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Gracie Abrams‘ breakout hit “That’s So True” has secured a seventh non-consecutive week at No. 1 on the Official Singles Chart (Jan. 10). “That’s So True” first hit the top spot back in November and lasted at the summit for five consecutive weeks into mid-December until Wham!’s festive classic “Last Christmas” interrupted her run at […]
In this episode of Billboard Unfiltered, Billboard staffers Trevor Anderson, Kyle Denis, Damien Scott, Carl Lamarre discuss LiAngelo Ball’s rapid rise in the hip-hop world leading with his “Tweaker” track. They also break down Drake’s “Fighting Irish Freestyle,” his alleged fake DMs with UMG, Lil Baby’s new album WHAM, and his career, and more.
Trevor Anderson:
So if you don’t drop that by like Valentine’s Day, you’ve got to save it. I can’t see Drake waiting that long to drop something that’s going to be bad.
Damien Scott:
All you hear from every spot is the BBL. That’s all you hear. The Young Thug track is here, the GloRilla song is over here.
Carl Lamarre:
Numbers, freakin’ “Tweakers” is at 3 million on YouTube and it was surpassing some tracks on Lil Baby’s album
Damien Scott:
Alright, let’s relax.
Carl Lamarre:
I mean on YouTube that’s the way it’s going.
Damien Scott:
That’s a lie.
Carl Lamarre:
Yo, yo, yo what’s going on welcome to a fresh episode of Billboard Unfiltered. Gentlemen.
Kyle Denis:
Happy New Year.
Carl Lamarre:
Happy f*cking New Year.
Trevor Anderson:
2025 folks.
Carl Lamarre:
Somebody decided to bring in the chaos of 2024 into 2025, Mr. Aubrey Graham.
Kyle Denis:
Surprise, surprise.
Carl Lamarre:
Drizzy Drake Rogers kicked off 2025 with a conductive freestyle, “Fighting Irish Freestyle.” Three minutes long, some bars in there I would like to say. “Social media went into a tizzy. Had some choice words. A lot of people pointed a finger thinking he may be going after LeBron James.”
Damien Scott:
Clearly going after LeBron James.
Carl Lamarre:
I mean, we don’t know.
Damien Scott:
Who else played for the Fighting Irish?
Keep watching for more!
The Weeknd is ready for a change. As the release of new album Hurry Up Tomorrow approaches, the 34-year-old hitmaker is saying it will most likely be his last under the persona that made him a star.
In a new Variety cover story published Friday (Jan. 10), the artist — born Abel Tesfaye — addressed his plans to retire his stage name following the conclusion of his ongoing album trilogy, which began with 2020’s After Hours, continued with 2022’s Dawn FM and will end Jan. 24 with Hurry Up Tomorrow. The first LP debuted atop the Billboard 200 and spawned smash hit “Blinding Lights,” which spent four weeks at No. 1 on the Billboard Hot 100, logged a record 57-week run in the Hot 100’s top 10 and was recently revealed as the No. 1 song on Billboard’s Top Hot 100 Songs of the 21st Century chart.
After hinting in the interview that the final trilogy installment would represent a broader chapter close, Tesfaye clarified that the chapter in question is “my existence as the Weeknd.”
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“It’s a headspace I’ve gotta get into that I just don’t have any more desire for,” he said of his moniker. “You have a persona, but then you have the competition of it all. It becomes this rat race: more accolades, more success, more shows, more albums, more awards and more No. 1s. It never ends until you end it.”
The musician previously hinted that his days as The Weeknd were coming to a close in late December, when billboards reading “The End Is Near” started popping up in cities all over the world. In a May 2023 interview with W Magazine, Tesfaye also forewarned: “It’s getting to a place and a time where I’m getting ready to close the Weeknd chapter. I’ll still make music, maybe as Abel, maybe as The Weeknd. But I still want to kill The Weeknd.”
To Variety, the “Blinding Lights” singer echoed that he still plans on making music no matter what, emphasizing, “I don’t think I can stop doing that.” “But everything needs to feel like a challenge,” he added. “And for me right now, the Weeknd, whatever that is, it’s been mastered. No one’s gonna do the Weeknd better than me, and I’m not gonna do it better than what it is right now.”
Tesfaye added that his headline-making 2022 concert at SoFi Stadium — during which he had to stop and cancel midway through the show after losing his voice on stage — partially inspired his decision to hang up his Weeknd hat for good. “Part of me actually was thinking, ‘You lost your voice because it’s done,’” he told the publication. “You said what you had to say. Don’t overstay at the party — you can end it now and live a happy life … I just want to know what comes after.”
