Zoë Keating is phenomenal. NPR should give her credit when they use her music.

I first heard Zoë Keating about a month ago. I wish I could remember the steps that lead to me discovering her music, but all I can remember is how floored I was when I listened to it, and how I couldn't buy her albums fast enough.

Zoë plays the Cello, which is cool on its own, but she does something with it that will just blow your mind.

Here, watch and listen a little bit, and then I'll tell you more:

See that MacBook next to her? She uses that to sample herself several times to build a rhythm, and then she plays over it, like a one-woman string quartet. Or quintet. Or awesometet. I didn't realize this the first time I heard her; I just thought her music was haunting and beautiful, but once I knew what she was doing, I was awestruck. In fact, knowing how she does it, I defy you to listen to it again and keep your jaw off the floor.

I mentioned it on Twitter shortly after I discovered her music, and it turns out that she is friends with my friend Meredith, who is one of the awesome ladies behind Coilhouse. Mer wrote a post for Coilhouse this morning about Zoë that made me an extremely sad panda:

NPR’s show All Things Considered used a song of hers yesterday without permission or credit.
Zoë’s been featured on NPR before –a great opportunity for her– but in
my opinion, that’s no excuse for their programmers to assume she’d be
fine with them arbitrarily yoinking her work and using it anonymously.
NPR is supposed to support off-the-beaten-path artists, not exploit
‘em, right?

Zoë, understandably, feels conflicted about the situation:

People have written saying I
should be flattered. Yeah, I’m flattered, but I have mixed feelings. I
feel the same as [I did] when a Channel 4 doc used my music
without permission, money or credit. I’m flattered… but also bummed
that 1) my music isn’t worth anything and 2) no one thought to ask if I
cared about how they edited it, or in what context it’s used.

Also, the economics of it are kind of a bummer… I’m an obscure experimental musician. Just a link on the All Things Considered music page, along with all the other links to music used in yesterday’s show, would help. RadioLab
is a good example of this. They use my music with my permission and
they credit me. I am happy for them to do this because I love and
support what they do, and I benefit from increased exposure and
substantial iTunes sales (thank you RadioLab!). That is a fair
exchange… (although sometimes I think I should pay a cut to RadioLab because they have helped me so much).

Sometimes this business is such
uphill going that I have to remind myself why I spend all my time doing
it (er, why? something about the need to create, blah blah). Maybe it
would be easier to go back to being an Information Architect and just [doing] a little music in the evenings for my own benefit. Ha! Not likely.

It's always been a challenge for artists to make a living doing what we love. I know firsthand how hard it is to do this sort of thing independently, and more frequently than I'd like, I wonder if it's all worth it or if it's even going to work. Exposure on NPR is the sort of thing that we all dream about, but when a producer uses her art and doesn't give something as simple as attribution in return, it hurts, and it's wrong.

I really, truly hope that this was just a simple mistake. I really, truly hope that NPR will do the right thing and use this as an opportunity to invite Zoë to be on All Things Considered, talk about her music, credit her music, and let their audience know about the phenomenally talented woman behind the music they used without attribution this week.

If you read my site with any regularity, I hope you understand how valuable your voice is for letting people know about our work. In this case, I hope that just one percent of the tens of thousands of you who read this will be inspired to post about it on your own blogs, and tell your friends about Zoë's music.

If you decide to comment at NPR's website, do us all a favor and be polite. This isn't about attacking them. This is about encouraging them to correct what is hopefully just an oversight, and if you're a dick, you won't help that cause at all.

And, borrowing from Mer one last time: "You can buy Zoë Keating’s gorgeous music on iTunes, eMusic, Amazon, or directly through her site. Support this woman. She deserves all the credit in the world."

This post has been edited since it was first written. I'd speculated about licensing fees, and that's really not the issue. It was confusing, we talked out it in the comments, and I thought it was best to revise my original post.

Edited to add:

Zoe herself commented on this entry. For those of you who read via RSS and don't come comment:

Dear Will, thank you for posting about me and my music! Its very much appreciated.

