Photo Credit: Braxton Keith

Warner Music Nashville has signed rising honky-tonk vocalist Braxton Keith. His first major-label debut track, “Fall This Way” will feature on his upcoming EP, Blue, which is dropping on December 6.

Keith’s 80s country sound and aesthetic attracted attention to his live shows in San Antonio. He learned to play piano from his grandmother and grew up singing family-friendly tunes like “The Carroll County Accident.”

“There’s something romantic about the country music scene in Texas—it’s that connection with that crowd,” Keith said about the signing. “It doesn’t matter what day of the week it is, whether it’s an old raggedy bar or wherever the hell you are, they’re going to show up, and I fell in love with creating moments with those fans. I just try to imagine it’s a 90-minute show for me, but it’s a lifetime experience for them.”

Braxton Keith is managed by Alex Torrez and Emily Vincent at Torrez Music Group. He is represented by Andrew McWilliams at Evergreen Artist group. Keith will next take to the stage as a headliner at The Bluestone in Columbus, Ohio on November 14.

The Bluestone is a unique venue with cathedral ceilings thanks to its origins as a 115-year-old church. He’ll also open a run of dates for Cody Johnson’s Leather Tour, which kicks off on November 15 at Philadelphia’s Wells Fargo Center.

Keith says he’s planning on releasing more music in 2025. He’s been touring nationwide non-stop since 2020. His self-released singles and EPs have earned the honky-tonker a solid social media following. Keith first arrived in Nashville in 2021 and currently splits his time between Nashville and San Antonio—honing his songwriting talent. Braxton is a 23-year-old singer and is originally from Midland, Texas. He shares that his two younger brothers were extremely smart and athletic, while God gifted him with a love of music and playing instruments.

Keith says his musical heroes consist of country western legends including Marty Robbins, Merle Haggard, Brooks and Dunn, Hank Williams, Bob Wills, George Strait, and others.

Photo Credit: Euronext FX

Israeli soccer fans were assaulted in a series of antisemitic attacks from young people specifically targeted Jewish people. Five people were treated at hospitals, while dozens more were arrested for participating in the attacks. Now, billionaire Bill Ackman says Pershing Square will seek removal from Euronext Amsterdam and is pressuring Universal Music Group to do the same.

Amsterdam banned demonstrations over the weekend after the antisemitic attacks occurred on Friday, with the Amsterdam mayor calling the orchestrators “antisemitic hit-and-run squads.” Mayor Femke Halsema said Maccabi Tel Aviv soccer fans were “attacked, abused, and pelted” with fireworks around the city—forcing riot police to intervene and protect them from further abuse.

Videos of the attacks went viral on social media, showcasing many attackers shouting anti-Israeli slurs. Antisemitic incidents in the Netherlands have surged since the October 7 Hamas attack on a peaceful music festival and other areas. Many Jewish organizations have reported receiving threats and hate mail. Israel’s Prime Minister Benjamin Netanyahu’s government sent planes to the Netherlands to bring those soccer fans home.

Now, Bill Ackman says he is going to seek approval from the board of Pershing Square Holdings (his family owns 23%) to eliminate the Euronext listing. Ackman says he is also seeking to persuade UMG to jump ship from Amsterdam as well.

“I have also begun the conversation with UMG (on whose board I sit) which is domiciled in Amsterdam as well as listed there, about moving its domicile and its listings to the United States, which will offer similar as well as other highly material benefits,” Ackman said in a statement posted on X/Twitter.

“Pershing Square has a contractual right to cause UMG to be listed in the United States. We will exercise this right and achieve a US listing for UMG no latter than sometime next year.”

“UMG trades at a large discount to its intrinsic value with limited liquidity in significant part due to it not having its primary listing on the NYSE or NASDAQ and not being eligible for S&P 500 and other index inclusion. We are going to fix this. Now is a good and appropriate time to do so.”

UMG has been listed on the Euronext Amsterdam exchange since 2021 and Pershing Square owns 10.25% of UMG’s stock. A UMG spokesperson confirms no one from UMG spoke with Ackman before his statement.

“As disclosed in UMG’s listing prospectus, Persing has the right to reqest a listing in the U.S. subject to a Pershing entity selling at least $500 million in UMG shares as part of the listing. Pershing does not have any right to require UMG to become a US domiciled company or delist from Euronext Amsterdam.”

“While the company will endeavor in good faith to comply with its contractual obligations with respect to undertaking the process of a US listing at the request of Pershing, any actions or decisions beyond those necessary to comply {including any decisions to change the domicile of the company) will be based on an analysis taking into account what is value maximizing and in the best interests of all shareholders of the company.”

Photo Credit: Hanyang Zhang

TikTok’s existing licensing deal with indie collective Merlin ended on October 31st. Now, the social media juggernaut has been busy inking deals outside of that expired deal, apparently with monetization changes in place. Here’s what’s leaking.

As a quick rewind on this imbroglio: TikTok first informed licensing collective Merlin that it would not be renewing its long-standing deal, set to expire on October 31st, back in September. At the time, Merlin went public with a statement claiming TikTok walked away from the licensing negotiation before it had even began. TikTok said it would go its own way in forging licensing deals with the labels and distributors that Merlin represents.

Merlin accused TikTok of attempting to fragment its membership and minimize payments for indie artists. TikTok released a statement calling into question Merlin’s delivered content and the inability to separate fraudulent content from Merlin. Merlin addressed those concerns by mentioning several steps it took to verify the content it delivers—but TikTok said too little, too late.

The first domino to fall came last week, when UnitedMasters announced it had secured its own licensing deal with TikTok. Now, a Billboard report interviewing twelve executives at various indie labels and distributors reveals that many are divided on what to do. Some want to make sure there is absolutely no way to move forward without Merlin, while others are forging ahead, feeling an obligation to their clients to promote them as best as possible.

“If I still thought that not signing would help Merlin get a new deal, or could help the independent music community, I would try not to sign,” one exec speaking anonymously told Billboard. “But even when Universal didn’t sign, [TikTok] didn’t care. We have no choice because our artists want to be on TikTok—perhaps too much—but for them, this is very important.”

According to those sources, the compensation terms provided under the new individual offers are not any better or worse than Merlin’s collective bargaining. But that doesn’t mean no changes at all. The big one? TikTok is not paying out music licensors based on views a song receives, rather than new creations. TikTok calculates market share based on views and the payment to the licensor is divided up from there—but that doesn’t mean there’s now a certain royalty amount per view.

“It won’t lead to a major difference in how much we are paid,” one exec told Billboard. “We are still doing the math, but it seems like there will be about a 4% difference in what we take in from TikTok, give or take.” Most executives view TikTok’s value not in compensation, calling it one of the ‘smallest revenue earners’ for a music company. Instead, they see value in the platform as a promotional avenue.

Some changes to the previous contracts also included a ‘most favored nations’ clause, giving licensors the right to the same terms and benefits as similar licensors who do business with TikTok. These new contracts do not. A new provision across these separate contracts also include a ‘know your customer’ clause, which requires verification of artists’ identities before allowing them to upload songs. That clause came out presumably to weed out bad actors who are using AI and bots to finagle music streaming services out of millions. But it also places the onus of bad actors on labels and distributors—rather than TikTok directly.

Photo Credit: Amr Diab with his seven World Music Awards by Muhammad Rafaat / CC by 4.0

Sony Music signs an exclusive multi-album agreement with Egyptian icon Amr Diab, acquiring his catalog in the process.

Sony Music Entertainment Middle East just scored an exclusive partnership with Middle Eastern music icon Amr Diab, which includes the acquisition of his music catalog and a multi-album agreement.

The deal includes hits like “Inta El Haz,” “Zay Manty,” and “Ya Ana Ya La,” as well as introducing “a forward-looking multi-album deal set to redefine musical boundaries.”

Often referred to as “the father of Mediterranean music,” Amr Diab is a best-selling artist with a decade-spanning career full of numerous accolades, including seven World Music Awards, five Platinum Record Awards, and six African Music Awards.

Amr Diab’s collaboration with Sony Music Middle East will leverage the company’s global network to “explore innovative sounds and partnerships,” and further his international reach and appeal.

“I am thrilled to start this new chapter of my music career with Sony Music,” says Amr Diab. “Their commitment to nurturing artistic growth aligns with my vision for the future of my music. Stay tuned to new innovations coming your way!”

“Amr Diab is a musical visionary whose work transcends cultural and generational boundaries. We are proud to welcome Amr to Sony Music and share his music beyond the Middle East, propelling his musical legacy to even greater heights,” said Shridhar Subremaniam, President Asia and Middle East Sony Music. “This partnership aims to showcase the rich musical heritage of the Middle East on a global stage.”

“Amr Diab’s lasting impact on the music industry is unparalleled,” concludes Rami Mohsen, Managing Director of Sony Music Entertainment Middle East. “This strategic partnership will introduce his unique sound to broader audiences and underscores our commitment to fostering exceptional talent and creative excellence around the globe. As we expand our footprint in the rapidly growing Middle Eastern market, partnering with Amr Diab aligns perfectly with our vision for the region’s music industry.”

The partnership comes amid Sony Music Entertainment’s continued domination of the IFPI Top 200 MENA Chart, showing significant influence in the region.

Which country is witnessing a CD-powered surge in album sales? Read on… (Photo Credit: DMN Pro)

Before streaming, downloads, UGC monetization, and virtual concerts, the CD reigned supreme and powered the recording industry’s most lucrative era. But after flatlining into obscurity, is the CD format quietly staging a comeback?

In this DMN Pro Weekly report, we take a look at some strange new data surrounding this decades-old format. That includes canvasses across multiple markets and datasets for signs of CD-selling life, and a deeper examination of why so many artists — from Taylor Swift to The Weeknd to New Jeans —  are now pressing their albums on digital disc.

Enjoy.

Table of Contents

I. The CD: A Format That Refuses to Ride Into the Sunset

II. Artists Seem to Like CDs – And Why Not?

III. A Look at the Numbers: What Are They Saying About CD Sales?

A. US: The Luminate YoY Crash – And the Stark Contrast With RIAA Figures

B. UK: Sorry, No Booming Comeback Here

C. But Wait: Why Are Global CD Sales Ticking Upward?

IV. The Situation In Japan & South Korea

V. So, Are CDs Coming Back?

Please note: the following report is for DMN Pro subscribers only. Thank you!

Photo Credit: Michael Nash / UMG

UMG partners with ethical AI music company KLAY in a strategic deal to pioneer a commercial, ethical foundational model for AI generated music.

Los Angeles-based AI music company KLAY has announced a partnership with Universal Music Group (UMG) on a pioneering commercial, ethical foundational model for AI generated music that works in collaboration with the music industry and its creators. KLAY aims to be the backbone to power a new era in products and experiences, committed to the premise that AI can bolster and grow musical creativity and human artistry.

At the core of UMG and KLAY’s shared vision is the conviction that state-of-the-art foundational AI models are best built and scaled ethically through constructive dialog and consensus with those responsible for the artistry that shapes global culture. Building generative AI music models ethically and fully respectful of copyright, as well as name and likeness rights, will dramatically lessen the threat to human creators and stand the greatest opportunity to be transformational, creating significant new avenues for creativity and future monetization of copyrights.

Led by accomplished executives from the fields of music and technology, including Ary Attie (music and tech visionary), Thomas Hesse (former President of Sony Music Entertainment), and Björn Winckler (joining soon from Google Deepmind), KLAY is committed to serving artists and songwriters and those who support them, including music publishers and labels, distributors, and other rights holders across the Major and Indie label landscape. KLAY is developing a global ecosystem to host AI-driven experiences and content, including accurate attribution and will not compete with artists’ catalogs in traditional music services.

“We are excited to partner with entrepreneurs like the team leading KLAY, to explore new opportunities and ethical solutions for artists and the wider music ecosystem, advancing generative AI technology in ways that are both respectful of copyright and have the potential to profoundly impact human creativity,” said Michael Nash, Executive Vice President and Chief Digital Officer of Universal Music. “UMG has always endeavored to lead the music industry in driving innovation, embracing new technologies, and supporting entrepreneurship while protecting human artistry.”

“Research is critical to building the foundations for AI music, but the tech is only an empty vessel when it doesn’t engage with the culture it is meant to serve,” added Ary Attie, founder and CEO of KLAY. “KLAY’s obsession is not just to showcase its research innovation but to make it invisible and mission-critical to people’s daily lives. Only then can music AI become more than a short-lived gimmick. Our great artists have always embraced the newest technologies — we believe the next Beatles will play with KLAY.”

KLAY is developing a new Large Music Model (KLAYMM) that will significantly advance state-of-the-art Music AI. The company is currently in stealth but plans to launch in the coming months with a product that will revolutionize the way people think about music, presenting a new, intuitive music experience.

Photo Credit: Yoann Chapalain & Marc-André Niang

Warner Music announces the launch of Warner Music Francophone to operate in France and French-speaking Sub-Saharan Africa.

Warner Music has announced the launch of its latest venture, Warner Music Africa Francophone (WMAFR), which will operate in France and French-speaking Sub-Saharan Africa. The venture is a collaboration between WM Africa, Africori, and WM France, and is led by Co-Directors Marc-André Niang and Yoann Chapalain.

The venture brings together the three entities’ A&R, Digital, and Marketing teams so that they can discover and develop artists, and create cross-cultural collaborations. This development also enables Warner Music to expand its operations in Francophone Africa, serving local artist communities there and connecting them to its global network.

Chapalain takes up his Co-Director role at WMAFR while continuing his current role as A&R Manager at Africori, supporting artists such as Kamo Mphela, Kelvin Momo, Makhadzi, and TitoM & Yuppe.

Niang will combine his Co-Director role at WMAFR with his current role as A&R Director, French Speaking African Repertoire at Warner Music France. He has previously played a key role in the management of artist projects such as Himra and Louzio while contributing to the strategic strengthening in this region.

“I’m excited about the new venture, which will spotlight incredible talent from Francophone Africa,” says Yoann Chapalain, Co-Director, Warner Music Africa Francophone. “It aims to connect diverse sounds and regions, elevate releases for maximum success, and expand the music’s reach globally. I’m grateful to Alfonso Perez Soto and Yoel Kenan for pushing this initiative forward.”

Marc-André Niang, Co-Director, Warner Music Africa Francophone, adds, “It’s important for us to be able to create new synergies for the development and structure of the Francophone market in Africa. While the region is steeped in both culture and talent, the ecosystem faces challenges. Our team will connect creatives and help shape the environment to drive cross-cultural success. I want to thank Alain Veille, Alassane Konaté, and Temi Adeniji for giving us this opportunity to take French-speaking African artists to the world stage.”

Simon Robson, President, Recorded Music, Europe, Middle East and Africa, WMG, concludes, “There’s a strong cultural trade route between France and West Africa. WM Africa Francophone will help us support the artists in that space, just as our 91 North venture is successfully doing with talent working the similar trade route between Canada and India.”

Earlier last month, Spotify revealed that more than 100 million people in non-Francophone countries are listening to French language music, with streams of such repertoires up 94% since 2019, highlighting the potential audience for artists from the region.

The launch of WMAFR underlines Warner Music Group’s continued commitment to Francophone Africa. The Warner Music Group/Blavatnik Family Foundation Social Justice Fund recently awarded grants to three Ivory Coast-based organizations: The African Children Welfare and Minorities Almsgiving (ACWAMA) Foundation, The Boost Initiative by Salon des Industries Musicales d’Afrique Francophone (SIMA), and COSCI. These donations will help the organizations provide specialist education for local communities, empowering the next generation of music professionals.

Photo Credit: Naxos / Recreational Music

The world’s largest classical music label, Naxos, partners with Reactional Music to personalize music for gaming.

Interactive music personalization engine and delivery platform for gaming, Reactional Music, has agreed to a global licensing partnership with the world’s largest classical and regional music rights holder, Naxos. The partnership brings the world’s biggest classical music catalog to game developers and gamers.

Founded in 1987 by Klaus Heymann, Naxos comprises numerous companies, divisions, imprints, and labels covering classical, world, folk, jazz, and cultural music from across the world.

The Reactional Platform allows game developers to create interactive music soundtracks in games. It also enables music to be personalized within a game in real time by the gamer, becoming the soundtrack to the game, in key and in time with gameplay. Notably, it does not affect the master recording.

Naxos and Reactional have also confirmed that they are exploring a collaboration on the composition of interactive soundtracks, allowing composed music to be generated in real time around the gamer and gameplay.

The partnership significantly expands and diversifies Reactional’s music delivery portfolio for game developers around the world, while Naxos becomes the latest in a growing network of rights holder partners who will gain deeper access to game developers and the global gaming market.

“With 14,000 games released on PC, 8,000 on console, and thousands more on mobile each year, the diversity of games development across five continents is huge. The partnership with Naxos is important as it brings music scores from every region of the world together along with an incredible catalog of classical music,” says Reactional Music President David Knox. “Naxos has a vision and understanding of the transformations that are taking place and the new opportunities that now exist for creative and commercial use and consumption of music.”

“Our partnership with Reactional Music is incredibly exciting,” added Håkan Lagerqvist, CEO of Naxos Digital Services. “Reach and access into interactive and game developers and their customers and gamers is an important step for Naxos.”

“Game developers are everywhere. They should be able to more easily access music scores and tracks that are creatively and culturally diverse so they can create and explore without limitation,” Lagerqvist continues. “For gamers, Naxos brings a pallet of ideas and choice that can work in so many different worlds and interactive experiences.”

“Naxos will also explore how our composers’ work and our music catalogs can be enabled as full interactive game soundtracks. This is potentially incredible exciting. It is also a step towards enabling music to be used under license by creators, developers, and enablers in all areas of interactive.”

Reactional is pioneering commercial music to be enabled as an in-game purchase at scale for the first time. In a global games market worth $223.1 billion in 2023, in-game purchases totalled $125.7 billion, of which $72.5 billion was spent on cosmetic content and in-game personalization.

But music has so far only accounted for less than 0.01% of this spend. Changing consumption habits and an increase in personalization in all digital worlds means that spending on in-game personalization is predicted to grow to $100 billion by 2029, according to MIDiA Research Global Games Forecast.

Reactional Music has partnered with over 50 music rights holders worldwide over the past three years as it grows its music delivery platform catalog. This includes Beggars Group, Defected Records, Cherry Red Records, Hopeless Records, Hipgnosis Song Management, and leading production music groups like APM Music, Soundstripe, and Alibi.

Photo Credit: Odessey and Oracle Album Cover (1968)

British invasion pioneers The Zombies have entered into an agreement with Q Prime to provide label services and distribution for the band’s iconic ‘60s studio recordings.

Plans are underway for series of four definitive physical re-issues in 2025, remastered from original tapes and compiling all the band’s studio output. The first will be a remastered Odessey & Oracle to hit the shelves early next year. This re-issue will include the classic songs “Time Of The Season,” “Care of Cell 44,” and “This Will Be Our Year.” The album is a regular entry in the Best Albums of All Time lists from publications including Rolling Stone and Mojo Magazine.

The album will be released in its original mono mix, to coincide with the release of The Zombies’ documentary, ‘Hung Up On A Dream.’ The documentary is directed by musician and filmmaker Robert Schwartzman and is co-produced by Schwartzman’s Utopia Films, The Ranch Productions, and Tom Hanks’ Playtone.

Q Prime will manage all aspects of marketing, managing, distribution, and licensing for The Zombies’ new label imprint Beechwood Park Records. The catalog includes the hit singles “She’s Not There,” “Tell Her No,” and “I Want You Back Again.”

The Zombies’ four surviving founding members, lead singer Colin Blunstone, keyboardist Rod Argent, bassist Chris White, and drummer Hugh Grundy, along with Helen Atkinson—the widow and Estate Trustee of late guitarist Paul Atkinson—acquired the rights to their catalog last year from Marquis Enterprises Ltd. The group originally signed with Marquis Enterprises as teens in 1964.

Marquis produced their early recordings, granting limited-term licenses to the labels that released their hits (Decca and CBS Records) and later turned over the production reins to primary songwriters Argent and White. The group recorded Odessey & Oracle at Abbey Road Studios in London with a shoestring budget of just £1,000.

The deal was overseen by Chris Tuthill and Cindy da Silva of The Rocks Management, who together have represented the band for the past 11 years, along with attorney Monika Tashman of Loeb & Loeb. “We went through a painstaking process to find a strategic partner who would truly understand the unique qualities of these beloved recordings,” says Chris Tuthill.

“Ultimately, we knew we had to stay true to the band’s history. They have always benefited from a non-traditional and independent approach to both music and businesses, which is one of the reasons their songs are continually rediscovered by a new generation of fans.”

Q Prime boasts full label creative and digital marketing teams have offices in New York City, Los Angeles, Nashville and London.

Photo Credit: Meg Donnelly by Cibelle Levi

Range Media Partners’ Range Music, distributed through Capitol Music Group and Virgin Music’s label services, signs Disney Channel alum Meg Donnelly.

Range Music, the label arm of Range Media Partners, which is distributed through Capitol Music Group and Virgin Music & Artist Label Services, announces the signing of Disney Channel alum Meg Donnelly. Donnelly is best known for her role in “High School Musical: The Musical: The Series,” and the original movie “Zombies,” the latter of which she served as an executive producer.

The signing was led by Range Music partner Jared Cotter, who was recently named Billboard’s Executive of the Week for his work co-managing breakout star Shaboozey, his co-writer Sean Cook, and Paul Russell, who is responsible for the hit, “Lil Boo Thang.”

Donnelly, who is working on new music, has just released her latest single, “by my heart,” marking her first release with Range Music. In 2018, she was named Radio Disney’s NBT (Next Big Thing), putting her on the map internationally. She has since performed alongside artists like The Jonas Brothers, Avril Lavigne, Alessia Cara, and most recently opened for Doja Cat.

Donnelly’s latest release, the single “title,” with global charting producer Tenroc, laid the foundation for what fans can expect next in her career. In collaboration with creative director Max Pham, who has toured with and choreographed for A-list artists, Donnelly has been able to “bring her passion for dance, music, and her NYC roots to life.”

In addition to her work as a musician and actress, Donnelly is passionate about mental health awareness, having experienced anxiety from a young age. She has partnered with various non-profit organizations and hospitals, including the Children’s Health Fund and Children’s Miracle Network Hospitals as an ambassador. By sharing her own experiences, tips, and resources, she hopes that kids and young adults feel more supported in their journeys with mental health.

“We chose Range because of their incredible creative team and what they’ve been able to build. It feels really special,” says Kasual Kas, Donnelly’s manager at Big Wins Only. “Their entire staff felt young, hungry, and really understood the long-term vision for Meg as an artist, so it was an easy decision for us. On the business side, Range was also extremely flexible and understood that deals are structured differently now for artists, and they made sure to champion ownership. We were in talks with many labels, but this one truly felt like a partnership, and that’s what we always wanted.”

“Meg is an undeniable superstar who is so certain in her vision and was willing to hold out until the right partner came along. For Meg, that partner was Range,” added Kristina Mazzola, also from Donnelly’s management team at Big Wins Only. “After the release of ‘title,’ it was clear Range truly understood the path Meg is carving out for herself. The sky’s the limit for Meg, and I am excited for the world to experience her as an artist.”

“I’ve admired Meg’s talent and tenacity for years, and I’m thrilled to finally have the opportunity to work with her,” concludes Cotter. “She is a genre-melding artist that has had multi-format success, and Range Music is uniquely positioned to help her reach superstar status. We’re very much looking forward to being a part of her journey to the top.”

Warner Music Benelux president of recorded music and publishing Niels Walboomers (left) and Cloud 9 president Raymond van Vliet. Photo Credit: WMG

Warner Music Group (WMG) wasn’t kidding about its aggressive acquisition plans, as the Robert Kyncl-led major label has officially acquired the Netherlands’ Cloud 9 Recordings.

The restructuring-minded WMG reached out with word of that purchase today, after closing a number of different investments (and exploring, albeit without wrapping, others yet) earlier in 2024. Additionally, it was only six or so months back that Armada Music’s BEAT dance-investment fund announced a deal for Cloud 9’s publishing operation.

But the newer agreement, evidently distinct from BEAT’s play, covers the label side. Cloud 9 Recordings serves as the professional home of Claude, Jake Reese, Kris Kross Amsterdam, and Snelle, to name a few, with stakes in the catalog of Antoon and more to boot.

Though the purchasing party opted against publicly disclosing the financial specifics at hand, it did note that Cloud 9 co-founder Raymond van Vliet is expected to remain aboard as president.

Still operating independently (albeit under the Warner Music Benelux banner), Cloud 9 is poised to relocate its current team to WMG’s Amsterdam Music Harbour as well.

A creative hub boasting “a multi-level warehouse with industry chic vibes,” four recording studios, and more, Amsterdam Music Harbour was unveiled just shy of one year ago. Now, this hub will house Cloud 9, Warner Music Benelux, Warner Chappell Benelux, and Spinnin’ Records.

Returning to the publishing front, Warner Music Benelux has also inked an exclusive worldwide admin deal with Blue Skies Publishing. That Laren-based entity likewise involves Raymond van Vliet, reps several Cloud 9 acts, and was according to its LinkedIn profile founded in 2024.

In a statement, WMG Benelux president of recorded music and publishing Niels Walboomers, whose company brought on Goldman vet Michael Ryan-Southern over the summer to “supercharge” its buyouts strategy, touted Cloud 9’s “significant impact on the Dutch music industry.”

And in comments of his own, Raymond van Vliet struck an optimistic tone when describing Cloud 9’s future.

“On November 1st, Cloud 9 Music will celebrate its 20th anniversary,” the Cloud 9 president said in part. “It is a proud moment to sell this incredible company on the eve of this milestone. In the coming years, I will continue to lead Cloud 9, ensuring that my team, enhanced by Warner Music’s expertise, will keep representing our artist roster. We will take the next steps in the careers of our artists and continue to expand Cloud 9 Music.”

Photo Credit: Jimmy Steinfeldt (Jack Douglas)

Reservoir Media Inc. has announced it has acquired the producer royalties to the catalog of Grammy-winning American producer Jack Douglas. The acquisition includes hits by Aerosmith and Cheap Trick.

Douglas’ catalog is a cornerstone of rock music history, with numerous multi-Platinum selling records to his name. He has been recognized with several lifetime achievement awards, including for the LA Music Hall of Fame, the Sarasota Film Festival, and the Institute of Audio Research.

Born in the Bronx, New York City, Douglas began his music career at the Institute of Audio Research before engineering and/or producing on projects by Miles Davis, Alice Cooper, Cheap Trick, Patti Smith, Supertramp, and Montrose, among others. In 1971, Douglas helped engineer The Who’s Who’s Next album, and was one of the engineers on John Lennon’s second solo album, Imagine, featuring the title track, “Imagine.” Douglas also worked with the three other Beatles throughout the course of his career.

Jack Douglas spent the majority of the 1970s focused on production, playing a crucial role in many of Aerosmith’s most successful albums. He produced 3x-Platinum Get Your Wings (1974), 9x-Platinum Toys in the Attic (1975), 4x-Platinum Rocks (1976), and 2x-Platinum Draw the Line (1977). Both Toys in the Attic and Rocks feature on Rolling Stone’s list of the 500 Greatest Albums of All Time.

In the 1980s, Douglas collaborated with John Lennon and Yoko Ono, producing the duo’s Double Fantasy and the single “(Just Like) Starting Over,” as well as Yoko Ono’s “Walking on Thin Ice.” In the mid-2000s, Douglas reunited with Aerosmith to work on additional projects with the group, including 2004’s Gold-selling Honkin’ on Bobo and 2012’s Music from Another Dimension!. Today, he is busy scoring films and running his own label.

“Jack Douglas is a legendary producer who crafted some of the most iconic and sonically powerful rock records over the past 50 years,” says Reservoir President & Chief Operating Officer Rell Lafargue. “We are honored to now represent titles from his extraordinary body of work, which will continue to be played and revered for the next 50 and beyond. Jack’s music now joining Reservoir, we’re further solidifying our representation in iconic rock.”

Photo Credit: FUGA (Francesca Caldara)

Downtown-owned B2B distributor FUGA has announced a new partnership with UNIFIED Music Group, strengthening its position in the Australia & New Zealand markets.

UNIFIED Music Group is a multi-service music company operating in Melbourne, Sydney, Los Angeles, New York, Nashville, and Toronto. The partnership will bolster UNIFIED’s distribution and marketing capabilities while providing neighboring rights services. It will also support UNIFIED Recorded Music labels including UNFD (Silverstein, Thornhill & ERRA), and Domestic La La (Teen Jesus and the Jean Teasers, Dear Seattle, Teenage Joans), alongside future releases of the independently-minded Community Music (Ocean Alley, Sarah Saint James, ISHAN).

UNIFIED’s labels will leverage FUGA’s state-of-the-art technology platform and comprehensive suite of services, including strategic marketing and account management, social video management, YouTube channel partnerships, and physical distribution, to drive audience growth and engagement.