See Tesfaye on the cover of Variety below.
Koe Wetzel and Jessie Murph’s “High Road” rules Billboard’s Country Airplay chart (dated Jan. 18) for a fourth total and consecutive week. The collaboration drew 32.2 million in audience (down 1%) Jan. 3-9, according to Luminate.
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The song became the first Country Airplay No. 1 for both Wetzel, 32, and Murph, 20, in each artist’s initial trip up the tally. It is the first freshman track to reign for four or more weeks since Shaboozey’s “A Bar Song (Tipsy),” which commenced its seven-week command last August, the longest for a breakthrough hit at the format. Overall, only 10 country career-establishing No. 1s have led for four-plus weeks since the list started in 1990 – with “High Road” the first by two acts each charting for the first time.
Wetzel and Murph co-wrote “High Road” with Amy Allen, Carrie K, Josh Serrato, Gabe Simon and Laura Veltz. It’s from Wetzel’s album 9 Lives, which became his fourth top 10 on Top Country Albums when it opened at its No. 5 best last August. It’s also on Murph’s That Ain’t No Man That’s the Devil, which arrived at its No. 24 high on the all-genre Billboard 200 in September.
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Meanwhile, Murph, who hails from Huntsville, Ala., is the first woman to dominate Country Airplay for four or more weeks with an introductory hit at the format in almost 19 years. On Jan. 21, 2006, then-reigning American Idol champ Carrie Underwood began a six-week No. 1 stay with her launch single promoted to country radio, “Jesus, Take the Wheel.”
That’s One High ‘Bar’
Shaboozey’s “A Bar Song (Tipsy)” ranks at No. 5 on Country Airplay (22.9 million, down 3%), adding a record-tying 28th week in the top 10. It matches Dustin Lynch’s 2021-22 hit “Thinking ‘Bout You,” featuring MacKenzie Porter, for the longest top 10 run in the chart’s history.
Smashing Pumpkins leader Billy Corgan said he is among the nearly 200,000 people in Los Angeles who’ve been forced to evacuate due to the historic wildfires burning around the city. The singer/guitarist posted a video on Thursday night (Jan. 9) of airtankers flying over the hills dropping water on a giant plume of white smoke in the distance.
“Footage I shot the other night of a fire near where we’d been temporarily staying,” wrote Corgan. “High praise for how the LAFD put this out; as the fire had spread from what you see here to the right and down the ridge. Please pray for everyone who has been hurt or displaced or lost homes and properties in this unprecedented situation.”
In an earlier selfie video, Corgan shifted the camera over his shoulder and noted that the white puffs behind him were not clouds, but smoke from the fires that have killed 10 people to date while destroying more than 10,000 homes and businesses and causing an estimated $57 billion in damage.
“I wanted to kind of give everyone a little message today, I’m feeling better. Thank you for all your well wishes,” Corgan said. “I’m out here in LA right now, and it’s kind of the apocalypse. I think about 1,000 structures built burned last night. People I know I’ve had to evacuate and it’s a pretty intense situation.”
Corgan noted that he and his family were safe where they were staying, seemingly out of the “zone of concern” in the midst of a number of raging fires (Hollywood Hills, Pasadena, Altadena, Sylmar, Calabasas) that are barely contained and which have been whipped up by near-hurricane strength Santa Ana winds in the city that has seen a fraction of an inch of rain over the past six months.
“We lost power last night and that was pretty intense because obviously, with the power out, it’s hard to get information and you know, you’re kind of almost fearful of going to bed, lest you miss an alert or something,” the Chicago-bred Corgan continued. “With this dry brush, the fires can move very quickly. So lots of love, of course, to all our friends and family that have been affected. The air quality where I’m at is not too bad. It hasn’t helped the recovering cough, but this at very minor against all this incredible and fearful devastation. So just wanted to give everyone an update, as I get tired of texting or writing things out, just seemed easier to put this in a video. So lots of love. Check in with you later.”
In the accompanying caption, Corgan also noted that he and his family had to evacuate the night before amid a situation he said was “at times chaotic,” revealing that one fire came within 250 yards of where they were staying. He also sent his thanks and love to the first responders who are tirelessly working to save homes and citizens in what has been described by many as an apocalyptic situation.
“Praying for everyone today as hopefully this can come under control for the entire area, which is vast in scope and so full of nature. The loss overall is awful and unspeakable and that is what I wish to highlight; as the fires touch every strata of society,” Corgan wrote.