I thought I'd chime in since I'm the one being discussed. It is the credit issue that bothers me (although their edits to fit the dialog left a little to be desired). It would probably be only 1 person in a 1000 who would try to find my music after hearing those snippets on NPR. But my entire career is made from those beautiful little threads of connection. I can trace nearly every concert and musical opportunity to someone, somewhere hearing my music and maybe clicking a link. By taking away credit, those beautiful connections cannot be made.

However, all musical interludes in ATC are credited, so I'm assuming that my case is an oversight, perhaps the creator of the piece didn't label the music, etc.

Regarding ASCAP: yes I have every single work registered with ASCAP but there is a lot of confusion out there as to how ASCAP functions. Its not a one-to-one relationship between airplay and royalties paid. ASCAP samples, I think, 10% of what is being played on the radio, and then distributes money to artists based a magical formula that I don't understand. I do receive checks from ASCAP on a regular basis, but never, ever have any of them been from plays in the US. All of them have been European PRS royalties from concerts, or for broadcast of the documentary Frozen Angels in Denmark & Sweden. The workings (or non-workings) of US performing rights societies is a rich topic.

Regardless, if a musical work is not "logged" as being played in a production, even if the payment system were more direct and (I think) fair, there is no way for money to trickle down to an artist, because there is no record of it. So hopefully NPR documented my musical contribution somewhere, and then it will eventually go into the black hole of ASCAP and they can give my $6, or whatever it is, to U2, again.

re: the Channel 4 documentary, my cousin saw it on UK telly and emailed to congratulate me. I then wrote to the producers and they very promptly sent me a check without me even asking for one! Case closed on that one I think, although I realize now that I never got a copy of a cue sheet, and don't know if they filed one. The life of an artist involves a lot of paperwork…

Anyway, I'm not outraged, but more disappointed and very tired. No one likes a whiny musician and I'll get over it. Ironically, everyone talking about this is probably more exposure than if I'd gotten credit. So now I'm really confused!

I'm going to forget about all of it onstage in Australia. Off to catch a plane…

gratefully,

Zoe

One final update: A few people from NPR left comments here or on Twitter, and it appears that this was, in fact, a mistake. Reader JV sent me an e-mail just a moment ago with a link to NPR's website, where they've credited Zoe for her music. I've always thought NPR were the good guys, and I'm glad that people there made an effort to make things right.

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91 thoughts on “Zoë Keating is phenomenal. NPR should give her credit when they use her music.”

  1. hey wil-thanks for turning me on to another great artist[my wallet thanks you to :)], i love when people do great creative artistic projects with an instrument you wouldn’t normally think of in certain ways and then throwing in technology to make it rock even more.
    i have always loved the sound of the cello – if you like cello music check out http://www.cellobop.com – Gideon Freudman – kicks up the cello a few notches to [omg to much watching emeril:)].

  2. I would encourage readers of your blog (and you Wil) to leave feedback on the NPR site about it. I have seen links to artist info in their ATC show pages, so I think this likely to be an oversight. Unless it was the local affiliate (I’ve seen them be less accomodating). Still if the national site gets enough feedback it may influence them to change their ways.

  3. Zoe is awesome, and this whole thing with NPR and Channel 4 is idiotic. I don’t understand who media organizations continue to do this in an age when it so easy to call them on it. Artists have a tough enough time without people using their stuff like that without at least acknowledgement.

  5. Andrew Bird does the same self-recording and instant-layering in his live shoes, sometimes, and it’s dazzling. This leads some people to think that his whistle is fake, though, because a) the whistle he just laid down plays while he’s working the violin and b) his whistle is a supernatural phenomenon.
    As for this issue of NPR using music in this way (a way that non-commercial and public radio have been allowed to use music at least since I got my FCC license in 1995), let me put this into the discussion: I thought we were supposed to embrace the idea now that obscurity was a greater danger than unauthorized usage of one’s work. Where are the boundaries on that initiative?
    To be clear, NPR doesn’t pay to use music clips in this way, so the money isn’t there. I’ve heard Cake, Calexico, Sigur Ros, and countless others used in the same way. It’s the nature of noncommercial radio.

