Your Monday Music Briefing

Weekly industry news for self-label artists who choose ownership

Jan 05, 2026

Welcome to Your Monday Music Briefing - what caught my attention last week that felt important for self-label artists to know.

Suno Changes Ownership Rights After WMG Agreement

Suno updated its terms of service following its settlement with Warner Music Group. The most significant change: Suno no longer grants users ownership of AI-generated music. Previously, users owned what they created. Now, users get “commercial use rights” but are not considered owners since “the output was generated by Suno.” The platform also states it “can’t guarantee that the output won’t be similar to other outputs we generate.” Songs made on the free plan cannot be monetized at all. Even paid subscribers don’t own their creations.

Sono Hikari take: The whole point of staying independent is keeping your masters. If you’re generating tracks with AI and don’t own the output, you’re giving up control before your music even exists. Warner forced Suno to acknowledge that AI-generated music sits in murky legal territory around copyright and ownership. Artists who trained the models have claims. The platform has claims. You, the user, get limited rights at best.

For self-label artists: Read the terms of service for any AI tool you use to create music. If you don’t own the output, you’re building your career on borrowed ground. Understand what “commercial use rights” actually means versus full ownership. If protecting your masters matters to you, be very careful about how much AI you lean on in your creative process.

When Breaking Free Costs $31 Million: What the NewJeans Lawsuit Reveals About Artist Power

Hybe Corporation's subsidiary, Ador sued former NewJeans member Danielle Marsh for $31 million in damages after terminating her contract. NewJeans attempted to break their contract with Ador last year, citing workplace hostility and creative sabotage. A South Korean court ruled in October that the contract remains valid until 2029. Three members returned to the label, one is negotiating, and Danielle was terminated. Ador is now suing her, a family member, and former label head Min Hee-jin.

Sono Hikari take: K-pop contracts are notoriously restrictive, but this shows the worst-case scenario for any artist who signs away control. The court sided with the label. Danielle can’t leave even when citing hostile working conditions. Now she’s being sued for damages on top of losing her career with the group. Labels build these contracts specifically to trap artists, making it financially impossible to walk away.

For self-label artists: If you ever consider signing with a label, read every word of that contract with a lawyer who represents artists, not labels. Understand the penalty clauses. Understand what “leaving” would actually cost you. Better yet, if you can build your career without signing, do it. Ownership protects you from ending up in a lawsuit you can’t afford to fight.

The Law Ticketmaster Wrote Is Now Being Used Against Them

The FTC (the independent U.S. government agency that enforces consumer protection and antitrust laws) sued Ticketmaster for helping brokers bypass ticket limits, then profiting when resale tickets were sold on their own platform. Ticketmaster earned $3.7 billion in resale fees from 2019-2024. The irony? Ticketmaster helped create the BOTS Act in 2016 to fight scalpers. Now that law is being used against them.

Sono Hikari take: When one company controls both the box office and the resale market, even artists with leverage can’t protect their fans - and this feels like a fight artists have been fighting for ages. Olivia Dean recently called out Ticketmaster and Live Nation after her tour tickets immediately appeared on resale sites for up to $992 (original price was around $53-$180). Ticketmaster responded by capping resale prices and offering refunds, but only after public backlash. This is the same dynamic the FTC is now challenging: gatekeepers profit twice while artists lose control of their own shows, and fans pay the price.

For self-label artists: If major artists can’t control their own ticket sales, what chance do you have inside these systems? Build what you can own directly: your email list, your live shows (even small ones), your masters, your merch. The relationship with your fans is the only asset no platform can control.

Australia Protects Copyright from AI: A Win for Creators

Australia’s Productivity Commission ruled that AI companies must license copyrighted music instead of scraping it for free. This decision came after artists like Missy Higgins and Peter Garrett pushed back hard against an earlier proposal that would have let AI companies train their models on artists’ work without permission or payment. Even Spotify sided with creators, stating “musicians’ rights matter.”

Sono Hikari take: Australia just proved that if AI companies want to use your music to build their billion-dollar models, they have to pay you for it. The U.S. is still fighting this battle. Copyright isn't outdated. It's the only thing protecting you from having your life's work used without compensation. The system worked in Australia because creators fought back.

For self-label artists: Your masters and copyrights are your most valuable assets. Protect them. Register them properly. Never sign contracts that let companies use your music to train AI without your explicit consent and fair payment. When creators stand together, we can keep the system working in our favor.

Live Nation Wants the DOJ Case Dismissed. Here’s Why Artists Should Pay Attention.

Live Nation is trying to get the Department of Justice’s antitrust lawsuit thrown out before it goes to trial. The company argues prosecutors have no evidence that it has harmed the live music industry. This comes after state attorneys general argued in December there’s enough evidence of “interlocking monopolies” to proceed. A federal judge will now decide whether the case moves forward or gets dismissed.

Sono Hikari take: Live Nation apologized publicly after they hiked up Olivia Dean’s tickets on resale sites, admitting their resale system needed fixing. Now they're telling a court there's no evidence they've harmed anyone. This contradiction shows the gap between what companies say publicly versus what they argue legally. Their business model is built on controlling both venues and ticketing, which is exactly what creates the monopoly problem.

For self-label artists: Live Nation owns both the venues and Ticketmaster, which is why touring costs so much and ticketing takes such a big cut. For mid-to-large venues, you often have no choice but to work within their system. This is the reality until something changes. In the meantime, build strong relationships with independent venues. They give you more control, better door deals, and those relationships turn into repeat bookings and genuine support for your career.

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One Thing To Carry With You This Week:

“If you stick to your integrity and your goals, eventually somebody will appreciate what you are doing on a wider scale.” — Bonnie Raitt

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