2016 is proving to be tricky year for streaming rights. No sooner did it start to look like artists and labels were beginning to feel comfortable with streaming then along come a veritable flood of songwriter class action suits in the US, against TIDAL, Rhapsody and Spotify, twice.
At the heart of the legal action is the issue of streaming services not paying mechanical rights to songwriters because they have not identified and / or not been able to identify, all of the the songwriters.
The streaming services counter that they a) have been adhering to the rules as they stand and b) that it is difficult / impossible for them to track everything. It is a complex issue that may even have some of its underlying assumptions turned upside down (in favour of streaming services). For a good introduction to the issues see this balanced MusicAlly piece. Whatever the legal intricacies though, there is a crucial underling issue: bad data.
Or, to be more precise, a complete lack of data.
International music licensing is highly complex and anyone who tries to tell you differently is either wrong or lying. That is not to suggest for a moment that music services should somehow not have an obligation to invest time, effort and resource into licensing music, far from it. But it does mean that the current system is not fit for purpose.
Source: MIDiA Research