Music Admin at ADEEM Latina 2025, Gene Simmons to Testify Before Senate, ECSA Calls for AI Transparency, and Cash Estate Sues Coca-Cola

How The Music Business Works - Issue #40

December 4, 2025

Welcome to a new edition of How The Music Business Works, and a special one at that! This marks our 40th issue, and we’re celebrating with a spotlight on ADEEM Latina Acapulco 2025, where Music Admin proudly served as a sponsor and active participant.

Here are some of the standout moments from an unforgettable week in Acapulco.

With that energy still fresh, here’s what’s happening across the music industry this week.

Gene Simmons is heading to the Senate to advocate for performer pay on radio, ECSA is calling for greater transparency around emerging AI licensing deals, and a new lawsuit is putting the ELVIS Act’s protections to the test. A major study reveals that independent labels return nearly 80% of their profits to artists, and the U.S. Supreme Court is weighing a landmark case that could redefine ISP liability for music piracy.

On to the news.

Gene Simmons to Testify Before Senate on Artist Compensation for Radio Play

KISS co-founder Gene Simmons will testify before the U.S. Senate Judiciary Committee’s IP Subcommittee on December 9 in support of the American Music Fairness Act, legislation that would require AM/FM radio stations to pay artists when their recordings air. The hearing marks the first time since 2009 that the Senate has revisited closing the so-called “radio loophole,” which exempts terrestrial broadcasters from paying performers. Simmons will appear alongside SoundExchange CEO Michael Huppe, with support from the Recording Academy and musicFIRST. Lawmakers backing the bill argue the U.S. is the only major democracy where artists receive no payment from AM/FM radio, despite major broadcasters generating billions in ad revenue.

ECSA Calls for Transparency Over the Majors’ AI Deals

The European Composer and Songwriter Alliance (ECSA) is raising concerns over the growing number of AI licensing deals being struck across the music industry, noting a lack of transparency around how creators will be involved, protected, and compensated. ECSA says recent announcements promise benefits for artists and songwriters but offer little detail about consent or revenue-sharing. Songwriters are particularly worried that AI revenues could mirror streaming’s long-criticized 80/20 split, which heavily favors recordings over songs. ECSA points to more balanced independent deals, where song and recording rights earn similar shares, as a better model for the industry. The group is calling for transparency around these new agreements, assurance that writers will receive a fair portion of AI income, and regulatory oversight to address potential market impacts.

Does the ELVIS Act Cover Human Soundalikes? Cash Estate Sues Coca-Cola

The Johnny Cash estate has filed a lawsuit against Coca-Cola, raising a key question about Tennessee’s new ELVIS Act: do its voice protections apply to human-recorded soundalike vocals, not just AI-generated ones? The complaint alleges that a recent Coca-Cola commercial used a tribute singer whose performance sounded “remarkably” like Cash’s voice without permission. Although the ELVIS Act was introduced to address AI-driven voice cloning, it broadly states that individuals have a property right in their “name, photograph, voice, or likeness,” which the estate argues covers intentional soundalikes. Alongside the ELVIS Act claim, the suit cites violations of the Tennessee Consumer Protection Act and the Lanham Act. The Cash estate is seeking damages, profits, and removal of the ad, with the case heading to its first hearing in March.

Supreme Court Grapples With Internet Providers’ Duty to Stop Piracy

The U.S. Supreme Court heard arguments in a major copyright case over whether internet providers can be held liable for users’ digital piracy. Cox Communications is appealing a ruling that found it willfully contributed to infringement after record labels accused the company of ignoring repeated notices about illegal song downloads. A jury originally awarded $1 billion in damages, with a retrial potentially raising that to $1.5 billion. Cox argues that simply providing internet access shouldn’t create secondary liability, while opponents say accountability is necessary to curb piracy. Justices pressed both sides, questioning Cox’s lack of action but also expressing concern about expanding liability without clear direction from Congress. A decision could reshape how ISPs respond to piracy claims nationwide.

Independent Record Labels Pay Nearly 80 Percent of All Profits to Artists, New Study Finds

A new study from the Organization for Record Culture & Arts (ORCA) found that independent record labels return nearly 80% of their profits to artists. Analyzing data from nine labels including Ninja Tune, Partisan and XL Recordings, ORCA reported that indies invested £102 million into 569 artists in 2023, generating about £108 million in revenue. For every £1 invested, labels earned 0.74p in profit and passed 77% of it back to artists. Indie-signed acts also saw a 44% rise in Spotify followers between 2023 and 2025. ORCA says the findings highlight the long-term, artist-first approach of independent labels. The report arrives as the UK government works on new measures to improve royalty earnings and modernize old recording contracts.