“We’re excited to expand our partnership with Downtown through this new deal with FUGA. The addition of FUGA’s services supports UNIFIED Recorded Music’s ambitious growth plans,” says Francesca Caldara, Vice President—Recorded Music, UNIFIED Music Group. “By tapping into FUGA’s technology and music expertise, this collaboration opens new opportunities for our roster, enabling our artists and partners to reach even larger audiences and continue pushing the boundaries of what independent music can achieve.”

UNIFIED is already an existing client of Downtown-owned royalty accounting platform Curve—a partnership kicked off in January 2022. The new partnership will see UNIFIED gain wider access to Downtown’s global ecosystem through additional services including sync and licensing solutions via Downtown Music Publishing, and comprehensive neighboring rights collection through Downtown Neighboring Rights.

“We’re thrilled to deepen our relationship with UNIFIED Music Group as they take full advantage of the diverse suite of services we offer across the Downtown ecosystem, from our world-class distribution and marketing solutions to neighboring rights and UGC management,” adds FUGA President, Christiaan Kröner. “This holistic approach underscores the value of Downtown’s interconnected services and will empower UNIFIED’s roster to grow and succeed in an ever-evolving music landscape.”

The partnership follows a number of notable successes for FUGA throughout the AUS & NZ markets, including a digital and physical distribution partnership with Queensland-based Commonfolk Records, home to singer-songwriter Ziggy Alberts. UNIFIED join FUGA’s established roster of clients in the region, including Melbourne-based label, distributor, and marketing company Remote Control and Brisbane-based electronic label, Sounds of Mayhem.

Photo Credit: Eric Wong and Jessica Keeley-Carter / WMG

Warner Music Group announces more position realignments in leadership, with Eric Wong as Head of Global A&R and Jessica Keeley-Carter as Chief Marketing Officer.

Warner Music Group’s seemingly never-ending reshuffling continues with two new major leadership appointments: Eric Wong has been named President, East West Records & Head of Global A&R, Recorded Music, and Jessica Keeley-Carter has been promoted to Chief Marketing Officer (CMO), Recorded Music. Both leaders will report directly to WMG CEO Robert Kyncl.

In his new post, Wong will lead East West Records, a storied name in WMG history, which now serves as a connector across the company’s global ecosystem, identifying local talents with global potential and accelerating their pathway to global success. Wong will also help sign and develop artists while working across the company’s roster of stars to foster collaborations and creative opportunities that build careers.

Keeley-Carter most recently served as EVP of Global Marketing at WMG. As CMO, she will power the continued evolution of WMG’s global, regional, and local marketing services for recording talent. Keeley-Carter will lead the company’s marketing network to deliver collaborative worldwide strategies which amplify local activations and drive lasting fandom.

These appointments follow the unveiling of WMG’s new Recorded Music organization, introducing a “flatter regional structure,” backed by strengthened global services, in order to create more direct channels between local expertise and global opportunities.

“I’m excited to build even closer relationships with our artists and put greater firepower behind our worldwide network to connect the dots, unlock new value, and magnify opportunities for emerging talent,” said Wong. “I’d like to congratulate Jess on her promotion, and thank Robert for his trust in me to take on this new position.”

“With the collective WMG team collaborating even more closely in our new structure, we’ll be set up to take our artists and labels to new heights,” said Keeley-Carter. “I’m grateful to Robert for this opportunity; I’d like to thank Eric for his guidance and partnership over the years, and I’m looking forward to continuing our work together.”

Kyncl said, “Eric’s newly created role leans into his long-standing relationships within the artistic community and his deep understanding of how music travels around the world. Jess is an expert marketer and an inventive leader, who will help us orchestrate best-in-class ways of cutting through the noise in an increasingly complex and cluttered world.”

The announcement follows a lengthy string of layoffs throughout the company and its subsidiaries, as well as top-level shakeups at the label, including Elliot Grainge’s ascension to CEO of Atlantic Music Group, the shuttering of distributor Level Music, and numerous admin stepdowns.

Photo Credit: Merlin

The battle between indie collective Merlin and TikTok is heating up as the social media platform seeks to bypass Merlin’s collective bargaining power by striking individual deals with the indie labels it deems worthy.

Merlin sent a letter to its independent members over the weekend, stating that TikTok walked away from renegotiating its contract before those negotiations even began. TikTok says it wants to sign direct deals with the labels Merlin represents, which Merlin says is an attempt to license its members’ music at a cheaper rate than it could collectively with Merlin’s representation.

TikTok released a new statement about those allegations that it “does not want to pay a fair rate for the music that powers their platform. It accuses Merlin of lacking quality control and potentially delivering fraudulent streams in what it calls “operational challenges with Merlin in the past.”

“TikTok must be able to control the quality of the content being uploaded to its platform, and to ensure that all content delivered is legitimate,” a TikTok spokesperson says. “We have had operational challenges with Merlin in the past where music that is not quality controlled for copyright is delivered. It presents a big burden, and doing direct deals allows us to exercise better control and also to forge closer relationships with Merlin members.”

Merlin itself addressed those operational challenges in its letter to members, outlining the steps its taken to address “illegitimate activity and content.” They include automated systems that detect suspicious activity, a dedicated team to address issues and impose sanctions on bad actors, and the termination of repeat bad actors who manipulate the system.”

TikTok maintains that this is a business decision and it doesn’t want to get into a licensing dispute with Merlin. But Merlin (perhaps rightfully) views this as an attempt to fragment its membership, which accounts for 15% of the global recorded music market. Merlin members who negotiate individually could end up in worse deals than Merlin could bargain for collectively with its full weight.

So where do we stand right now? As of October 31, TikTok’s current deal with Merlin will end without a renewal. The social media giant is seeking deals with labels independently and they will have until October 25 to avoid disruptions on TikTok. It’s also unclear what the status of TikTok will be in the United States, as ByteDance has struggled in court to challenge the new law ahead of its tight deadline.

Photo Credit: Microsoft Copilot

A letter from Merlin to its members has revealed TikTok is ‘walking away’ from licensing negotiations with the collective. Instead, the social media giant wants to seek direct deals from larger Merlin members—completely bypassing the collective.

The Merlin music collective negotiates digital licenses for more than 30,000 independent labels around the world. In a letter addressed to those members dated September 27, Merlin says “with no warning, TikTok walked away before negotiations even began. They informed us that (1) they do not want to renew our deal, which expires on October 31st, and (2) they intend to license some of our members directly.”

“To be even more clear, unfortunately, as of now, there will not be a Merlin-TikTok deal after October 31st,” the letter reads. TikTok pays less than other digital service providers (DSPs) to license music, so this move further undermines independent labels’ ability to negotiate better streaming rates for their music. Merlin alludes to such in their letter to members.

“We believe the most likely reason that TikTok did this is that TikTok does not want to pay a fair rate for the music that powers the platform. If this is right, then TikTok does not value independent music, the independent labels and distributors who support that music, nor the diverse artists who create it. They are unlike every other partner that Merlin works with.”

“Given that TikTok refused to negotiate with us, our view is that they must see the obligation to pay fair royalties as a nuisance. They must view Merlin — with its mission to protect and maximize the value of our members’ music — as too strong a negotiating partner for their liking. Their approach suggests that they believe their objectives can be better served by fragmenting the Merlin membership, in order, we believe, to minimize their payout.”

“TikTok has asked us for an ‘orderly transition’ to do direct deals with those members they deem worthy. As you know, Merlin was founded to stand up for and champion its members. We will not support an approach that devalues our community,” the letter continues.

Merlin outlines a plan to try and re-engage with TikTok as a collective to secure a renewal agreement before the current one expires on October 31. But it also reveals that one of TikTok’s concerns in walking away was potential fraud. “TikTok has also suggested they are walking away because of concerns about ‘fraud,’ but as we have told them on numerous occasions, we are incredibly pro-active on this issue.”

“We recognized early on, and communicated with TikTok, the concerning growth and impact of stream manipulation and fraudulent content both on TikTok and across the marketplace. We have worked productively and collaboratively with TikTok on this issue, and until now, no concerns have been raised about the approach Merlin is taking.”

“We have implemented measures to address illegitimate activity and content; automated systems to detect suspicious activity; and a dedicated team to address issues and impose sanctions, including ultimately, termination of membership for bad actors.”

Merlin represents around 15% of the global recorded music market, making this a big departure from TikTok’s music catalog if the deal falls through. Merlin licenses music from artists including The Lumineers, Wet Leg, Nirvana, Phoebe Bridgers, Mac Demarco, Coolio, Diplo, and many more. Without a collective agreement, each individual label would be responsible for negotiations with the platform.

Earlier this year, Universal Music Group saw its music temporarily removed from TikTok as the two sides struggled to come to an arrangement. UMG music disappeared from the platform until Taylor Swift struck a landmark deal in April to bring her music back—with the rest of UMG and UMPG music returning to TikTok on May 1.

Photo Credit: HE.SHE.THEY.

HE.SHE.THEY. Records partners with Too Lost, further cementing their position as the industry standard in inclusivity and diversity.

Global music and technology distribution platform Too Lost announces a new partnership with HE.SHE.THEY. Records, which has been setting the industry standard for diversity and inclusion for the past six years.

The brand has toured across 40 cities globally, staging the biggest talent from the underground, and platforming the most exciting emerging artists — all while curating one of the most forward-thinking label rosters in the industry and earning a nomination for Best Label at DJ Mag’s 2023 Best of British Awards.

Independently owned by co-founders Sophia Kearney and Steven Braines, HE.SHE.THEY. has releases from Catz ‘n Dogz, Sister Bliss, Cakes da Killa, Hammer, Alinka, Anja Schneider, Chloe Robinson x DJ ADHD, Meg Ward, Giulia Tess, and many more.

In partnership with Too Lost, and with a rich history of championing diversity and inclusivity, HE.SHE.THEY. are ready to expand the label’s reach and spotlight diverse voices on an even wider scale, while they continue to be a home for the most cutting-edge artists from the global underground and beyond.

“Too Lost is proud to represent HE.SHE.THEY. as the leading inclusivity brand in dance and electronic music, and look forward to building a lasting future together,” said Too Lost CEO Gregory Hirschhorn.

Too Lost is a music and technology company providing software-as-a-service (SaaS) solutions for independent music rights holders. Their distribution and publishing services deliver, monetize, and protect songs across the globe for over 300,000 musicians, record labels, studios, brands, investors, and platforms.

The news comes on the heels of HE.SHE.THEY.’s announcing their return to ADE 2024, with their biggest run of shows to date, taking in four venues over three days. These feature artists like Indira Paganotto, DAX J b2b SPFDJ, Jennifer Cardini b2b Gabriel Kwarteng, SNTS, Eats Everything, Chippy Nonstop, Roi Perez, BELLA, SYREETA, Cinthie, Elisa Elisa, Wax Wings, and many more.

Following another summer of sell-out shows, including their third years at Ibiza superclub Amnesia, HE.SHE.THEY. make their return to Amsterdam Dance Event, at which they have been a key player since their debut in 2019. The announcement contains four shows, including two simultaneous daytime parties — Dockyard Festival and Mystic Garden Festival — and a boat party.

HE.SHE.THEY. kicks things off on Wednesday, October 16, returning to the Duke of Tokyo for their renowned ‘Wet Your Whistle Mixer,’ soundtracked by a lineup of artists including Abel, Nyra, The Menendez Brothers, and a very special secret guest. RSVP here.

Thursday sees the club brand take their first foray into the waterways of Amsterdam for the inaugural HE.SHE.THEY. boat party, featuring a first-ever back-to-back between London-based DJ/producer and HE.SHE.THEY. resident, SYREETA, and brand favorite Cinthie. Further, the show will feature the talents of Eats Everything and rising Dutch artist, BELLA.

On Friday, the HE.SHE.THEY. crew will bring the party simultaneously to two iconic venues — the Dockyard Warehouse Festival Mainstage and Mystic Garden Festival — for an immersive experience of light and dark. Dockyard is celebrating its 10th anniversary, and to mark the occasion, HE.SHE.THEY. is bringing a selection of underground heroes as well as some of the biggest bubblers on the international scene.

The dark prince of the UK queer club scene, Wax Wings, kicks things off at midday, with a kaleidoscope of sounds encompassing the darker side of techno, while PEP Rally co-founder and Rinse FM resident, Chippy Nonstop, is sure to bring her high-energy techno to the lineup.

DJ-producer Adiel goes back-to-back with Vault resident and local artist, Grace Dahl, while Barcelona-based Cera Khin will be joined across the day by German DJ SNTS, followed by Artcore Records boss, Indira Paganotto, as night falls. To close out, DAX J kicks off a set with a very special back-to-back with Swedish hard techno queen, SPFDJ.

Meanwhile, the fairytale-esque Mystic Garden Festival will play host to a cornucopia of artists, including Berghain resident, Roi Perez, alongside queen of the dancefloor Jennifer Cardini going back-to-back with Lot Radio’s Gabrielle Kwarteng. Other b2b sets to come from HE.SHE.THEY. include SYREETA and Dutch party starter Benny Rodrigues, alongside Amsterdam locals Carlos Valdes and Kyra Khaldi, and Berlin-based DJ-producer Elisa Elisa.

Photo Credit: Proper Music Group

Proper Group, formerly Utopia Music, appeals against Swiss bankruptcy proceedings over an unpaid invoice.

Proper Music Group, the Swiss company formerly known as Utopia Music, has been hit with bankruptcy proceedings in Swiss court after the group failed to attend a court hearing related to a debt of 23,000 Swiss Francs ($27,360). The provisional announcement of bankruptcy was filed on Tuesday, September 24.

“We are disappointed that bankruptcy proceedings have been triggered. Our company was unfortunately unaware that legal proceedings over a minor debt were taking place, and as a result we were not represented at the court hearing,” said Proper Group in a statement to Digital Music News. “Our debt has now been settled, and we are, of course, appealing this decision. Recent positive developments in the business have placed us on track to near-term cash flow positivity, with clear prospects of profitability by 2025, so we expect to reach a favorable outcome.”

The company’s inability to represent itself at the court hearing stems from industry-wide downsizing that left no appropriate staff in Proper Group’s Swiss offices to receive and process the hearing notice. As a result, Proper is ensuring mechanisms are in place to prevent something similar happening again.

Regardless, the bankruptcy proceedings will require the company to demonstrate in court that not only has this debt been settled, but the company is more “generally solvent.” This isn’t the first financial or legal challenge faced by Proper Group this year, following an intense acquisition spree that cooled significantly and left many companies across Europe forced into insolvency proceedings.

But changes in leadership and direction at the company following a boardroom coup initiated by its key investors late last year have worked to stabilize Proper and correct its heading. Even so, the company is still dealing with significant legal and financial difficulties, including multi-million pound insolvency proceedings in the UK related to its subsidiary Utopia UK, and a court judgment related to its failed acquisition of US royalty finance firm Lyric Financial. The latter still leaves Proper Group owing over $1.8 million to Lyric’s founders, with daily mounting interest.

Proper has until October 7 to file its appeal with the Swiss courts in order to stop bankruptcy proceedings.

Photo Credit: Connyct

Warner Music Group licenses mobile short-form video app Connyct as potential US TikTok ban looms large.

As TikTok faces a potential ban in the United States, a new platform appears hoping to seize the opportunity to fill TikTok’s role. Startup short-form video app Connyct is taking a slightly different approach in targeting a specific demographic — college students.

Like the earliest days of Facebook, signing up for a Connyct account requires an .edu email address. The platform aims to “meet the market demand for closer connections and streamlined community coordination.” Users can “plan adventures and parties together,” and “seamlessly blend online connection with real-world activities.”

But to meet its goals and grab its core audience, Connyct knows it’s going to need music. To accomplish that, ahead of its launch, the platform has announced a partnership with Warner Music Group (WMG).

“Music is the heartbeat of the college experience, and Warner Music Group is committed to ensuring that our artists’ music is available wherever their fans are,” explains Rachel Scarpati, Vice President of Digital Strategy & Business Development at WMG.

“Connyct has created an innovative platform that amplifies this connection, offering students a space to integrate music into their social lives. We’re excited to see how this partnership will bring music and community together in a whole new way.”

At the heart of the app beats its Events Center, powered by video and featuring an extensive library of licensed music clips, where users can create videos promoting their events.

“We created Connyct to spark joy and excitement around real-life experiences, a digital reflection of your favorite times,” says CEO and co-founder Matthew Berman. “We’re all about connection and discovery, meant to help users find people who share the same passions and want to publicize events to enjoy them with their friends. Our partnership with WMG takes this vision to the next level, allowing students to soundtrack their college experiences with an incredible array of music.”

“Connyct is more than just a playground for music-loving content creators,” adds David Polinsky, Chairman and Founder. “Connyct is a purpose-built technology platform that champions user rights, safety, privacy, transparency, and fosters authentic engagement. Connyct prioritizes giving users full control over their content and visibility and never selling or sharing their personal data.”

Connyct will be available on the iOS App Store in the coming weeks, exclusively for “select universities” upon launch. Currently, it’s unknown when an Android app will be available, or when the platform will be expanded to other schools, or those outside academia.

Believe has officially completed its multimillion-dollar acquisition of Doğan Music Company, which is said to be the largest indie label operating in Turkey. Photo Credit: Believe

Believe has officially completed its acquisition of Doğan Music Company, which is billed as Turkey’s largest indie label.

The Paris-headquartered buyer reached out with word of the deal’s wrap today, after first announcing the play closer to the top of August. At the time of the latter disclosure, the investment was still subject to regulatory approval in Turkey, where Believe had taken a 60% stake in Doğan in 2020.

With that years-old move having evidently proven lucrative, Believe exercised a call option for the remaining 40% or so. This purchase for the outstanding piece brought a $42.65 million (€38.3 million) price tag, according to the expansion-minded business, which didn’t hesitate to drive home its “full ownership” of the Turkish label.

Said label’s roster features a number of artists across a variety of genres, with rock band Yüksek Sadakat, pop singer Yonca Evcimik, and rapper Reckol alike part of Doğan, per its website.

Meanwhile, on Believe’s side, the company pointed to a nearly 25% year-over-year revenue increase in Europe (excluding France and Germany) for H1 2024, at $169.22 million/€152 million. In Asia-Pacific and Africa, Believe experienced a roughly 4% YoY revenue improvement at $129.57 million/€116.4 million, the appropriate report shows.

And as described by the Sentric owner, which opened an Istanbul office in 2012, it’s poised to work towards “supercharging the growth and global reach” of the Doğan roster.

Elaborating on that objective, Believe president for META, East and Southern Europe, and the Americas Viktoria Siniavskaia emphasized the continued development of Turkey’s music market.

“The Turkish music industry has undergone a massive change since Believe’s launch in the market back in 2012,” relayed the 13-year Believe exec, “with a solid growth of streaming and countless artists and labels reaching new and wider audiences both locally and beyond.

“On Spotify alone, the Top 100 list went from 11 local artists in 2013 to 91 in 2023! I couldn’t be prouder of Believe having been a key driver in this evolution, alongside DMC and our digital partners, boosting the digitalization of the market and that of local music genres,” concluded Siniavskaia.

Closing with a recap of Believe’s other 2024 buildout initiatives, July saw the business take a 25% interest in Romanian dance label Global Records and move forward with Greater China executive appointments ahead of a wider expansion in the increasingly lucrative region.

Photo Credit: Dickon Stainer by Carsten Windhorst

Universal Music UK announces the appointment of Dickon Stainer as Chairman and CEO, following the departure of David Joseph after 17 years.

Universal Music Group Chairman and CEO Sir Lucian Grainge has announced appointing Dickon Stainer as Chairman and CEO of Universal Music UK. Stainer follows longtime Chairman and CEO David Joseph, who held the position for nearly 17 years and recently announced his departure.

In this new role, Stainer is in charge of the overall management and strategic direction of Universal Music UK. Divisions including the newly-created Island EMI Label Group and Polydor Label Group, as well as Decca Records and Abbey Road Studios, will report to him. Stainer served as President and CEO of Universal Music Group’s Global Classics and Jazz division, splitting his time between London and New York.

Further, Stainer will also continue in the capacity of Chairman of Global Classics and Jazz. Announcements regarding new leadership roles and internal promotions will be made in the coming weeks.

The changes come on the heels of UMG announcing it was merging its EMI label divisions as part of a broader restructuring. This restructuring created two new divisions: Island EMI Label Group (with president Louis Bloom), and Polydor Label Group (headed by Ben Mortimer), which itself followed some divisional realignments in the US-based UMG label group.

“Dickon has embraced an expansive musical worldview throughout his career, taking artists from a wide variety of genres and bringing them to audiences globally,” said Grainge. “He not only has deep experience in leveraging our worldwide organization on behalf of our artists, but a track record that includes global commercial and creative artist successes and countless awards in many countries.”

“I would also like to thank David Joseph for his many contributions,” Grainge adds. “He leaves with our gratitude.”

Stainer said, “It is an honor to be asked by Sir Lucian Grainge to lead Universal Music UK. The depth of talent that we have at the company, coupled with our remarkable roster of artists, gives me tremendous confidence in what we can achieve together. Having worked in both the international and domestic divisions of UMG, I know how central the UK is to the global music industry — a vital repertoire source that provides the world with great artists and great music. I can’t wait to get started.”

Stainer has enjoyed success on the global stage, consistently championing a generation of international talent. That includes Grammy wins for Jon Batiste for Album of the Year in 2022, and Samara Joy for Best New Artist in 2023.

Photo Credit: Jimmy Fontaine (Gregg Nadel)

With Warner Music Nashville now firmly under the Warner Records umbrella, there are some changes to leadership at the top. Ben Kline is stepping down after a decade with the company, while Gregg Nadel was appointed Co-Chair & Co-President alongside Cris Lacy.

Based out of the Nashville office, Nadel and Lacy will report to Warner Records CEO & Co-Chairman Aaron Bay-Schuck and COO & Co-Chairman Tom Corson, who both direct report to WMG CEO Robert Kyncl. The move is effective October 1, while Nadel, Lacy, and their teams will continue to work with Nashville artists co-signed to Atlantic Music Group.

Gregg Nadel has three decades of music industry experience under his belt, most recently serving as the President of Elektra Entertainment. He has signed or championed acclaimed country and roots-based artists including Zac Brown Band, Brandi Carlile, The Highwomen, Sturgill Simpson, Bailey Zimmerman, and Brittney Spencer, among many other artists across multiple genres.

“Gregg grew up at WMG, and over the past three decades, he’s brought his impeccable taste, wisdom, and guidance to an exceptional array of original, powerful voices,” adds Aaron Bay-Schuck. “He’s an ambidextrous A&R marketing expert with a global perspective, which will be a tremendous asset at a time when Nashville artists are crossing boundaries and reaching the world stage like never before.”

“Like Gregg, Cris has expanded from her roots as an A&R force into a true multi-dimensional leader, and together, they’ll be a phenomenal team to take Warner Music Nashville into a dynamic future,” Bay-Schuck concludes.

“I’ve had the honor of working with incredibly talented artists across many sounds and styles, and through it all, I’ve always felt a deep connection to the heartfelt music that comes from Nashville’s rich creative culture,” adds Gregg Nadel. “I’m excited to be diving deeper into this brilliant community of musicians and storytellers, and I’m especially excited about working alongside Cris Lacy and the entire team. Thank you to Tom and Aaron for this incredible opportunity.”

“Thanks to WMG’s cross-label and cross-genre philosophy, Gregg and I have been collaborating within the company for over a decade,” adds Cris Lacy. “We’re both rooted in a deep love of the music that comes into and out of Nashville. Gregg brings a unique, wide-ranging perspective to what will be a fantastic partnership. He has long invested in the culture and the community of this town, and together, we are fiercely committed to amplifying what makes its music so special. My heartfelt thanks and admiration go to Ben. It’s been a great ride, and his expertise, leadership, and friendship have made it all the more gratifying. I wish him the very best in all things to come.”

“Together, we’ve grown Warner Music Nashville to new heights and played vital roles in the development of so many artists,” adds Ben Kline. “Thanks to WMG leadership for all of the opportunities, faith, and guidance along the way. And thank you to Cris Lacy for her never-wavering support for the artists and their musical visions. I’m excited for the next adventure.”

Prior to being named President of Elektra Entertainment in 2017, Nadel served as General Manager of Elektra Records and before that was SVP, A&R and Marketing, for Atlantic Records. A 27-year veteran of WMG, Nadel joined Atlantic straight out of college in 1997.

In his marketing capacity, he has spearheaded high-profile campaigns for global superstars such as Ed Sheeran, who he’s worked with since the early days of Sheeran’s career.

Elliot Grainge (Photo Credit: Logan Mock)

Warner Music heralds ‘a new era’ after intense layoffs at Atlantic Music Group, announcing a new leadership team with a focus on ‘cultural impact and creative expertise.’

Atlantic Music Group (AMG), part of Warner Music Group, has announced its new leadership team and structure following a deep round of layoffs. Designed to “maximize AMG’s cultural impact and strengthen its creative expertise,” these changes aim to empower dedicated A&R and marketing teams at Atlantic Records, 300 Entertainment, and 10K Projects. Beginning October 1, Elliot Grainge assumes the role of CEO of Atlantic Music Group, as Julie Greenwald passes the torch after two decades.

“Atlantic Music Group is home to the most extraordinary artists and executives in the world. This great label has moved through a meaningful transition, and emerged with a world-class team, made up of ambitious innovators and veteran visionaries,” said Grainge. “We have a plan to build on the extraordinary achievements of the last twenty years, honor the independent DNA of our labels, and collaborate with artists to pioneer a future filled with opportunity. To all our artists, managers, and partners, we are committed to a single principle — maximum impact for original artists. We’re looking forward to doing big, bold, brave things together.”

Warner Music Group CEO Robert Kyncl added, “AMG will be lean, agile, fiercely creative, and deeply passionate about artists and their fans. We’re opening an exciting new chapter in the story of an iconic label. Elliot’s thoughtfully chosen a team that combines a wealth of experience, a diversity of expertise, and a commitment to excellence.”

Atlantic Records, 300 Entertainment, and 10K Projects will all be helmed by forward-thinking leaders, with 10K operating within AMG as a standalone venture controlled by WMG. The Elektra, Fueled By Ramen, and Roadrunner imprints will continue under the AMG banner.

Atlantic Records

Lanre Gaba is promoted to President of Hip-Hop, R&B, and Global Music. Lu Mota is EVP, Head of A&R, Hip-Hop, R&B, and Global Music, while Marsha St. Hubert is EVP, Head of Marketing, Hip-Hop, R&B, and Global Music. They have supported and helped develop acclaimed artists like Cardi B, Jack Harlow, Lil Uzi Vert, Burna Boy, and many others. Kevin Weaver is President, West Coast. The longtime Atlantic leader was most recently behind the record-breaking “Barbie: The Album,” as well as the “Twisters” soundtrack.

In addition, Brandon Davis and Jeff Levin are EVPs and Co-Heads of A&R, Pop & Rock. Marisa Aron is promoted to EVP, Head of Marketing, Pop & Rock. The trio has managed a roster that includes Lizzo Charli XCX, Charlie Puth, Ava Max, Melanie Martinez, and many others.

300 Entertainment

Rayna Bass and Selim Bouab are Co-Presidents. Under their guidance, 300 has supported marquee names like Young Thug, Mary J. Blige, and Gunna, among others.

10K Projects

Nicholas Ziangas and Molly McLachlan are promoted to Co-Presidents, having been instrumental with breakout stars like Artemas, Trippie Redd, and Rich Amiri. Atlantic Music Group will combine the strengths of key functions at Atlantic, 300, and Elektra, to create one central set of artist development services. These functions at the group level include Creative, Legal & Business Affairs, Promotion, Press & Media Strategy, Digital Marketing & Analytics, Sales & Streaming, A&R Research, A&R Administration, and Marketing Operations.

Atlantic Music Group

Craig Kallman is elevated to Chief Music Officer, expanding his remit to bring his wealth of expertise to artists and projects across the group, while enabling him to mentor the next generation of executives. Zach Friedman and Tony Talamo are promoted to Chief Operating Officer and General Manager, respectively. Friedman and Talamo joined 10K Projects in 2018 and their company Homemade Projects was acquired in 2022.

Erica Bellarosa is promoted to General Counsel, heading legal and business affairs efforts across the entire group. Dave Rocco is appointed President of Creative, with responsibilities spanning creative strategy, video, artwork, advertising, and more. He most recently served as Chief Creative Officer at Republic Records and held the title of Global Head of Artist Marketing and Label Relations at Spotify.

Gregg Nadel has been appointed to a new role within WMG’s Recorded Music division, which will be announced soon. More appointments regarding department heads will be made over the coming weeks.

Photo Credit: Gary Chan / Universal Music Group

Universal Music Group launches Universal Music China Greater Bay Area (UMCGBA) in Hong Kong and Macau.

