Leading ASCAP Through a Transformative Era<\/h3>\n
Since stepping into the role of CEO in 2015, Elizabeth Matthews has been instrumental in steering ASCAP, a venerable performing rights organization (PRO) founded 112 years ago, through a period of profound change. ASCAP is the only remaining U.S. PRO operating on a not-for-profit basis, a distinction that became even more pronounced following BMI’s conversion to a for-profit entity in 2023. This non-profit model underpins ASCAP’s commitment to maximizing royalty payouts to its vast membership.<\/p>\n
ASCAP issues collective licenses, granting businesses the legal right to broadcast a staggering catalog of approximately 20 million songs. This repertoire encompasses the timeless works of legends such as Beyonc\u00e9, Jimi Hendrix, Mariah Carey, Neil Young, Paul McCartney, Philip Glass, and Stevie Wonder, alongside contemporary chart-toppers like EJAE (of KPop Demon Hunters<\/em>), Lola Young, Chappell Roan, Noah Kahan, and Amy Allen. The organization also champions Latin music’s global reach, representing artists like Marc Anthony, Daddy Yankee, Feid, Myke Towers, Romeo Santos, Becky G, Sebasti\u00e1n Yatra, and Xavi.<\/p>\n The impact of Matthews’ leadership is quantifiable. Under her guidance, ASCAP has experienced consistent growth, with revenue increasing at a compound annual growth rate of 6.7% and royalty distributions rising by 7.3% over the past decade. In 2025 alone, ASCAP reported a revenue of $2 billion and distributed an impressive $1.8 billion in royalties to its members. This financial success translates directly into tangible support for songwriters, composers, and publishers.<\/p>\n "As an artist, songwriter and vocal producer, I really value organizations that support music creation and advocate for our rights," states EJAE, who joined ASCAP in 2025. She specifically highlights the organization’s support for women and Asian music creators, an area where she has found particular encouragement. "Beth and her team have been very supportive of me and the causes I care about. I appreciate their excitement about supporting songwriters of all genres and backgrounds, especially in an industry where Asian representation in songwriting isn’t always prevalent."<\/p>\n ASCAP’s not-for-profit structure ensures that approximately 90 cents of every dollar collected is distributed to its members, with the remaining portion covering operating expenses. This payout ratio is the highest among U.S. PROs, a testament to Matthews’ efficient stewardship. As ASCAP Chairman and President Paul Williams observes, this dedication makes Matthews "a greater expert on the care and feeding of music creators than anyone else."<\/p>\n Matthews’ leadership is particularly crucial at a time when the very foundations of copyright and authorship are being challenged. The rapid advancement of artificial intelligence (AI) presents a significant existential threat to the job security of composers, lyricists, and songwriters. High-profile calls for the wholesale elimination of copyright protections, coupled with major music companies exploring direct licensing models that could bypass traditional PROs, signal a seismic shift in the industry’s power dynamics. Robert Kyncl, CEO of Warner Music Group, has publicly stated his company’s efforts to find ways to circumvent ASCAP and BMI to increase the proportion of digital music publishing rights it directly licenses, a move that has sent ripples of concern through the creative community.<\/p>\n Amidst the ongoing debate surrounding the copyrightability of AI-generated music and escalating legal battles between major music labels and AI music platforms like Suno, Elizabeth Matthews has emerged as a vocal advocate for shaping federal policy around generative AI. Her approach is characterized by a pragmatic realism. While acknowledging the inherent difficulties and potential threats, she refrains from succumbing to outright catastrophizing.<\/p>\n "If you have gone through scenario planning, mapping from the worst- to best-case scenarios, you get a sense of control," Matthews explains, her voice calm yet resolute. "If you\u2019ve already envisioned the entire East Coast grid going down, you\u2019ve already walked through \u2018How quickly could we get people paid?\u2019 It gives me a greater sense of calm and control because I\u2019ve already gone through the psychological exercise. I don\u2019t like surprises.\u201d This meticulous preparation, which includes delving into diverse fields like oil markets to understand systemic risks, is a hallmark of her leadership.