Geoff Barrow, the acclaimed British musician and co-founder of the Bristol-based trip-hop band Portishead, has made a public accusation of musical plagiarism. Barrow claims that a composer working on the film 'Gone' admitted to directly copying his original score for the 2020 FX/Hulu sci-fi thriller series 'Devs'. This assertion was made via social media, drawing attention to a persistent issue within the creative industries.
Barrow is a highly respected figure in British music, celebrated for his innovative soundscapes with Portishead, who rose to prominence in the 1990s and received a Mercury Prize nomination for their album 'Portishead'. Beyond his band work, he has carved out a significant career as a film and television composer, earning critical acclaim for his contributions to projects such as 'Ex Machina' and 'Annihilation', often collaborating with Ben Salisbury. His score for 'Devs' was particularly noted for its atmospheric and unsettling qualities, integral to the series' distinctive mood.
'Devs', created by Alex Garland, explores themes of technology, free will, and determinism. The series, which stars Nick Offerman and Sonoya Mizuno, garnered strong reviews upon its release for its intricate plot and visual style. For UK audiences, 'Devs' is currently available to stream on BBC iPlayer, allowing viewers to experience Barrow's original score firsthand. The series was also broadcast on BBC Two, further cementing its presence within British television culture.
The alleged admission by the 'Gone' composer, as reported by Barrow, underscores the challenges composers face in protecting their intellectual property in an era where music is widely accessible and often reinterpreted. While specific details of the alleged admission or the 'Gone' film itself remain sparse in Barrow's initial statement, the claim reignites conversations about originality, influence, and the legal and ethical boundaries of musical composition in film and television.
This incident is not Barrow's first engagement with broader industry issues. He has previously been vocal about the financial compensation for musicians in the age of streaming, highlighting the often-meagre royalties received by artists. Such concerns resonate deeply within the UK music scene, where many artists and industry bodies are campaigning for fairer remuneration models. Barrow's current accusation, therefore, extends beyond a single instance of alleged copying, touching upon wider debates about artistic integrity and fair practice in the digital age.
The UK's creative sector, including its vibrant film and television production, relies heavily on original contributions from composers like Barrow. Cases of alleged plagiarism, whether proven or not, can have significant implications for a composer's reputation and livelihood, as well as influencing how original scores are commissioned and protected in the future. The music industry, represented by organisations like PRS for Music and the Ivors Academy (which recognises excellence in British music with the Ivor Novello Awards), continually works to uphold the rights of creators.
Source: NME