Universal Music Greater China (UMGC), a division of Universal Music Group (UMG), has announced the launch of a new label division — Universal Music China Greater Bay Area (UMCGBA), covering China’s Greater Bay Area which includes Hong Kong and Macau.

This initiative marks the first time a major music company has established a division in China’s Greater Bay Area (GBA), the world’s largest and most economically vibrant urban cluster, with its new headquarters in Shenzhen. One of the world’s most dynamic music markets, Universal Music Greater China now has offices in Beijing, Hong Kong, Shanghai, Shenzhen, and Taiwan to fully support the next phase of growth across the region.

Spearheaded by Gary Chan, who currently serves as Managing Director of Universal Music Hong Kong and Senior Vice President of UMGC, the new division will help enrich the Greater Bay Area’s music scene by embracing its economic and cultural vibrancy, elevating both the local and global appeal of the region’s diverse musical heritage.

A bustling megalopolis encompassing nine cities in Guangdong Province along with the twp special administrative regions of Hong Kong and Macau, the Greater Bay Area is the world’s most populous urban area and a significant cultural hub. With a combined GDP contributing 11.1% to China’s total in 2023 and a population surpassing 86 million, the Greater Bay Area is a formidable economic powerhouse and cultural epicenter, accounting for nearly a quarter of China’s music performance revenue.

UMCGBA will assemble a robust local team dedicated to marketing, A&R, and artist management, with the vision to discover and cultivate local talent across the GBA. Additionally, its mission is to transform the local music scene by blending global musical trends with the Greater Bay Area’s vibrant and youthful energy. This approach not only taps into the region’s rich musical heritage but also engages with the expansive entertainment landscape, offering entertainment experiences for audiences worldwide.

Timothy Xu, Chairman and CEO of Universal Music Greater China said, “The launch of UMCGBA represents a strategic expansion, leveraging the vast market potential and unique cultural atmosphere of the Greater Bay Area. We eagerly anticipate welcoming the outstanding talents from this region to join us in driving forward the next era of Chinese pop music. In this pursuit, we are setting our sights on transforming the GBA into a trendsetting hub that epitomizes creativity, vitality, and connectivity, crafting fresh musical expressions and innovative entertainment experiences.”

Adam Granite, Executive Vice President, Market Development of Universal Music Group concluded, “Our commitment to the Greater Bay Area is part of UMG’s global strategy to invest in local and regional music scenes, particularly in rapidly growing markets like China. By deepening our roots in local cultures and enhancing support for local artists, we aim to elevate the Chinese music landscape and introduce its unique sounds on the world stage.”

Photo Credit: Matt Berinato

The Chairman & CEO of Sony Music Nashville, Randy Goodman, will retire at the end of 2024 after more than 35 years in the music industry.

Goodman was appointed to his current role in 2025, during which time he has also overseen Sony Music’s Christian music enterprise, Provident Entertainment. Sony Music Group Chairman Rob Stringer commented on the announcement saying, “Thank you to Randy for leading our Nashville company through the last nine years and providing some of the biggest new superstars in the genre of country music. These artists are part of his legacy, and he should be proud of that. We look forward to building on the strong base he and his team have set up for the future.”

While working at Sony Music, Goodman and his team helped shape the careers of stars including Luke Combs, Kane Brown, Maren Morris, Megan Moroney, and Nate Smith. Goodman and his team also helped bring key breaking artists into the Sony fold including Mitchell Tenpenny, Kameron Marlowe, Corey Kent, and Morgan Wade among others.

“Thank you to Rob for his leadership and support throughout my entire time at the company,” Randy Goodman comments. “The Sony Music Nashville and Provident Entertainment teams are some of the finest executives I’ve had the privilege of working with over my many years in this business.”

“There are too many people to thank specifically who helped and supported me along the way—my family foremost for their support and grace in letting me stay with it all these years. Looking back over my career’s arc, I am humbled and honored to have had the privilege to work with the artist legends I have; and as importantly, the teams I’ve been privileged to work with and lead. As excited as I am for what’s next no doubt it is bittersweet. It’s all been a gift.”

Randy Goodman is a Nashville native, with an extensive career that includes 16 years at the beginning with RCA Records. Goodman served for five years as Senior Vice President, Global Marketing for RCA in New York prior to returning to Nashville. He also served as Executive Vice President and General Manager of the RCA Label Group in Nashville, which would later become Sony Music Nashville.

While at RCA, Goodman worked with superstars including Waylon Jennings, Charley Pride, Alabama, Kenny Chesney, Dave Matthews Band, Wu-Tang Clan, Dolly Parton, Clint Black, Keith Whitley, and The Judds.

In 1997, Goodman opened Lyric Street Records for the Walt Disney Co., overseeing the label as President through 2010. He worked with artists who enjoyed multi-Platinum success including Rascal Flatts, Aaron Tippin, and Josh Gracin.

Photo Credit: Nesta592 / CC by 4.0

Pink Floyd is reportedly in ‘advanced talks’ to sell their catalog to Sony Music for around $500 million.

The potential sale of Pink Floyd’s catalog has been a topic of much discussion for the past couple of years, but it’s seemed increasingly unlikely that a deal might come to fruition. Now, the Financial Times reports that Sony Music is in “advanced talks” to acquire the band’s music for around $400 million to $500 million.

Specifics on the deal have been kept under wraps, with representatives for neither the group nor Sony responding to media requests for comment. But if the price is as high as reports indicate, it would imply that Waters’ remarks have had little impact. A lower price tag would mean he has effectively devalued the catalog.

The group seemed close to reaching a deal back in 2022, but the continuous feud between the band’s members — especially over Roger Waters’ controversial political statements regarding Israel and Ukraine — seemed to have complicated the deal and scared off any potential buyers.

Waters’ former bandmate David Gilmour agreed with his wife Polly Samson’s assessment on Twitter back in February that Waters was “anti-Semitic to [his] rotten core.” Waters was quick to refute those accusations, calling them “incendiary and wildly inaccurate.”

Regardless, the tensions between Pink Floyd’s members could make a sale of their catalog a source of relief for the band. Earlier this month, Gilmour told Rolling Stone that he would be pleased to reach a deal on the catalog’s sale, which would enable him to finally get “out of the mud bath” — seemingly referring to Waters’ controversial views.

“To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” said Gilmour.

Sony has never officially confirmed its recent catalog purchases, which have included those of Bob Dylan, Bruce Springsteen, and Queen’s name and likeness rights outside of North America. But those deals have all been widely reported and/or listed later on the company’s earnings reports. Still, if news emerges of the deal having closed, Sony could face hefty amounts of criticism for paying such a sum to Waters.

Other companies who showed an interest in the catalog and were close to a deal in 2022 include Hipgnosis, BMG, and Warner Music. But each of those companies has experienced leadership changes since then, and BMG even dropped Waters as a solo artist from its roster following some of his political remarks.

Photo Credit: Darren Young, Sam Lowe, George Pritchard, Wez Saunders, Shani Gonzales, Shamus Damani, Amber Davis

Warner Chappell Music UK teams up with Defected Records to launch a new joint venture, with WCM UK administering Defected’s roster and catalog.

Warner Chappell Music UK (WCM UK), the music publishing arm of Warner Music Group, has teamed up with British dance label Defected Records to launch a new joint venture. WCM UK will now exclusively administer the publishing roster and catalog of Defected Music.

Established in 1999, Defected has evolved and adapted over time, while maintaining its cultural values and musical identity, and now resembles more of a music media group with the label as its epicenter. One of the longest running independent labels of its kind, Defected continues to advocate for the cultural impact of house music in the UK and has remained well-respected in the music industry for 25 years.

The label’s publishing arm, Defected Music has recently enjoyed a number of big successes, including credits on Beyoncé’s Renaissance album, and Elton John and Dua Lipa’s “Cold Heart (PNAU Remix),” as well as massive tracks from Purple Disco Machine and John Summit, such as “Substitution,” “Where You Are,” and the Camelphat club classic, “Cola.”

The signing was marked at Defected’s legendary residency at Ushuaïa last month.

“Our mission is to uphold house music’s standards globally, to service our community while helping artists build longer lasting, more impactful, and more profitable careers,” said Wez Saunders, Defected’s CEO. “This JV with Warner Chappell Music UK will allow us to continue this and grow even further. I am particularly grateful to Darren Young, Sam Lowe, and the whole Warner Chappell team for making this happen and to our Director of Business Affairs, Shamus Damani, for his ongoing support and joining me on this next stage of Defected’s journey.”

“We look forward to working with Warner Chappell Music UK who clearly understand our DNA and are able to provide us with an award-winning team to ensure this next phase of Defected Music’s evolution is a success,” said Shamus Damani.

“I am delighted that we’re partnering with the iconic Defected Records — which is such a well-respected and innovative name in house music,” added Amber Davis, SVP and Head of A&R, Warner Chappell Music UK. “I’ve been such a fan of its genre-defining catalog for many years and it’s been a real team effort and privilege to bring these two companies together. I’d like to thank Wez, Shamus, Sam, Shani (Gonzales) and Darren (Young) for all their work and support in getting the deal done.”

Sam Lowe, A&R Consultant, Warner Chappell Music UK, concluded: “We are proud and excited to be partnering with Defected Records. The group clearly ha a great recipe for success and we can’t wait to start collaborating. Defected is a cultural phenomenon in the UK dance scene and we want to help it take its vision to the next level. I know this is going to be a great partnership and we’re excited for what is to come.”

Photo Credit: Mattias Caliste by Joyce Rodriguez

Universal Music Sweden launches Def Jam Recordings Sweden under the leadership of Mattias Caliste, coinciding with Def Jam’s 40th anniversary.

Universal Music Sweden, a division of Universal Music Group (UMG), has announced the launch of Def Jam Recordings Sweden. Led by Mattias Caliste, the label will continue to follow the blueprint of the iconic Def Jam Recordings label, which has led and influenced hip-hop culture worldwide for four decades.

Def Jam Recordings Sweden will launch with a flagship roster made of both well-established artists and new talent. The roster includes heavy-hitters Asme and Sarettii, rap-veteran Sebastian Stakset, and rising star Zikai. Supported by a dedicated team encompassing A&R and production, Caliste will be joined by Hamid Jamshidi and Hermon Alemseghed and will be bolstered by UMG’s regional and international network of labels and corporate divisions.

Mattias Caliste brings a wealth of experience, first as an artist in the group Fjärde Världen, as well as success as a producer and founder of the record label Stadsbild. Most recently, he ran Virgin Music Sweden, releasing a number of acclaimed albums by artists including 23 and Asme.

“It is a great honor for me to start up Def Jam Recordings in Sweden,” said Mattias Caliste. “Def Jam raised me! I grew up on artists like Public Enemy, EPMD, LL Cool J, Redman and Method Man, Warren G, and many others who all released some of their most outstanding albums under Def Jam. The label has a legacy that is incredibly important for hip-hop as both a genre and a subculture.”

Founded in 1984, Def Jam Recordings has represented the cutting-edge in hip-hop music for nearly 40 years. Def Jam began as an independent label inspired by downtown New York City’s vibrant street culture and the emerging sound of hip-hop, pioneered by stars like LL Cool J, Slick Rick, The Beastie Boys, and Public Enemy.

Def Jam established its dominance with superstar acts like Jay-Z, DMX, Ja Rule, Method Man and Redman, Ludacris, Rihanna, and Jeezy. Now in its fourth decade, Def Jam’s music and lifestyle have grown into a global brand.

Further announcements on signings and upcoming projects will follow in the coming months.

Universal Music India launches Vedam Records, a wellness-focused music label rooted in the timeless traditions of Indian culture. The first collaboration comes from three-time Grammy winner Ricky Kej.

Vedam Records will introduce traditional Indian sonics to the wellness music category, following the tenets of the Indian Vedic Wellness Systems (I.V.W.S.) to support yoga, meditation, focus, sleep, and chakra balancing. In the sacred Indian texts of the Vedas, The Samaveda details Vedic melodies and chants that have been practiced in India for thousands of years. These ancient guides channel deep sonic-cleansings techniques and sounds to help encourage better mental wellness and balance.

Vedam Records has collaborated with acclaimed Indian composer, U.N. good will ambassador, and three-time Grammy winner Ricky Kej who brings his unparalleled musical expertise and his knowledge of Indian wellness practices. Ricky’s work has been celebrated worldwide for its ability to bridge cultural divides and elevate consciousness. He’ll work closely with Vedam Records to help ensure the highest standards of artistic excellence and solidifying the label’s position at the forefront of this emerging musical category.

His first collaboration with Vedam Records is Break of Dawn, his latest audio album which explores the ancient Indian musical heritage of the Vedas—using their core tenets in every composition. Collaborating with nine of the finest musicians in their respective fields from around the world, Break of Dawn delivers soothing melodies, rich with Indian musical and cultural influences and is the perfect companion to the daily practices of yoga and meditation.

“With the launch of Vedam Records, we are embarking on a transformative journey, focused on improving the effectiveness and accessibility to authentic wellness music worldwide, steeped in traditional Indian Vedic practices and calibrated to various aspects of your wellbeing,” says Devraj Sanyal, Chairman & CEO, India & South Asia; SVP Strategy, AMEA at Universal Music Group.

“We are also thrilled to collaborate with Ricky Kej, one of the most acclaimed and respected Indian musicians today to help bring the label to life. Our mission for Vedam is simple, to release powerful music from India, created for the world to support better mental, emotional, and spiritual wellbeing.”

“Music has the unique ability to transcend boundaries and elevate the human spirit,” adds Ricky Kej. “For me, Vedam Records presents an opportunity to compose music that is therapeutic and necessary—now more than ever. In alignment with the I.V.W.S., I am crafting music that is not just a listening experience—but an introspective sonic journey, filled with joy.”

“Every song in Break of Dawn is such a unique journey that I feel will touch listeners at a deeper and more emotional level. I am certain that together with Vedam Records, we will create a positive impact around the world, through the powerful medium of music.”

Photo Credit: Odd Atelier (Jennie Kim)

Blackpink member Jennie Kim has signed a solo deal with Columbia Records in partnership with her record label Oddatelier. As part of the new solo deal, she’ll drop a new single in October.

Jennie emerged in 2016 as a member of Blackpink and is the highest-charting female Korean act on the Billboard charts. She’s also the only artist from South Korea to have headlined Coachella. Kim was born in Korea, but moved to Auckland, New Zealand when she was 10. She lived in New Zealand for five years before returning to Korea to join YG’s talent academy.

Blackpink was formed in 2016 and has gone on to become the first music group and Korean female act to have five music videos receive more than one billion views each on YouTube. They are also the most-followed girl group on Spotify with 16.3 million monthly listeners.

Kim also had a part in The Weeknd’s ill-fated HBO drama ‘The Idol,’ which explores a female pop idol’s (Lily-Rose Depp) complex relationship with a sleazy night club owner (Abel Tesfaye). Kim performs under the stage name Jennie Ruby Jane and plays a backup singer and dancer who gets the opportunity to break out on her own.

Jennie Kim opted not to renew her contract for solo activities with YG Entertainment, instead moving ahead with her own company Odd Atelier. In June 2024, the pop idol starred in a new Beats by Drew campaign promoting the brand’s Solo Buds. The star appears with backing of a yet-to-be-released original as she dances and swishes her ponytail—which could be a taste of her upcoming solo sound.

Her last truly solo venture was a single called “You & Me” that she debuted and performed during the BORN PINK Tour. She also contributed the song “One Of the Girls” to ‘The Idol’ soundtrack—that song has been certified platinum.

Photo Credit: Gus Stewart for Getty Images (Redferns Collection) / Primary Wave

Primary Wave Music inks a partnership with the estate of The Cars’ Ric Ocasek, which includes his publishing catalog from his time with the band.

The Estate of Ric Ocasek and Primary Wave Music have announced their new partnership, with terms of the deal seeing the publishing giant partner with Ocasek’s estate on the artist’s publishing catalog. This includes all songs from his time with The Cars as a cultural innovator and driving force of the band, in addition to his music released as a solo artist.

In this new partnership, Primary Wave will now share in name, image, and likeness rights with the state, and will provide access to the company’s marketing team and publishing infrastructure, working closely on new marketing, branding, digital, and sync opportunities, as well as TV and film projects.

“It is an absolute honor to partner with the Estate of Ric Ocasek,” said Adam Lowenberg, Primary Wave’s Chief Marketing Officer. “His words, music, and overall vision left such an indelible mark on the historical music landscape. I cannot imagine my own youth without the songs of Ric Ocasek. We are so eager to begin creating new opportunities to introduce Ric’s world to a whole new audience.”

Over the course of his five-plus decade career, Ocasek sold over 20 million records with The Cars and had over ten Top 40 hits. The band was nominated for six Grammys, including Best New Artist in 1979, and were inducted into the Rock and Roll Hall of Fame in 2018. Ocasek was the primary vocalist and songwriter for the band, writing some of their biggest hits, including the critically acclaimed singles, “My Best Friend’s Girl,” “Let the Good Times Roll,” and “Let’s Go.” Each of those songs are included in the multi-million-dollar deal, as well as their hit, “Drive,” which was the band’s highest charting single.

Other gems from the catalog included in the partnership are the hits “You Might Think” and “Just What I Needed,” the former of which was the first single off the band’s fifth album, and which shot to the Top 10 on the Billboard 100. The accompanying music video was a huge hit, and one of the first music videos to use computer graphics.

Released in 1978, “Just What I Needed” was the first single off The Cars’ debut album and was the most successful single from the release. The track has become praised by fans and critics alike, with Rolling Stone including it on their “500 Greatest Songs of All Time” list. The song influenced Weezer frontman Rivers Cuomo to select Ocasek to be the producer for the band’s debut. His reputation as a producer developed, and he found himself working with other bands like Bad Religion and No Doubt.

Photo Credit: Gideon Benari / CC by 2.0

Fitch Ratings gives Warner Music Group a first-time long-term credit rating of a decent ‘BBB,’ spelling good news for the company.

Just a few days after Bill Ackman’s Pershing Square Holdings, which owns approximately 10% of Universal Music Group’s equity, led to the company receiving an increased stock rating of “outperform,” its rival, Warner Music Group, receives similar good news. Fitch Ratings, one of the “Big Three” credit rating agencies in the US, has given WMG a first-time long-term “Issuer Default Rating” (IDR) of ‘BBB.’

The Fitch website’s ratings system guide confirms this is good news for the company. Fitch wrote that WMG’s rating “reflected its leading position in the music entertainment industry supported by its extensive portfolio of music assets and diversified revenue base.” The rating also takes into consideration the company’s “modest leverage and robust Free Cash Flow (FCF) generation, balanced against the inherent volatility of its hit-driven recorded music segment.”

Further, Fitch’s outlook for Warner Music also incorporates expectations for its continued growth in paid music streaming, expansion into emerging markets, and new monetization opportunities from new platforms and “dedicated superfans.”

“The global music industry has strong growth potential with opportunities from continued adoption of paid streaming services, price increases by Digital Service Providers (DSP), growth in emerging markets, monetization from new platforms, and premium plans for superfans,” Fitch explained, adding that it believes WMG is “well positioned to capitalize on emerging market opportunities.”

“Although major labels have signed licensing rights with platforms like Meta and TikTok, Fitch believes there is still a sizable value gap from unlicensed use of music by emerging platforms such as short-form video, exercise, gaming, and livestreaming,” the company concluded.

Meanwhile, Warner Music Group CEO Robert Kyncl has hinted that he’s interested in the company’s presence growing in the so-called “middle class artist market.” Warner’s recent minority stake in Brazil’s Sua Música will also be “a significant partner” for its strategy of expanding its presence throughout the Brazilian market.

A live performance from Dublin-based Lankum, which Beggars Group said achieved commercial success with False Lankum last year. Photo Credit: Paul Hudson

Beggars Group labels including XL, Rough Trade, and 4AD achieved a double-digit improvement in overall revenue during 2023 thanks in part to a material sales spike outside the UK.

London-headquartered Beggars Group just recently revealed its 2023 financials in a Companies House filing. All told, the year delivered 35 albums (up from 31 in 2022) across the company’s labels, with “commercial successes” including but not limited to Queens of the Stone Age’s In Times New Roman…, Romy’s Mid Air, and Lankum’s False Lankum.

Despite the relatively small increase in the number of label projects, Beggars disclosed $135.97 million/£103.18 million in revenue (including JVs), with $79.55 million/£60.41 million having derived specifically from non-JVs.

Behind the latter sum, core music sales and licensing contributed $67.51 million/£51.27 million (up 13.7 percent YoY), with the remaining $12.04 million/£9.14 million (up 23.7 percent YoY) attributable to the management side.

Geographically, the breakdown points to slightly reduced UK revenue of $15.96 million (£12.12 million) in 2023 – and a comparatively substantial £48.29 million from all other markets. That’s up a noteworthy 20.1 percent YoY, though it’s worth reiterating that the UK sum had jumped by north of $2.63 million (£2 million) across 2021 and 2022.

Nevertheless, total operating profit slipped by 11.4 percent YoY to $9.30 million (£7.06 million), per Beggars Group’s 2023 report.

Post-tax, total profit came in at $7.91 million (£6.01 million) for the non-JV labels of Beggars, which acknowledged YoY increases for cost of sales ($17.79 million/£13.51 million, up 15.2 percent YoY), distribution expenses ($7.93 million/£6.02 million, up 54.4 percent YoY), and admin expenses ($48.76 million/£37.30 million, up 11.6 percent YoY).

Meanwhile, a further $745,763 (£566,370) hit stemmed from exchange-rate fluctuations concerning investments in foreign operations, contributing to comprehensive 2023 income of $6.65 million (£5.06 million), the report shows.

As a pertinent aside, the above figures pertain to the label group’s aforementioned divisions, not the overarching Beggars Group itself. Beggars proper, the resource spells out, “has not presented its own profit and loss account in these financial statements.”

“The profit before tax of the parent company for the year was £14,200 [$18,697] (2022 – £16,035,317 [$21.11 million]) and the loss after tax was £75,756 [$99,738] (2022 – profit of £16,069,803 [$21.16 million]),” the relevant text reads of the multifaceted organizational structure at hand.

In any event, Beggars’ annual report acknowledges an average of 163 employees (including directors) for 2023, up from 156 in 2022. Overall, the individuals’ wages and salaries came out to $17.26 million (£13.11 million), up from $15.21 million (£11.55 million) in 2022 and excluding another £2 million or so in social security as well as pension costs.

Tatiana Cantinho, who’s joined Warner Music Brazil as general manager. Photo Credit: WMG

After kicking off 2024 by opening a “dynamic and inviting” Rio de Janeiro headquarters, Warner Music Brazil has unveiled a major restructuring initiative.

Warner Music reached out with word of the new executive structure, designed to “turbocharge” the Brazilian division’s presence across “diverse domestic genres.”

Said genres are proving increasingly lucrative against the backdrop of the South American nation’s quick-expanding recorded music market, which was deemed the ninth largest in the world last year and remains the target of aggressive antipiracy campaigns.

Keeping the focus on the revamped Warner Music Brazil, president Leila Oliveira has brought on Sony Music (and Som Livre) vet Tatiana Cantinho as GM and enlisted Mariana Frensel (previously with Sony Music, Warner Music itself, and most recently Match Group) to serve as marketing director.

Both the higher-ups are based in the Rio headquarters and will begin in the posts “immediately.” Additionally, Warner Music Brazil is retooling its A&R and marketing operations “to better serve key domestic genres” including but not limited to sertanejo, forró, and samba.

Consequently, existing A&R director Marcos Kilzer is poised to stay aboard and “work closely with Cantinho,” per the business. Plus, a newly formed creative services team will be helmed by Thiago Abreu, who’ll report to Oliveira and aim to support marketing as well as A&R while simultaneously spearheading brand partnerships and live projects.

In a statement, Oliveira touted the reorganization as “a key moment” for her company, which in July invested in Sua Música, the self-described “largest Brazilian music content platform.”

“This is a key moment for Warner Music Brazil,” summed up Oliveira, who’s been part of the executive suite for over a decade. “The arrival of Tatiana and Mariana strengthens my leadership team and together we’ll rewrite the rules about how the industry operates here.

“Our new genre-specific teams mean that we’ll be able to superserve artists better than ever and help all types of Brazilian talent connect with fans here and around the world,” concluded the Warner Music Brazil president.

At the top level, Warner Music Brazil’s latest changes are significant given the continued industry growth (fueled chiefly by streaming) attributable to the nation of over 215 million. But particularly regarding Warner Music, the pivots have come just weeks after a massive stateside shakeup within the major label’s decidedly important recorded music division.

Lastly, it was only in July that Universal Music moved forward with another round of layoffs, and different executive departures could be indicative of an ongoing reorganization at the leading label.

Photo Credit: Shaboozey’s Instagram

Shaboozey files a lawsuit against his publisher and label with allegations that he was blocked from exercising an early termination contract clause.

Shaboozey has rocketed to stardom this year with his track “A Bar Song (Tipsy),” easily one of the biggest hits of 2024. But now he’s suing his former label and publisher, and his label is suing him right back, all within the last few days.

On Wednesday, August 21, Collins Obinna Chibueze, better known as Shaboozey, first sued Warner Chappell Music Publishing with allegations that Warner had blocked him from exercising a contract clause. This clause, he said, allowed him to terminate his contract early by repaying 110% of advances, which are sometimes paid to an artist ahead of royalty payments, and are then recouped from future royalties earned.

Further, Shaboozey alleged that as part of Warner’s block, the label refused to disclose the amount owed, making it impossible for him to exit the deal with a full transparency of the correct numbers.

His former label, Kreshendo Entertainment, is also named as a defendant in the lawsuit, with Shaboozey claiming they were in on Warner’s ploy, instructing Warner not to disclose the financial and sales information required for him to exit his contract. He also says Kreshendo released three of his songs without permission after he had terminated their deal.

Just two days after Shaboozey filed his lawsuit, Kreshendo filed a countersuit on August 23, accusing the artist of fraud and subterfuge to avoid fulfilling his contractual obligations. “Notably, Shaboozey had no issue with any of these terms for years,” Kreshendo alleges. “It was only after he recently released the ‘Bar Song,’ which has become a huge hit, that he has taken sudden issue with the terms he expressly agreed to.”

Kreshendo also claims to have spent “endless” time and resources building Shaboozey’s career, only to be sued once he became a success. One of the stipulations, they claim, was that they would own a 50% stake in all Shaboozey’s compositions and retain a right to be paid a percentage of profits from his masters. Their lawsuit claims the artist failed to pay the required profits.

Photo Credit: Michael Jackson Dangerous World Tour 1993 by Constru-centro / CC by 4.0

An appellate court denies Michael Jackson’s mother’s challenge of the $600 million sale of his catalog to Sony Music. Now the deal can move forward.

A California appellate court found that Michael Jackson’s mother, Katherine Jackson, had no basis to challenge a lower court’s approval of a $600 million deal with Sony Music for her late son’s catalog. The appellate panel’s decision hands a victory to Jackson’s estate executors and enables the deal to move forward.

The new ruling describes the initial 2022 Sony deal as a “joint venture” which estate executors John Branca and John McClain had the right to broker while Michael’s estate remains in probate — a court-supervised process for handling disputes related to a will.

Katherine Jackson opposed the deal with Sony, claiming it violated the terms of her son’s will, specifically that all the estate’s assets must be distributed to the trust, naming his children and mother as beneficiaries once probate closes. She argued in her filing that allowing the estate’s “single most valuable asset” to be transferred to a “new company” was fundamentally inconsistent with her son’s wishes. Further, she claimed the sale would make it “impossible” for executors to transfer the “entire estate” to the trust.

The panel explains that the confidential transaction involved “transferring a significant portion of the estate’s assets to a joint venture between the estate and a third party, in exchange for a large cash payment and an interest in the joint venture.” The three-judge panel rejected Katherine Jackson’s position, writing that Michael’s will “gives the executors broad powers to manage estate property while the estate remains in probate.” Thus, the prior judge’s ruling did not violate the terms of Jackson’s will.

“The probate court did not err in concluding that it was Michael’s intent to allow the executors to sell any estate assets, including those at issue in the proposed transaction,” the judges write, asserting that the deal “neither diminishes the estate’s value nor impairs the executors’ future ability to transfer the estate’s assets to the trust.”

Michael Jackson’s estate has been in probate since his death in 2009, largely due to ongoing tax disputes with the IRS. When probate eventually closes, the entire estate will be transferred to the trust naming Jackson’s three children as the principal beneficiaries, and Katherine as a lifetime beneficiary of a sub-trust which will revert to the main trust after her death.

Photo Credit: SME Korea & Attrakt

Sony Music Entertainment Korea has signed a global distribution deal with Attrakt, the management company behind the K-pop sensation, FIFTY FIFTY.

Under the agreement, SMEK will spearhead the worldwide distribution of FIFTY FIFTY’s music, while also overseeing global marketing campaigns and business development initiatives. To maximize the group’s impact, Arista Records will handle US-based marketing efforts and distribution.