The fast-spreading fires obliterated the Pacific Palisades neighborhood, with a growing list of celebrities sharing that their homes have been completely destroyed, including Mandy Moore, Paris Hilton, Tina Knowles, Diane Warren, Eugene Levy, Spencer Pratt and Heidi Montag, Jhené Aiko, Milo Ventimiglia, Adam Brody and Leighton Meester, Billy Crystal, Brad Paisley and Anna Faris joining tens of thousands of others who’ve been displaced or lost their homes.
The Recording Academy and MusiCares have launched the Los Angeles Fire Relief Effort to support music professionals impacted by the crisis, making a combined pledge of $1 million to launch the effort.
See Corgan’s posts below.
Cast recordings are a crucial part of supporting a musical’s life, during its initial run on or off-Broadway, as well as far beyond that. While a show is running, a recording available on streaming platforms can reach a wide ticket-buying audience and thus potentially help increase its performing lifespan; the recording is also often the way that regional theaters first discover shows they might produce — which proves especially important to shows that have shorter lives on Broadway.
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But while shows have ample platforms for releasing their original cast recordings — from boutique labels specializing in theater to major labels getting in on the next big hit — a trio of journeyman theater musicians noticed a gaping hole in the market for a new kind of label: one that would support a show from its earliest writing stages all the way through is fully realized production.
That new label — aimed at amplifying new voices in musical theater as well as individual solo performers — is Joy Machine Records, co-founded and run by Ian Kagey, Sonny Paladino, Brian Usifer and Will Van Dyke.
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The quartet have musical theater bonafides in spades. Kagey is a Grammy-winning engineer and mixer who has engineered numerous Broadway cast recordings in addition to working in TV, film, and with artists including Bruce Springsteen and Paul McCartney; Paladino is a seasoned arranger and producer who most recently was music supervisor, arranger, orchestrator and conductor for Neil Diamond bio-musical A Beautiful Noise; Usifer is an orchestrator, arranger, music director, pianist, producer and composer who recently worked on the acclaimed (but short-lived) Swept Away and Huey Lewis’ The Heart of Rock and Roll musical; and Van Dyke is a Grammy-nominated producer, songwriter, music supervisor, orchestrator and arranger who was music director of Swept Away and is music supervisor/orchestrator/arranger for the long-running off-Broadway hit Little Shop of Horrors.
“Our approach comes from our experience being on many sides of the table in that process, and understanding what it takes to see a show from inception through opening night and beyond,” says Usifer. “We approach every project with not only a high bar musically but an emphasis on kindness and transparency throughout the process.”
Joy Machine, which will be distributed by The Orchard, is launched as a full-service record label which will offer what it calls “three tiers of support for musical development.” As Van Dyke explains, “from the first piano/vocal demos through fully produced tracks,” Joy Machine’s team will “help producers think about budgeting for these recordings from the jump. That kind of awareness will also help teams build a cast recording into their budget to be able to fully preserve their final product.”
The label’s current and upcoming client roster includes The Avett Brothers’ original Broadway cast recording of Swept Away; Huey Lewis’ OBCR of The Heart of Rock and Roll; and solo projects with Joy Woods (currently starring as Louise in Gypsy on Broadway), composer Joe Iconis (Be More Chill), Corey Cott (a star of The Heart of Rock and Roll) and more.
Thus far, the team has recorded at Kagey’s own Renaissance Recording in New York for demos and smaller concept albums, and at the storied Power Station studios for original Broadway cast albums. (“They really know how to make a cast album and make it a seamless and un-chaotic experience,” says Usifer of the latter). Joy Machine is currently working on a concept album for the new musical Joy, meant to give audiences an insight into the show’s music before it ventures to Broadway.
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Redman has been an active rapper since 1990 and he has carved out a lane as the wisened version of his younger self, still sharp lyrically but perhaps less brash than he was decades ago. With his latest album, Muddy Waters Too, Redman took on the impossible task of creating a sequel to his beloved classic which serves as a return to form for Funk Doctor Spot.
Breaking the usual format here, I want to express my deepest apologies to Redman. I was not excited about Muddy Waters Too in the least bit, especially as a fan of Muddy Waters, the crown jewel of Funk Doc’s discography to some. I realize now that my folly was limiting the New Jersey legend to what I felt was his creative zenith instead of appreciating that he’s still here releasing music that largely seemed cathartic for him. Further, his style had matured over the past three decades but he never lost the ability to rhyme at an elite level, and through it all, he’s maintained something that’s been long missing in current Hip-Hop — having fun.