  6. I hope ATC gets flooded with requests wanting to know about the music. I saw her in concert as the opener for a favorite artist of mine and she totally. blew. me. away. I couldn’t even believe what I was hearing, not to mention she’s quite a delight to watch. I bought copies of her CD for several folks.
    I’m also at a loss as to why an “indpendent producer” wouldn’t think of the independent artist they were using.

  7. Seems the quickest way to post this, pass it on if it makes sense – for Channel 4 (can’t speak for NPR as I’m in the UK), this use of music is covered by a blanket licence from the PRS/MCPS (http://www.prsformusic.com) and she should get money from them for the use of the music – she will need to register with PRS/MCPS as a writer to be able to get the cash, as they act as the central collection agency for musicians. That doesn’t help with credit and publicity etc, but might just help with cashflow.
    Frankly, any music writer should sign up, whether they’re in the UK or not. Same thing applies to authors – they should join the ALCS and PLR to get secondary licensing income from their writing (photocopying fees & public lending rights fees etc).

  8. The obscurity issue is a good point, Will. If NPR had at least given Zoe credit, I think this would be an entirely different post, but without credit, she remains threatened by obscurity, *and* is a victim of unauthorized usage.

  11. What NPR can do and should do are 2 different things. NPR is not just any old local radio station, it’s freakin NPR! They should at least credit her.
    Having said that, if I heard my music on NPR I would probably have to change my shorts. But it would probably meant that 1) They are doing a special on mediocre hardcore bands, or 2) the end of the world is nigh!

  13. If the usage is unauthorized, then yes. But I’m pretty sure this is authorized either under ASCAP licensing or under non-commercial fair use. This is SOP for NPR.
    I think credit is due, absolutely, for Zoe and any other artist used on the air this way, but the first comment over at the NPR page says, “So, when were you going to credit Zoë Keating for using her music as part of the piece?” That’s not the attitude where we need to start from. Why weren’t we upset about this when a dozen or a hundred other artists were in her place?
    NPR is not the enemy. I’m not sure we all know what we’re talking about. I know I’m not sure I do, but rushing towards sarcasm and ire isn’t necessary.

  14. Either she’s confused, or needs to take an introductory music business course. A musician who is releasing music without thinking about licensing or performance rights issues has no one to blame but themselves. ASCAP has info links here: http://www.ascap.com/musicbiz/
    BMI has similar info at http://bmi.com/career/?link=navbar
    ASCAP and BMI were created for the sole purpose of collecting royalties for broadcast and performance uses, so that artists don’t need to negotiate royalty payments with every radio station or bar where their music is played.
    Unless there’s additional missing information, it’s not clear what NPR has actually done wrong; I’m sorry that she’s upset, but from my reading, the pain is self-inflicted.

  15. I can’t disagree with you about that, at all. If we’re going to convince NPR to do something about this, being dicks to them isn’t going to get us anywhere.

  16. Maybe I was unclear. I don’t believe the issue is with the license as much as it is with being uncredited.
    I mean, think about it this way: what’s more valuable to an artist? $5 from BMI or ASCAP or whatever, or telling NPR’s millions of listeners, “That haunting music you just heard was done by Zoe Keating. Here’s a link on our website so you can find out more.”

  17. Tried to edit that, couldn’t. I wanted to add this: This should be about encouraging NPR to start crediting usage, as just a good thing to do, not rectifying a slight against any one artist.

  18. The comment from http://www.google (?) is correct. Zoe’s payment for the use will come from her performance rights organization – ASCAP, BMI, whichever. I agree that a credit tag at the end of the piece would be good. Too often I hear a new song/bit of music I like on the radio and then they don’t say who it was. So I note the date and time (if I can find a damn pen) and look it up later online. That usually works, but I’d prefer that the station just tell me.
    –update – Wil just clarified what I meant while I was typing my comment.

