds pressure to Infinite Reality, the new Napster owner, which acquired the service in March 2025 for $207 million.
Recent Leadership Shifts in Music: New CEO, Senior Roles, and Promotions
In a series of music industry executive moves over the last 24 hours, INFAMOUS PR appointed Maxfield Frieser as Chief Executive Officer, transitioning founder Alastair Duncan to chairman as the firm opens a new European office in Barcelona. MNRK Music Group elevated Tina Warwick to Senior Vice President of Commerce and Sales with global responsibility for digital and commercial platforms. The Country Music Association promoted Emily Evans to Senior Vice President of Business Strategy and Operations and announced additional senior hires in strategic partnerships and social media. Meanwhile, industry veterans established Wild Child Music, a new artist management firm, underlining the ongoing trend of boutique, artist-focused businesses. These executive appointments span public relations, label strategy, business management, and artist support, reflecting the need for specialized, adaptive leadership in a rapidly changing industry landscape.
Ruling Denies Copyright for Purely AI-Created Music in United States
A landmark March 2025 ruling by the U.S. Court of Appeals held that exclusively AI-generated works cannot qualify for copyright protection, reinforcing the necessity of significant human authorship for copyright eligibility. The court’s decision follows a U.S. Copyright Office policy and sets a precedent affecting not just music, but all creative industries using generative AI. For musicians who utilize AI tools, this means their music must show meaningful human involvement for copyright protection to apply. Industry experts expect the ruling will prompt platforms to highlight the collaborative rather than autonomous role of AI in music production and may result in new models for licensing, transparency, and rights management.
Legislators Reassess AI Usage and Licensing in Global Music Markets
Music creators’ organizations and policymakers, especially in the UK and United States, have voiced growing concerns over the use of unlicensed datasets by AI music platforms. With streaming services increasingly integrating AI technology, advocates warn that insufficient regulation could erode licensing revenue for artists and blur the distinction between human and machine-made music. In response, proposed measures such as opt-in licensing models and new transparency requirements are under review. These tensions accompany a strong push from artist groups for stricter protection of performer and songwriter rights before a surge of unlicensed AI-generated tracks further disrupts the sector.
Australia’s ARIA Awards Launch Category for Best Music Festival
The Australian Recording Industry Association (ARIA), in partnership with the Australian Festival Association (AFA) and supported by ticket platform Tixel, has introduced a new ARIA Best Music Festival Award for the 2025 ceremony. Eligible festivals must either feature an Australian headliner or have at least 50% Australian acts in their lineup, and only AFA-member events may submit applications. The award will be decided by the full ARIA Voting Academy, with entries open until August 18. ARIA CEO Annabelle Herd said the new award was created to recognize festivals’ essential role in connecting artists with new audiences, developing local talent, and strengthening Australia’s live music ecosystem. Festival organizers may self-nominate, with special pricing for not-for-profits, ensuring broad industry participation. This move represents a boost for the live sector, which is rebounding robustly post-pandemic, and highlights the importance of festivals in Australia’s national music culture.