Muddy Waters Too was initially promised in 2013 and at the time, the industry largely moved on from hard-hitting punchline-laden Hip-Hop. This was also after the so-called “Blog Era” period and the industry’s audio textures shifted once more. Nevertheless, Red remained an active participant and alongside his longtime collaborator Method Man, he perfected his live performance while delivering loosies, mixtapes, and other projects over the years but nothing approached the commercial or critical success of his previous releases.
MW2 still maintains the sonic ethos of its predecessor, and that includes Redman’s zaniness, the everpresent skits, and a throughline of Brick City (Newark, N.J.) pride. The album opens with “Da F*ck Goin On” which would sound right at home on Red and Meth’s Blackout series. Red digs into the funk on the production and he sounds in top shape. Next up is “Whuts Hot” with production from Khrysis finds Red rapping with his typical confidence. Oran “Juice” Jones II, the son of Oran “Juice” Jones, who delivered the ’80s R&B hit, “The Rain,” shows up for the hook.
Perhaps as a preview of a potential Blackout 3 drop, Method Man appears on “Lalala” and the pair go bar for bar over production from Vinyl Frontiers. A little fan service happens early on “Dont You Miss” with Erick Sermon serving up a bass-heavy platter for Red’s nostalgic trip down memory lane and serves as a strong ode to the 1990s. Other standouts include the Tall Black Guy-produced “Aye,” a track that would’ve run summer radio if that were still a thing, the previously released “Don’t Wanna C Me Rich,” and “Pop Da Trunk” with production from Rockwilder. And while Redman is never outshined on any track, Sheek Louch of The Lox comes quite close on “Dynomite.”
About that aforementioned Jersey pride, “Lite It Up” seemingly features the entire state with Naughty By Nature, Queen Latifah, Rah Digga, Shaquille O’Neal, Lord Of The Underground, Lady Luck, The Artifacts, Heather B, Hakim Green of Chanel Live, and Nikki D all appearing. And no Redman album would be complete with a “Soopaman Luva” track and part seven of the series finds Red back in his Hood Lothario mode. The album ends with the soulful “Smoke With Me” with production from DJ Static and Seige Monstracity and Redman employing a double-time flow as he has done previously.
To get personal, something magical happened over the holidays as I finally took in the album. I approached the record with lofty hopes and I can freely admit that from the intro to the final track, I felt as if I were transported back to 1996 and hearing Muddy Waters for the first time. Adding to this, I found myself getting choked up about how good the album sounded, even on tracks I wasn’t necessarily wowed by. I told everyone near and dear to me to check out MW2. I felt like it was my duty to correct my wrongs and promote this album as if I worked for Gilla House myself. I am still struck by how Doc was able to channel the energy of nearly 30 years ago and managed to make it sound like now. I vow to never doubt Redman again.
Check Out Muddy Waters Too below.
MUDDY WATERS TOO !! OUT NOW !!https://t.co/zvc3bsY8tQ pic.twitter.com/sHBQ3HHtRv
— Redman (@therealredman) December 24, 2024
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Photo: Getty
Grimes is reflecting on the state of the world amid the ongoing wildfire crisis in Los Angeles, from which she and nearly 200,000 other Californians have been forced to evacuate this week.
In a tweet posted Thursday (Jan. 9), the musician wrote that she thinks “the vibe is rather Biblical out here,” positing that “we might be outta time w regards to twiddling our thumbs whilst every level of our culture, environment, government, institutions, mental health, etc have obviously crumbled.”
“Luckily unlike all previous dark ages, we have an immunity against lost information,” she continued. “Printing press, hard drives etc. but what are we going to do about it?”
Grimes’ post comes about two days after wind-fueled flames first broke out in the Pacific Palisades area Tuesday (Jan. 7), quickly spreading across L.A. County and claiming an estimated 10,000 homes and structures. More fires have since torn through the Hollywood Hills, Pasadena, Altadena, Sylmar and Calabasas, with at least 10 people reported dead in the destruction, according to CNN.
As of Thursday, about 180,000 residents had been placed under evacuation orders or warnings — including the “Oblivion” singer, who tweeted the day prior, “Just had to evacuate, tried to go to a friends place / it got an evacuation warning on the way there – now aimlessly driving out of the city.”
“is the whole city gna be gone?” she’d added. “This is a serious tragedy for LA – I feel profoundly sad for everybody.”