  19. I’ve edited my post to remove my speculation about licensing, because it was confusing and not the real issue, which is actually giving her credit.
    That was my bad, and based on my own ignorance about how licensing with BMI/ASCAP/ETC works. I regret the error, and hope it doesn’t distract from the real point of this post.

  20. I saw Zoë when she opened for (and performed with) Amanda Palmer in December. Un-f’ing-believable live! I was transfixed throughout her set, and when it was finished I raced to the merch table to buy her CD. Now it’s in nearly daily rotation.
    I would guess that this is probably an oversight on the part of the All Things Considered producer, as they are usually really good about crediting and linking to the musicians they use. Seems like a great opportunity to feature a phenomenal artist on ATC now, though. Zoë is a perfect fit for them.

  22. Just to be clear: If Zoe is a member of ASCAP or BMI, she *will* get paid for her music. The actual issue is with the attribution. I was unclear about that in my original post, but I edited it to correct the confusion. You may want to make similar edits to your post, and blame me for screwing up the point.

  23. Thanks for the tip on Zoe!! How fantastic and haunting indeed. Howie Day also did something similar (with live arrangement/sequencing). I’m not sure this is his best performance, but it is one where you can see the fun little tricks: Ghost.

  24. Sorry to hear about the NPR snafu, but on the (very limited) bright side, I’ve now got my soundtrack for the first time my players find themselves on the darker side of the Feywild, and you probably just sold a bunch load of CDs (or downloads) for her!

  29. I’ve been following her thread about this on facebook and according to her, she’s never been paid by ASCAP.
    There are some really good live-looping artists these days. Very cool technology.

  30. Maaan I was totally considering going to see Amanda Palmer in March but then decided I couldn’t quite justify the $50. I’ve just watched that video and I really wish I was going now as Zoe Keating is supporting! Of course tickets are now sold out so I miss out.

  32. Great performance – I don’t think she’s using the Macbook for the looping though. If you watch, she looks at it a few times as though it’s the sheet music, and then uses her right leg to switch loops. Unless Apple have brought out a footswitch, I’d hazard a guess she’s using a Loopstation or something similar.
    I’ll definitely be following her work from now on, though. Cheers, Wil 🙂

  34. Dear Will, thank you for posting about me and my music! Its very much appreciated.
    I thought I’d chime in since I’m the one being discussed. It is the credit issue that bothers me (although their edits to fit the dialog left a little to be desired). It would probably be only 1 person in a 1000 who would try to find my music after hearing those snippets on NPR. But my entire career is made from those beautiful little threads of connection. I can trace nearly every concert and musical opportunity to someone, somewhere hearing my music and maybe clicking a link. By taking away credit, those beautiful connections cannot be made.
    However, all musical interludes in ATC are credited, so I’m assuming that my case is an oversight, perhaps the creator of the piece didn’t label the music, etc.
    Regarding ASCAP: yes I have every single work registered with ASCAP but there is a lot of confusion out there as to how ASCAP functions. Its not a one-to-one relationship between airplay and royalties paid. ASCAP samples, I think, 10% of what is being played on the radio, and then distributes money to artists based a magical formula that I don’t understand. I do receive checks from ASCAP on a regular basis, but never, ever have any of them been from plays in the US. All of them have been European PRS royalties from concerts, or for broadcast of the documentary Frozen Angels in Denmark & Sweden. The workings (or non-workings) of US performing rights societies is a rich topic.
    Regardless, if a musical work is not “logged” as being played in a production, even if the payment system were more direct and (I think) fair, there is no way for money to trickle down to an artist, because there is no record of it. So hopefully NPR documented my musical contribution somewhere, and then it will eventually go into the black hole of ASCAP and they can give my $6, or whatever it is, to U2, again.
    re: the Channel 4 documentary, my cousin saw it on UK telly and emailed to congratulate me. I then wrote to the producers and they very promptly sent me a check without me even asking for one! Case closed on that one I think, although I realize now that I never got a copy of a cue sheet, and don’t know if they filed one. The life of an artist involves a lot of paperwork…
    Anyway, I’m not outraged, but more disappointed and very tired. No one likes a whiny musician and I’ll get over it. Ironically, everyone talking about this is probably more exposure than if I’d gotten credit. So now I’m really confused!
    I’m going to forget about all of it onstage in Australia. Off to catch a plane…
    gratefully,
    Zoe

