A2IM
The American Association of Independent Music (A2IM), the prominent non-profit organization that represents over 600 independent record labels, has unveiled its board of directors for the 2024-2025 term.
The announcement also includes new members of the executive committee and advisory board.
The newly elected board members for this term include Steven Hill, head of North American & Global Marketing at Warp Records; Terry McBride, CEO of Nettwerk Music Group; and Louis Posen, founder & president of Hopeless Records.
They join the returning board members: Tony Alexander, co-founder and president of Made in Memphis Entertainment; Nabil Ayers, president of Beggars Group; Dee Diaz, SVP marketing & digital at Reach Records; Wilson Fuller of Merge Records; Mary Jurey, chief business officer at Blue Élan Records; Tony Kiewel, president of Sub Pop Records; Hays Rudolph, general counsel and VP of business and legal affairs at Secretly Group; and Zena White, COO of Partisan Records.
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Mary Jurey will chair the new executive committee, with Tony Alexander serving as treasurer and Nabil Ayers as secretary.
A2IM also welcomes several distinguished industry professionals to its advisory board: Glen Barros, managing partner at Exceleration Music Partners; Kristin Epstein, operations director of Screenwave Media; Jana Herzen, president of Motéma Music; and Jason Peterson, chairman & CEO of GoDigital Music Group.
Dr. Richard James Burgess MBE, president and CEO of A2IM, said: “We are thrilled to once again have an incredibly talented, diverse, and dedicated group of individuals willing to serve on the 2024/25 board of directors for A2IM. Their expertise and passion for independent music will play a vital role in shaping the future of our organization and the industry.”
“With these new executive committee and advisory board members, we are confident in our ability to advocate for the needs and interests of independent artists and record labels. I am honored to work alongside this exceptional team to support and celebrate the power of independent music.”
Steven Hill shared his enthusiasm in joining the board, saying, “It is a true honor to have been selected by my peers to help represent our vital independent music community. I’m excited to contribute to A2IM’s mission and support an environment which enables successful artists at different scales to forge sustainable and healthy careers from their work.”
Terry McBride added, “I am honored to join the A2IM board and I look forward to the vibrant conversations at the board level over the advanced technologies that are reshaping the playing field.”
Louis Posen emphasized the importance of A2IM’s mission: “I believe we are in a time of significant opportunity and intense challenges in the music industry. There hasn’t been a more important time in history for A2IM to exist in order to keep our independent community working together towards our common goals.”
“I am beyond honored that the A2IM membership has again trusted me to represent their interests on the board. It’s a privilege to work alongside such an amazing group of people to make a difference together.”
The board of directors at A2IM plays a crucial role in the governance of the organization, advocating for member interests, and establishing strategic priorities.
Board members serve three-year terms, providing essential guidance to ensure the success of the independent music sector. Advisory board members serve one-year terms, contributing diverse perspectives.
A2IM, a 501(c)(6) non-profit based in New York City, is dedicated to supporting and strengthening the independent recorded music sector.
Representing over 700 independently-owned American music labels, A2IM champions their interests in the marketplace, media, and on Capitol Hill. In 2016, independent labels collectively represented 37.32 percent of the U.S. recorded music sales market based on copyright ownership, making them the largest music industry sector.
The business of music has transformed in the last two decades, driven by technology that shattered barriers to entry and creators’ determination to control their destiny. At the 66th Grammy Awards earlier this year, more than half of the nominees were independent. And it’s more than just business: the indie movement has enabled diverse voices that could not be heard previously to occupy their rightful place in the industry. This makes music, and our society, more egalitarian and better.
Whether blues, punk, hip-hop or country, America’s most recognizable music genres started out in the indie sector, and today the association I lead has more than 750 members across 35 states, and most of them are small businesses with less than 50 employees. As the music industry has changed, so have they.
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Yet, some of the most important players in the music ecosystem cling to a bygone era that was dictated by the motto, “Might Makes Right.”
