Easy Life legal row: The charity brand taking on easyGroup – and what happens next for Leicester band?
“Thanks so much for celebrating our story with us,” was the message from Easy Life, after playing their final gigs under that name. “See you later, maybe never.”
For the band and their thousands of fans, hopefully there will be another chapter.
The two gigs, hastily organised for London and their hometown of Leicester, came less than two weeks after they announced they were being sued by easyGroup, holding company for easyJet and other “easy” brands, over their name.
While it seemed “hilarious” to the band at first, they quickly realised this was no joke. In easyGroup’s lawsuit it was pointed out they had used an image of an orange and white plane, similar to the branding for easyJet, for their Life’s A Beach tour, among other accusations about reputational damage. In a statement, EasyGroup founder and chairman Sir Stelios Haji-Ioannou labelled them “brand thieves”.
The band’s supporters – including fellow musicians such as Professor Green, Arlo Parks and Mahalia, several MPs, plus UK Music chair and deputy Labour leader Tom Watson and Tom Gray, the chair of the Ivors Academy – argued any similarities were tongue in cheek and harmless, with plenty of fans offering to support a crowdfunder to raise money for legal fees.
Easy Life themselves said they were “certain in no way have we ever affected their business”.
‘David v Goliath’
Pic: AP/Scott Garfitt
It was a blow that seemingly came from nowhere after a huge year: their biggest ever headline show at London’s Alexandra Palace and plans for a third album to follow their first two in 2021 and 2022, which both charted at number two in the UK. In 2022, they played Glastonbury’s famous Pyramid Stage. It was all a long way from their first gig – “no one was there, lol”, they joked on Instagram recently – in 2015.
But after initially hoping to fight the case, which they said would cost hundreds of thousands of pounds, they were forced to concede defeat, realising essentially it was “David vs Goliath – and our British legal system favours Goliath”.
“Perhaps our case will help provoke a dialogue around legal reform and justice being available to all,” they wrote in a letter to fans shared on their website.
EasyGroup have launched similar lawsuits before, detailing those that have been successful on their website – and hitting out at those who “think they can make a fast buck by stealing our name and our reputation”.
‘We are very confident’
James Moir, head of the charity shopping site easyfundraising, understands the band’s situation, as his company is facing a similar claim by easyGroup, brought in February 2022. Mr Moir says they will fight their case in court in 2024 – again, at a cost of hundreds of thousands of pounds.
“It’s been incredibly drawn-out,” he said. “It’s a difficult thing to take on, hugely costly. We are very confident, that’s part of the reason we’re fighting this, but even [if you win] you don’t get all your fees back. So this is going to cost us.”
Easyfundraising’s company trademark was approved in 2010, he said, and there is nothing “remotely similar” to the easyGroup brand – aside from the word.
“It’s ludicrous,” he said. “No one owns the word ‘easy’.”
Mr Moir said he sympathises with Easy Life having to make the “impossible decision” not to fight the case, adding: “There’s got to be a more sensible way that would be better, fairer for smaller organisations, better for not clogging up the court systems. Let’s be honest, this is about corporate bullying. That’s what’s at the heart of it.”
An easyGroup spokesperson said it would not comment further on the band at this time following their decision to change their name. Of the action against easyfundraising, the spokesperson said the company was “protecting the consumer from any confusion – remember as brand thieves they are not subject to our product/service standards”.
The spokesperson continued: “It needs to be repeated that many of our partners use the easy brand name and get up as part of their business strategy – in return for an annual royalty. It cannot be remotely fair for other third parties to just pick it up and use it for free.”
Easy Life’s Life’s A Beach tour poster was included in documents submitted to the High Court
Can you claim ownership of a word?
Several trademark and legal experts have been following the legal row since the story made headlines at the beginning of the month.
Emma Kennaugh-Gallacher, senior professional support lawyer at intellectual property (IP) experts Mewburn Ellis, says easyGroup has “long been zealous in policing the use of what it considers to be its proprietary ‘easy+’ mark”, but case law so far indicates “there is by no means an assumption that they can simply claim ownership to any easy+ phrase”.
It depends on context and history of use, among other factors, she added.
Josh Schuermann, IP expert for international law firm Reed Smith’s Entertainment & Media Group, says there has been an increase in these types of cases in recent years, due to social media making it “easier than ever” to create content and share information.
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Helen Wakerley and Isabelle Tate, partner and associate respectively at IP law firm Reddie & Grose, said that while easyGroup does not own the word “easy” it could argue that links would be made to its brands. Any action against the name of the band alone “would have made things more challenging” for easyGroup, they said – however, Easy Life’s use of easyJet livery on merchandise and tour posters had “muddied the issue”, as “there is no parody defence to trademark infringement, which exists in copyright law”.
And Jill Bainbridge, contentious intellectual property partner at the Harper James law firm, said that while the case may “be regarded as a David v Goliath situation”, easyGroup leaving a perceived infringement unchallenged could “open the door for others to follow suit”.
‘There should be a quicker way’
For the artists now formerly known as Easy Life, the case has brought an abrupt end to a band that was very much on the up. Fans now remain hopeful of seeing them return under a new name.
For easyfundraising, they await their day in court. “We remain confident,” says Mr Moir. “But I think this brings into question, how cases like this continue to be allowed to be brought.
“If an organisation such as ourselves has had a trademark approved for 13 years and there is, you know, a very, very quick understanding and you can look and say, we’re in completely different sectors, we do completely different things, we don’t have an orange logo – a very, very quick test to prove that there is no passing off [as another brand].
“Is there not a better way that cases like this could be dealt with? It just seems wrong on every level.”
Video footage has shown the moment singer and actress Ariana Grande was accosted by a fan at a film premiere.