Established in 2021, Attrakt has rapidly gained prominence with the meteoric rise of FIFTY FIFTY. The group’s viral hit, “Cupid” shattered records last year as the fastest K-pop act to enter the U.S. Billboard Hot 100 and UK Singles chart, solidifying their status as global music icons.

“We are incredibly excited to join forces with FIFTY FIFTY and Attrakt,” says Bobby Ju, Managing Director, Sony Music Entertainment Korea. “This partnership marks a pivotal moment in our K-pop strategy, and we are confident that FIFTY FIFTY’s immense talent, combined with our global reach, will create a powerful force in the music industry.”

“The global popularity of K-pop is undeniable, and this partnership represents a significant step forward in maximizing its potential,” adds Shridhar Subramaniam, President, Corporate Strategy and Market Development, Asia & Middle East, Sony Music Entertainment. “We believe that FIFTY FIFTY’s music resonates deeply with audiences worldwide, and we are committed to supporting their artistic vision as they become global superstars. This collaboration is a testament to the exciting future of the K-pop industry.”

By joining forces with Attrakt and FIFTY FIFTY, Sony Music Entertainment Korea will continue its focus on K-pop, positioning the girl band at the forefront of the genre’s worldwide expansion. FIFTY FIFTY’s upcoming EP is slated for release in late September with a slew of new tracks.

“Sony Music Entertainment Korea and Arista Records’ expertise will be instrumental in introducing FIFTY FIFTY to their fans worldwide and we are eager to embark on this exciting journey together,” shares Chun Hong June, CEO, Attrakt. “With the upcoming FIFTY FIFTY album release the end of September, we have meticulously planned a systematic global marketing strategy to keep pushing the boundaries of K-pop’s potential and musicality to the rest of the world.”

Photo Credit: Jimmy Fontaine (Cat Kreidich)

The independent label and artists services arm of Warner Music Group, ADA, has announced a global distribution partnership with FTS Global Management.

ADA will cover global distribution for the FTS network of artists. The label was founded by former Hall of Fame athlete and banker Travis Wilson and boasts a roster featuring heavyweights across hip-hop, R&B, and dancehall including The Game, Eric Bellinger, and Konshens. Emerging in the early 2000s as a pioneering voice on the west coast hip-hop scene, The Game has landed three #1 albums and has more than 12 million monthly listeners on Spotify.

Eric Bellinger secured a ‘Best R&B Album’ Grammy award for his work on Chris Brown’s F.A.M.E. and has co-written for Usher, Justin Bieber, and Wale. Rounding out the label’s roster is Jamaican dancehall artist Konshens, whose catalog includes the Caribbean staple “Bruk Off Yuh Back” featuring Chris Brown, as well as collaborations with artists like The Chainsmokers, Cardi B, Doja Cat, and Pitbull.

“We’re excited to welcome a label led by a visionary committed to artist empowerment,” says Cat Kreidich, President, ADA. “This partnership perfectly aligns with ADA’s mission to not only distribute exceptional music, but also to foster the growth of enduring catalogs and cultivate new audiences.”

“Blessed to have a lineup of powerhouse artists who chose me to lead them on this journey,” adds Travis Wilson. “My mission in this industry is simple—to ensure every artist I work with is financially literate and fully protected. With this new partnership, we’re not just making music; we’re building legacies that will stand the test of time.”

Powered by Simran A. Singh, Singh & Trauben, LLP, FTS Global Management specializes in financial literacy for artists and building long-term careers, rather than focusing solely on short-term gains. Since beginning his career, Travis Wilson has transitioned from a financial advisor to business and artist management, leveraging his unique expertise in both the financial world and the music industry to benefit FTS’ roster.

Backed by a dedicated team encompassing A&R executives and specialists in accounting and credit management, FTS has built an expansive network through collaboration with labels across the country. With international ambition, FTS’ expansion plans heavily focus on regions in Africa, the Caribbean, and Canada.

Photo Credit: Ryan Gagerman / Kartoon Studios

Kartoon Studios partners with LiveOne to oversee music for their new Winnie-the-Pooh animated feature, set to premiere on Amazon Prime in 2025.

Kartoon Studios is premiering a new Winnie-the-Pooh animated feature during the holiday season next year, followed by holiday specials and a series. Now, the studio has announced a broad partnership with LiveOne for production, pushing, and distribution of original music for the new Winne-the-Pooh brand.

LiveOne’s creator-first subscription platform delivers premium content and livestreams from the world’s top artists, creating a valuable connection between brands and fans. The company boasts an award-winning entertainment and technology platform.

Kartoon Studios’ “Winnie-the-Pooh” is currently in pre-production, beginning with the animated feature, A Hundred Acre Christmas. The movie is set to premiere on December 24, 2025, on Amazon Prime Video, through Kartoon Channel’s $3.99 a month subscription distribution arrangement.

The release is timed to celebrate the 100th anniversary of A. A. Milne’s original publication of the series in the London Evening Standard. The new franchise will include five holiday specials and a 104-episode animated series.

“LiveOne has revolutionized the digital entertainment and live-streaming space since its launch in 2015 by leveraging technology to enhance user engagement and interaction with content creators and media partners, and they are the ideal partner to work with us to deliver a slate of original music, which is integral to the production of Kartoon Studios’ ‘Winnie-the-Pooh,’” said Kartoon Studios’ Chairman & CEO Andy Heyward.

“The Winnie-the-Pooh franchise’s popularity has endured for generations and generated 80 billion dollars in revenue, including music royalties. The 1994 release of the Grammy Award-nominated Return to Pooh by Kenny Loggins alone sold over 2 million albums,” said LiveOne’s Chairman & CEO Robert Ellin, and Josh Hallbauer, Head of Music. “We are thrilled to partner with Kartoon Studios to translate the values, stories, and characters from the original books into a dynamic soundtrack to appeal to a new generation with Kartoon Studios’ ‘Winnie-the-Pooh.’”

In addition to the release of content, Kartoon Studios will launch a global retail program concurrent with the debut of the holiday movie with physical entertainment through Alliance Entertainment Corporation and a consumer productions program. The development, production, and growth of Kartoon Studios’ “Winnie-the-Pooh” franchise is funded by a non-dilutive production financing of $30 million, led by Catalyst Venture Partners.

A. A. Milne’s Winnie-the-Pooh stories have generated one of the most successful properties of all time, with lifetime revenues exceeding those of Barbie, Harry Potter, Star Wars, Mickey Mouse, Marvel, Peanuts, Ninja Turtles, Power Rangers, and more. The IP has been in the public domain since 2022.

Audio Chateau Records has announced multiple executive appointments as well as a $4.5 million raise. Photo Credit: Markus Winkler

Audio Up Media’s Audio Chateau Records (ACR) has announced a $4.5 million raise and confirmed multiple executive appointments.

Jared Gutstadt-founded and Reservoir Media-backed Audio Up reached out with word of the multimillion-dollar raise, which follows the January of 2024 launch of the self-described “innovative new label” Audio Chateau Records. As its name suggests, this label operates from Audio Up’s multi-acre Audio Chateau “satellite” creative facilities.

Located in Nashville and Los Angeles, said facilities boast “a full stack of production and event capabilities,” according to the appropriate website. Meanwhile, the label’s roster includes acts such as Grupo Linea, Uncle Drank, the Compton Cowboys’ Randy Savvy, and Maejor Audio Sunshine (featuring the aforementioned Gutstadt).

Running with the details, ACR earlier in August celebrated its “first two drops,” and the previously noted $4.5 million in funding was put up by Exceleration Music managing partner Glen Barros, Partners in Kind founder (and Hormel Foods heiress) Gillian Hormel, and Music Direct audio consultant Jonathan Schulman*.

*Update, August 20th: Whoops: looks like we got the wrong Jonathan Schulman — the Music Direct audio consultant told DMN he’s not involved in this project.

Furthermore, Barros and Schulman have signed on as board members for Audio Chateau Records, which has also revealed multiple executive appointments. Coming aboard as A&R consultant is Nashville-based CAA and Sounds Good vet Grayson Flatness, who’s joining head of legal and business affairs Kate London.

Since May of 2022, the former Interscope and Global Music Rights higher-up London has held the same role at Audio Up proper, and she’s expected to continue handling the duties alongside those associated with ACR.

Keeping the focus on the Nashville music scene for a moment, Audio Chateau Records’ funding announcement and executive appointments have arrived on the heels of a partnership kickoff involving Timbaland’s Mosley Music and Universal Music Nashville. Under that tie-up, the companies say they’re working towards “breaking barriers in country music.”

And when it comes to wider funding developments in July and to this point in August, Audio Chateau Records’ $4.5 million tranche has entered the media spotlight roughly two weeks after content-attribution startup ProRata.ai revealed it’d pulled down $25 million. On top of the sizable Series A, the business added Universal Music, zeroing in more than ever on AI media and the platforms through which it’s made, as a partner.

July, for its part, delivered raises for companies including Posh (a $22 million Series A), Bridge.audio ($3.3 million), and Submix (a $1 million pre-seed round) – with each compiled in DMN Pro’s one-stop Music Industry Funding Tracker.

Photo Credit: Downtown Music Publishing

Downtown Music Publishing (DMP) has announced a global music publishing agreement with Peso Pluma’s Double P Records. Here’s the latest.

Double P Records was founded by Peso Pluma and George Prajin in April 2023, with this partnership seeing DMP providing full administration and sync placement across Double P Records’ current and future releases. It also encompasses administration for Peso Plum’a own publishing interests, including his latest double album, ÉXODO.

The record label is the home to some of Música Mexicana’s biggest songwriters including Peso Pluma, Jasiel Núñez, Estevan Plazola, and Jesús Roberto Laija García (Tito Double P). Peso Pluma boasts 52 million monthly Spotify listeners, making history as the first Mexican artist to top the ‘Daily Top Artists Mexico’ chart. He is widely known as a leading figure in championing the resurgence of Corridos, a genre that blends traditional Mexican Corridos with modern influences including trap, hip-hop, and reggaeton.

Peso Pluma’s album ÉXODO was the biggest debut by any Mexican artist on Spotify. It received over 29 million streams within the first 24 hours of release, making it the highest first-day streamed album on Apple Music, too. His previous album GÉNESIS also broke streaming records and earned him a Grammy nomination and win for Best Música Mexicana Album in 2024.

“We are looking forward to joining forces with Downtown and continuing to grow our partnership. I am confident t hat together we are going to do great things,” adds George Prajin, CEO, Prajin Parlay Inc. and Co-Founder Double P Records.

“Peso Pluma’s exceptional rise to fame is of great importance to the representation of Música Mexicana artists globally,” adds Jedd Katrancha, Chief Commercial Officer of Downtown Music Publishing. “We’re honored to provide Double P Records with the services and opportunities DMP has to offer across its groundbreaking catalog.”

The announcement follows a period of significant growth and success for Downtown Latin music and Música Mexicana with over 30 Latin Grammy nominations for clients across the group in 2023. Those nominations include Best Tejano Album from FUGA client Freddie Records’ artist, Jay Perez and Best Engineered Album from CD Baby client, Antonio Adolfo.

Photo Credit: Rohan Reddy

After gaining a 60% majority stake in 2020, Believe acquires the remaining 40% of independent Turkish label Doğan Music Company for about $42 million.

One of the world’s leading digital music companies, Believe, has announced it will be acquiring full ownership of Doğan Music Company (DMC), Turkey’s largest independent label, for 38.3 million euros ($42 million). Believe first acquired a 60% majority stake in DMC in 2020, and has now reached an agreement with Doğan Group to acquire the remaining 40%.

With a mission to develop independent artists and labels in the digital space by providing them the necessary solutions to grow their audiences at each stage of development, Believe’s team of worldwide experts leverage the group’s technology platform to advise artists and labels alike, as well as distribute and promote their music. Believe boasts 2,020 employees in over 50 countries, aiming to support independent artists and labels with its unique digital expertise, as well as respect, fairness, and transparency.

DMC has added value to the Turkish economy for 65 years, since Doğan Şikretler Grubu Holding A.Ş. entered the scene in 1959, when Honorary Chairperson Aydın Doğan registered with the Mecidiyeköy Tax Office, and then founded his first automotive company in 1961. Today, the Doğan Group and its companies play a significant and pioneering role with their vision in the fields of electricity generation, industry and trade, automotive trade and marketing, finance and investment, internet and entertainment, and real estate.

Believe’s full acquisition of DMC follows closely on the heels of the group’s acquisition of a 25% stake in Romanian dance label Global Records, pointing to a broader strategic move into global content distribution. The 16-year-old Romanian company already has offices “and activity” in Germany and the United States, and boasts around six billion streams in 2023 across its roster. Believe first partnered with Global back in 2016.

Believe’s other international endeavors include Sentric, South Indian film soundtrack label Think Music, Filipino group Viva Music and Artists, and France’s Jo&Co. The global expansion runs in tandem with Believe’s recent dance-focused launches of b.electronic and All Night Long.

Photo Credit: Matt Furman (Julie Greenwald)

Julie Greenwald is saying ‘no thanks’ to the Warner Music Group re-organization effort, which saw her promoted to Atlantic Music Group Chairman. According to reports emerging late Tuesday (August 6th), she will depart the company next year after stepping down this year into an advisory role.

Sources speaking to Variety report Greenwald will exit her role in January despite being elevated to chairman stripes a few days ago. Greenwald’s been with Atlantic for 20 years and was expected to remain as chairman as Elliot Grainge assumed the CEO role in October.

Greenwald reportedly announced her decision to leave in January during a staff meeting, with sources noting that she reassured her longtime staff, but said they should “process the coming changes today, but get back to work tomorrow.”

Variety further reports that Greenwald is supported in this decision by her mentor, former Warner Music head Lyor Cohen. Cohen apparently reminded his mentee that she’s “Julie Fucking Greenwald”—i.e., one of the most successful music executives of the last 25 years. It looks like that self-image isn’t getting properly validated by WMG CEO Robert Kyncl’s reorg.

A quick summary of WMG’s recent overhaul: Max Lousada, CEO of recorded music will step down at the end of the fiscal year, remaining as an advisor through January 31st, 2025. On October 1st, Elliot Grainge will become CEO of Atlantic Music Group, reporting directly to Robert Kyncl.

Grainge became part of the global senior management team last year and is the son of UMG Chairman-CEO Lucian Grainge. Atlantic Records Chairman-CEO Craig Kallman is expected to shift back into a more A&R oriented role.

Warner Music says the restructure will help it better enhance artist services, streamline global operations, and position the company for sustained growth. The structure has shifted to a more ‘flat’ organizational layout, cutting out bureaucracy and confusion with cleaner reporting lines to leadership for senior execs. The new structure eliminated the roles of ‘CEO, Recorded Music’ and ‘President, International, Recorded Music.’

Regional and divisional leaders will still report directly to Robert Kyncl.

Photo Credit: Eszter + David

Warner Chappell Music has signed a global administration deal with influential singer-songwriter and musician Liz Phair. The agreement spans her full music catalog including hits like “Why Can’t I?,” “Supernova,” and “Never Said.”

Liz Phair was a key player in the underground indie rock movement of the early 90s. Her 1993 debut studio album, Exile in Guyville, is considered a classic feminist landmark that continues to resonate with audiences worldwide.

“My sogns represent my life’s work, and I am excited to take a fresh look at my catalog with the support of such a unique and maverick team at Warner Chappell, co-headed by the charismatic Carianna Marshall,” says Liz Phair after signing with Warner Chappell Music.

“Liz has always embraced her true self, releasing songs that were ahead of her time,” adds Carianne Marshall, WCM Co-Chair and COO. “She opened doors for women in music in the 90s, ushering in a new era of rock and roll with her bold, empowering lyrics and trailblazing sound. She continues to influence music today, and we’re proud to be working together to introduce even more audiences to her incredible songs.”

Liz Phair was born in New Haven, Connecticut and first pursued her musical career in San Francisco after graduating from Oberlin College in 1990. She later returned to Chicago, where she began songwriting and self-releasing audio tapes under the name Girly-Sound, which led to a record deal with Matador Records. In 1993, she released her debut studio album, which received instant recognition for its raw and honest lyrics of gender and relationships.

The album is now regarded as an iconic work and continues to resonate today, recently reaching the top ten of Pitchfork’s “Best 150 Albums of the 90s” in the #4 spot. The album also made Rolling Stone’s Best 500 Albums of all Time, clocking in at #56 on that list. Last year, Phair celebrating the 30th anniversary of the record and launched a U.S. tour with a full band to perform Exile in Guyville in its entirety.

“Liz’s songs and records changed the way songwriters and artists wrote and recorded in the 90s,” adds Greg Sowders, WCM SVP, A&R and Catalog. “She single-handedly helped forge the alternative music genre, and her work is more relevant today than it was when she first changed all the rules. There are many more great thing sin store for Liz and her career as she takes on this next chapter.”

Photo Credit: Believe UK

Iconic dance music brand fabric joins Believe UK’s b:electronic imprint for services to reach an even broader global audience.

The UK office of one of the world’s leading digital music companies, Believe, has signed a global services deal with electronic music brand fabric. The partnership sees fabric join the client base of b:electronic, Believe’s global imprint dedicated to electronic music, a part of the company’s Label & Artist Solutions division.

As part of the agreement, b:electronic will provide genre specialist label management, video and audience development, editorial and marketing partnerships internationally, and distribution for both catalog and new releases.

A global brand shaping the dance music scene for over 25 years, fabric’s labels include fabric Originals, fabric Records and Houdstooth, with a new imprint set to launch in this near future. Several special projects are scheduled for the second half of the year as part of fabric’s 25th anniversary celebrations, including releases from Confidence Man via their “fabric presents” compilation format; Daniel Avery and Dusky via fabric Originals; and critically acclaimed DjRUM via Houndstooth.

Producer and DJ Laurent Garnier will also be involved in a special label project commemorating the anniversary at the end of the year, with further details to be announced during a dedicated 1-2-1 session at ADE. All of this follows successful releases from Shygirl, The Streets, and Confidence Man via their “fabric presents” format earlier this year.

Meanwhile, b:electronichas gone from strength to strength since launching at the end of 2022, expanding globally and having quickly established a clientbase that includes the cream of the dance and electronic genre including Hospital Records, Rinse, Cr2 Records, and Shogun Audio.

Believe’s Head of Label & Artist Solutions, UK, Panos Polimatidis, said, “fabric’s rich history and influence in the electronic music culture is undeniable, consistently pushing boundaries. We are thrilled to partner up with them in this new era and excited to help the brand and its artists reach even wider global audiences.”

“Partnering with fabric is a landmark moment for b:electronic,” added Leigh Morgan, Global Director of b:electronic. “We’re honored to help amplify the iconic sound of fabric to a global audience. This collaboration marries fabric’s unparalleled legacy in electronic music with our cutting-edge distribution expertise. We’re excited to power the next chapter of this legendary brand, ensuring their music reaches every corner of the digital world.”

“This partnership represents an exciting opportunity for fabric’s recordings division as we navigate the evolution of digital music consumption in 2024,” said fabric’s Head of Labels, Hiroki Beck. “It will allow us to continue the growth of our existing label imprints, while simultaneously looking at a wider scope of artists and accessible musical output, with a strong focus on the streaming landscape as we utilize Believe’s network with personnel worldwide.”

Beck continues, “Believe/b:electronic have consistently shown their best-in-class credentials for our genre within the digital sphere. They have a highly motivated team who share the same passion and deep knowledge of dance and electronic music that we have; our ambitions feel aligned for global digital growth as we celebrate the company’s 25th year.”

Photo Credit: Gage Skidmore / CC by 3.0

Wu-Tang Clan’s RZA has partnered with Irving Azoff’s Iconic Artists Group and LL Cool J’s Rock the Bells to ‘expand and expound’ on the hip-hop collective’s music, brand, and lifestyle.

The new partnership encompasses all of Wu-Tang Clan’s music, designed to create more partnership opportunities in television, merchandising, brand partnerships, and film. Wu-Tang Clan has teased a partnership with Nike, which is fruit from the deal. Variety reports that beyond branding partnerships and collaborations, the partnership “seeks to bring together Wu-Tang Clan’s global communities through a singular online destination.”

Wu-Tang Clan released its debut album Enter the Wu-Tang (36 Chambers) in 1993 and has dropped six studio albums since. Once of those is the fabled Once Upon a Time in Shaolin, which ended up in the hands of convicted felon and Pharma Bro Martin Shkreli. Shkreli paid $2 million for the album in 2015 and surrendered ownership after the government seized it. PleasrDAO purchased the album for $4.75 million at auction in 2021. Shkreli recently received a ban on streaming the legendary album—meaning he kept copies of the musical works.

Wu-Tang Clan has also taken over Las Vegas with its “Wu-Tang Clan: The Saga Continues” residency kicking off Super Bowl weekend in February, followed by more dates in March. The group has added two additional shows scheduled for September 27 & 28.

“As we evolve from ‘Legendary Status’ to ‘Iconic Status’ it’s only fitting and serendipitous that we join the team at Iconic Artists Group and Rock the Bells,” says RZA in a statement. “This partnership will help us continue to expound and expand the Wu-Tang Clan’s legacy.”

“Wu-Tang Clan’s influence on hip-hop—and the way the world views hip-hop—is undeniable,” adds Susan Genco, Co-President of the Azoff Company. “The partnership with RZA and Iconic is committed to ensuring that the importance of WTC’s music and their message is celebrated now and for generations to come.”

Photo Credit: Christine Schwan

Downtown Neighbouring Rights sign an international deal with Lady Blackbird who joins a roster including Jon Batiste, Justin Bieber, One Republic, and the estates of Ella Fitzgerald, Miles Davis, and Meat Loaf.

Downtown Neighbouring Rights (DNR) has announced a global deal with American Psychedelic Soul singer-songwriter Lady Blackbird. As part of the deal, DNR will represent Lady Blackbird’s catalog, including the singles “Woman,” “Feel It Coming,” and her collaboration with Moby, “Dark Days.”

Lady Blackbird’s 2021 album, Black Acid Soul, produced by Chris Seefried, peaked at No. 6 on the UK Album chart and entered the Official Jazz chart at No. 1, with “Five Feet Tall” accumulating over 4 million streams on Spotify. Her haunting version of Nina Simone’s “Blackbird” has become a civil rights rallying cry in the aftermath of George Floyd.

Winning International Jazz Act of the Year at the 2022 Jazz FM Awards, Lady Blackbird is a sought-after collaborator, featuring on releases with Moby, Trevor Horn, Nitin Sawhney, and Billy Porter, as well as supporting Gregory Porter on his UK tour in 2022.

“I am so excited to be partnering with Downtown in regards to my neighboring rights collections,” said Lady Blackbird. “With my new album, Slang Spirituals, coming out in September, this is going to be such an exciting year. Adding Downtown to my team feels like a perfect fit.”

Downtown Neighbouring Rights will also represent her upcoming second studio album, Slang Spirituals, which is once again produced by her longtime collaborator, Chris Seefried. The first single from the album, “Reborn,” debuted in June.

The news follows a successful start to the year for DNR, who has welcomed a raft of global signings since the beginning of 2024. The company announced international neighboring rights agreements with acclaimed singer-songwriter ANOHNI, representing the singer’s Academy Award-nominated song, “Manta Ray,” and Mercury Prize-winning album, I Am a Bird Now — as well as global agreements with publisher and label Position Music and TH3RD BRAIN Records, home to Brazilian producer Zerb. Zerb’s single “Mwaki” hit No. 1 on Spotify’s Viral 50 Global and No. 2 on Global Shazam charts.

“It has been an exceptional year so far for Downtown Neighbouring Rights as we continue to represent and collect for groundbreaking global artists,” concludes Diane van Beekum-de Mooij, Director of Downtown Neighbouring Rights. “Lady Blackbird is one such example, a highly talented artist, singer, and songwriter; we are proud to represent her lauded catalog and look forward to providing her and her team with our expertise and offering.”

Downtown is the world’s leading music services company, with over 2 million clients from 145 countries representing a catalog of over 38 million music assets in a wide variety of genres and languages. Downtown’s technology and service offerings support creators and businesses in all facets of the music industry, including creation, distribution, publishing, marketing, royalty collection, financing, accounting, and payment services.

Photo: James McCartney IG

After dropping two new music collaborations with Sean Ono Lennon, James McCartney’s next release is a cover of Joni Mitchell’s iconic “Circle Game.”

The following was created in partnership with earthprogram.

McCartney recently teamed up with Sean Ono Lennon for the release of “Primrose Hill,” co-written with the youngest son of the late John Lennon. McCartney said at the time that the acoustic ballad is named for an idyllic park in Camden overlooking London’s Regent’s Park. The song itself was inspired by a vision the young McCartney had as a child on a summer day in Scotland. 

The release of “Primrose Hill” follows the release of “Beautiful,” which the pair of Beatles’ sons dropped in February 2024. The McCartney-Lennon collaboration songs are McCartney’s first new music since he dropped his second album in 2016. He released his full-length debut album, Me, in May 2013, which was co-produced by Paul and David Kahne. 

James McCartney’s music carries a unique blend of melodic pop and introspective lyrics, reviving the 60s style his father helped make so popular. It also echoes the folk-infused sound of artists like Ray LaMontagne and Damien Rice.

McCartney’s newer releases are distributed by earthprogram, an industry firm founded by A&R vets Jason & Joel T. Jordan, in a distribution and IP protection collaboration with Virgin Music.DMN profiled earthprogram earlier this year — and have now locked arms with the founders to showcase new releases. 

The industry incubator offers expert consulting and business development services for artists, labels, startups, and ‘green’ investors. For artists like McCartney, earthprogram aims to expand creative output and capture audience attention by collaborating and marketing across multiple platforms.

Jason told Digital Music News that his team’s expertise and extensive network of music industry partnerships places it in a unique position to market their artists.

The twins say they founded the business because they realized many artists are ‘green’ when it comes to the business side of the music industry. “Playlisting is not a marketing strategy,” Jason told Digital Music News recently. Musicians who put their entire album online at once ‘simply blew their investment’ Jordan adds, instead of building a story out over a year, forming the building blocks for a career in the industry.

“Circle Game” is the latest single from James McCartney, releasing today as a teaser for his upcoming EP set to release Fall 2024. McCartney’s version of the song beautifully complements the enchanting charm of Joni Mitchell’s original recording, while adding upbeat energy and an infectious joy.

James McCartney is an English-American multi-instrumentalist, prolific singer-songwriter. He has contributed to solo albums by his parents, including Flaming Pie and Driving Rain by Paul McCartney and Wide Prairie by Linda McCartney.

Photo Credit: Mohamed Hassan

From infringement complaints against generative AI developers to unpaid royalty actions targeting streaming platforms, the music industry certainly isn’t lacking high-stakes litigation. Here are ten particularly important lawsuits with major implications to watch moving forward.

How many active lawsuits, conflicts, settlements, negotiations, and legal stare-downs are happening in the music industry — right now? At last count, Digital Music News is tracking more than 140 different filed lawsuits in the United States alone, all in various stages of litigation. And that doesn’t include the drumbeat of cease-and-desists, government proceedings, and private discussions and upcoming suits.

(Stay tuned for our complete litigation tracker from DMN Pro.)

As any attorney can attest, most of those suits aren’t groundbreaking or precedent-setting. Here’s a familiar litigatory tune: Artist A uses a sample from Artist B without permission, demands go nowhere, and litigation ensues. But some of the cases roiling the industry will have serious implications and impacts for years and decades to come. That includes battles in arenas like AI, statutory royalties, government regulation, and even national security.

Plucking from the latter, here are ten lawsuits with the potential to reshape the music industry ahead — for better or for worse, depending on where you’re seated.

Report Table of Contents

Introduction: An Overview of the Music Industry’s Litigation Landscape.

I. The Recording Industry Association of America (RIAA) v. Suno and Udio

II. The National Music Publishers’ Association (NMPA) v. X (Formerly Twitter)

III. Epidemic Sound v. Meta

IV. TikTok and ByteDance v. Department of Justice

V. Department of Justice v. Live Nation

VI. Mechanical Licensing Collective (MLC) v. Spotify

VII. MLC v. Pandora

VIII. SoundExchange v. SiriusXM

IX. UMG Recordings et al. v. Internet Archive et al.

X. RIAA v. Verizon

XI. Bonus: Cleveland Constantine Browne et al. v. Rodney Sebastian Clark Donalds et al.

Please do not redistribute this report without permission. Thank you!

Photo Credit: Cytonn Photography

Independent music labels unite to launch ‘music industry think tank’ ORCA, a global research hub for music’s economic, social, and cultural impact.

The Organization for Recorded Culture and Arts (ORCA) has officially launched today (July 17), marking the beginning of a first-of-its-kind “think tank” for the global music ecosystem. ORCA comprises leading independent music labels from around the world, with a mission to develop and promote research, data, and qualitative evidence that underscore the significant economic, social, and cultural value of music.