In the replies to her tweets, Grimes sympathized with the “billions of climate [refugees] from less wealthy areas of the world” who might also be affected by similar environmental disasters outside of L.A. and said that the wildfires feel “like a weird invisible hand poking the dominoes.” And when one commenter tried to pivot the climate conversation to her past relationship with Tesla boss Elon Musk — with whom she shares three young children — the Elf Tech founder shut it down.
“He’s pretty vocal about climate change and is primarily known for, in part, revolutionizing electric vehicles,” she replied to a person who’d called the billionaire “one of the most evil climate deniers of all time.”
“I think there’s plenty to be angry about but when you stray from fact and reason, your critique loses power,” Grimes continued of her ex partner, who has reportedly taken up near-permanent residence in Florida near soon-to-be-inaugurated President Donald Trump, a vocal climate change critic.
“The biggest challenge right now is not falling into creating and consuming dopamine rage bait on social media and focussing on thoughtful, rational, truth based discourse so that we can properly diagnose and solve our problems,” Grimes wrote.
The “Miss Anthropocene” musician and the Tesla CEO had an on-again, off-again relationship between 2018 and 2022. In 2020, they welcomed their first child — a son named X Æ A-Xii — and later became parents to daughter Exa Dark Sideræl (now 3) and son Techno Mechanicus (2). Musk is also Dad to seven children he shares with his first wife, Justine Wilson, and twins Strider and Azure, whom he shares with Neuralink director Shivon Zilis.
In December, Grimes touched on their breakup during an exchange with Azealia Banks on X. “i didn’t ‘get dumped,’” the former wrote of Musk at the time. “I bounced. My amazing baby is asleep in my bed beside me, I’m in love. no regrets. Life is as beautiful as u want it to be.”
Click here for a list of organizations providing assistance for music industry workers during the fire emergency.
See Grimes’ tweets about the L.A. wildfires below.
The vibe is rather Biblical out here. I think we might be outta time w regards to twiddling our thumbs whilst every level of our culture, environment, government, institutions, mental health, etc have obviously crumbled. Luckily unlike all previous dark ages, we have an…— 𝖦𝗋𝗂𝗆𝖾𝗌 ⏳ (@Grimezsz) January 9, 2025
Just had to evacuate, tried to go to a friends place / it got an evacuation warning on the way there – now aimlessly driving out of the city. is the whole city gna be gone? This is a serious tragedy for LA – I feel profoundly sad for everybody 🙏🏻— 𝖦𝗋𝗂𝗆𝖾𝗌 ⏳ (@Grimezsz) January 9, 2025
He’s pretty vocal about climate change and is primarily known for, in part, revolutionizing electric vehicles. I think there’s plenty to be angry about but when you stray from fact and reason, your critique loses power. The biggest challenge right now is not falling into…— 𝖦𝗋𝗂𝗆𝖾𝗌 ⏳ (@Grimezsz) January 9, 2025
Dust off that old Pioneer or Thorens — there’s a guy below who can set it up for you — and check out the year’s first edition of Executive Turntable, Billboard’s compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
There’s a full slate of personnel news this week, which of course has been dominated by the devastating fires across Los Angeles. We have a running list of organizations offering relief for musicians and music industry professionals, plus a tally of affected industry events. More coverage on the wildfires can be found here.
Sphere Entertainment appointed Robert Langer as executive vice president, chief financial officer and treasurer, effective Jan. 13. Langer, with over 30 years of experience, will work closely with the management team to support the company’s long-term direction, providing strategic financial insights and overseeing financial matters, strategy and business development. He will be based in Burbank and report to CEO James L. Dolan. Langer arrives from The Walt Disney Company, where he most recently served as head of corporate strategy and financial planning. During his 25-year tenure at Disney, he held various financial leadership roles, including CFO of Disney ABC Television Group and Disney Consumer Products. He also has significant global experience, having served as country manager for Germany, Switzerland and Austria. Dolan expressed confidence in Langer, saying the UCLA grad’s “multifaceted finance and strategy experience across the media and entertainment industry, both domestic and international, will be an asset as we continue to pursue our long-term goals and advance key initiatives.”
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Live Nation appointed Milly Olykan as senior vp of artist development and global touring, starting in January. Reporting to Omar Al-Joulani, president of touring, Olykan will spearhead the global expansion of Live Nation’s Country and Americana strategy. In this capacity, she’ll work with promoters worldwide to identify new touring opportunities, strengthen artist relationships and drive growth in the international country music market. Olykan arrives from the Country Music Association (CMA), where since 2018 she served as vp of international relations and development, and also as interim festival director. At CMA, she expanded the international strategy, built industry networks and increased global awareness of country music. Previously, Olykan was Vice President of Live Music and Major Arena Events at AEG Presents in the UK, co-founding the Country to Country (C2C) festival and establishing country touring for AEG Presents. Al-Joulani praised Olykan’s experience and connections across the wide worlds of country and Americana, saying they “make her a great asset to support our efforts in continuing to expand touring of those genres worldwide.”