Ms Grande was in Singapore for the debut of Wicked: For Good when the incident unfolded on Thursday.
The video captured the moment the fan scaled the barricade and pushed past photographers towards Ms Grande.
Pic: tacotrvck_vb/X/via REUTERS
He then threw his arms around her, before co-star Cynthia Erivo intervened and security swoops in to stop him.
The man, now identified as Johnson Wen, 26, is reportedly a notorious red carpet crasher.
Wen, who has since been charged with being a public nuisance, goes by the nickname Pyjama Man, and gloated as he shared footage of the intrusion online.
“Dear Ariana Grande, Thank You for letting me Jump on the Yellow Carpet with You,” he wrote on Instagram.
Pic: tacotrvck_vb/X/via REUTERS
In video stories posted to the site beforehand, he was seen at the Universal Studios venue, revealing his intentions.
In one, he said: “I feel like I’m in a dream, that’s my best friend, Ariana Grande, and I’m gonna meet her. I’ve been dreaming about that.”
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The Australian has ambushed several performers on stage, according to reports, including Katy Perry and The Chainsmokers at concerts in Sydney, and The Weeknd in Melbourne.
It has been reported that Wen intends to plead guilty and that he could face a fine of more than £1,000.
Ariana Grande and Cynthia Erivo at the London premiere for Wicked: For Good
Ms Grande took a moment to gather herself in the aftermath of the intrusion, visibly shocked by the incident.
She didn’t address the incident on her own Instagram, but shared some photos with the caption “thank you, Singapore”, adding “we love you”.
The singer battled post-traumatic stress disorder after her 2017 concert in Manchester was bombed, leaving 22 people dead.
She told Vogue in 2018: “It’s hard to talk about because so many people have suffered such severe, tremendous loss. But, yeah, it’s a real thing.
“I know those families and my fans, and everyone there experienced a tremendous amount of it as well. Time is the biggest thing.
“I feel like I shouldn’t even be talking about my own experience – like I shouldn’t even say anything. I don’t think I’ll ever know how to talk about it and not cry.”
In the same interview she also addressed her own anxiety, saying she has “always” had it.
Ms Grande plays Galinda Upland in Wicked: For Good, the character who becomes Glinda the Good Witch. Ms Erivo plays Elphaba, the character who becomes the Wicked Witch of the West.
The film is released in UK cinemas on 21 November.
Entertainment
A third of daily music uploads are AI-generated and 97% of people can’t tell the difference, says report
Do you care if the music you’re listening to is artificially generated?
That question – once the realm of science fiction – is becoming increasingly urgent.
An AI-generated country track, Walk My Walk, is currently sitting at number one on the US Billboard chart of digital sales and a new report by streaming platform Deezer has revealed the sheer scale of AI production in the music industry.
Deezer’s AI-detection system found that around 50,000 fully AI-generated tracks are now uploaded every day, accounting for 34% of all daily uploads.
File pic: iStock
The true number is most likely higher, as Deezer’s AI-detection system does not catch every AI-generated track. Nor does this figure include partially AI-generated tracks.
In January 2025, Deezer’s system identified 10% of uploaded tracks as fully AI-generated.
Since then, the proportion of AI tracks – made using written prompts such as “country, 1990s style, male singer” – has more than tripled, leading the platform’s chief executive, Alexis Lanternier, to say that AI music is “flooding music streaming”.
‘Siphoning money from royalty pool’
What’s more, when Deezer surveyed 9,000 people in eight countries – the US, Canada, Brazil, UK, France, Netherlands, Germany and Japan – and asked them to detect whether three tracks were real or AI, 97% could not tell the difference.
That’s despite the fact that the motivation behind the surge of AI music is not in the least bit creative, according to Deezer. The company says that roughly 70% of fully AI-generated tracks are what it calls “fraudulent” – that is, designed purely to make money.
“The common denominator is the ambition to boost streams on specific tracks in order to siphon money from the royalty pool,” a Deezer spokesperson told Sky News.
“With AI-generated content, you can easily create massive amounts of tracks that can be used for this purpose.”
File pic: Reuters
The tracks themselves are not actually fraudulent, Deezer says, but the behaviour around them is. Someone will upload an AI track then use an automated system – a bot – to listen to a song over and over again to make royalties from it.
Even though the total number of streams for each individual track is very low – Deezer estimates that together they account for 0.5% of all streams – the work needed to make an AI track is so tiny that the rewards justify the effort.
Are fully-AI tracks being removed?
Deezer is investing in AI-detection software and has filed two patents for systems that spot AI music. But it is not taking down the tracks it marks as fully-AI.
Instead it removes them from algorithmic recommendations and editorial playlists, a measure designed to stop the tracks getting streams and therefore generating royalties, and marks the tracks as “AI-generated content”.
“If people want to listen to an AI-generated track however, they can and we are not stopping them from doing so – we just want to make sure they are making a conscious decision,” the Deezer spokesperson says.
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Deezer’s survey found that more than half (52%) of respondents felt uncomfortable with not being able to tell the difference between AI and human-made music.
“The survey results clearly show that people care about music and want to know if they’re listening to AI or human-made tracks or not,” said the company’s boss Alexis Lanternier.
“There’s also no doubt that there are concerns about how AI-generated music will affect the livelihood of artists.”
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Musicians protests AI copyright plans
Earlier this year, more than 1,000 musicians – including Annie Lennox, Damon Albarn and Kate Bush – released a silent album to protest plans by the UK government to let artificial intelligence companies use copyright-protected work without permission.
A recent study commissioned by the International Confederation of Societies of Authors and Composers suggested that generative AI music could be worth £146bn a year in 2028 and account for around 60% of music libraries’ revenues.
By this metric, the authors concluded, 25% of creators’ revenues are at risk by 2028, a sum of £3.5bn.
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