  35. Zoe, Thanks for your beautiful music. And Wil, thanks for bringing attention to her, and to this issue. I’m off to the iTunes store now, as one of someones who has heard your music and clicked on a link.
    There’s a musician I saw open for Imogen Heap named Kid Beyond. He’s a beatboxer, and the music couldn’t be more different from Zoe’s, but he uses live looping similarly. When he first came on stage and started beatboxing, I thought, “What? Are you kidding me?” But once the loops started, I was hooked: he was producing huge, complex trance music and Portishead covers using only his voice and live-looping:

  36. Very nice music. It reminded me of Owen Pallett (a.k.a. Final Fantasy). As others have noted the live-looping technique has really exploded recently. I think it’s quite funny that classically educated musicians suddenly find themselves becoming pop artists. Very promising.
    For my money though Final Fantasy wins on the geek factor.. He even had an album where eight out of ten songs where based on the 8 schools of magic from D&D. Plus of course, as his stage name implies, he is a fan of videogames and frequently works in references in his songs.

  39. Wow. Amazing, transforming music. Who knew??? (Okay, well lots of people, obviously. Just not me.) Off to iTunes to download toot sweet!

  42. I discovered Zoe through Rasputina, which fast became one of my top favorite bands, which I found because of Joss Whedon, as one of their songs was featured on Angel. I love cello music. I bought Zoe’s music on CDBaby.com. They have loads of independant artists.

  43. I didn’t realize that I already loved her music via Rasputina until my husband pointed out that she was familiar when I showed him the video. Then I caught on to the Amanda Palmer connection, too – so I was already a fan and didn’t realize it.
    I posted a link to here and to YouTube on Facebook, and intend to buy her music. I hope others do the same, and that NPR gives her credit in the future.
    Hooray for amazing female musicians… and the cello… thanks for the info, Wil!

  44. Fantastic music – I’ll definitely be checking out her other stuff. Someone else who does similar self-looping-and-playing is That 1 Guy. He created his own instrument – The Magic Pipe – and it’s just amazing. I highly suggest checking out his music. I just got to see him live for the first time, and was just blown away; it was definitely the best show I’ve seen for a good while.

  45. This is tangental, but if you like this technique of looping oneself to build on one’s own melodies, I commend amazing British electric violinist and busker Ed Alleyne-Johnson to your attention.

    is a decent example of his work; there’s much more out there.
    (There’s an unofficial website devoted to him at http://www.muntfish.com/alleyne-johnson/ )
    As for the matter at hand, I concur in hoping this was an oversight on NPR’s part, one that will be rectified soon.

  46. Wow. You said listen a little bit and I sat and listened to all seven minutes. I decided this is the music that must be playing tonight while I’m sitting on the couch in front of the fire, reading a book. Thank you for the heads up on Zoe!

  47. I completely agree with you Wil, it would be much more important to me to be recognized as an artist on NPR than to have money in the bank from BMI or ASCAP. Having your work, whatever that might be recognized by a larger force than yourself is only going to help get your name out there and in the end more people to buy your album.
    Michael

  48. Wil,
    Thanks for the new music. My son asked me to play that video again…and again…
    I sure know what will be added to my collection of instrumentals in the near future…
    …and it’s all your fault!
    Thank you!
    –Lili

  49. Very cool and hauntingly beautiful. I went to iTunes and bought it straight away. $7.92, what a deal. This is a great album to write by. This along with my Enigma will enter the depths of my iPod Shuffle I use for writing. Thanks for the heads up.
    Has anyone heard of the group Apocalyptica? If you haven’t and you like Cello music, well this might be for you. It’s a four piece group that does cover songs of groups like Metallica and Faith No More. It’s very cool and very different. Check them out at the iTunes music store. I think you will like them if you like Zoe.
    Michael

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