<\/p>\n Michelle Lewis, executive director of Songwriters of North America (SONA) and a fellow ASCAP board member, vividly portrays Matthews’ preparedness: "In the zombie apocalypse, hopefully you\u2019re with Beth. She knows where the exits are, her phone is charged and she has good snacks. She\u2019ll get you out of there alive, and it will be a little cushy, too.\u201d This analogy underscores the trust and confidence her peers place in her ability to anticipate and navigate complex challenges.<\/p>\n Matthews’ path to the pinnacle of the music industry was not a direct one but rather a strategic accumulation of diverse experiences. She earned her law degree from Emory University School of Law and, upon graduating into the burgeoning tech revolution of the 1990s, honed her legal acumen at prominent firms such as Milbank Tweed Hadley & McCloy and Chadbourne & Parks, specializing in technology and intellectual property law.<\/p>\n Her career took a significant turn in 1998 when she joined MTV Networks. Over nearly 15 years, she ascended to the role of Executive VP\/Deputy General Counsel at Viacom Media Networks, overseeing business and legal affairs for a portfolio of iconic brands including MTV, Comedy Central, VH1, and Nickelodeon. This extensive experience, working alongside industry titans like former MTV CEO Judy McGrath and former Viacom president Van Toffler, provided her with an invaluable "master class in\u2026 different types of [media] businesses and transactions."<\/p>\n In 2013, Matthews transitioned to ASCAP as General Counsel and Executive VP. Her rapid ascent culminated in her appointment as CEO at the end of 2014, succeeding John LoFrumento, who had led the organization for 17 years.<\/p>\n Upon assuming leadership, Matthews immediately initiated a strategic growth plan that has been a defining feature of her tenure, effectively doubling ASCAP’s membership and revenue. A pivotal element of this strategy was the full-scale cloud migration of ASCAP’s back-end technology, a monumental undertaking launched eight years prior to the interview. This initiative was deemed essential to handle the exponential increase in music performances, which had surged from hundreds of millions to trillions. "We were going from a couple of hundred million to trillions with a T," Matthews recounts. "You have to get ahead of that curve, so your systems don\u2019t break."<\/p>\n Matthews’ forward-thinking approach was evident even before the widespread impact of the COVID-19 pandemic. In February 2020, weeks before national lockdowns became a reality, ASCAP began conducting work-from-home drills. This proactive measure, involving staff taking home essential equipment on multiple occasions, ensured a seamless transition to remote operations during the initial months of the virus’s spread, a feat lauded by staff for minimizing disruption. "When people practice and train for events, then it\u2019s like muscle memory when they actually have to execute protocols," Matthews notes, drawing parallels to security protocols.<\/p>\n The sheer scale of ASCAP’s operations, involving hundreds of thousands of licensees and international partner PROs, necessitates robust cybersecurity. The organization employs rigorous "red team drills," where former government anti-cybercrime experts simulate hacking and ransomware attacks. Matthews has also championed technological collaborations, including the strengthening of Songview. This public online database, a joint venture with BMI launched in 2020, provides crucial information on performance copyright ownership. The initiative expanded significantly in September, with SESAC and GMR joining to include their extensive catalogs, bringing the total to over 38 million songs.<\/p>\n This collaboration was partly spurred by a U.S. Copyright Office Notice of Inquiry (NOI) in February 2025, which addressed concerns about transparency within newer PROs. ASCAP rallied its membership, generating over 4,600 letters to the Copyright Office advocating for the continued viability of the PRO system. The office ultimately resolved the NOI by recommending no changes to existing PRO structures, citing the increased transparency brought about by SESAC and GMR’s participation in Songview.<\/p>\n Matthews has also guided ASCAP in adapting to the evolving landscape of AI-generated music. In a significant policy shift late last year, ASCAP, alongside BMI and SOCAN, began accepting the registration of musical compositions that are partially generated with AI tools. This policy, however, maintains a firm stance against fully AI-generated works. The joint announcement emphasized that works blending AI-generated elements with human authorship are deserving of royalties and inclusion in licensed repertoires.