Patrick Donnelly, longtime executive vp, general counsel and secretary of SiriusXM, has telegraphed a slow-burn retirement after 27 years. According to a filing with the SEC, Donnelly’s employment agreement was allowed to expire earlier this month, however, he will remain a full-time employee until April 4. Afterward, he’ll transition to a part-time role through the last day of the year, assisting with the handover of his responsibilities. During the full-time period, Donnelly will maintain his current salary of $1,025,000 while continuing in his existing roles until a successor is appointed. Afterward, he’ll transition to an advisory role for the new GC. In the part-time stretch, he’ll provide continued support, with compensation including a pro-rated 2025 bonus and part-time salary of $615,000 through years-end. He joined the company in May 1998 following stints at ITT Corporation and Simpson Thacher & Bartlett.
Warner Music Belgium hired Youssef Chellak as the label’s new general manager, effective immediately. Based in Brussels, Chellak will report to Niels Walboomers, president of recorded music and publishing for WMG Benelux. His role focuses on expanding Warner Music Belgium’s domestic roster, fostering innovative collaborations and driving cultural curiosity within the team. Chellak brings over 20 years of experience in the music industry, having started around 2000 as a producer, executive producer and publisher, collaborating with artists across Belgium, France, and Germany. In 2018, he became GM of Top Notch Belgium, where he developed artists like Dikke and Stikstof. Most recently, he served as A&R director at Universal Music Belgium, nurturing talents such as Aaron Blommaert and Berre. Chellak expressed enthusiasm for Warner Music’s entrepreneurial culture and commitment to supporting Belgian artists. Walboomers praised Chellak’s “proven track record, culturally curious approach and inspiring vision for the local music industry” for making him ideal for the role. “I’m confident that he’ll create an inspiring environment where local artists, emerging as the voices of their generation, can collaborate, excel and reach their full creative potential,” he said.
iHeartMedia elevated Nicky Sparrow to executive vp of multicultural sales and Dee Dee Faison to vp of multicultural partnerships and alliances, effective immediately. Both report to Tony Coles, president of multicultural business and development. Sparrow will use iHeart’s radio, podcast and events assets to drive results for advertising partners while focusing on The Black Effect and My Cultura Podcast Networks. With a 25-year tenure at iHeartMedia, she previously served as svp of multicultural sales and is active in philanthropy. Faison, with 24 years in media and entertainment, will expand iHeartMedia’s multicultural initiatives, having joined the radio giant in 2020 as director of client success and has worked with major clients such as Toyota and McDonald’s. “These talented leaders bring a wealth of experience and a fresh perspective that will be instrumental in driving our mission forward of connecting our clients and partners with iHeartMedia’s multicultural audiences,” said Coles.
Jody Gerson // John Michael Fulton
BOARD SHORTS: Project Healthy Minds, a mental health tech non-profit, named UMPG chairman and CEO Jody Gerson to its board of directors. As the first woman to lead a global music company, Gerson aims to forge pacts within the music and entertainment industries to enhance access to mental health resources. “Anxiety and other mental health issues often walk hand-in-hand with artistry, and it’s my responsibility to let the creative people I work with know that they don’t have to deal with these issues on their own,” Gerson said. “In turn, artists can help to publicly dispel the notion that surviving in an often lonely and isolating world is just a matter of toughening up. Life is not easy, and seeking care for good mental health needs to be both destigmatized and encouraged.” Gerson joins a board that includes Carson Daly, Lisa Licht, Kalen Jackson and Sally Yates, among others … The Copyright Alliance added two new board members on Jan. 1: Alicia Calzada from the National Press Photographers Association and Jessica Richard from the Recording Industry Association of America. Both will serve two-year terms … Brian Magerkurth has been appointed chairman of the board for SongwritingWith:Soldiers. A board member for the past four years, Magerkurth succeeds Gary Leopold, who has served as chairman since 2018. Leopold will remain actively involved with the organization as a director.