Exhibit A is iHeartRadio. The corporate behemoth controls 860-plus stations across the country that play over 50 million songs a year. Those songs helped iHeart’s multiplatform group — covering broadcast radio and national sales — generate more than $2.4 billion in 2023 alone, according to its latest earnings report.
But iHeart is stuck in 1990. It doesn’t bother discovering new artists. Instead, it overplays the hits and milks classic songs that were released decades ago. Despite the growing movement to achieve economic justice, iHeart denies artists and labels payment for their work.
Take a moment to reflect on that. iHeart makes $12 billion a year playing music but refuses to pay the hard working and talented people who perform and produce the songs that are the reason consumers tune-in in the first place. In its desperate attempt to cling to the past, iHeart and lobbyist group the National Association of Broadcasters (NAB) have spent nearly $100 million since 2020 lobbying Congress and spreading campaign contributions around to maintain the unfair status quo.
iHeart is powerful. But it’s on the wrong side of history. And it’s about to face what it hates most: a public forum where broadcasters must defend their craven practices. On Wednesday (June 26), the House Judiciary Committee will hold a hearing on the refusal of broadcasters to pay music creators for their work.
Richard James Burgess speaks onstage during the GRAMMY Influencer Activation at GRAMMY House during the 66th GRAMMY Awards on Feb. 1, 2024 in Los Angeles.
Jerod Harris/Getty Images for The Recording Academy
Of course, iHeartMedia CEO Bob Pittman won’t testify. He leaves the dirty work to the NAB. But that doesn’t matter. When the issue of compensation for AM/FM airplay is held in a public forum, broadcasters lose. That is why their lobbyists work so hard to prevent congressional hearings. But courageous members of Congress such as Reps. Darrell Issa (R-Calif.) and Jerry Nadler (D-NY) are making sure there is a public debate. And they have a solution to ending the injustice: the American Music Fairness Act, which would grant an AM/FM performance royalty. This bill would bring AM/FM radio into the 21st Century, and finally grant American recording artists the same rights enjoyed by their counterparts in almost every other country on the planet.
In the last two decades, how we discover and listen to music has dramatically changed, and not just the move from vinyl records to streaming. We can now ask a device in our house, such as Alexa, to play music, and it does. Spotify and SiriusXM are now buttons next to AM/FM on the dashboard of our cars. Polling from 2020 found that of the people who regard staying up to date on new music as important to them, only 11% turn to AM/FM radio to do so. Even in my generation, that number is only 27%. OK, Boomers!
We need to update the laws to catch up to these changes. It makes no sense if, when driving, music creators heard on SiriusX are being compensated, but not if you hear them on an AM/FM station. If you listen to radio programming through the iHeartMedia app on your phone, through a smart speaker, or even in your car, iHeart has to pay creators too. That’s why they have their hand out to Congress asking for a mandate to keep AM radios in cars.
The American Music Fairness Act brings justice and balance to the industry. Music creators get paid for their work. AM/FM stations have to pay just like the streaming services. And, because the legislation protects truly local radio stations, most stations in the country would pay just $10 to $500 a year to play music.
I know independent music creators, who I represent as president and CEO of the American Association of Independent Music, could definitely use the income from those royalties. My members love partnering with true locally controlled community radio stations, but the behemoths usually don’t take their calls. There are hundreds of thousands of artists and other creators who hustle and struggle to make a living by giving us the music we love.
This approach is fair, it’s equitable, and it’s just. And iHeart hates it.
Broadcasters try to create as much fear, uncertainty, and doubt to avoid doing what’s right. They claim a $500 annual fee to play music would decimate stations’ ability to broadcast emergency communications – then they hike the annual dues it charges its members. They cling to the asinine rationale that the alleged promotional value of radio play justifies their immoral scheme. Worse, broadcasters claim they shouldn’t have to pay for the songs they play while demanding Congress get more money for them when their content is used by YouTube and other platforms.
Broadcasters do all of this with a straight face. But time is running out. When the arc of justice comes around, iHeart and the National Association of Broadcasters will learn they are on the wrong side of history.