ORCA’s founding members include a diverse array of the most influential independent music labels worldwide, having discovered and developed the careers of artists like Adele, Nirvana, Christine and the Queens, The National, Mitski, ODESZA, among others.

The founding labels of ORCA include:

• Because Music (Paris, France)
• Beggars Group (London, UK)
• City Slang (Berlin, Germany)
• Domino Recording Company (New York, NY)
• Everlasting Records (Madrid, Spain)
• Exceleration Music (Nashville, TN)
• Hopeless Records (Los Angeles, CA)
• !K7 Music (Berlin, Germany)
• Ninja Tune Records (London, UK)
• Partisan Records (New York, NY)
• Playground Music (Stockholm, Sweden)
• Secret City Records (Montreal, Canada)
• Secretly Group (Bloomington, IN)
• Sub Pop (Seattle, WA)

“This is a concept long in the making, arising from a realization of shared values above and beyond our existing collective independent activities,” said Martin Mills, Founder and Chairman of Beggars Group. “Music is an undervalued asset in the daily round, and we seek to translate the motivations underlying its production into an appreciation that art and commerce can live as one.”

“The music industry is constantly evolving, but one thing remains vital: the need to invest in artist careers and to support their work. We are excited that ORCA now exists to help independents build up collective intelligence on how best to sustain and protect cultural investments, so we can share their economic benefits as broadly and as equitably as possible,” adds Darius Van Arman, Co-CEO at Secretly Group.

Through its research, ORCA invites policymakers, business leaders, and communities to understand deeply why music matters and should be recognized as its own economic ecosystem. By providing evidence-based research, the think tank aims to arm stakeholders with tools to make music more inclusive and leverage music ecosystems to build collective value.

As part of the official launch, ORCA has released its inaugural research report, “Setting the Stage: How Music Works.” This report, presented as both an interactive website and a standalone PDF, provides an in-depth introduction to the music industry, especially for non-music policymakers and community leaders, detailing the complexity of its stakeholders and activities, and highlighting the extensive benefits it generates. This ranges from economic and cultural to community-based impacts.

ORCA will release a series of reports that will include research and data on the benefits of the music ecosystem for local economies, workforce development, and job creation, and social issues spanning equity, sustainability, and more. The think tank is coordinated by the Center for Music Ecosystems, a nonprofit that advances research, policy, and global thought leadership on how music best catalyzes economic, social, and human development.

Photo Credit: Pedro Menezes

Warner Music Group continues ramping up its investments, announcing its partnership with Sua Música to promote Brazilian regional music.

Warner Music Brazil and the Sua Música Group, which owns the largest Brazilian music platform and the Sua Música digital distributor, have joined forces to enhance and globally expand the reach of Brazilian regional artists. The initiative aligns with Warner Music’s plans to amplify its presence in the regional music scene in Brazil and strengthen the sector. This investment will make Warner Music a partner of Sua Música, with the companies combining their efforts to develop regional artists and songwriters.

“This is a very important milestone for us as cultural enablers,” says Leila Oliveira, President of Warner Music Brazil. “The combination of Sua Música’s significant presence in regional music with our national reach and global network will amplify the efforts of both companies and offer artists new creative and commercial possibilities and opportunities.”

“This partnership consolidates our presence in Brazil’s Northeast and opens space for the growth of regional genres worldwide,” adds João Alquéres, General Director, ADA Brazil. “As we have reinforced with our partners, Warner Music can offer a variety of solutions for artists and songwriters at different stages of their careers. Working together with Sua Música demonstrates our ability to operate in various musical genres and different regions of Brazil.”

“The announcement of the investment comes to crown and corroborate an excellent moment for the Sua Música Group in the Brazilian market. We are very proud of this important move,” says Roni Maltz Bin, CEO of Sua Música. “Since the company’s creation, we have always grown with our own capital, and this investment will undoubtedly be very relevant to further accelerate all our business fronts. Warner Music recognized the full potential of our strategy, and we will certainly join forces to grow more rapidly in the national market.”

Maltz Bin concludes, “Our main mission is to develop, amplify, and connect the music universe. Our goal is to strengthen the Sua Música Group as a complete solutions hub for artists, intensifying our concept of a one-stop-shop for music: distributor, publisher, ap, and much more. And it doesn’t stop there! We are also accelerating our music production front with studios across Brazil. We already have Sua Música Space in Foraleza, which is the largest content production hub in the Northeast; another studio in Campina Grande; and we will soon open a third in São Paulo. We are also evaluating more cities to expand our presence in Brazil and Latin America this year.”

The partnership will allow Sua Música Group to focus on expanding its operations across Brazil, starting with developing a leadership role for its music platform in the Northeast and promoting Sua Música Digital.

The distributor already manages the digital careers and handles royalty management for over 1,000 talents across Brazil, including Tarcísio do Acordeon, Vitor Fernandes, Thiago Aquino, Heitor Costa, Japãozin, and Evoney Fernandes. Sua Música will be a significant partner for Warner Music in its strategy of expanding presence in all regions of the Brazilian market, boosting its foothold in regional music, local partnerships, and sharing expertise in discovering new voices to create future catalogs.

Photo Credit: Wilmer Martinez

The Downtown Music Holdings board is reportedly exploring a potential sale, according to industry reporting. Downtown is the parent company of CD Baby, FUGA, and several other rights admin businesses.

Billboard reported on Thursday that Downtown Music is in tales with private equity firms concerning the sale and the family of Douglas Myers—who want to exit the investment. Downtown’s umbrella of services is broad, with distribution platforms CD Baby and FUGA among its distribution properties.

The company has focused on several acquisitions in the last few years, acquiring AVL Digital Group for $200 million in March 2019. AVL became the owner of services including CD Baby, Soundrop, AdRev, and DashGo. In January 2020, Downtown acquired B2B tech and services company FUGA. The deal was announced with an undisclosed fee came just 10 months after the CD Baby acquisition.

Downtown Music Holdings followed up those acquisitions with Curve Royalty Systems in January 2023. That acquisition arrived after the company formed Downtown Music—a new division to combine business and professional services. Downtown Music spans distribution, label and artist services, publishing administration, video and user-generated rights monetization, neighboring rights, royalty accounting solutions, sync licensing, and creative support services.

In June 2024, Downtown established its Royalties & Financial Services division, integrating Curve’s services following the acquisition.

Digital Music News previously reported on a deal between Concord and Downtown in 2021 involving 145,000 copyrights for ~$300 million. The buyout encompassed works from Aretha Franklin, Maroon 5, Jay-Z, Rage Against the Machine, and Stevie Wonder.

Billboard’s reporting does not cite interested parties, beyond a mention of Warner Music Group CEO Robert Kyncl. Kyncl mentioned in May that Warner Music is looking into mergers & acquisitions to expand its ‘lower-touch’ services for independent creators and labels. During a recent earnings call, Kyncl is cited as saying he is “staying vigilant about our M&A opportunities, which could accelerate our capabilities.”

Photo Credit: Melissa Svensen ((L-R: Natasha Baldwin, EVP, UMPG Classics & Screen; Jerskin Fendrix; Jody Gerson, UMPG Chairman & CEO)

Universal Music Publishing Group has announced it has signed composer and musician Jerskin Fendrix to an exclusive global publishing agreement through the company’s Classics & Screen division.

Following director Yorgos Lanthimos’ discovery of Fendrix’s debut solo album Winterreise, Lanthimos commissioned Fendrix to compose his first-ever film score for the film ‘Poor Things.’ Fendrix’s critically acclaimed score earned him a multitude of awards, including Best Film Score at the 2024 Ivor Novello Awards and Best Original Score nominations at the 96th Academy Awards and BAFTAs. He is the youngest composer to ever be nominated for those awards. Fendrix has signed on to score Lanthimos’ next two films.

“I’m delighted to be working with Tash Baldwin, Anna Jaskiewicz, and the team at UMPG Classics & Screen/Decca Publishing,” says Fendrix about the deal. “I have great trust in their protection and dissemination of my work. To be signed alongside so many singular artists with UMPG is an honor, especially under such a pioneering and passionate champion of music as Jody Gerson.”

“Jerskin’s meteoric rise in the score composing world is extraordinary and he richly deserves all the accolades he has received so far,” adds Natasha Baldwin, Executive Vice President of UMPG Classics & Screen. “Jerskin has quietly developed an exciting artist/composer and songwriting style that caught our A&R team’s attention initially, so I am delighted that we are able to welcome Jerskin to a publishing company that truly supports and amplifies the whole breadth of what being a composer can mean.”

“We are very honored to be working with the inimitable genius that is Jerskin Fendrix,” adds Anna Jaskiewicz, Creative Director of UPMG Classics & Screen. “Jerskin is also a multi-talented singer-songwriter with several artist projects in the pipeline due to be released in the coming years.”

Fendrix joins the company’s prestigious global Classical & Screen composer roster of world-class composers including Nicholas Britell, Isobel Waller-Bridge, Max Richter, Hildur Guanodottir, Danny Elfman, James Newton-Howard, David Lynch, Andrew Lloyd Webber, Gustavo Santaolalla, and more.

The division is home to iconic catalogs like the Italian catalogue – Ricordi, French catalogue – Durand/Salabert-Eschig, and Hungarian catalogue – EMB, which includes composers Puccini, Respighi, Poulenc, Messiaen, Haas, Xanakis, Kurtag, Kevin Puts, David Lang, Julia Wolfe, Michael Gordon and more.

Photo Credit: FUGA (Pretty Girl)

Downtown owned distributor FUGA has announced several new UK signings. FUGA announces partnerships with One House, Critical Music, and British-Nigerian Afrobeats star Maleek Berry’s imprint—Berry’s Room.

One House—home to DJ and producer Eliza Rose, Pretty Girl, Yung Singh and Kevin Saunderson—will utilize FUGA’s global distribution and marketing services in a partnership that includes physical distribution, sync, YouTube channel management and access to the company’s trends and analytics platform.

One House has rapidly grown into an award-winning business encompassing a record label, creative agency, management company, and live agency. Using its artist-driven approach to empower independent creators with ownership and creative control over the work, One House boasts a talented global roster of electronic acts including management clients, Shanti Celeste, Dan Shake, Surusinghe and Inner City and label clients, Pretty Girl, Gan Gemi, Avalon Emerson and Not To Twos.

FUGA’s partnership with One House kicked off with EP release Get Back To Me from Melbourne-to-London rising star producer, Pretty Girl. The release secured 30+ playlist additions across DSPs and a debut chart position on the Australian Recording Industry Association (ARIA) charts. “Everything we do at One House is designed to provide game-changing support to a new generation of exceptional artists, on their own terms,” adds Napper Tandy, Founder of One House.

FUGA is also announcing a new partnership with Critical Music, one of the world’s leading drum and bass labels. Founded over twenty years ago by renowned DJ and producer Kasra, Critical Music will use FUGA’s global distribution and marketing services to support the label’s current and future releases.

With a global roster that includes some of the world’s most talented producers, including Switzerland’s QZB, Austria’s Mefjus, and The Netherlands’ Waeys, as well as UK talents Ivy Lab, Halogenix and Spectral, Critical Mass pride themselves on representing the best creators in the drum and bass scene.

FUGA has also partnered with Berry’s Room, the label of renowned British-Nigerian producer and recording artist, Maleek Berry. The wide-ranging deal will see the company provide distribution, marketing, and YouTube channel management for Berry’s prolific catalog.

It also includes the release of his forthcoming debut album, with the first distributed by FUGA single, “Secrets” releasing on July 12. The partnership with Berry’s Room will also provide an outlet for Maleek to support and release the next generation of Afrobeats talent.

“As FUGA’s growth and expansion in the important UK and Irish markets continues, we are excited to welcome some of the industry’s most valuable and forward-thinking labels to our client base,” adds Lara Baker, FUGA’s General Manager, UK & IE. “We look forward to working alongside these game-changing labels to connect their artists to audiences around the world.”

Photo Credit: Frontier Works Global

Virgin Music Group forms a strategic digital distribution partnership with Frontier Works, a leading Japanese animation music company.

Virgin Music Group (VMG), a global division of Universal Music Group (UMG), has announced a strategic relationship with Frontier Works, a leading Japanese animation-related content production company to release anime music projects. This new agreement will strengthen Frontier Works’ global presence in response to the growing global demand for Japanese culture and content.

VMG will support Frontier Works and its catalog of music related to its popular games, which include titles like “Black Butler,” “Ensemble Stars!!,” and “Lucky Star,” with access to VMG’s music distribution and marketing platform, powered by patented AI technology, and an interconnected global team of music experts to support their releases worldwide.

The Japanese domestic animation industry reached a market size of $20.57 billion (2,927 billion yen), 106.8% of the previous year, according to the Anime Industry Report 2023, published by the Association of Japanese Animations, and has continued to grow dynamically since the spread of COVID-19. Anime revenue from outside Japan also achieved record high growth in 2022, up 111.1% year-over-year.

The two companies believe that anime music has great potential to attract fans around the world and will work closely together to create projects that will captivate and engage fans of the genre.

VMG operates globally, with a network of music professionals that will provide support to maximize Frontier Works’ music content and future releases. Frontier Works will use VMG’s digital distribution system, including its powerful “Trends Now” AI-driven music marketing technology that filters streaming data on artists and songs to create dynamic and actionable insights and “Smart Audience.”

Additionally, VMG’s proprietary advertising platform utilizes ethical AI to increase fan engagement and help drive streaming consumption, as well as a dedicated global team with the capability and experience of making hits both domestically in Japan and overseas. VMG will provide support Frontier Works, as a strategic global partner as they further expand their business around the world.

“Frontier Works’ mission is to enrich the hearts and minds of people around the world through our works and services, and to bring people closer together,” said Masahide Tsuji, President of Frontier Works Inc. “We are encouraged that VMG’s new technologies and the power of its expertise in the music business will help us develop highly satisfying content that will be enjoyed by an even greater number of customers.”

“Frontier Works’ music content derived from anime and games has tremendous potential to reach a very engaged audience, and it is VMG’s mission to deliver to fans in Japan and overseas. We are delighted to be able to leverage VMG’s global network and utilize our unique technology tools to best reach anime fans overseas. We look forward to working with Frontier Works to further expand the reach of Japanese-originated anime culture and music,” shares Ichiro Tamaki, Senior Executive Officer, Universal Music Japan.

“Frontier Works has an incredible roster of anime-related entertainment that is full of great music that, now more than ever, can resonate with new audiences all over the world,” adds Nat Pastor, Co-CEO of Virgin Music Group. “It is our honor and pleasure to partner with Frontier Works, a premier player in anime-related content. Together, we hope to celebrate the music of anime content by expanding their global reach and introducing this powerful genre of music to fans in new markets outside of Japan.”

Masaya Inokuchi, Managing Director, JP Virgin Music Group, concludes: “Virgin Music Group’s mission is to support artists who wish to make their mark both domestically and internationally. A partnership with a partner with such unique and amazing content as Frontier Works has unlimited possibilities for both parties. I am very much looking forward to bringing Frontier Works’ artists and music to people around the world from a variety of angles in the future.”

Photo Credit: Luke Harold

In a new interview and profile with the Los Angeles Times, UMG CEO Lucian Grainge has reaffirmed his commitment to protecting artists in a new era of AI generation. Grainge says he likes change and sees the use for AI in the industry—but artists’ rights must be protected too.

Grainge says the advent of AI technology has reached a point where Universal Music must “be completely at the epicenter of its application. An example he uses is the Beatles’ 2023 single “Now and Then” which used AI to isolate and clean up an old recording of John Lennon singing. “It’s a brilliant song—great lyrics, fabulous performance, incredibly emotive—that unless we’d had AI to individualize different recordings, would have never come to light, “Grainge told the L.A. Times.

But he’s quick to add a caveat here after praising the use of AI to bring an old work-in-progress to a finished state. “Do I believe in copyright and intellectual property and name and likeness and use of voice? One thousand percent.” Grainge says he’s against the notion that anyone can do anything with someone’s work. “I can’t tell you how much I am against that,” he says. Solving the problem means finding the path to monetization—which he sees as an industry failure with Napster.

Finding the balance between embracing AI and stopping it from consuming the industry is a delicate balance. It’s why Grainge has embraced YouTube’s AI incubator—a set of principles that include technological progress but also a commitment to fair compensation for both artists and rights holders.

It’s something that Tennessee’s ELVIS Act aims to address by enshrining an artists’ name, image, and likeness protections from generative AI cloning models that create unauthorized fake works in the voice and image of others. The Act extends these protections to voice actors, podcasters, or anyone else who relies on their voice for their livelihood.

The only problem is that for now, it protects residents of Tennessee only. Could the ELVIS Act become the basis for a federal law surrounding the protection of name, image, likeness, and voice? Potentially, but likely more states will move in the direction that Tennessee has gone, enshrining these rights on a state-by-state basis first. So far, Kentucky, Illinois, California, and Louisiana are states with similar bills focused on protecting voice from AI cloning. Meanwhile, the NO FAKES Act of 2023 was announced in the Senate.

Photo Credit: In Opera Group

Universal Music UK has reshaped its frontline operations with a new Audience & Media Division and an unconfirmed number of layoffs. Here’s the latest.

A memo from CEO & Chairman David Joseph confirms several changes at Universal Music UK. Island and EMI will be combined under the Island EMI Label Group, alongside the Polydor Label Group which comprises Capital and 0207 Def Jam. The move follows the restructuring of Universal Music’s operations in the United States under frontline labels Republic Corps and Interscope Capitol Labels Group.

“Music is dynamic, and constantly changing, both creatively and commercially,” adds David Joseph in the memo obtained by Music Week. “Artists need to best and most agile partners by their side. They need a home that will help them harness the opportunities of today and tomorrow, while also guarding against new risks as they emerge.”

“As a company, we must continue to be forward-looking, innovative, and bold. Developing artists now requires more creativity and patience than ever before. As our industry continues to evolve, we have been looking at ways to strengthen our labels’ capabilities to deepen artist and fan connections. You have seen some of the changes happening globally across UMG, most notably in the US with Republic Corps and Interscope Capitol Labels Group.”

The memo confirms that some roles will be impacted by the restructure, but it does not specifically confirm who is impacted. The new structure will take effect on October 1 with “two new powerhouse frontline label groups, each home to multiple labels all with creative autonomy.”

The newly combined Island EMI Label Group will be helmed by Louis Bloom as President. Meanwhile, the newly formed Polydor Label Group will be led by Ben Mortimer as President. Polydor Label Group will include a reimagined Capitol with Jo Charrington as President and 0207 Def Jam, with Alec Boateng serving as President. Laura Monks and Tom Lewis will continue to lead Decca as a standalone label focusing on classical, jazz, instrumental, folk, soul, and electronic music.

With the launch of the Audience and Media Division to serve all artists and labels, Rebecca Allen will step into the role as President. “Becky and I have spent a lot of time discussing this vision to create something revolutionary—an industry first where every type of media is seamlessly integrated,” Joseph continues in the memo. “We are assembling an elite team making this our largest division.”

“The Audience and Media Division will revolutionize how we deliver for our artists and become a new center of excellence at Universal Music UK alongside, among others, the award-winning partnerships team at Globe and a new combined eCommerce and CRM team,” Joseph says of the new division.

“While the vast majority of our team will continue to be a part of our business going forward, some roles are impacted by the proposed structural changes,” Joseph continues. “It saddens me that we will have to part ways with some incredible colleagues who have been instrumental in our journey.”

Photo Credit: Izabela Ciszek-Podziemska, General Manager, Warner Music South East Europe

Warner Music South East Europe announces the launch of Warner Music Balkans, a joint venture that will house local artists from the Western Balkans under one label and connect them across Warner Music’s global network.

Warner Music South East Europe (WM SEE) has announced its latest venture with the launch of WM Balkans. The joint venture is a collaboration between WM SEE, Croatian label Dancing Bear, Serbian label Mascom, and Slovenian label NIKA.

WM Balkans will sign and develop artists mainly from Croatia, Serbia, and Slovenia, but also from other West Balkans countries, including Albania, Bosnia, Herzegovina, Montenegro, and North Macedonia, connecting them to Warner Music’s wider network.

Izabela Ciszek-Podziemska, General Manager, WM SEE, will oversee the label in addition to her other responsibilities across the wider region. The launch enables WM SEE to house all of its activities in the Western Balkans under one label, while continuing operations in Bulgaria, Cyprus, Greece, Hungary, and Romania.

“Warner Music Balkans is the culmination of the team’s relentless pursuit of collaborating with the very best partners in the region over the last couple of years,” comments Izabela Ciszek-Podziemska. “Bringing our JVs and investments under one label will benefit everyone involved and enable our artists to get the very best from Warner Music’s global network. With talent such as Edita, Sergej Pajić, and Ukić releasing music on the label, we’ve got a great summer festival season ahead of us!”

Music currently out on the WM Balkans label includes “Rio Rio” from Sergej Pajić and Edita. Bosnian singer Sergej Pajić is a significant Serbian influencer, boasting over 1.1 million followers on TikTok and 500,000 on Instagram, giving him an impressive fan base for his music. He’s already seen big success with the track in Croatia, Serbia, and Slovenia, thanks to Dancing Bear and the other partners behind WM Balkans.

Edita Aradinović is a Serbian pop vocalist and songwriter with an established market position, with over 200,000 followers on TikTok and 600,000 on Instagram. “Rio Rio” is their first collaboration and has already generated more than a million views on YouTube in its first week.

Coming July 19 is “Jug Represents” from Ukić, a rising rap star from a small town in Serbia, who last broke through with his song “Tenzija,” which has enjoyed over 6.3 million plays.

Over the last few years, Warner Music SEE has made a slew of investments, mergers, and acquisitions. In 2022, the WM SEE team acquired a stake in Serbian label Mascom, which is run by its CEO Slobodan Nesovic, and represents artists across many genres.

In March this year, the team made a minority stake in Slovenian label NIKA, which is run by its co-founder Darjo Rot and Marko Stopar. In June, the team took a minority stake in Dancing Bear, a leading independent label in Croatia, run by Silvije Varga, its co-founder and managing director.

Photo Credit: Tom Petty by Mark Seliger

Warner Chappell Music announces an administration deal with the Tom Petty Estate, including the majority of songs written by Petty during his life.

The estate of Tom Petty and Warner Chappell Music have announced the signing of a new worldwide administration deal for the late rock icon’s celebrated music catalog. The agreement includes the vast majority of works written by Petty throughout his lifetime, including his work with the Heartbreakers and as a solo artist.

During his 40-year career, Tom Petty recorded over 13 albums with the Heartbreakers and three solo albums. He was also a member of the supergroup, the Traveling Wilburys, and the pre-Heartbreakers band, Mudcrutch. The new deal includes hits written by Petty such as “Wildflowers,” “Free Fallin’,” “Learning to Fly,” “Refugee,” “Runnin’ Down a Dream,” and many more.

“We’re looking forward to this new partnership with the team at Warner Chappell, as we expand the reach of Tom’s iconic song catalog. This partnership will open the door to new licensing opportunities and serve to introduce his music to a new generation across the globe,” shares the Petty Estate. “We’re excited for this new chapter of growth, and the preservation of Tom’s legacy both at home and abroad.”

“Tom Petty’s music is woven into the fabric of our lives, not just across America, but around the world,” said WCM co-chair and COO Carianne Marshall and co-chair and CEO Guy Moot in a joint statement. “Tom’s unmistakable sound and lyrics remain as timeless and vital today as ever, and all of us at Warner Chappell Music are honored to be joining with his estate to help amplify his extraordinary legacy on a global scale. Their work in recent years has already laid an incredible foundation, and we’re very excited to be partnering with such an innovative and forward-thinking team.”

Tom Petty was both a Songwriters Hall of Fame and a Rock & Roll Hall of Fame inductee. He died in 2017 of an accidental drug overdose just a week after completing the Heartbreakers’ 40th anniversary tour, at age 66.

Photo Credit: Nuno Bettencourt by Jaime Ballesteros

Primary Wave Music partners with renowned guitarist, singer-songwriter, and producer Nuno Bettencourt of the band Extreme.

Leading independent publisher Primary Wave Music has announced its partnership with iconic guitarist, singer, songwriter, and record producer Nuno Bettencourt, best known as a member of ‘80s and ’90s rock band Extreme. The partnership sees Primary Wave acquiring the musician’s publishing and recordings, as well as administration rights.

Included in the deal are all Extreme songs, with the exception of the band’s 2023 album, as well as Bettencourt’s solo works. Terms of the partnership also give Nuno access to Primary Wave’s marketing team and publishing infrastructure, which includes digital strategy, licensing, sync opportunities, and film and television production.

“After getting to know the team at Primary Wave and seeing their passion, work ethic, and creative ideas in action, I am happy now to have a bigger partnership with them,” said Bettencourt of the new partnership. “I look forward to continue building my song catalog into new realms of activity.”

“I am beyond thrilled to have Nuno join the Primary Wave family,” added Adam Lowenberg, Primary Wave’s Chief Marketing Officer. “He is one of the greatest guitar players and songwriters in the history of rock music and one of my personal favorite musicians of all time. We can’t wait to dive into this catalog and remind fans, new and old, of its greatness.”

Bettencourt has worked with artists from Rihanna to Steve Perry, Janet Jackson to Steven Tyler, with a repertoire of music that encompasses some of the biggest songs in rock history. Songs in his catalog include the Top 10 hit “Hole Hearted,” “Get the Funk Out,” “Decadence Dance,” “Rest In Peace,” and Extreme’s most well-known hit, “More Than Words.”

Released in 1991, “More Than Words” was Extreme’s third single from their sophomore album, Pornograffitti. The band fought for the release of the song as a single, which ultimately paid off. The track reached No. 1 on the Billboard Hot 100 and shot to the top of the charts in four other countries. Its success helped push the album to the Top 10 on the Billboard 200, and the band would earn its first Grammy nomination for the song.

In addition to its striking vocal harmonies, “More Than Words” shined a spotlight on Bettencourt’s guitar playing, earning him a fan vote of “Best New Talent” in Guitar World Magazine in 1991.

Photo Credit: Warner Music Group

Warner Music Group has announced it has taken a minority stake in the independent Croatian music company Dancing Bear Music. Here’s the latest.

The deal will enable Dancing Bear’s recorded music artists to tap into the infrastructure of ADA, Warner Music’s global distribution and label services arm. They will also have the opportunity to upstream and sign to Warner Music’s global roster. This deal also sees a renewal of the licensing agreement covering Albania, Bosnia and Herzegovina, Croatia, and North Macedonia.

Warner Music has worked closely with Dancing Bear for almost 30 years, with Dancing Bear acting as Warner Music’s licensee in Croatia since 1996. Sister company Dancing Bear Publishing also acts as the local representative of Warner Chappell Music—the music publishing arm of Warner Music Group.

Dancing Bear was founded in 1990 and is one of the longest standing and leading record companies in Croatia. The label has released music from some of the country and region’s most important artists, including Dalmatino, Dino Dvornik, Daleka Obala, Darko Rundek, Hladno Pivo, Kojoti, Kawasaki 3P, Zdenka Kovačiček, Goribor, Vlado Kalember & Srebrna Krila, Alen Vitasović, Ibrica Jusić, Majke, Gustafi, The Bambi Molesters, and Baba Yaga.

Several releases by these artists are deemed to be some of the most significant and iconic records in Croatian and regional music history, and their success has helped shape the growth of the industry there over the last four decades. Some of Dancing Bear’s past releases and artists, such as The Bambi Molesters and The Strange, have reached fans beyond the region and achieved international success.

The label’s biggest act is Dalmatino, the band founded by Ivo Jagnjić and Zdravko Sunara in 1998. With decades of support from Dancing Bear, the band has amassed more than 250 million streams and regularly outsells the world’s biggest artists in Croatia, across both digital and physical formats. Dancing Bear has successfully tapped into the now established local streaming market, but also continues to celebrate the cherished traditional mediums of vinyl and CDs, offering a variety of domestic and international records through its multiple shops across the country.

“This investment by Warner Music is a vote of confidence in the future of music from the West Balkans,” adds Silvije Varga, Co-Founder & Managing Director of Dancing Bear. “We look forward to working together to take music from our existing roster to the wider world, and to uncover the next generation of local talent.”

“I’m so pleased we’re expanding our agreement with Dancing Bear, which has an incredible reputation in the region as a key industry player,” adds Izabela Ciszek-Podziemska, General Manager of Warner Music South East Europe. “We’re already working on joint releases in the EDM space and plan to expand our collaboration in the months ahead.”

This move marks the latest expansion of Warner Music in South East Europe, following the launch of EDM label Balkan Electro in April 2024. Warner Music also acquired a minority stake in Slovenian independent label NIKA in March 2024; and the purchase of a minority stake in Serbian label Mascom in October 2022.

Photo Credit: Impala / A2IM / Merlin

Impala and A2IM launch a free one-year pilot of the Carbon Calculator project in the US, with the support of Merlin.