<\/p>\n "You\u2019re seeing the marketplace sort of crawl to a higher level of comfort with partially created AI works, because when you think about it, AI has been used for a very long time," Matthews observed at the Mondo.NYC conference shortly after the policy’s announcement, highlighting the long-standing use of AI as a creative tool. Internally, ASCAP is actively exploring AI’s potential to enhance its operations, including code generation and the automation of repetitive tasks, thereby freeing up staff for more complex strategic initiatives.<\/p>\n The challenges of "issues of scale" remain a primary focus for ASCAP’s staff of several hundred, and for Matthews, who colleagues describe as working tirelessly. Paul Williams humorously remarks, "I have a theory that at the end of the day when Beth goes home and gets into bed, she glows in the dark for about four hours before her core cools off." This lighthearted observation underscores the immense dedication and energy Matthews brings to her role.<\/p>\n Ultimately, her team finds solace in the belief that their CEO possesses an uncanny ability to anticipate future challenges. Michelle Lewis, herself a songwriter, emphasizes the value of Matthews’ preparedness-driven optimism. "She is always considering all the angles," Lewis states, often receiving early morning text messages from Matthews. "We have a leader who has really thought this through and knows that despite all of the obstacles we\u2019re going to come out of this OK.\u201d Elizabeth Matthews’ leadership at ASCAP is not merely about managing royalties; it is about safeguarding the future of music creation in an era of unprecedented technological and economic transformation.<\/p>\n","protected":false},"excerpt":{"rendered":" Elizabeth Matthews, the formidable leader of ASCAP, the American Society of Composers, Authors and Publishers, stands at the helm of a century-old institution grappling with unprecedented technological shifts and evolving industry landscapes. Her tenure, marked by strategic innovation and a steadfast commitment to the rights of creators, has seen ASCAP achieve record-breaking revenues and distributions, …<\/p>\n","protected":false},"author":1,"featured_media":5533,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[190],"tags":[1423,1419,191,959,1420,192,193,655,1422,1421],"class_list":["post-5534","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-ascap","tag-elizabeth","tag-entertainment","tag-future","tag-matthews","tag-movies","tag-music","tag-navigating","tag-royalties","tag-songwriting"],"_links":{"self":[{"href":"http:\/\/propernews.co\/index.php?rest_route=\/wp\/v2\/posts\/5534","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/propernews.co\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/propernews.co\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/propernews.co\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/propernews.co\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5534"}],"version-history":[{"count":0,"href":"http:\/\/propernews.co\/index.php?rest_route=\/wp\/v2\/posts\/5534\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/propernews.co\/index.php?rest_route=\/wp\/v2\/media\/5533"}],"wp:attachment":[{"href":"http:\/\/propernews.co\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5534"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/propernews.co\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5534"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/propernews.co\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5534"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"ASCAP\u2019s](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/04\/feature-elizabeth-matthews-billboard-2026-bb4-david-needleman-1-1800.jpg?w=1024\")
<\/figure>\nNavigating the AI Frontier and Industry Disruptions<\/h3>\n
![\"ASCAP\u2019s](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/04\/WIM-executive-lede-2026-billboard-1800.jpg?w=237&h=147&crop=1\")
<\/figure>\nA Career Forged in Law, Technology, and Media<\/h3>\n
Strategic Vision and Technological Advancement<\/h3>\n
![\"ASCAP\u2019s](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/04\/feature-elizabeth-matthews-billboard-2026-bb4-david-needleman-2-1200.jpg?w=240\")
<\/figure>\nEmbracing AI and Future-Proofing the Industry<\/h3>\n