Dr. Richard James Burgess is an acclaimed musician, singer, songwriter, record producer, composer, author, manager, marketer and inventor, who presently serves as the president and CEO of the American Association of Independent Music (A2IM).
LONDON — European independent labels trade body IMPALA is rolling out its carbon footprint calculator project to the U.S. as part of a free one-year pilot to help American music companies measure and reduce their emissions.
IMPALA first launched a carbon calculator in Europe in 2022 in partnership with U.K. sustainability charity Julie’s Bicycle. The resource is designed to help record labels track their environmental impact by measuring energy and water use, staff commuting and business travel, as well as the manufacture and distribution of physical products such as vinyl records or merchandise.
The American Association of Independent Music (A2IM), which represents more than 600 independently owned U.S. labels, is partnering with IMPALA on the pilot. The carbon calculator project is supported by global digital licensing agency Merlin, which has provided funding.
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Indie powerhouse Beggars Group, whose labels include 4AD, Matador, Rough Trade and XL Recordings, and London-headquartered Ninja Tune are among the imprints with U.S. offices taking part in the project. A2IM and IMPALA say they are currently talking to other interested labels to complete the core group with a full list of participants due to be published later this year.
In a joint press release, the two indie trade groups called the launch “the first step towards rolling out the tool in the world’s biggest music market” and its expansion into other non-European countries.
“We are very excited that the U.S. is the first territory in the internationalization of IMPALA’s Carbon Calculator,” said Richard Burgess, A2IM president and CEO, in a statement. “Thanks to Merlin‘s support, our members will be able to shape the tool for the U.S. market and play a key role in the expansion of its use.”
In a statement, Karla Rogozar, IMPALA’s sustainability lead said it was important to give U.S. indie labels access to the carbon calculator “to help standardise the [indie] sector’s approach across regions.”
IMPALA’s carbon calculator is part of the Brussels-based organization’s sustainability program, which aims to halve greenhouse gas emissions before 2030 and achieve net zero emissions before 2050.
Since its launch in April 2022, nearly 150 labels have signed up to the carbon calculator initiative from 24 countries. The first report based upon data they submitted was published by IMPALA last year and found that labels using the tool produce the average equivalent of 3.21 kgCO2e for each physical CD or vinyl record they release (based upon the total carbon emissions produced across a label’s whole business, not per physical release).
The biggest source of carbon emissions for the indie sector is manufacturing, which accounts for 76% of emissions on average. Over three quarters of this figure is attributed to vinyl production, which has a higher manufacturing carbon footprint than CDs.
The second highest source of emissions is the distribution of physical products, accounting for 15% of the carbon footprint for labels on average. That’s followed by day-to-day operations, including procurement, business travel and office energy, water and waste (around 9%).
A second edition of the carbon calculator report will be published later this year, said IMPALA, which represents more than 6,000 independent music companies spread across 31 countries.
The U.S. rollout of IMPALA’s carbon calculator is part of a growing industry-wide push to improve environmental and sustainability practices across the music business.
Last year, Universal Music Group, Sony Music Entertainment and Warner Music Group joined forces to establish the Music Industry Climate Collective (MICC) – a new alliance to address and lessen the sector’s environmental impact, which is being assisted and advised by A2IM.
In 2021, all three major record companies, plus independent labels BMG, Beggars, Partisan, Warp, Ninja Tune and the Secretly Group, signed up to the Music Climate Pact, a wide-ranging commitment to “decarbonize” the global record business.
“Our path towards a more sustainable future involves all of us working together,” said Jeremy Sirota, Merlin’s CEO, in a statement on Thursday (June 20). He said the roll-out of IMPALA’s carbon calculator in the U.S. would “help more independents build that future together.”
Chiara Badiali, Julie’s Bicycle’s music lead, called the pilot project “an invaluable opportunity” to share understanding between European and U.S. independent music companies. “Because meeting the climate crisis head-on means coming together, learning from and with each other, and taking action collectively,” said Badiali.