Independent trade associations A2IM (US) and Impala (Europe) in partnership with Julie’s Bicycle are launching a free one-year pilot project of Impala’s Carbon Calculator in the US with the support of Merlin. This is the first step toward rolling out the tool in the world’s largest music market so the sector can measure and reduce carbon footprints in a coordinated fashion.

The project includes key North American labels to input on any developments needed for the tool for a full rollout, as well as providing a pathway for future calculator adaptations in other key territories.

Already used by labels with US businesses, the calculator helps companies report in a standardized way by scopes, in line with GHG protocol and Race to Zero/SBTi commitments. The calculator displays the footprint in scopes 1, 2, and 3, and it also allows labels to report on other impacts and actions beyond carbon.

Through Merlin’s support, the project launched during this year’s Indie Week with participation from a group of A2IM members in a session delivered by a representative of Impala and Julie’s Bicycle. This event was an opportunity to gather interested companies, build capacity within the community, and provide tailored support to the companies selected for the pilot project.

The project will also include workshops for A2IM members, serving as a platform to gather feedback, address potential questions, and ensure a smooth transition for users. One-on-one meetings between the developer team and company representatives will be available to guide companies in need of extra support.

Impala launched its Carbon Calculator in April 2022, in partnership with Julie’s Bicycle, based on Julie’s Bicycle Creative Climate Tools, tailored specifically to meet the needs of independent record companies with Impala. The first membership report was released in 2023, with the second one in the pipeline.

“We are very excited that the US is the first territory in the internationalization of Impala’s Carbon Calculator,” said Dr. Richard Burgess, President & CEO of A2IM. “Thanks to Merlin’s support, our members will be able to shape the tool for the US market and play a key role in the expansion of its use.”

“To help standardize the sector’s approach across regions, it’s important to have these projects in key markets,” added Karla Rogozar, Sustainability Lead, Impala. “Merlin’s support is vital to facilitate internationalization of the Impala calculator.”

“Our path towards a more sustainable future involves all of us working together. That’s why we are pleased to support internationalizing the Impala Carbon Calculator,” said Jeremy Sirota, CEO of Merlin. “We are excited to see its rollout in the US to help more independents build that future together.”

“This pilot is an invaluable opportunity to build new shared understanding and pathways between the European and US independent music companies, because meeting the climate crisis head-on means coming together, learning from and with each other, and taking action collectively,” Chiara Badiali, Music Lead, Julie’s Bicycle, concluded.

The project represents the first step toward internationalization and broader collaboration in the sector. Impala is inviting other interested parties to reach out and work together.

Photo Credit: Monte Lipman (Republic), Jelly Roll, Jon Loba (BMG), Avery Lipman (Republic) / BMG

Jelly Roll extends his partnership with BMG, teaming up with Republic Records as they enter a worldwide partnership for the star’s next album.

Jelly Roll is on a roll, extending his current partnership with BMG music publishing and its subsidiaries BBR Music Group (BBRMG) and their imprint, Stoney Creek Records. The star is releasing his next album with Republic Records as they enter a worldwide deal with BMG.

The freshly promoted BMG President of Frontline Recordings for North America, Jon Loba, announced the news alongside Republic Records Founder & Chairman Monte Lipman. The two emphasized that the alliance between the two labels is focused on maximizing Jelly Roll’s impact across multiple genres, expanding marketing into new territories. Republic Records and BMG are set to release the singer-songwriter’s next album later this year.

“Jelly Roll embodies artistry and independence. His authenticity is the key to his success. He continually uses his platform to not only captivate audiences with his music but also to uplift communities,” shares Loba. “As an artist, he is a true trailblazer; as a human being, he has left a legacy of both talent and kindness, winning over fans all around the world. We are proud of everything we have accomplished together and look forward to achieving even more success in the future.”

“I couldn’t have accomplished what we’ve done with ‘Whitsitt Chapel’ and all that’s happened in the last year without the support and belief I’ve had from Thomas Coesfeld, Jon Loba, and the rest of the team at BBR,” says Jelly Roll. “Being able to now also work with Republic, Monte and his team — I’ve never been more inspired musically and I am looking forward to releasing this new music with great partners.”

“Jelly Roll is a global icon who’s rewritten the rule book and continues to smash traditional boundaries, all on his own terms. His strength, determination, and creative vision is that of legends. We’re honored to join his strategic partnership with Stoney Creek Records, BMG, and trusted hitman and consigliere John Meneilly,” adds Monte Lipman.

Jelly Roll is set to premiere his new song, “I Am Not OK,” on June 12 — the first single from his forthcoming album. That project follows his debut country album, Whitsitt Chapel, the biggest country debut album in Billboard chart history, with multiple No. 1 hits across both country and rock charts.

Starting a record label? Here’s how you can future-proof your operation early on.

The following comes from Lynn Lowe, President of Label and Publishing Administration at Music Services, a division of SESAC Music Group and partner of DMN. Music Services provides comprehensive licensing and administration services for independent record labels and music publishers.

Creating music is what artists love the most.  We get it and we love the songs as much as you do.  But, from the start of that first cut, artists need to put as much focus on protecting the    intellectual property, and properly planning for future success, even if that feels like a far-off dream right now. The temptation to act for today needs to be balanced by educated thinking for tomorrow. 

It’s thrilling to start a label as an artist, songwriter, or music lover, and it’s easier than ever. There are so many tools, technologies, and services to help manage every aspect of your business, from distribution to royalty collection. But as someone who’s spent two decades helping label owners clean up the mess after a well-intentioned start, I’m here to tell you: be slow to sign a deal until you get your house in order and build your systems as if success is already yours. Your future self will thank you for it.  Here’s five lessons learned from my career as a record label and music publishing administrator that will get you on the right track:

Think big before you sign.

It’s easy to be intrigued by free and easy-to-sign-up-for services when you’re just starting out, but instead, you should future-proof your agreements by adopting the mindset that you’re going to make it big, and that what you sign today will impact the years to come. 

A songwriter for one of the publishers we administer learned a song he co-wrote scored a valuable sync–but to his dismay, he realized that five years before, he had signed over his publishing to his manager. This meant that even after the songwriter had resecured these rights, the manager kept the songwriter share of that sync. The songwriter signed without thinking what a big opportunity might mean.

Good intentions don’t make you a good partner.  Systems do. 

A lot of cleanup is required in our world because people start with good intentions but have no idea who, what, or how they’re supposed to pay out royalties once they’ve collected them. And for a small operation, that cash flow can get confused with other expenses, leaving the label owner with lots of obligations—but no cash on hand. For example, you need to account for what you’ll owe producers and publishers for the tracks you’re collecting on, ideally setting aside 15-20% of your collections to pay these rights holders. Sadly, we’ve seen independent artists and labels, who had every intention of paying their collaborators, find themselves years behind on these payments, leading to debt and years of anxiety.

Before you’ve earned a penny from your releases, set up your systems to set aside a percentage of sales to pay artists, producers, publishers, and the songwriters the publishers represent. Also, make sure you have written agreements in place.  Even the best of friends with good intentions should have all the details ironed out before the first dollar is earned.  

Codes matter.

Make sure your Performance Rights Organizations songwriter and publisher IPI numbers are correct when collaborating and registering songs. Create a central point of truth to make sure you always get them right everywhere. Be meticulous with your data, and if you can’t, find someone who will for you.  

A song is a piece of art, but when you upload a song for distribution, the data has to be correct from the outset. You have to know the ISRC code is correct to link the master recording to the artist, and the IPI numbers are correct to link them to the correct songwriter and publisher.

This is not a minor detail. I have seen songwriters give out the wrong identifier and lose out on years of their royalties.  Managers and labels should support songwriters in ensuring this is handled correctly, as it will make a difference in the long run. These mistakes can take months to correct and cause a lot of heartache in the process.

Collect everything.  It all counts.

There are lots of ways for labels and artists to earn royalties, such as SoundExchange and other micro-sync avenues. It’s easy to look at a tiny revenue stream now and say it doesn’t matter. What if that turns into a steady stream? If you’re keeping track of things early on when it’s easy to manage, you won’t be caught off guard or miss out on a crucial revenue stream when it grows into something significant.

For example, I have repeatedly helped artists find tens of thousands of unclaimed royalties via SoundExchange. You need to sign up, of course, but you also need to maintain your account, making sure it includes all your works, and is connected to the correct bank account. Clients have had significant funds sent to dormant accounts, only to realize months later that they had sizable payouts waiting in some long-forgotten bank.

Cultivate a future-proof mindset.

Success is never guaranteed in the music business, but just imagine if you are successful. Will the deal that feels great right now make sense if you’ve scored a hit? What if that hit isn’t fully licensed? 

Adopt the mindset that the agreements you’re signing today will influence your money-making power years or decades from now. Because they really will. Don’t give your work away without really thinking through the alternatives, even if you aren’t sure what its commercial potential is.

And before you unleash a track on the world, make sure you have correct permissions for any sample or derivative work. Asking for forgiveness can lead to difficult decisions and to loss of significant revenue. Do the right thing, which in the case of clearances can take several months. That way, if things go well, you’ll be able to benefit fully from your and your artists’ hard work.

Starting a label can be an exciting endeavor and for many artists or creatives, and financially for many independent artists, it’s a beneficial thing to do. However, if you get the setup wrong or partner up with the wrong people (either nefarious or misinformed), you and the artists you bring on board can get in a world of hurt quickly and miss out on lots of money.

Administration is not the shiny side of the music industry, but it’s the engine. If you don’t want to dig into the data and the details of the business side of music, make sure you have a trustworthy partner that can navigate all the various deals and contracts on your behalf, and ensure you are creating sustainable systems to collect everything you’ve earned.  

Photo Credit: Jesman Fabio

Catalog management specialist OpenPlay has announced a deal with Too Lost to offer subscribers distribution directly to DSPs at no cost, with no distribution fee.

OpenPlay has added new pricing tiers to enable any small label to take advantage of OpenPlay with free Direct Delivery. Independent labels can now have the full catalog management experience that major labels enjoy—at a more affordable price point that includes no-cost delivery to global DSPs.

“This is a major step forward in our mission to help independent labels and artists get organized, get their music to fans, get heard, and keep more,” adds Edward Ginis, Co-Founder and Chief Client Officer of OpenPlay. “It’s our belief that just delivering new releases to the market is a commodity that should not break the bank for any label or artist, allowing them to focus their budget on marketing and promoting their artists and releases.”

“Thanks to this deal with Too Lost, OpenPlay is providing best-in-class delivery and payments at no extra charge, all while keeping their assets and metadata organized and ready for any campaign.”

OpenPlay launched Direct Delivery in 2023 to help independent labels deliver music to digital service providers (DSPs) with as few proprietary data barriers as possible. The launch was limited to labels with their own licenses in place either with the DSPs directly or through Merlin.

In May 2024, OpenPlay added Stem as their first Direct Delivery provider, allowing labels to use the distributor’s existing licenses with DSPs rather than needing to negotiate their own. Stem also manages statements and payments for select OpenPlay Direct Delivery customers, all for a competitive single-digit rate of net royalties.

Now, under the deal with Too Lost, OpenPlay subscribers can choose their Direct Delivery provider. Those who select Too Lost receive free delivery to DSPs, as well as statement and payment management with their subscription. That’s possible because of OpenPlay’s ability to deliver complete, fully validated market-ready DDEX files that conform to every DSP’s unique style guide, allowing Too Lost to simply pass them to DSPs hands-free.

“We love what OpenPlay is doing for their subscribers with Direct Delivery and are happy to power music delivery for them,” adds Gregory Hirschhorn, CEO of Too Lost. “There is so much more than just delivery that goes into music distribution, and we are looking forward to helping OpenPlay’s clients get the most from their catalogs.”

Photo Credit: Junglee Music

Junglee Music, a division of Times Music, acquires the music rights for Akshay Kumar’s biggest Bollywood production, the much-anticipated Hindi film ‘Sarfira.’

With a successful history of blockbuster collaborations with Bollywood actor Akshay Kumar, Junglee Music — a film music soundtrack division of Times Music — is poised for another superhit with the upcoming release of “Sarfira.” Hitting theaters worldwide on July 12, the film features a soundtrack chock full of renowned Indian singers like Shreya Ghoshal, Mika Singh, and Neeti Mohan. The film is produced by Abundantia Entertainment in association with 2D Entertainment.

“Sarfira,” the story of a common man who dares to dream big, promises an exhilarating cinematic experience, with a stellar cast featuring Akshay Kumar alongside Radhika Madan and the legendary Paresh Rawal. Directed by Sudha Kongara, a National Award-winning filmmaker with movies like “Soorarai Pottru,” (Tamil), “Irudhi Suttru,” (Tamil), and “Guru” (Telugu) to her credit, “Sarfira” (Hindi) is a highly anticipated Bollywood release.

“With ‘Sarfira,’ we have aimed to craft a musical marvel that not only entertains but also leaves a lasting impact on the viewers’ hearts,” says director Sudha Kongara. “The soundtrack is diverse and will connect with fans across segments.”

“We are thrilled to collaborate with Akshay Kumar and Abundantia Entertainment once again and are confident that the music of ‘Sarfira’ will captivate listeners, adding to the movie’s charm,” shared Mandar Thakur, CEO of Times Music/Junglee Music.

Speaking to the partnership with Junglee Music, Vikram Malhotra, founder and CEO of Abundantia Entertainment, stated, “With ‘Sarfira,’ we aim to deliver yet another entertaining and important film, and one with a soundtrack that is suited to capture the mood and emotion of our film. Partnering with Junglee Music will ensure that the music of ‘Sarfira’ reaches its rightful audience all over.”

Based in Mumbai, Times Music is a leading music entertainment company encompassing a record label, music publishing, and talent management. Established in 1998, the company has become a full-stack music business powerhouse across South Asian genres and cultures.

As a joint venture between India’s The Times Group and US-based Primary Wave Music, Times Music’s library spans Bollywood, Indie, Pop, Rock, Regional, and Spiritual Music. With its two sub-labels, Junglee Music for film music OSTs, and “ffs.” for next-gen independent music, Times Music has become a major player in the Punjabi and South Indian music markets.

The company also exclusively represents major international music publishers in India and South Asia, including Warner Chappell Music, Peermusic, Wixen Music, CTM Publishing, and Cloud 9 Music Publishing.

Photo Credit: MNRK Music Group

MNRK Music Group CEO Chris Taylor abruptly resigns, with COO Sean Stevenson stepping into the lead role upon Taylor’s exit in less than a month.

MNRK Music Group has announced that company president and chief executive Chris Taylor has resigned from the company effective June 28, taking the artist management division with him. Sean Stevenson, Chief Operating Officer of MNRK Music Group, will step into the lead position upon Taylor’s exit.

“We wish Chris the best in his future endeavors,” states Stevenson, who will lead the company as of July 1. “He’s been a great leader and partner over the years, and I look forward to continuing the growth of MNRK with the whole team.”

Stevenson joined MNRK in 2018 as Executive Vice President and General Manager. Across his 23-year career as a marketing and public relations exec, Stevenson has led strategy, concept development, digital and social media campaigns for brands like Coca Cola, EMI, MTV, Nike, Samsung, Universal, and Warner Bros.

Chris Taylor joined the company in 2016 to run the music division of Entertainment One (eOne). As part of that team, he contributed to the company’s overall strategy and eventual sale to Hasbro for $4 billion in 2020. Hasbro sold the music division to Blackstone in 2021 for a reported $385 million and changed the name to MNRK Music Group.

The company celebrated No. 1 records across genres during Taylor’s tenure, as well as Grammy Awards with artists like The Lumineers, Pop Evil, Jonathan McReynolds, High on Fire, and many others. The nature of Taylor’s resignation is as yet unknown, but MNRK Music Group states it remains committed to discovering and guiding top music creators and artists, as well as distributing premier music companies Dualtone Music Group and Last Gang.

As one of the largest independent music companies in the world, MNRK Music Group has recording and music publishing divisions in every major music market. Its vast catalog spans divisions and comprises 54,000 music tracks, including multiple Grammy winners and platinum-selling hits.

Photo Credit: UMG (Susan Mazo, Dylan Siegler, Kristin Jones, Arielle Vavasseur, Dr. Menna Demessie, Markie Ruzzo, Sharlotte Ritchie)

Universal Music Group (UMG) has announced the formation of a Global Impact Team to enact and amplify the company’s vision for positive change through community engagement, environmental sustainability, events, and special projects.

“The formation of the Global Impact Team reflects our commitment not only to accelerating our work in these critical areas but to do so in a way that leverages the experience and talent of these exceptional individuals to drive positive impact across our company, our industry, and in the communities in which we serve,” says Chairman & CEO of UMG, Sir Lucian Grainge. “With this new structure we are ensuring that these functions are not siloed, but rather positioned to meaningfully influence all aspects of our global strategy.”

With this new Global Impact Team, UMG will see some changes to its leadership structure. These changes include:

Susan Mazo, UMG’s EVP of Social Responsibility, Events & Special Projects has been promoted to EVP, Chief Impact Officer. Mazo brings nearly 30 years of industry experience and joined UMG in 2014. She has been a leader in the fields of sustainability, charitable giving, and community engagement. She serves as the founding Chair of UMG’s All Together Now Foundation and the co-creator of the Amplifier Award recognizing artists for their commitment to creating positive change through their music and reach.

Dylan Siegler has been appointed as SVP, Head of Sustainability. Siegler will lead UMG’s global sustainability efforts effective June 10, 2024. She brings with her two decades of experience in driving environmental and social impact, including decarbonization and climate justice strategy in energy, tech, and the built environment. Siegler most recently served as SVP, Sustainability at GreenBiz Group, where sue curated, built, and hosted GreenBiz.

Inside Projects, a strategy and marketing agency that specializes in social impact, will make UMG its exclusive partner within the music industry, advising the Global Impact Team and the company across communications, public policy, artist, and shareholder relations. Founded by Kristin Jones and Arielle Vavassuer, Inside Proejcts’ past and present clients include Higher Ground Productions, Netflix, and Spotify.

Menna Demessie, SVP and Executive Director, Task Force for Meaningful Change and former SVP of Policy and the Leadership Institute of the Congressional Black Caucus Foundation, will also serve as a member of the Global Impact Team leadership.

Markie Ruzzo, who has been promoted to the position of VP Global Impact, will join the team’s leadership.

Sharlotte Ritchie, who previously served as Senior Director, Communications and head of the Task Force for Meaningful Change in the UK, and will now serve as to Senior Director, Global Impact & Communications.

“I’m honored to take on this new role and work alongside such an incredible team who have all been leaders in their respective fields,” adds Susan Mazo about the formation of this Global Impact Team. “Through our work we’ve demonstrated that sustainability, community engagement, and corporate social impact go hand-in-hand with delivering positive results for our employees, artists, and shareholders.”

“With this next evolution of our team and structure, and with Sir Lucian’s constant encouragement and focus, I’m excited to create and implement a new approach that unites all of the efforts in a way that will amplify UMG’s global impact and brand resonance given our unique position to enact positive change.”

Photo Credit: Andre Lovanegas / CC by 4.0

Reggaeton artist Ryan Castro wins his lawsuit against King Records, regaining the rights to his music as the label is ordered to pay $2 million.

Colombian reggaeton star Ryan Castro, known for his collaborations with Peso Pluma, J Balvin, Karol G, and more, has won his lawsuit against indie label King Records after accusing them of breach of contract and withholding royalties in a series of filings last year. Though Castro has won a $2 million judgement that the indie label is now ordered to pay, two more lawsuits remain.

Ryan Castro began working with King Records in 2020. After achieving success in Latin America with his viral 2021 track, “Mujeriego,” which also marked his first Billboard chart entry, Castro joined King Records founder Kevin Roldán in launching a new imprint, Awoo King Records. Even then, Castro was already complaining internally that the label “wasn’t being transparent” enough in its financial statements, despite his requests.

In a statement shared with Variety, Castro’s manager and Leo Arango said, “Ryan Castro wakes up today 100% free in terms of record labels, with absolute independence in everything related to production and phonographic publication. He now becomes absolute owner of his past, present, and future music, after the ruling of the Arbitration Tribunal known yesterday.”

“In addition,” Arango continues, “with an absolutely privileged position for the prompt resolution of the two pending contracts with the record label King Records, which today, due to its breaches, has absolutely no influence on the artist’s career.”

King Records shared a statement to their Instagram Stories, saying that while they would abide by the arbitration process and instructions, they also seek to have the ruling amended, calling it “unfair and unbalanced, based on the evidence presented by our legal team.”

“It’s important to note that our company still has two active contracts with Ryan Castro, including the exclusive management of his music career, in addition to a joint venture through Awoo King Records where we share master recordings and other business together,” their statement continues. “We wish Ryan Castro and his team the best, but will continue to work through our current agreements while we will seek to have this decision amended.”

In 2023 alone, Castro released a string of singles including “Una Noche En Medellín Remix” with Karol G, “Ritmo De Medallo” with Feid, “Ghetto Star,” “X 1 Beso” with De La Ghetto, “14/20” alongside Piso 21, “Corazón Roto (Remix)” with Jhayco and Brray, and his biggest hit to date, “Quema” with Peso Pluma and SOG. Most recently, Castro dropped his debut studio album, El Cantante De Ghetto.

Photo Credit: Warner Music Canada

Warner Music Canada has announced it has signed a deal with Eli Brown, best known for his work as a producer for artists like Drake, Giveon, PARTYNEXTDOOR, and Chris Brown.

The partnership will see Eli Brown developing and signing artists to Warner Music Canada through his label, Loophole Records. Eli Brown is a multi-platinum producer from Brampton, Ontario who has solidified his position as one of the industry’s most sought-after producers. Brown produced the acclaimed Drake songs “Drew a Picasso” and “In The Bible featuring Lil Durk & Giveon” and Chris Brown & Young Thug’s “Big Slimes featuring Gunna & Lil Duke.”

In addition to his collaborations with globally renowned artists, he has worked alongside other highly successful Canadian producers, including the immensely talented Wondagurl and Boi-1da.

“I would like to express my sincere gratitude to Kristen and Amisha and the opportunity they have given me to contribute to the development of the next generation of stars,” says Eli Brown about the new deal. “Our shared aspirations extend beyond reshaping Canadian music history to revolutionizing the entire music industry as a whole.”

“I am excited to leverage the extensive knowledge I have gained over the years in the music industry, encapsulated in what I refer to as the ‘Eli Brown Bible.’ This comprehensive resource is a distillation of my diverse experiences and the invaluable insights shared by legendary creatives and executives who have generously supported me. Thank you for entrusting me with this opportunity to make a meaningful impact.”

“Canada is special. From the artists to the writers to the producers, Eli Brown is the epitome of Toronto culture and plays a key role in the city’s creative community,” adds Amisha Sarkar, Warner Music A&R. “We are excited to support him in his parallel journey of highlighting and developing Canadian talent on a global scale.”

“Eli is an incredible creative force who not only has a deep connection to his culture, but is also a constant driver of it,” adds Kristen Burke, President, Warner Music Canada. “His ability to find and develop talented young artists and bring them to the world stage aligns perfectly with our mission at Warner Music Canada.”

Photo Credit: Memo Parra, Brenda Carrasco, Alejandro Duque, Angelica Piche, Tokischa, Natalie Cotton, Roberto Andrade Dirak, Francisco Granados, Aton Ben-Horin

Warner Music Latina inks a global partnership with Dominican artist Tokischa to launch SOL, the artist’s own record label.

Warner Music Latina (WML) announces a global partnership with renowned Dominican artist Tokischa to launch her own record label, SOL, in partnership with her manager Angelica Piche, within WML. The deal is supported by Atlantic Records and marks a significant milestone in Tokischa’s career.

“We’re excited to welcome Tokischa to the Warner Music family. She is an artist who takes counterculture to its highest and best expression. It is a privilege to be part of this new chapter in her career, help expand her global impact and support her limitless creative vision,” reads a statement from Warner Music Latina.

“We are thrilled to launch SOL, a record label that will be a home for misunderstood artists. It’s very important for us to give a voice and a space to people who, like us, started from scratch,” said Angelica Piche, SOL’s co-founder, who is in charge of the project’s development.

“Tokischa is a one-of-one artist. We could not be more excited to be part of this next chapter of her career and working alongside Angelica, Alejandro [Duque], and the entire team,” said Atlantic Music Group Chairman and CEO Julie Greenwald and Atlantic Records Chairman and CEO Craig Kallman.

The partnership will empower Warner Music Latina alongside its international team and record labels to introduce Tokischa’s music to new audiences, bolstering her presence across diverse countries and cultures, and ultimately establishing her as a global star.

Tokischa has challenged traditional perceptions about the role of women in music, with her unique and authentic style. Since her debut, she has soared in popularity among Latina artists while championing an impactful message of empowerment, self-acceptance, and liberty, attracting a diverse and continually growing audience.

She has collaborated with artists like Madonna, Rosalía, J Balvin, Ozuna, and Marshmello, and has been recognized by international media, which has brought the Dominican Republic’s vibrant local music scene to the global stage.

In addition to her music, Tokischa is active in the fashion scene, attending events like the CFDA Fashion Awards, the Latin American Fashion Awards, and most recently starring in Jean Paul Gaultier’s new TRÈS GAULTIER campaign alongside Amelia Gray.

Photo Credit: Luke Harold

Universal Music Group shareholders approved Lucian Grainge’s $150 million compensation package at the company’s annual general meeting of shareholders on Thursday.

Today (May 16), Universal Music Group announced the results of its Annual General Meeting of Shareholders (AGM) held earlier in the day. Among the resolutions addressed on the AGM agenda included the adoption of the 2023 financial statements, the approval of CEO Sir Lucian Grainge’s approximate $150 million compensation package, and the re-appointment of non-executive directors including Bill Ackman, Cyrille Bolloré, and executive director Vincent Vallejo.

Shareholders approved Lucian Grainge’s compensation package from 2023 of at least 138.8 million euro ($128 million) — thought to ultimately fall into the $150 million range — in a nonbinding advisory vote at the company’s annual meeting in The Netherlands. That number includes Grainge’s 2023 base salary, bonus, and a significant one-time transition equity award.

As the shareholder votes are nonbinding and advisory, they merely reflect investor sentiment rather than an enforced change — but these votes are a key indicator of investor sentiment across the board. That said, shareholders have expressed criticism of UMG regarding its pay practices and board independence, yet they ultimately voted in favor of the new proposals.

UMG shareholders also voted in favor of re-appointing board members Bill Ackman (Pershing Square Capital Management), Cyrille Bolloré, and other non-executive directors, despite the overarching criticism regarding board independence.

Around 58% of UMG’s voting shares are held by Ackman’s Pershing Square, Tencent, Bolloré, and Vivendi. Last year, all four voted to approve UMG’s remuneration policy, which passed by a relatively narrow margin of 59%. The exact percentage of votes this year was not immediately disclosed.

Meanwhile, UMG’s shareholders’ and shareholder advisory group Glass Lewis’ recent criticism of the company’s pay practices, which they called excessive, are pretty on-trend. Investors in Cumulus Media and Live Nation also voted their disapproval of those companies’ CEO pay packages during recent shareholder meetings.

Grainge’s 2023 compensation is said to be 138,814,000 euros, or $128,264,000 based on the monthly average foreign exchange rate. Last year, his base salary was 7.5 million euros ($8 million), with a bonus of 15.16 million euros (over $16.2 million) and a one-time transition equity of 92,406,852 euros (around $100 million). That amount was paid out half in restricted stock units and half in performance stock options, the latter of which vest over the coming five years, and can only be excised once UMG’s stock reaches certain thresholds.

In 2022, Grainge was the third highest paid music executive, having received compensation of 47.3 million euros ($49.7 million), thanks in part to a 28.8 million euros ($30.3 million) performance bonus. Of course, that’s in addition to his base salary of 15.4 million euros ($16.2 million).

Photo Credit: Donny Evans (Paul Sizelove, Sun Label Group President)

Sun Label Group celebrated its official launch under parent company Primary Wave Music last night at the Ole Smoky Distillery in Nashville.

The new label group brings together the rich legacies of Sun Records, Gaither Music, Green Hill Music, Rural Rhythm, and emeraldwave by Green Hill under the innovative vision of Sun Label Group and its President, Paul Sizelove. Guests at the celebration event were treated to an evening of exceptional performances.

The event was hosted by Rory Feek, a cherished artist from Gaither Music, who emceed the event and performed a heartfelt song to set the tone for the night. Multi-talented jazz musician and songwriter Dara Starr Tucker graced the stage with her powerful vocals and profound lyrics. Tucker has released music by Green Hill Music and won acclaim for co-writing the title track to blues and Americana artist Keb Mo’s Oklahoma.