Ben Sharman is the new director of booking at Co-op Live, Oak View Group’s much-hyped arena in Manchester, England. Sharman brings over a decade of experience in the live events industry, having managed British Athletics’ commercial partners for the London 2012 Olympics and secured major sponsorships for Aston Villa Football Club. He joined the NEC Group in 2014, transitioned to arena programming in 2017, and was promoted to head of programming for Utilita Arena Birmingham and bp pulse LIVE in 2022. Gary Hutchinson, executive vp of Oak View Group International, praised Sharman’s expertise and industry relationships, expressing confidence in his ability to elevate the venue as a premier destination. In 2025, Co-op Live will host global talents such as Sabrina Carpenter, Tyler, the Creator, Bruce Springsteen, Lionel Richie and Hans Zimmer. OVG also announced that Katie Musham, Co-op Live’s director of strategic programming, will be moving to its international unit to aid their expansion efforts across Europe and beyond.
TuneCore, the Believe-owned digital music distributor, named Mike Ceglio as vp of operations strategy. Reporting to CEO Andreea Gleeson, Ceglio will oversee a wide swath of business operations, including the content review, trust/safety and copyright teams, while collaborating with the product team to enhance operational processes. Ceglio brings over a decade of experience in digital operations and rights management. Before joining TuneCore, he served as vp of creator operations at SoundCloud, where he managed creator services, among other duties. He has also held leadership roles at UnitedMasters and Vydia. Gleeson praised Ceglio’s industry insight and ability to build high-performing teams. “His leadership will enable us to be even more proactive in working alongside DSPs, tackling new industry challenges and streamlining workflows to create a smoother, more efficient experience for both DSPs and artists,” she said. “By deepening these partnerships, Mike will further enhance TuneCore’s position as a trusted partner that continuously delivers operational excellence in the evolving digital music landscape.”
AEG Presents named Weston Hebert as vp of global touring, reporting to Rich Schaefer, the president of global touring. Based in Nashville, Hebert will lead global touring strategies and initiatives. Hebert previously worked as a talent buyer at Live Nation, managing bookings for venues in the Great Lakes region and promoting tours for emerging artists like The Red Clay Strays and Gavin Adcock. He began his career at WME Nashville, where he focused on expanding the country touring business internationally. Hebert praised the global team’s “exceptional sense of collaboration & community with the artists, managers & agents they work with,” while Schaefer highlighted Hebert’s “strong relationships with artists, managers, and agents, as well as his exceptional taste in music.”
Across the pond, Emma Bownes was promoted to senior vp of venue programming at AEG Europe, where she’ll lead programming strategy for prominent venues, including The O2 in London, Barclays Arena in Hamburg and Berlin’s Uber Arena. Bownes, a 25-year veteran of the live business, joined AEG in 2010 and has played a pivotal role in building successful event calendars. “At AEG, our vision is to be the best-in-class live entertainment business and Emma’s work is fundamental to this,” said John Langford, chief operating officer at the AEG subsidiary. The live giant also announced other team promotions: Jo Peplow-Revell as director of corporate and special events and Marc Saunders as head of programming at The O2, both reporting to senior programming director Christian D’Acuna.
Jose Nova // Complex
Jose Nova is the new head of Latin at Complex, where he will oversee music, content strategy and artist collaborations to help the brand drive growth in the Latin music space. Previously, Nova was global Latin industry relations lead at Amazon Music, spearheading campaigns for top Latin artists like Bad Bunny and Karol G. His work, which scaled major tours, live-streaming events and marketing campaigns, got Nova recognized on Billboard’s 2023 Latin Power Players list. Nova’s career also includes roles at Spotify and Interscope, where he curated strategies for U.S. Hispanic and Latin American audiences. “I’ve always regarded Complex as a brand that pushes boundaries and redefines culture, creativity, and storytelling,” he said. “After discussing our shared vision with (Complex CEO) Aaron Levant and the team, it became clear how aligned we are in driving meaningful impact for Latin audiences, artists, and creators.”