Dr. Richard James Burgess will step down as president/CEO of The American Association of Independent Music (A2IM) at the beginning of 2026, he announced at the annual general meeting that closed out A2IM Indie Week on Thursday (June 13). Upon his exit, he will have led the organization for 10 years. The A2IM board of […]
When the American Association of Independent Music (A2IM) unveiled its new healthcare plans for working artists in August, the trade association, which represents indie labels, presented it as “a welcome ray of light for the music industry.” The monthly premiums range from $80 to $1,240 and feature benefits such as $15 co-pays for doctor visits and regular screenings for breast cancer, diabetes and depression. Affordable dental, vision and even pet insurance plans are also available.
But buried in the descriptions of several plans, which are accessible for those with a $100 annual A2IM membership, are restrictions and costs that could drain indie musicians’ finances. Three of the five plans offered, which cost $80 to $210 per month for individuals and $160 to $510 for families, do not cover emergency room care, hospital room fees, childbirth/delivery costs in hospitals or any type of care from a physician or surgeon. The two more expensive plans — $560 to $690 for individuals and $1,060 to $1,240 for families — don’t cover ambulance charges, radiation, chemotherapy, dialysis or transplants.
“What A2IM is doing is fantastic. I am applauding them hugely for this,” says Tatum Allsep, founder and CEO of Music Health Alliance, a Nashville group that advises artists on healthcare. “But read the fine print.”
A2IM bills the plans as “compliant” with the Affordable Care Act (ACA, also known as Obamacare), but Allsep disagrees. “Nothing about this is aligned with the coverage on state exchanges. Not one bit,” she says. “Somebody’s going to think, for 80 bucks, they’re going to have health insurance because it says in black and white, ‘ACA-compliant.’ And that is absolutely false.”
Dr. Elisabeth Rosenthal, author of A Terrible Sickness: How Healthcare Became Big Business and How You Can Take It Back, adds, “It’s a terrible burden to place on patients to have to read the fine print in this way. I’ve spent my life thinking about these things, and I’m trained as a physician, and it gives me a headache to look at these policies.”
A2IM first offered health insurance to its 600 members, mostly indie labels, in September 2022, then expanded this past August to artists who are sole business proprietors.
A2IM president/CEO Richard James Burgess says the plans are “compliant” with the ACA and that “several dozen families” have enrolled in them so far.
“It was incredibly challenging to find affordable healthcare insurance for A2IM members outside of the state exchanges. For years, there appeared to be no viable options,” he says. “A2IM has never diminished the great work the state exchanges have done. We are not in competition with them. Rather, we wanted to offer more options to our members.”
According to a representative with the U.S. Centers for Medicare and Medicaid Services, ACA-compliant plans must have three key characteristics: They have to cover preventive services (like vaccines and screening tests), prohibit insurers from denying clients based on preexisting conditions and ban limits for total healthcare costs. “On the exchanges, those plans basically have consumer protection built into them,” says Liz McCuskey, a Boston University professor of health law policy. Consumers can buy “off-exchange” plans outside of the ACA, but she says they “are subject to much lighter rules.”
Michael Desnoyers, director of sales for Chicago insurance broker Independent Health Agents, says of A2IM’s plans, “If it’s the first time they’re being offered to musicians, they probably don’t have the option to get their proper group plan through Blue Cross/Blue Shield or United Healthcare.”
Desnoyers adds that the A2IM options might work for musicians who are younger, with no serious health risks or preexisting conditions, even if they “don’t come through with the benefits the major medical plans do.” Tim Hebert — a Fort Collins, Colo., health insurance broker who is also a managing partner for Sage Benefit Advisors and the state legislative chair for the National Association of Benefits and Insurance Professionals — adds: “In certain situations, it can absolutely make sense. If [musicians] have moderate income but they just don’t have any assets, the A2IM plan works. It gives them basic coverage. You just don’t have to pay the higher premiums.”