Shawna Thompson, one half of the award-winning country duo Thompson Square, also captivated the audience last night. Her performance came as she prepares to unveil her debut solo album, Lean on Neon, which is set to release on Sun records in September. Tyler Bryant & the Shakedown took the stage as the backing band for the Sun Records artists, including a spirited jam of “That’s All Right” paying homage to Elvis Presley and the musical origins of Sun Records.

Sun Label Group celebrates 160 years of music across Sun Records, Gaither Music, Green Hill Music, and emeraldwave by Green Hill. Under parent company Primary Wave Music, the dynamic and innovative music company is dedicated to celebrating the legacy of musical icons and shaping the future of music and entertainment. From catalog preservation and reimagination to curating exceptional new auditory experience, Sun Label Group is a testament to the enduring power of music.

Five-time Grammy nominee Ruthie Foster brought her rich blend of gospel, blues, and American roots music to the stage. Her soulful performance included songs from her upcoming album, Mileage, produced and co-written with Bryant and his wife Rebecca Lovell (one half of the duo Larkin Poe) and set to release on Sun Records in August.

ZZ Ward also delivered a compelling blues set, offering a glimpse into her forthcoming EP and full-length album on Sun Records. Her collaboration with Slash on an upcoming blues tour promises to bring her distinctive sound to even broader audiences.

The even celebrated Sun Label Group’s dedication to honoring musical legacies while shaping the future of sound. The eclectic mix of performances highlighted the diverse array of genres and talent within the Group and set the stage for the exciting new musical experiences and platforms to come.

Photo Credit: Chuck Gamble, Patrice Rushen, Carianne Marshall, Guy Moot / WCM

Warner Chappell Music signs a global publishing deal with 4x Grammy nominee and jazz/R&B star Patrice Rushen.

Warner Chappell Music (WCM) has signed a global publishing deal with R&B and jazz singer Patrice Rushen. A 4x Grammy nominee, Rushen is considered one of the world’s top recording artists and composers, performing with and producing for esteemed artists like Stevie Wonder, Herbie Hancock, Prince, Nancy Wilson, Sheena Easton, Carlos Santana, and Freddie Hubbard. She has served as the first female musical director for many top award shows, including the Grammy Awards, Emmy Awards, People’s Choice Awards, and NAACP Image Awards.

“I am so excited to be with WCM,” said Patrice Rushen. “It’s been wonderful to feel the energy and support of a company whose respect for music is matched by the progressive perspectives and ideas which serve to protect music makers. I look forward to the celebration of my existing catalog as well as the creation of new collaborative projects and songs.”

“Patrice is a one-woman creative powerhouse — artist, producer, conductor, composer, and renaissance writer,” said WCM VP of Catalog Promotions/Creative Services, Chuck Gamble. “She has built a career that extends beyond music creation, embracing versatility and authenticity, and we’re honored to work with such a remarkable legacy.”

“We’ve been fans of Patrice and her music for a long time. She’s crafted a collection of songs that continue to hold cultural significance, built on undeniable passion and natural skill,” added WCM Co-Chairs Guy Moot (CEO) and Carianne Marshall (COO). “Throughout her career, she’s also served as a driving force for female songwriters and set the stage for the next generation of diverse talent to thrive, and we’re very thankful to have this opportunity to look after her timeless catalog.”

A classically trained pianist, Patrice Rushen found success in the ‘70s and ‘80s with her signature blend of jazz, pop, and R&B. Her 1982 single “Forget Me Nots” received a Grammy Award nomination for Best Female R&B Vocal Performance, while the chorus was later sampled for Will Smith’s hit “Men In Black,” recorded for the film of the same name. George Michael also sampled the track in his dance-hit version, “Fast Love,” featuring original vocals from Rushen.

Rushen has 14 solo albums to her name, as well as a compilation album of greatest hits. In addition to her accomplishments as a recording artist and musical director, Rushen has composed musical scores for film and TV, including Showtime’s “The Killing Yard,” the Sundance Film Award-winning “Our America,” and the critically acclaimed “Wonderful World of Disney” telefilm, to name a few. She also composed the theme song for the sitcom, “The Steve Harvey Show.”

Currently, Rushen is composing for film and TV, as well as working closely with organizations dedicated to establishing music education and mentorship programs for inner-city youth. Having just performed for a sold-out crowd at the New Orleans Jazz Fest, Rushen is also continuing a successful tour in Europe and the US this summer.

Photo Credit: Warner Music (Rubén Abraham | General Manager, Música Mexicana | and Tom Rodríguez | President, Warner Music Mexico & Música Mexicana)

Warner Music is strengthening its support for Música Mexicana with an expanded team, new A&R strategy, and hubs located in Los Angeles and Mexico City.

The new forward-thinking approach combines an A&R team deeply rooted in Mexican culture with a thorough understanding of its music landscape with a marketing team whose global framework and local expertise is crafted to offer services and strategies that can tangibly advance artists’ careers.

Leading the new initiative is Tomas Rodríguez, President of Warner Music Mexico & Música Mexicana, who will spearhead the project from Mexico City. Meanwhile, Rubén Abraham, General Manager of Música Mexicana, will oversee the A&R and Marketing team from WMG’s downtown Los Angeles office—ensuring a cohesive strategic direction across the United States and Mexico.

The newly formed A&R team boasts Brian Plascencia as Director of A&R. He has a stellar track record, including roles at Universal Music and Univision Records, as well as serving as West Coast Label manager at Machete Music. While there, Plascencia launched and developed the careers of artists including El Potro de Sinaloa, Fidel Rueda, Larry Hernandez, and Roberto Tapia. Plascencia was also a founding partner at Alianza Records, where he helped develop artists including Caimanes de Sinaloa, Edicion Especial, and Grupo H-100.

Armando López, Associate Director of A&R, brings more than a decade of industry experience, with a background in marketing, musical production and concert promotion. He joined Warner Music last year after working at Creative Channels Mexico.

Cesar Carrillo joins as Senior Manager of A&R, bringing over 18 years’ experience in the Música Mexicana scene. His notable achievements in music production as an artist and managing talents such as Los Buitres de Culiacán and Tomas Ballardo lend to that expertise. Carrillo has worked on bookings for the band Lumbre Music and has collaborated with artist management and live company FM Entertainment while assisting in managing agendas of major icons including Banda Machos, Fidel Rueda, and Ramón Ayala.

Maria Angela Batiz will continue to be a key player in the development of marketing strategies and campaigns as Director, Marketing, Música Mexicana.

“The expertise, adaptability, and market acumen of our enhanced Música Mexicana team will bolster our vision for the genre’s development and globalization, cementing Warner Music as a driver of the scene,” says Tomas Rodríguez.

“We’re primed to offer the industry’s premier platform for the genre, supported by top-notch professionals and tailored negotiation options that cater to both the present needs and future prospects of Música Mexicana,” adds Rubén Abraham.

Photo Credit: Proper

Utopia Music rebranded to Proper Group AG, a name taken from its core music distribution business. But the new company is undergoing some major restructuring changes that will see the current CEO step aside. Here’s the latest.

The Switzerland-based Proper Group AG is in the process of another round of layoffs, saying “As technology rapidly evolves in the music industry, Proper Group is strategically repositioning itself to better serve its partners and capitalize on emerging market trends and demands.”

As part of this restructuring effort, the current interim CEO Michael Stebler—who took over after Co-Founder and former CEO Mattias Hjelmstedt—departed Utopia Music. Proper says Stebler’s job was to oversee the massive restructuring effort and now that the job is concluding—his role with the company is complete.

Stebler will be replaced by a tag-team of CEOs including Drew Hill and potentially Alain Couttolenc. Couttolenc briefly served as Proper Group’s CEO last year and is a candidate to head up the company’s tech division. Meanwhile, Hill will oversee the company’s distribution division.

As part of the restructuring, Proper will close most of its non-UK operations including significant job cuts in Sweden and other European subsidiaries—marking around a 30% cut to its full-time staff of 250 people. Proper will focus on four key business areas including distribution, payments, royalty processing, and music data.

Proper Music will prioritize its UK distribution businesses including Proper Music Distribution and Utopia Distribution services as they are considered essential for the physical music ecosystem. Proper Music aims to achieve break-even in 2025—which has been a challenge. Proper Group execs believe this new strategy is the only realistic path forward for the company.

While Proper Group is repositioning itself to better serve its partners and capitalize on emerging market trends, it says it will manage the process of downsizing better than its previous UK R&D downsizing efforts.

Photo Credit: Wati-B

Sony Music Entertainment France announces an expansion of its 11-year partnership with Wati-B, acquiring the label’s entire catalog.

The agreement covers all albums and songs produced by Wati-B between 2009 and 2023, featuring French rap mainstays like Sexion d’Assaut and its solo members Maître Gims, Black M, and Lefa, as well as Tiakola, 4Keus, and Kodes. The catalog is one of the most successful in French rap.

The Wati-B catalog has received over 50 certifications, including 10 Diamond and 20 Platinum. It features well-known French rap hits including “Désolé” and “Wati by Night” by Sexion d’Assaut, “Est ce que tu m-aimes,” “Sapé comme jamais,” and “Bella” by Gims, Black M’s “Sur ma route,” and Tiakola’s more recent track, “Meuda.”

“We have had a long-standing collaboration with Wati-B and it is a superb example of a fruitful partnership, which has played a unique role in the popularization of rap in France,” said Marie-Anne Robert, Managing Director, Sony Entertainment France.

“Harnessing our passion, creativity, and global expertise, Sony Music France will continue to honor and nurture the Wati-B catalog, which played a significant role in contributing to our first rap successes in France in the 2010s.”

The acquisition of Wati-B is part of a broader strategic initiative from Sony Music France to enhance its local catalog. And it couldn’t come at a better time; the catalog’s share of music listening in France — the number two country in the world for rap music, behind the US — is consistently on the rise.

“French rap is definitely the second in the rap world,” said French rap expert and author Olivier Cachin in an interview with RFI. “It all started in the early 1980s, when the DJ Dee Nasty launched his radio show on Radio Nova in Paris.”

“Today, French hip-hop reaches a very wide range, from very underground and politicized trend to a more party-going, relaxed, and commercial trend. There is not one overarching idea of French rap — it is many trends,” Cachin explained. “Still, France remains the second nation of hip-hop in the world.”

Photo Credit: Justin Kim / AWAL

Lil Durk is relaunching his label venture, OTF Entertainment, announcing a new partnership with record company AWAL.

Rapper Lil Durk is embarking once more on his entrepreneurial pursuits, announcing a partnership with record company AWAL to relaunch his label venture, OTF (Only The Family). The partnership sees OTF benefitting from AWAL’s infrastructure and artist development expertise.

The Chicago native will serve as CEO of the label, joined by longtime collaborator Cedrick “SB” Earsery as COO. The duo will collaborate with AWAL leadership and A&R, including CEO Lonny Olinick and SVP/Head of Urban Music Norva Denton.

“Durk has long established himself as a cultural leader in the A&R space,” said Olinick. “We couldn’t be more excited to partner with him and OTF during his evolution as an executive.”

“Providing a venture home for OTF and my brother Durk after starting our careers together in Chicago is truly a full-circle moment for the ages,” adds Denton, who worked as Durk’s West Coast Regional Director in 2012, and initially got started with Def Jam.

“This move was about winning as a family, never business,” says Lil Durk. “I’m excited to flood the streets with music!”

The first OTF single as part of the new partnership, “GTA,” by Lil Durk’s personal DJ, DJ Bandz, will be released Friday (May 10). The track features Rob 49, Skilla Baby, and Fivio Foreign.

Founded in 2012 by Lil Durk, OTF is deeply rooted in the Chicago music scene. The label rose to prominence alongside Lil Durk with the success of his breakout hit, “Dis Ain’t What You Want.”

OTF has served as a starting point for artists like the late King Von. Alongside Durk, OTF has also launched the Neighborhood Heroes Foundation, which works to establish meaningful change in underprivileged neighborhoods.

The relaunch comes on the heels of the label and Durk facing a lawsuit filed in December by Exceed Talent Capital, which alleges that Durk, his manager, and OTF committed “manifest fraud” related to a deal over the rights to his song, “Bedtime.”

AWAL offers a unique model for independent artists, providing the resources and reach of a major label while enabling artists to retain ownership and creative control of their music. Their roster includes deadmau5, Disclosure, Lil Peep, Young the Giant, Jungle, mxmtoon, Laufey, and many more. AWAL has also supported the careers of artists like Finneas, Kim Petras, and Nick Cave & The Bad Seeds.

Photo Credit: SRG/ILS

The SRG/ILS Group extends its partnership with Virgin Music Group, building upon a deal signed in 2015, including catalogs from artists like Brian McKnight, Chaka Khan, J. Brown, and many more.

After a successful partnership penned in 2015, the SRG/ILS Group announces an extension of its partnership with Virgin Music Group. The union includes a catalog of releases from artists like Chaka Khan, Brian McKnight, Avant, J. Brown, Ruben Studdard, Lalah Hathaway, Johnny Gill, Vivian Green, After 7, and many more.

“SRG/ILS has undergone tremendous growth over the past several years, largely thanks to the strong support provided by Virgin Music Group,” says Claude Villani, SRG/ILS CEO. “Jacqueline Saturn and her team are exceptional, demonstrating a commitment to navigating today’s ever-changing music landscape with an artist-first attitude.”

“We love our partners and the SRG/ILS roster, which is full of incredibly successful and career-defining artists. We are proud of all we have accomplished together and are excited to build on their vision for the future,” adds Jacqueline Saturn, President of Virgin Music Group North America and EVP Global Artist Relations.

SRG/ILS is off to the races this year with a new album from top-selling Reggae group UB40, UB45, celebrating the band’s 45 years together. The album is currently a Top 5 release in the UK, alongside Taylor Swift, Beyonce, Olivia Rodrigo, and Pearl Jam. Further, it’s currently the No. 1 Reggae album in the UK. This week also sees SRG/ILS release the first single from Lalah Hathaway’s latest album, Vantablack.

The group also represents several independent labels, including Music Matters, MPress Records, and Gulf Coast Records, the latter of which has provided SRG/ILS with several No. 1 albums in the Blues genre.

In 2023, SRG/ILS launched the SRG Jazz imprint, which has released albums and singles featuring legends of the genre, David Benoit and Jeff Lorber, alongside contemporary stars Mike Phillips, Xavier Gordon, and Damien Escobar. Escobar recently landed at No. 1 on the Jazz airplay chart with his track, “Taboo.”

Photo Credit: JYP Entertainment

Chinese music streaming service NetEase Cloud Music announces a licensing agreement for digital music distribution with South Korea’s JYP Entertainment.

NetEase Cloud Music, a leading music streaming platform in China, has entered into an agreement with South Korean entertainment company, JYP Entertainment, granting NetEase Cloud Music the right to distribute JYP Entertainment’s music catalog in China. Under the agreement, the two companies will leverage their musical acumen to jointly promote the presence of K-pop artists from JYP’s catalog, bringing more high-quality music to Chinese fans.

The collaboration enables Cloud Music to offer an extensive collection of music from JYP Entertainment, featuring the full discography of artists and groups such as J.Y. Park, TWICE, Stray Kids, Boy Story, ITZY, Yao Chen, NMIXX, and more. NetEase Cloud Music has also introduced a range of JYP-themed vinyl VIP decorations to cater to the personalized preferences of users and enhance the music experience for K-pop enthusiasts.

Founded by outstanding Asian producer J.Y. Park in 1997, JYP Entertainment is a comprehensive cultural and entertainment enterprise and one of the most influential entertainment companies in South Korea. JYP Entertainment was established to promote the development of the entertainment industry and drive globalization. The company is committed to discovering and nurturing creative, proactive talents that can lead the industry.

NetEase Cloud Music hosted 206 million monthly active users and over 44 million monthly paying users in 2023 as one of China’s leading online music platforms. The service has been gaining presences, especially among younger generations of music enthusiasts.

Cloud Music has continuously strengthened its collaboration with Korean music companies to obtain copyright licenses. By the end of last year, the platform had approximately 149 million cumulative music tracks, with a wide range of copyright content, enhancing its content ecosystem. The service has recently expanded its collaborations to include globally renowned music labels such as Universal Music, Sony Music, Warner Music, Rolling Stones Records, Modern Sky, Emperor Entertainment, and Bin’s Music.

NetEase Cloud Music will continue to collaborate with global music companies, offering Chinese music enthusiasts a wider range of high-quality content and an improved user experience.

Photo Credit: Tommaso Napolitano (Anfisa Letyago)

Sony Music Entertainment Germany launches a new electronic music label, ‘noted. records,’ with its first signing of Anfisa Letyago, who has released a new single under the imprint.

The Berlin-based imprint will cater to electronic music artists on a global scale, with a commitment to cultivating the electronic and techno culture and amplifying the voices of emerging artists. Based in a global hotspot of electronic music culture, the new label, noted. records, will offer access to a wide network of artists, producers, writers, and resources, with a goal to have a significant cultural impact.

A&R and strategy will be overseen by Sony Music’s Vice President of A&R for Europe & Africa, Jean-Sebastien Permal, with marketing and operations headed by Senior Product Manager Jenny Walzer, who also oversees marketing at Sony Music’s dance music label Nitron in Berlin.

The launch of noted. records comes with the announcement of its first signing, one of the most exciting DJ-producers of the contemporary scene, Anfisa Letyago (pictured). Renowned for her exceptional talent both behind the decks and in the studio, Letyago has released her highly-awaited track, “Feelin’,” via noted. records.

“I’m thrilled to join Sony Music!” said Anfisa Letyago. “It’s an honor to be their debut artist on the newly created ‘noted.’ I cannot wait for what’s to come.”

“Electronic music as a genre has never been as potent as it is today,” said Jean-Sebastien Permal, Vice President of A&R Continental Europe & Africa, Sony Music Entertainment. “We recognized the need to provide a home for artists with a strong and unique musical and visual identity. We are thrilled to have Anfisa Letyago as our first signed artist and are incredibly ambitious about her project.”

Situated in one of the biggest hubs for electronic music worldwide in Berlin, Sony Music Germany has a robust legacy of developing the careers of successful electronic artists on a global scale. Their repertoire includes artists such as multi-platinum awarded producer Purple Disco Machine, the platinum and gold-certified composer Avaion, and French electronic legend Jean-Michel Jarre.

Photo Credit: Republic Records (Miranda Lambert)

Miranda Lambert signs with Republic Records/UMG in a deal with Big Loud, hot on the heels of the release of her latest solo music and an upcoming appearance at Stagecoach Festival.

After wrapping up her twice-extended Velvet Rodeo residency in Las Vegas, Miranda Lambert inks a deal with Republic Records, including support from Nashville-based Big Loud. The deal includes country radio promotion as well as other marketing efforts.

“Music is and always will be the thing that drives me, but having a new home has given me a hunger I didn’t realize I still had inside me,” says Lambert. “I can’t wait to get out there with this new label and this new music — Monte Lipman and his team fire me up!”

The announcement comes in time for the release of Lambert’s first new solo music since 2022, with “Wranglers,” arriving on May 3. And fans worldwide can tune into her highly anticipated appearance at Stagecoach Festival on Saturday, April 27, via the Amazon Music livestream and SiriusXM’s The Highway.

“Miranda Lambert’s legacy as both a consummate storyteller and legendary performer speaks for itself. Her new music is spectacular, and we are thrilled and honored to welcome her to Republic Records in partnership with Big Loud,” says Republic Founder and Chairman, Monte Lipman.

“We’re honored Miranda Lambert has entrusted us with this next chapter of her career,” adds Republic President and Chief Operating Officer, Jim Roppo. “As she puts the final touches on her fantastic new body of work, it has all the hallmarks of her signature sound, yet she continues to push herself as a songwriter, producer, and performer. We’re all at the beginning of a very special moment, and we’re grateful to be on this journey with her.”

Last November, Lambert and Jon Randall announced a strategic partnership with Seth England and Big Loud Records, launching the imprint Big Loud Texas.

“Being in Texas with Jon, recording where I cut my teeth as a young artist, felt like coming home. I thought about the women — and men — who’ve lived, loved, and found power in my music, and I wanted to get back to the root of those spaces,” Lambert explains. “Talking to Monte, Avery Lipman and the team at Republic, as well as Seth and the Big Loud folks who are leaning in, everyone understood my desires and vision for this next era of my music.”

“Aligning like that is empowering; it gives you a license to really chase it. Signing with Republic has inspired me to find the sweet spot for me and all the people like me. I can’t wait for everyone to hear ‘Wranglers,’ and the rest of this record.”

Lambert also recently announced a return to the road, including a three-night stand at New Braunfels, Texas’ Whitewater Amphitheater, as well as concerts across North America. With tour dates running all summer, she is also headlining major festivals, including Rock the Country, Calgary Stampede, Under the Big Sky, and more.

Upcoming Miranda Lambert Concert Dates

April

• 27 | Stagecoach Festival — Indio, CA

May

• 24 | Whitewater Amphitheater — New Braunfels, TX
• 25 | Whitewater Amphitheater — New Braunfels, TX
• 26 | Whitewater Amphitheater — New Braunfels, TX

June

• 07 | People’s Natural Gas Field — Altoona, PA
• 08 | Foxwoods Resort Casino — Mashantucket, CT
• 29 | Momentum Bank Ballpark — Midland, TX

July

• 05 | Grand Casino Hinckley — Hinckley, MN
• 06 | Soaring Eagle Casino & Resort — Mt. Pleasant, MI
• 12 | Calgary Stampede — Calgary, AB
• 13 | Under the Big Sky Festival — Whitefish, MT
• 17 | California Mid-State Fair — Paso Robles, CA
• 20 | Thunder Valley — Lincoln, CA
• 26 | Trustmark Park — Pearl, MS
• 27 | Rock the Country Festival — Anderson, SC

August

• 17 | Illinois State Fair — Springfield, IL
• 24 | Chris Stapleton’s All-American Road Show — Houston, TX
• 30 | Constellation Brands Marvin Sands — Canandaigua, NY
• 31 | Hard Rock Hotel & Casino — Atlantic City, NJ

September

• 27 | The Sound Amphitheater — Gautier, MS
• 28 | Autozone Park — Memphis, TN

Photo Credit: Word Collections

A new article from Word Collections CEO Jeff Price offers damning results of an audit conducted on the Mechanical Licensing Collective. Price says the MLC has not paid out over 25% of the money collected from mechanical royalties from DSPs.

Jeff Price, the founder and CEO of global publishing administrator Word Collections, has released an article providing the results of auditing the Mechanical Licensing Collective (MLC) using the MLC’s own publically available data. The results, according to Price, reveal that since the organization’s inception on January 1, 2021, the MLC has not paid out $600 million, or over 25%, of the mechanical royalties it has received from Apple, Amazon, Spotify, Pandora, YouTube Music, and other digital services.

Notably, Price says the lack of payments to songwriters is persisting at the same rate they did prior to the 2018 passage of the Music Modernization Act, and the 2021 establishment of the Mechanical Licensing Collective, run by the National Music Publishing Association’s (NMPA) members.

The biggest and most important difference for songwriters between the implementation of the Music Modernization Act and the time before it, according to Price’s findings, is that the NMPA wrote into the law that unpaid royalties with the MLC can be irrevocably taken and handed disproportionately to Sony Music Publishing, Universal Music Publishing Group, and Warner Chappell Music. Price says the ‘Big Three’ all sit on the MLC board of directors and pay out over 90% of the NMPA’s annual dues.

“Before the Music Modernization Act (MMA) was passed into law creating the Mechanical Licensing Collections (MLC), about 25% of earned mechanical royalties from streams in the US were not paid to the songwriters who earned them,” writes Price. “Then the National Music Publishing Association (NMPA) wrote the MMA and lobbied to get it passed into a law under the guise it would get songwriters paid their mechanicals.”

“Three years after the Mechanical Licensing Collections (MLC) came into existence, and after receiving over $110 million in operational funds, about 25% of earned mechanical earned (sic) are still not paid to the songwriters who earned them,” Price continues.

“The MLC sent a mass email in March 2024, stating it has paid out ‘$1.823 billion’ since inception in ‘blanket royalties.’ In comparison, the MLC’s provided ‘Rate Sheets’ show that just Apple, Amazon, Spotify, YouTube, and Pandora paid a total of $2.423 billion in ‘blanket royalties’ since inception — a difference of $600 million, or 25%.”

Ultimately, there is little of substance in the MMA that requires any songwriter to be paid their earned royalties, and no real repercussions to the MLC if they don’t pay them — the whole reason the MMA was to have been created in the first place.

“They just lied to you to get it passed,” concludes Price.

Photo Credit: Warner Music Group

Warner Music South East Europe launches Balkan Electro, a new EDM label giving local talent across the Balkans and Ukraine a platform to promote their music worldwide.

Formed in collaboration with Ensis Records, one of Eastern Europe’s most significant EDM record labels, Balkan Electro will enable Ensis’ roster to be distributed, upstreamed, and marketed through the Warner Music imprint. Warner Music South East Europe (WMSEE), WM Poland, and Ensis Records will work together to sign new local talent to the label.

Balkan Electro will tap into Warner Music Group’s global network, collaborating with Amsterdam-based Spinnin’ Records and the dance-focused teams at Warner Music Central Europe and Warner Music France, who have had considerable success in the region.

The label already has three global releases in the pipeline with Prisko and TBX’s “Back to 95,” which released today, Melli’s “Losing My Mind,” due out on April 26, and Kevin Palacios and Jordan Grace’s “Bright As You,” out May 10.

“It’s a proud moment for me launching Balkan Electro alongside Alex [Cristian],” says Izabela Ciszek-Podziemska, General Manager at WMSEE (pictured). “EDM music has no geographical boundaries, so we’ll strive to find the next local superstar and take them to the world stage with the help of Warner Music’s global network.”

Alex Cristian, founder and owner of Ensis Records, adds: “There are so many unknown talented producers and DJs across Eastern and South Eastern Europe, so I’m looking forward to working with Iza, Warner Music, and its team to make Balkan Electro a big success. EDM is already present locally in this part of Europe, thanks to local festivals such as Untold, Sziget, and Ultra Europe, so I want to showcase our local talent and music to the world.”

Cristian established Ensis Records in 2013 to bring together a tight-knit group of Romanian producers, rapidly expanding its focus to cover working global producers and DJs. The team notably discovered and signed Norwegian global superstar DJ and producer Kygo, and has released over 1,000 tracks to date.

What music licenses? Lana Del Rey’s recent Coachella performance plays on X/Twitter

X (formerly Twitter) is grappling with a copyright infringement lawsuit from 17 NMPA-corralled music publishers demanding hundreds of millions of dollars in damages. But given a number of setbacks in the case for publishers, will the Elon Musk-owned platform ever pay for the use of music?

Many are asking that question now that the case is proceeding on a scaled-down set of contributory infringement claims. We’ve covered the legal battle since it kicked off with a mid-June 2023 complaint from Concord, Sony Music Publishing, Hipgnosis, Warner Chappell, and other “member companies of the National Music Publishers’ Association.”

In the original action, the plaintiffs maintained that about 1,700 of their compositions had been infringed on X, which allegedly “failed to take the most basic step of expeditiously removing, or disabling access to, the infringing material” and “continued to assist known repeat infringers with their infringement.”

Predictably, X refuted and sought to dismiss the allegations. Multiple months and developments later, the presiding judge in March 2024 granted this dismissal motion in part, tossing the publishers’ direct and vicarious infringement claims altogether and doing away with a portion of the contributory allegations.

All of which raises serious questions about what X/Twitter will actually end up paying for music — if they pay anything at all.

Report Table of Contents

I. Introduction: A Recap of the NMPA’s X Copyright Infringement Lawsuit

Graph: The NMPA’s X Copyright Infringement Lawsuit At a Glance

II. X’s Potential Licensing Agreement: What the NMPA’s Roblox and Peloton Disputes Tell Us About the Possibility

III. Licensed At Last? What Twitch’s Embrace of Rightsholder Deals Means for X’s NMPA Battle

IV. Music’s Role on X: How Important Are Songs to the User Experience?

Graph: Competing Social Media Platforms’ Usership Overlap With X

V. By the Dates: A Condensed Timeline of the NMPA’s X Copyright Infringement Lawsuit and Related Licensing-Dispute Developments

Please note that reproduction or redistribution of this report is not permitted — thank you!

Photo Credit: ICE Services

Warner Chappell Music (WCM) extends its partnership with ICE to shift all European digital licensing administration to the integrated processing hub.

The expanded deal will see ICE providing the music publisher more autonomy in the way it licenses digital services across Europe, the Middle East, and Africa. The announcement follows a 10-month review to assess both existing providers and new entrants to the market to identify the best solution for WCM’s songwriters, composers, and producers.

Warner Chappell Music has operated with multiple partners since launching its multi-territory digital licensing initiative in 2006. The move to consolidate with a single service provider reflects the stability of their partnership and the benefits ICE is able to deliver at scale.