NASHVILLE NOTES: Brown Sellers Brown, which includes Quartz Hill Records, Stone Country Records and BSB Management, hired Ash Bowers as director of artist management and A&R support, where he will also lead management strategy for BSB artists including Ben Gallaher and Spencer Hatcher. Wendy Buckner joins as day-to-day manager for artists including Gallaher and Hatcher, while Abby Driscoll joins as day-to-day manager for artist Annie Bosko. Angela Wheeler has been promoted to director of content and creative … Universal Attractions Agency added booking agent Ryan Slone to its rock & pop division, led by Matt Rafal. Slone brings to UAA artists including Danielle Nicole, dada, 7Horse, LOVE with Johnny Echols, Talking Dreads, Scott Mulvahill, Black Circle, and Monkeys on a String. Slone’s previous career stops include Bonfire Touring, Ovation Artist Group and New Frontier Touring. —Jessica Nicholson
EastCoast Entertainment promoted Brad Strouse to managing partner, recognizing his contributions since joining the full-service agency in 2016. Strouse, who began his career in Nashville specializing in artist booking, touring and live event production, previously served as location managing director for ECE’s Richmond and DC offices. He has played pivotal role in expanding the company’s National division, overseeing large-scale productions and booking acts like Darius Rucker, Trace Adkins and Sister Hazel at venues including Levi’s Stadium and the Rock & Roll Hall of Fame. ECE President John Wolfslayer commended Strouse’s leadership, integrity and dedication to artists, adding he has “qualities of a true role model for the next generation, with his unwavering integrity, tireless work ethic, and deep commitment to our community of artists.”
Music finance firm Sound Royalties promoted Allison Portlock to executive vp of marketing and Bryan Field to director of royalty analysis. Portlock, who has been with Sound Royalties since 2018, most recently as vp of marketing, is based in West Palm Beach, Fla. and reports to Michael Bizenov and Alex Heiche. As a key executive team member, she oversees marketing, business development and customer experience, while also guiding company strategies and expanding the brand into new markets. She focuses on long-term customer relationships and leads the marketing team’s growth. Fried joined SR in 2014 and was most recently the senior royalty analyst. Based in WPB and reporting to Barbara Ocasio, he manages the royalty analyst team, performs in-depth analysis of royalty earnings, identifies risks and produces projections.
Believe beefed up its UK team with the appointments of Paul Trueman as director of artist services and Joe Edwards as head of marketing. Trueman, formerly COO at un:hurd music and GM at AWAL, brings extensive expertise in marketing, promotions and audience development. At Believe, he’ll lead A&R, new business, commercial strategy and global marketing campaigns, reporting to UK managing director Alex Kennedy. Edwards, previously senior director of marketing at AWAL, has worked marketing strategies and award-winning campaigns for artists such as Jungle, Djo and Bombay Bicycle Club, and will now report to Trueman.
Brad Parscale, the digital director for Donald Trump’s winning 2016 campaign who later had a lengthy stint as campaign manager in 2020, is the new chief strategy officer of Christian conservative media company Salem Media Group. SMG recently stuck a fork in its music ambitions by selling off its seven remaining Contemporary Christian-formatted radio stations to the Educational Media Foundation (EMF) for $80 million.
Acoustic Sounds reappointed turntable specialist Chad Stelly to their team. Stelly, who initially joined Acoustic Sounds in 2005, is feted for his expertise in HiFi equipment sales and turntable setup. After leaving in 2019, he worked at Musical Surroundings, providing dealer training and supporting phono cartridges, preamps and turntables, as well as contributing to product development. Later, he joined Bluebird Music, focusing on SME support and repair. Acoustic Sounds, founded by Chad Kassem and based in Salina, Kansas, is home to Quality Record Pressings, its in-house record pressing plant, and Analogue Productions, its vinyl reissue label. The company also operates an original production label, APO Records, along with Acoustic Sounds Printing, its dedicated print shop. Additionally, Acoustic Sounds boasts Blue Heaven Studios and The Mastering Lab, specializing in recordings and LP mastering.
Emerald City Music, a Seattle-based chamber music series, appointed Sean Campbell as its new executive director, effective Feb. 3. Campbell, formerly the artistic planning manager at the Chamber Music Society of Lincoln Center, will work alongside ECM’s founding artistic director, Kristin Lee. His responsibilities include providing administrative leadership, supporting the board of directors, developing engagement events and educational programs, fostering partnerships with community organizations and local businesses, serving as a community ambassador, and creating a strategic plan for ECM. Campbell aims to enhance ECM’s innovative programming for audiences in the Pacific Northwest and beyond.
ICYMI:
Derek Chang
Lyndsay Cruz left her post as executive director of ACM’s philanthropic arm … Liberty Media named Derek Chang as its new president and CEO … Kobalt tapped Rani Hancock to be its new executive vp and head of U.S. creative … Wasserman Music scooped up Kevin Shivers, James Rubin and Cristina Baxter — plus the artists they represent — from rival agency WME … Lauren Davis was promoted at NYU’s Clive Davis Institute … SALXCO named a new CEO and co-presidents.
Last Week’s Turntable: Warner Records’ New Head of International Marketing
01/10/2025
From international superstars to that Oasis reunion, it’s set to be a busy year for music lovers.
01/10/2025