AMRA is founded on the fundamental principle that music creators' rights come first, above all else. What's in their best interest drives every piece of our business. With flexible contracts, no complex distribution rules or opaque policies that discriminate or reward certain members, we're 100% aligned with our clients. We are here to ensure rights owners get paid more, faster.
AMRA is transparent in every aspect of its business and operations. Clients have full access to all their data, with full transparency on all rates and fees. We believe that all data ultimately belongs to our clients and hold nothing back. That's real transparency.
AMRA licenses Kobalt's KTech technology — the most advanced rights management platform in the world — to directly and efficiently collect, process and account for the billions of micro-transactions in today's complex digital landscape. AMRA operates independently from Kobalt's publishing operations.
Through cutting edge technology and a direct global digital collections model, AMRA is able to optimize digital revenue collections across all platforms, with full transparency to its clients.
Despite the fact that the major digital music platforms today are all global companies (i.e. Spotify, YouTube, iTunes, etc.), the music industry traditionally collects its revenue at the local and regional levels. This ‘local’ approach creates glaring inefficiencies for all sides: the digital platforms are challenged to clear licenses locally, while the rights holders face an increasingly complex and fragmented collections process, causing needless delays and often inaccurate reporting.
AMRA, on the other hand, takes a global, direct approach to digital licensing, collection and administration, all driven by the most advanced rights management platform, KTech. This streamlined model allows AMRA to increase efficiencies, combating the large margin of uncertainty, delay and error that exists in the current fractured system. Global and direct, AMRA is able to provide its publisher clients with the most transparent and accurate reporting in the industry.
We fundamentally believe that technology is the only way to systematically improve the process of collecting writer performance revenue from local societies around the world.
Traditionally, not only has the writer performance share been an inefficiently collected income stream for rights owners, but also opaque, with little to no transparency or detailed reporting.
AMRA takes a different approach to this valuable income stream by leveraging data and tracking technologies that help minimize errors, increase efficiencies, and produce fully transparent reporting to our clients.
AMRA is fully compliant with and adheres to all CISAC rules and binding resolutions for societies.
For publishers and songwriters, this means complete clarity on deal terms, and comprehensive information on all royalties collected. AMRA takes no additional fees or surcharges and distributes all unattributed income. Simply put, 100% of all money received, less our commission and any appropriate taxes, is distributed through to our clients.
For our partners, such as Digital Service Providers, AMRA is fully transparent on all the repertoire we administer, and provides rigorous and clean metadata, and highly efficient tech integration. Kobalt’s KTech technology is designed to work with digital music platforms on a global scale, to accurately process the enormous volume of data.
AMRA prizes openness and accountability in decision-making in all aspects of our business. We are fully compliant with rules and resolutions related to global society governance and operations, including CISAC’s binding Professional Rules and applicable EU Directives.
AMRA engaged PricewaterhouseCoopers (PWC) to undertake a deep analysis on our approach and separation between the Kobalt and AMRA businesses, including but not limited to the confidential tools and information which AMRA as a society has access to but which Kobalt as a publisher must not. As a result, PWC presented AMRA with a list of key business recommendations for a suitable set up.
The executive team is working diligently to implement these recommendations, and are confident that the appropriate processes and controls are either already in place or will be by the necessary time. All confidential information received and tools used by AMRA will be ring fenced.Read the Launch Statement See the PWC Analysis
AMRA’s mission is to set a new industry standard by further enhancing services to rights owners and establishing what we believe will be the most transparent and effective musical rights society anywhere for global digital royalty administration and collections.
We have been working with PwC LLP to assess how the new AMRA services should be delivered within the wider Kobalt Music Group prior to launch. This is to ensure that all stakeholders can have complete confidence in the continued quality, integrity and transparency of our services, and to address any potential conflict of interest questions.
This analysis has been broad, detailed and robust, and represents a significant investment in our services. It reflects the value that we place on all stakeholders trusting us with their business and with their data.
PwC’s analysis identified key business separation recommendations which have helped us put in place appropriate processes and controls to protect AMRA sensitive data and tools from unauthorized access by the wider Kobalt Group.
PwC will review the progress that we have made in implementing these recommendations and will produce a report outlining their findings which will be made available to relevant parties on request.
Prior to AMRA, Kenth was Chairman of CISAC Board of Directors. He was the CEO of STIM for 11 years, and previously Chief Legal Officer and Deputy CEO. Kenth started his career as a lawyer at Stockholm University and the Stockholm School of Economics as a teaching assistant and lecturer. He has worked for writers and publishers over 25 years including a position as MD for the Swedish Book Publishing Association.
Tomas brings over 25 years of combined music industry, finance, and professional services roles within the computer, telecom, and entertainment industry. Tomas previously held positions at STIM as CFO, MD of ICE (International Copyright Enterprise, a joint venture between STIM and PRS). Tomas returned to STIM as Executive Director of Media and International Markets in 2009, and in 2010 Tomas was appointed Deputy CEO of STIM. Prior to AMRA, Tomas was President, Society Relations at Kobalt Music Group in New York. Other prior roles include MD at Universal Pictures in Scandinavia, Finance Director for Dell Computers in the Netherlands and Denmark, and VP Finance for Skandia America in New York.
Charlie started his career in Film & Television production, working on a range of feature films and television shows in both the US and UK, before following a passion for music and joining PRS for Music’s Copyright Department where he worked on several projects including the set-up of the International Copyright Enterprise (ICE) Services Pan-European Licensing team. From there he moved to Kobalt Music Publishing where he oversaw operations in parts of the Middle East & Asia as well as working on a wide variety of projects including the Global Repertoire Database. Charlie joined AMRA in 2014 where he has been instrumental in the development of AMRA’s digital, copyright and royalties operations.
Honey has several years of music and media legal and business affairs experience, having qualified at the Warner Music Group. Honey was Head of Legal & Business Affairs at Warner/Chappell Music Publishing for 10 years, and was then Director of Legal & Business Affairs at BMG Rights. Most recently, Honey has been a freelance Media Business Affairs Consultant, working with a wide range of media businesses, from majors like Universal Music and (what was) EMI Records, to larger independents like Imagem Music, to smaller companies, like Perfect Songs, and even consulted for AMRA for a few months, back when it was first set up. In the last few years, Honey has also been involved with the development of emerging music markets, with a particular emphasis on West Africa, working with both labels and publishers, as well as collecting societies in the region.