“At Warner Chappell, we’re always striving to ensure that our songwriters, composers, and producers are paid accurately and quickly,” said Guy Moot, Co-Chair and CEO of Warner Chappell Music. “In today’s digital music market, there are vast volumes of data to process, and we need to work with a reliable partner to ensure we’re delivering best-in-class service. ICE has always proved to be an innovative and flexible partner, so we’re delighted to expand our relationship with them.”

Daniel Lang, VP of International Digital Licensing & Society Relations at Warner Chappell Music, added: “We’ve decided to expand our partnership with ICE after conducing a comprehensive review of service providers on the market. Based both on its existing track record and its future plans, it was clear that ICE should be our partner of choice.”

“There are huge technology demands with constantly evolving and fast-moving online uses of music, so it’s vital to have a partner that is agile, leads with industry-first solutions, and operates on a large scale.”

“I’d also like to thank the stellar account management team at ICE, who have worked tirelessly on our business, and been crucial to the success of our partnership to date,” Lang concludes.

“We’re delighted that Warner Chappell has selected ICE as its sole PEDL partner, and the recognition that represents the superior service levels and innovation ICE offers,” says Ben McEwen, Chief Commercial Officer at ICE. “We are focused on ensuring the greatest songwriter returns on the market in everything we do. […] It’s a significant decision and we’re committed to continuing to deliver the best services on the market.”

Photo Credit: Globalatino Music Partners

Gustavo Lopez has launched a new full-service independent music entertainment company—Globalatino Music Partners. The new venture will encompass label services, artist management, publishing, branding, distribution, acquisitions, touring, content creation, and strategic marketing.

Mr. Lopez is Founder and Chief Executive Officer of the new company, which will leverage his team’s unprecedented track record to become the gold standard in supporting artists and their careers. As part of the venture, Lopez has acquired a majority stake in Cigol Music—the home of Colombian superstar Blessd. Carlos Núñez will serve as Partner and EVP of Cigol.

ReLo-Co Music is a new record label owned by Globalatino in association with Alejandro Reglero. Reglero will serve as Partner and CEO of ReLo-Co. Warner Music Latina has also entered into an arrangement with Globalatino for distribution and marketing services for selected artists. The deal launches with Blessd and DeMasters.

GUAU Talent Connect is a division of Globalatino that specializes in brand partnerships and is dedicated to connecting rising artists with top brands. Augusto Mendoza will lead this division.

Strat-Viz, another division of Globalatino, oversees all strategic marketing and content creation. This division will be led by Rodolfo Rodriguez.

TuStreams has also entered into a strategic partnership with Globalatino. The partnership will superserve up-and-coming acts with world-class specialized distribution and monetization with one of Latin Music’s preeminent independent content and distribution companies.

“Over the years, I’ve been privileged to work with some of the most important artists in Latin music, enjoying tremendous success in diverse genres from reggaeton to musica mexicana,” says Gustavo Lopez about the launch of the company. “Everything I’ve learned has now come together at Globalatino. At Globalatino we’re 100% dedicated to superserving our artists.”

“We have the executive team, the expertise, the relationships, and the funding to help artists accomplish their dreams—whether they need a strategic partner, a record label, management, distribution, publishing, branding, marketing, or all of the above—we are there for them.”

Photo Credit: All Night Long

Believe and Kidding Aside announce a strategic partnership to create All Night Long, an electronic music label set to draw in artists spanning techno to EDM.

Management agency Kidding Aside and indie label Believe have joined forces to create a diverse and expansive electronic label in All Night Long. Created to provide personalized support for artists, the new label intends to serve as a bridge between genres to establish itself as a leader in electronic music.

The label will provide artists with a comprehensive toolkit, specialized digital knowledge, and dedicated promotional and marketing teams tailored to the specificities of electronic music to broaden the reach of artists.

“Matthieu [Jay] and I have been involved in artist development for years, and what we’ve built up so far has paid off. All Night Long embodies the perfect blend between Kidding’s electronic music experience and Believe’s marketing and digital expertise,” says Henri Jamet, Director of Artist Services & Development at Believe.

“Electronic music thrives on its vibrant live scene. Our aim with All Night Long is to provide unprecedented support to this movement, without any segmentation,” added Matthieu Jay, Managing Director of Kidding Aside.

The first lineup of All Night Long artists includes NTO, Folamour, TDJ, Urumi, The Acid Arab Collective, and Trym. All Night Long is a welcome addition to Believe’s Artist Services, which comprises three labels: AllPoints Label Services (JUL, Werenoi, Naps, Djadja & Dinaz), Animal 63 (The Blaze, Yodelice, Johan Papaconstantino), and naïve (Yamë, Gaël Faye, Izïa).

News of All Night Long’s launch comes on the heels of Warner Music Group announcing it would not submit a binding offer to acquire Believe. That move follows a multi-week back and forth that saw Warner up against a consortium of Believe’s stakeholders who wish to take the company private, led by CEO and founder Denis Ladegaillerie.

Ladegaillerie’s consortium offered approximately $16.35 per share in a valuation of Believe that placed it at around $1.6 billion. The group finalized a deal to acquire a 71.92% stake in the company through “Block Acquisitions.” As of last week, Believe shares were trading at a nearly 60% year-to-date uptick.

Photo Credit: Warner Music Group

Warner Music Group announces the launch of Warner Music South Asia, an affiliate handling its recorded music operations in Bangladesh, Nepal, Pakistan, Sri Lanka, and more.

Headquartered in Dubai, Warner Music South Asia will be headed by Jay Mehta (pictured), working alongside Alfonso Perez Soto, Warner Music’s President of Emerging Markets. The new entity will support exceptional artists and target millions of local fans, while simultaneously promoting South Asian music globally.

“I’m so delighted to launch Warner Music in Bangladesh, Nepal, Pakistan, Sri Lanka, and other SAARC territories,” said Jay Mehta, Managing Director at Warner Music South Asia. “These are exciting markets with brilliant artists who historically haven’t had the opportunity of plugging into the global music industry. That’s all set to change.”

In January, Warner Music Group (WMG) announced a new partnership with Pakistani company Giraffe, one of South Asia’s leading music and audio production companies. Giraffe has spearheaded the production of Coke Studio Pakistan — a show acclaimed for promoting multiculturalism, dialogue, and multi-genre collaboration, which has become the country’s biggest cultural export with nearly 15 million subscribers on YouTube.

“I am hugely excited to launch Warner Music South Asia, the new entity we’ve formed to help us connect with artists and communities across Bangladesh, Nepal, Pakistan, and Sri Lanka,” added Alfonso Perez Soto, President of Emerging Markets at Warner Music.

“And I cannot wait for our upcoming releases from Coke Studio and other new music to help bring these cultures to the wider world and provide artists from these markets with our global services. With more than 400 million people, and very important and dynamic diasporas, these are sizable markets that the industry is only just beginning to tap.”

“This is a major moment for Warner Music,” concludes Simon Robson, President, International, Recorded Music, Warner Music Group. “We’re now open for business in a series of countries that have rich musical traditions and strong global connections through their extensive diasporas. We’re already working on exciting projects in Pakistan and other territories, and there’s much more to come.”

Last year, WMG acquired a majority stake in Divo, a leading digital media and music company with a significant presence in the Tamil-language market, active in Sri Lanka.

Global, US, and Spotify paid streaming music subscriber growth, 2019-2023 (data sources: IFPI, RIAA, Spotify)

Wall Street’s positive response to reports of additional Spotify price increases pushed shares to a 52-week high. But what would larger monthly costs mean for the platform, labels, artists, and the wider industry?

On April 3rd, 2024, Bloomberg reported that new Spotify price increases were imminent. While the streaming company itself didn’t immediately announce or confirm plans to roll out more expensive subscription options, anonymous sources with knowledge of the matter indicated that bumps of $1 (for the individual tier) and $2 (for Duo and the family package) would arrive in markets including the U.K. and Australia by the end of this month.

The same reports relayed that price boosts would hit the U.S. sometime later in 2024, with other higher-cost offerings like the Supremium package possibly on the way.

Notwithstanding the lack of a formal confirmation from Spotify, the prospect of heightened prices (and more significant revenue streams) fueled an enthusiastic response on Wall Street. After touching the mentioned 52-week high of roughly $313, SPOT cracked a value not seen since a Joe Rogan Experience-powered rally in early 2021.

Beyond this decidedly bullish market reaction—one of several that have propelled Spotify stock’s price into the stratosphere since 2020—there’s been relatively little discussion about what the increases mean for the company’s revenue and especially the industry.

Accordingly, here’s a closer look at how Spotify price bumps could shift the deck for different music industry sub-sectors — and Spotify itself.

Report Table of Contents

I. Introduction: A Recap of Spotify’s Reported April 2024 Price Increases

II. Reported Price Increases and Spotify’s Balance Sheet: What the News Means for the Company’s Revenue and Profitability Aims

III. SPOT’s Wall Street Boom: Why Is the Market Responding So Positively to the Prospect of Spotify Price Increases?

Graph: Global, U.S., and Spotify Paid Streaming Growth, 2019 – 2023

IV. How Much Money Will Spotify Price Increases Bring in for Labels – Especially Universal Music, Sony Music, and Warner Music?

V. As Spotify Raises Prices, Are Artists Positioned to Benefit?

VI. Spotify Price Increases for Publishers: A Look At How MLC and Public Performance Payments Could Change

VII. The Bottom Line: Does Spotify’s Retooled Cost Structure Mark the Beginning of a Lucrative New Era or An Attempt to Keep Pace With Inflation?

VIII. By the Dates: A Timeline of Spotify Price Increases, Non-Music Expansions, and Other Selected Developments, January 2023 – April 2024

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Photo Credit: Downtown Music Holdings

Independent service provider Downtown Music names Pieter van Rijn as CEO following the completion of the company’s global integration.

Downtown Music Holdings (DMH) has announced the completion of its integration strategy as a single globally operating company. That integration, which included the absorption of CD Baby’s operations into Downtown Music, further expands the company’s spectrum of services to the global music industry.

As part of the changes, DMH has also named Pieter van Rijn as CEO of Downtown Music, reporting to DMH CEO Andrew Bergman. Pieter van Rijn previously served as Group President of Downtown Music and CEO of FUGA, which DMH acquired in 2020. In 2023, he was appointed to the Downtown Music Holdings board of directors.

“This is an extraordinary time for Downtown Music as we enter this next phase as a fully unified operating company. The thousands of businesses that we support at Downtown Music and the millions of trusted creators at CD Baby will now benefit from our industry-leading suite of tools and services within a single organization. I look forward to continuing to work closely with Andrew and the DMH Board in delivering this enhanced offering to all our customers,” said Pieter van Rijn, CEO of Downtown Music.

“The integration of all of our products and services under the Downtown Music umbrella alongside Pieter’s stewardship is a truly energizing moment in our journey,” said Andrew Bergman, CEO of Downtown Music Holdings. “We bring together all the critical services that creators and businesses need to navigate the modern music industry. I’m proud of the organization we’ve scaled and look forward to capitalizing on the exciting opportunities before us.”

Downtown Music is the business and professional services division under Downtown Music Holdings, the leading music services company worldwide with over 2 million clients across 145 countries, with a catalog of over 38 million music assets.

Downtown’s service offerings support creators and businesses in all facets of the music industry, including music creation, publishing distribution, marketing, royalty collection, financing, accounting, and payment services.

Currently, Downtown Music supports over 4 million artists and 5,000 business clients in 150 countries who collectively generated over 1.5 trillion streams across DSPs in 2023. Downtown clients won nearly 30% of the 2024 Grammy Awards.

Photo Credit: Fat Joe’s Instagram

Expanding on his previous comments in which he called the major labels a ‘Ponzi scheme,’ rapper Fat Joe admitted he still owes money to his former record labels for albums released 20 years ago.

Last year, rapper Fat Joe criticized the major label system, calling it a “Ponzi scheme” and accusing them of doing “funny math.” Now on Instagram Live, Joe expanded upon those remarks and explained his issues with Atlantic Records and Warner Music Group, to whom he admitted he still owes money 20 years later.

“Most of the time, they take a kid who grew up in the projects that’s talented and give you money to make an album,” said Joe. “Off the profit of the records, they charge you whatever they spend on the video. It ain’t like we 50/50 partners; we pay half for the video, they pay half.”

“They own your shit. That’s why I say it’s a Ponzi scheme. I sold two million records, still ain’t recouped. J.O.S.E. [2001] sold two million records. When I get my statement from the major label 20 years later, I still owe them money,” he continued.

“I put out an album independently on EMPIRE and get distribution,” Joe explained, citing that conducting business with Atlantic Records drove him to pursue independent distribution for his 2006 album, Me, Myself & I. “My album might sell 250,000, 300,000 records — I make millions of dollars off of it. What’s the difference?”

Previously, the Bronx native said, “I was talking to [Jennifer Lopez] about it, and you know, J. Lo is a megastar, and she was like, ‘Man, you know these guys, they only give you this. You never recoup, you know.’ So it’s a funny math, right?”

“When you look at a chart and they say 62.1 percent, 1.2 — it’s funny math. And so we never understood, we never recouped, you know. You had to be like the Fugees, who sold 30 million records, to make a dollar.”

Warner Music Group did not respond to DMN’s requests for comment in time for publication.

Photo Credit: Angela George / CC by 3.0

Warner Music Group announces the return of jazz legend George Benson to their roster via Rhino, beginning with archival footage of the icon from the 1970s on Rhino’s YouTube channel.

A giant in the jazz world renowned for his smooth vocals and unmatched guitar skills, George Benson’s career spans more than six decades. His Warner Records debut in 1976, Breezin’, topped the jazz, pop, and R&B charts, earning three Grammy Awards and remaining one of the best-selling jazz albums of all time.

From 1979 to 1993, Benson released 12 studio albums with Warner Records, including the Quincy Jones-produced 1980 soul-pop album Give Me the Night. Other major releases include 1977’s In Flight and the 1978 live album Weekend in LA. In 2009, Benson was recognized by the National Endowment of the Arts (NEA) as a Jazz Master, the highest honor in the nation for jazz artists.

“When I joined WB records the first time, it caused an explosion in my career as a musician and quest to become a singer. The exposure from that union has given me a life that I never imagined. Nothing but good has come from this partnership, and today the inspiration continues on,” says Benson.

“I am thrilled to welcome back the legendary George Benson to the Warner Music family,” said Kevin Gore, President of Warner Music Global Catalog and Arts Music. “With his unparalleled guitar skills and soulful voice, Mr. Benson continues to mesmerize audiences across generations. We are privileged to be a part of his journey again and honored to work with such a gifted artist with an extraordinary musical legacy.”

Benson’s return to Warner Music Group ushers in a new chapter in his career, with new music due to release later this year. Available now on Rhino’s official YouTube channel, fans can enjoy archival footage of Benson performing his hit, “Lady Blue,” live during the late ‘70s. This marks the first time footage of this rare performance is digitally available.

George Benson regularly packs and often sells out venues including Royal Albert Hall, Sydney Opera House, and The Hollywood Bowl, where he will perform on August 18.

Photo Credit: Jason Leung

Music and technology company Too Lost shines as an all-in-one solution for musicians and record labels. The company has strategic partnerships with industry giants like BMG, Pex, Cosynd, beatBread, as well as Tipalti to supercharge its ability to pay artists quickly and efficiently across the globe.

The following was created in collaboration with Tipalti, a company DMN is proud to be partnering with.

With a 60/40 divide between domestic and international payments for its independent artists and labels, Tipalti makes it easy for Too Lost to empower creators across the 196 countries it supports. Tipalti ensures that no matter where an artist lives in the world, their payments are delivered promptly, accurately, and in their local currency.

Too Lost’s partnerships with BMG, Cosynd, Pex, and beatBread help the music technology company empower creators and demonstrate the company’s commitment to innovation. BMG has worked alongside the Too Lost team, representing rights for songs administered by BMG, and extended their creative partnership earlier this year.

Too Lost takes DMCA procedures seriously, ensuring swift and effective resolution for any copyright issues that may arise. Too Lost provides artists with support for appeal filings, managing takedown notices, or handling disputes. By prioritizing transparency and efficiency, Too Lost ensures artists can focus on what they do best—creating music—while protecting their rights. Too Lost also equips artists with tools such as the Greenlist and Blocklist features.

The is a list of approved accounts that can use an artist’s content for services utilizing Content IDs. Artists can greenlist accounts on SoundCloud, Instagram, Facebook, YouTube, and TikTok. This feature works such that an artist or musician will need to greenlist their own account to publish content—all in an effort to avoid stream manipulation and DMCA claims.

Too Lost has quickly become one of the fastest-growing music distributors thanks to its unwavering commitment to innovation and artist empowerment. By offering forward-thinking features and a cutting-edge technology platform, Too Lost ensures that artists have the tools and support they need to thrive in today’s music landscape.

Artist-centric deals and financing solutions are tailor-made for the unique challenges artists face in the music industry in 2024, giving them firm control over their music careers. Too Lost is revolutionizing the music distribution experience for independent artists and labels—while Tipalti gets them paid quickly, on time, and in their local currency.

Photo Credit: UMG Nashville

Cirque du Soleil and Universal Music Group Nashville present a new theatrical show, Songblazers, a country-themed show featuring Sam Williams, grandson of country pioneer Hank Williams.

Written and directed by Amy Tinkham, the dynamic theatrical production pays tribute to the legendary and contemporary trailblazers of country music. Songblazers explores the journey of two main characters as they forge their own path to country recognition, promising an unforgettable experience for audiences.

The show premieres July 2024 in Nashville, while Cirque du Soleil has announced seven additional US cities. Pre-sale tickets are available now, with a general on-sale beginning March 28.

Songblazers — A Journey Into Country Music by Cirque du Soleil and UMG Nashville:

• July 2 – 28 | Tennessee Performing Arts Center (TPAC) — Nashville, TN
• August 1 – 11 | Smart Financial Center — Sugar Land, TX
• August 14 – 18 | Bass Concert Hall — Austin, TX
• August 21 – 25 | Majestic Theatre — San Antonio, TX
• September 12 – 15 | BJCC Concert Hall — Birmingham, AL
• September 18 – 22 | Saenger Theatre — New Orleans, LA
• September 25 – October 20 | Music Hall at Fair Park — Dallas, TX
• October 23 – 27 | The Fabulous Fox Theater — St. Louis, MO

Cirque du Soleil also proudly announces its collaboration with modern country artist Sam Williams, grandson of country pioneer Hank Williams and the son of outlaw legend Hank Williams Jr., for the creation of an original song for the show, “Carnival Heart.”

Fusing “gut-wrenching honesty and plainspoken poetics with raw vulnerability and deep empathy,” the song is inspired by a personal yearning of self-discovery, friendship, and hope. Williams wrote “Carnival Heart” alongside fellow songwriters PJ Harding and Ned Houston.

“The title idea came to me pretty easily after becoming acquainted with Cirque du Soleil,” says Williams. “Where I come from, most people don’t get to go to the circus. We go to county fairs and carnivals, and the carnival in a small town is filled with joy, excitement, mystery, euphoria, you name it. That feeling is one you always remember, and I think the roller coaster of emotions lines up with what you want to feel seeing such an incredibly beautiful production such as Cirque’s.”

Audiences are invited to witness breathtaking acrobatics and displays of extraordinary strength, entranced by the skills of Cirque du Soleil artists while grooving to beloved country tunes when Songblazers premieres this summer.

Photo Credit: Adam Budd

Rising singer-songwriter Dasha has signed to Warner Records after her hit single “Austin” lands at #74 on the Billboard Hot 100 chart.

Dasha is climbing the emerging artists chart after making her broadcast debut on Jimmy Kimmel performing “Austin.” The track is currently sitting at #17 on the Billboard Hot Country Songs chart. The single has also charted on Spotify’s Top 50 U.S. and Spotify’s Global Chart. The song took TikTok by storm, landing as the #1 viral song in the U.S. with over 450,000 unique video creations on TikTok.

Dasha is gearing up to hit the festival circuit with stops at Hangout Music Festival, Stagecoach, and Lollapalooza with more to be announced. Here’s a peek at some of the upcoming tour dates featuring her.

• April 26-28 | Stagecoach Music Festival — Indio, CA
• May 18 | Hangout Music Festival — Gulf Shores, AL
• June 7 | CMA Festival — Nashville, TN
• August 1 – 4 | Lollapalooza — Chicago, IL
• October 5 | Country Calling Festival — Ocean City, MD

Dasha released her debut country album, What Happens Now? with the focus track “Austin” going viral on TikTok thanks to the accompanying line dance.

“This entire process has been overwhelming but in the best way,” says Dasha. “I always try to trust my gut when it comes to my music and from my first meeting, the Warner Records family felt like home. Everyone’s been so genuine and I can’t wait to see what we’re able to accomplish as a team.”

“Dasha is an exceptionally talented singer-songwriter and we couldn’t be more excited to welcome her to Warner Records,” adds Tom Corson and Aaron Bay-Shuch, Co-Chairmen and COO and CEO respectively of Warner Records.

“Our independent team has worked very hard to build a true Cinderella story around Dasha. We could not be happier with the decision to join Warner Records’ family,” adds Alex Lunt, Manager, Type A Management.

Photo Credit: AIM (Nick Keynes & Ben Wynter)

The Association of Independent Music (AIM) has announced a partnership with Tileyard North to help support England’s independent music sector.

AIM will have a dedicated space at Tileyard North, which opened in 2023 with its sights set on becoming the UK’s largest creative community outside of London. AIM’s Director of Business Development & Partnerships, Ben Wynter, will split his time between London and Wakefield as he oversees AIM’s ‘Regions and Nations’ program in the area.

The non-profit says it is set to engage in a series of activities in collaboration with Tileyard North—aiming to enrich the regional music landscape. These activities provide a platform for industry professionals, fostering connections, and facilitating the exchange of ideas. Furthermore, AIM members will be able to take advantage of discounted rates on both permanent and plug-and-play creative space at Tileyard North.

AIM says the partnership will help fortify both AIM and Tileyard’s joint commitment to supporting the music industry and creative talent. AIM’s series of regional and national round tables seek to create meaningful two-way dialogue with each local community to help AIM understand and address the community’s unique needs. It also aims to provide targeted support for local music businesses and communities. This is essential to AIM’s objective of helping create sustainable music ecosystems beyond London.

“At our 2022 AGM, we pledged to strengthen our engagement with regions and nations outside London and the Southeast of England, and this collaboration is the first in many steps that see us doubling down on that commitment,” Ben Wynter adds about the new partnership, which he helped orchestrate. “Our collective aspiration is to eliminate the necessity for talented creatives and industry professionals to relocate to London in pursuit of success.”

“As long-time supports of all that AIM does to help independent musicians and labels, Tileyard is delighted to announced our new partnership with this fantastic organization,” adds Nick Keynes, Co-Founder of Tileyard North.

“Ben Wynter’s vision is completely aligned with ours and his pledge to build a home for AIM at our Tileyard North campus in Wakefield is testament to our shared aspiration to increase the opportunities for creative talent to incubate, develop, and thrive in the North of England.

Photo Credit: UMG / Boombox

Universal Music Group and Republic Records have just launched Boombox, ‘the first scaled music product’ across the Roblox platform, starting with the launch of K-pop sensation Twice’s ‘Twice Square’ experience. Unfortunately, none of this will count towards Billboard’s charts, according to Luminate.

Designed and powered by Styngr, the self-proclaimed gaming arm of the recorded music industry, Boombox represents a one-stop-shop for labels to dynamically launch playlists and integrate them into gaming spaces. The product of a year-long collaborative effort between UMG, Roblox, and Styngr, Boombox aims to evolve the way that superfans engage with their favorite artists while encouraging gaming fans to discover new music.

Boombox will initially launch within Republic Records’ Twice Square, a metaverse experience within Roblox designed around K-pop girl band Twice. Offering a “distinctive social multiplier effect in the gaming environment,” players can share and enjoy music together, with each instance of music playback being a monetizable event for the contributing labels and artists with Billboard-eligible play events through Styngr’s Luminate integration.

Update: Shortly after publication of this story, Luminate emailed Digital Music News with the following statement: “Due to an unfortunate miscommunication, the information regarding the data referred to in this announcement’s eligibility for the Billboard Charts is false. It will not count towards the Charts at this time.”

While Twice Square is the first to adopt Boombox, the companies’ strategy includes a phased rollout across 3,500 engaging experiences across the Roblox platform within the year, using Super League’s developer tools.

“By integrating Boombox, UMG solidifies its position as a vanguard of music innovation within the gaming sector. This integration not only enhances superfan experiences on the platform but does so with an extensive array of fully licensed music from UMG’s global roster of artists and labels, setting a new standard for how music can be integrated into the platform for the entire sector,” said Alvaro G. Velilla, Senior Vice President of New Business at UMG.

“As we continue to build creative marketing and innovative concepts for our artists, it’s important to identify fan connections and elevate their experiences with new technologies. This Boombox partnership was a logical next step in helping fans discover the music they love, all the while ensuring artists are properly recognized for their art in this space,” added Tim Hrycyshyn, SVP of Digital Strategy at Republic Records.

“We’re incredibly proud of our efforts with Styngr, Roblox, and Super League, and of course Twice and our partners at JYP Entertainment, to bring this innovative technology to life.”

“Republic Records and Twice have built a wildly entertaining Roblox experience that has captured the attention of their fans. Our goal with Boombox is to expand the immersive capabilities of music within Twice Square and any experience within Roblox that wants to leverage the power of major label music,” concluded Alex Tarrand, COO of Styngr.

“Additionally, thanks to our partnership with Luminate, this will be the first time play events in gaming experiences will count towards the Billboard Charts.”

Integration with Roblox is a significant get for UMG, who is eager to embark on meaningful partnerships with platforms like Instagram Reels — direct competitors to TikTok or spaces that skew heavily with that demographic. The prospect seems to appeal greatly to UMG in the face of ongoing licensing issues with TikTok, as well as the app’s uncertain future in the US and Europe.

Photo Credit: Chris Karidis

French industry body SNEP (National Syndicate of Phonographic Publishing) reports the French recorded music market is growing—up 6.2% compared to 2022.

Physical media is still huge in France, representing almost a quarter of sales with only a (-1%) loss. SNEP reports an increase of 8.8% for digital operations in that increase. Neighboring rights and sync revenues are down slightly—but SNEP reports that the French recorded music revenues have reached just 53% of the historic level of 2002.

SNEP says digital growth is lagging behind in France, which is why it is opposing the streaming tax hike in France. Calling the dynamic generally positive, SNEP says the 10% increase in subscription streaming revenues remains too weak to fully fuel the development of the market—despite being the primary source of value creation.

There are 12 million paid music subscriptions in France for a penetration rate of 16% for paid subscriptions—one of the lowest in Top 10 music markets. SNEP says the growth in revenue from subscriptions is slowing down in France, while the market itself has not reached maturity.

“For French producers and their platform partners, the previously encouraging margins of progress are now becoming challenges to be taken up without further delay, both among young consumers and seniors,” reports SNEP. “The development of paid streaming is a major challenge in an inflationary context; subscriptions to music services are in direct competition with cinema, audiovisual, and sport offers.”

SNEP also lists TikTok and other short-form video formats as a potential hazard to growing the recorded music market in France. “Short videos initially created a new source of visibility and discovery for new releases, [but] now capture and divert the attention of fans from audio streaming services—which are by far the main source of income for artists and producers.”

France is currently the sixth largest recorded music market in the world with 968 M€ revenue from recorded music in 2023. The upcoming French streaming tax of 1.75% on music streaming apps was proposed to fund investment in the Centre National de la Musique. But Spotify has stated that due to the tax, France will no longer be a priority for Spotify.

Hybe revenue and net profit, 2018-2023 (source: Hybe financial disclosures)

Hybe kicked off March by acquiring nearly $80 million worth of SM Entertainment stock, underscoring its continued expansion ambitions following the November purchase of Exile Music. With others also diversifying amid a potential K-pop slowdown, will a global approach ensure the genre’s continued influence in the long term?

What if the success of Hybe and K-pop itself isn’t dependent on BTS – or any one act, for that matter? The company (and to some extent its rivals) has now emerged as a global business. And if early 2024 developments are any indication, Hybe isn’t abandoning the aggressive strategy behind the evolution. 

Here’s a closer look at how K-pop is quickly growing beyond K-pop itself — and reshaping the global game plan for building superstar acts.

Report Table of Contents

I. Hybe, BTS, and the State of the K-pop Union

II. As Hybe’s Buildout and Diversification Continue, Where Will Its Global Ambitions Lead?

Graph: Hybe Revenue and Net Profit: 2018-2023

III. K-pop, Not Solely Hybe, Is Going Global – How Competitors Are Diversifying in Their Own Right

Graph: A K-pop Financial Snapshot: Hybe, SM Entertainment, JYP Entertainment, YG Entertainment, Kakao Corp.

IV. K-pop in 2024 and Beyond: Where Does the Space Go from Here?

V. By the Dates: Selected K-pop Developments, April 2021 – March 2024

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