Until 2010, self-employed musicians had few ways to obtain low-cost insurance, especially if they had preexisting conditions such as asthma or cancer. The ACA changed all that, and today, individual states are obligated to provide plans that cover catastrophic medical events and not to discriminate based on preexisting conditions. Still, several music industry organizations, including the Recording Academy, the American Federation of Musicians — and now A2IM — offer additional plans to members as cheaper alternatives.
For example, the academy provides plans for its more than 15,000 members through Stride Health that cost as little as $25 per month, with options to add dental, vision and life insurance coverage. The American Federation of Musicians (AFM), which represents 80,000 members of bands and orchestras, as part of Broadway productions and touring shows, provides group health insurance for freelance musicians. “The Affordable Care Act provided considerable relief to workers by requiring that health insurance be made available to them on a non-cancellable basis,” an AFM rep said in a statement, “but the ACA provided no meaningful relief for premium costs.” The plans offered through the academy and the AFM are similar to those on Obamacare state exchanges, according to Allsep.
Some major labels offer certain health-related benefits, if not actual insurance, to artists on their rosters. Sony and Universal Music Group (UMG) provide access to the Music Health Alliance, which offers expertise and suggestions on finding services elsewhere. Although reps for UMG and Warner Music Group did not respond to inquiries about health benefits, Sony artists can sign up for Artist Forward, which provides what the label calls “wellness solutions” like free counseling services.
Prior to its current offering, A2IM adopted a health plan from Zion Health Share, a Utah company that describes its membership as an “innovative and affordable medical cost-sharing community.” Its plan description stated, “This program is not insurance,” required participants to acknowledge that Zion “affiliates itself, and considers itself, accountable to a higher power” and limited care for people with preexisting conditions other than high blood pressure, high cholesterol or diabetes.
Several healthcare experts criticized the plan, including Allsep, Rosenthal and Valarie Blake, a West Virginia University law professor who specializes in healthcare policy. “I would not enroll unless I was a gambling man,” Blake says. When Billboard asked A2IM to comment on the Zion plan, Burgess said it was no longer available through A2IM. Representatives for Zion Health did not respond to email inquiries. “I am glad they changed course,” Blake says.
Academy CEO Harvey Mason jr. says he’s sympathetic to the A2IM’s healthcare efforts: “We’re all trying to figure this stuff out together,” he says. “It doesn’t matter who provides coverage. It’s the fact that people are signing up for coverage. That’s the win.”
But after reviewing A2IM’s current plans, Allsep cautions: “Buyer beware.”
The American Association of Independent Music, Inc. is adding three new categories to the 2024 A2IM Libera Awards. They are: Publisher of the year, honoring the publishing company that has demonstrated exceptional commitment to songwriters, composers, and the broader independent industry. Distributor of the year, celebrating the distributor that has made significant contributions to the […]
The American Association of Independent Music, or A2IM, announced on Tuesday that artists who pay a $99 yearly fee will have access to healthcare benefits, including high-and-low-deductible plans, vision and dental, life insurance, renters’ insurance and even pet insurance. The program will expand from indie labels and other member companies to sole proprietors — “specifically designed for individual artists,” said Lisa Hresko, A2IM’s general manager.
“It’s a lot harder for artists to find available programs. What’s available to you is just more limiting in the U.S. if you do not have an employee-sponsored healthcare program,” Hresko added. “To have that option, whether you’re an artist or 1099 worker, should give you peace of mind.”
The healthcare plans, through the new A2IM Artist Pro program, are similar to Affordable Care Act options, but with “slightly more favorable pricing,” according to Hresko. Low-cost plans are available for $160 per month, or $260 for families, but they vary widely according to age, location and medical history. An average plan for a 40-year-old, relatively healthy individual ranges from $330 to $450 per month on the A2IM benefits website, depending on the deductible, a bit less expensive than a 2023 ACA plan.
In September, when the organization offered plans to its more than 600 indie-label member companies, about 30 signed up. The new program “definitely casts a wider net,” focusing on not just company employees but touring artists and others who have more complicated schedules than 9-to-5 employees.
“It’s exhausting on your physical and mental health to be on the road or keeping off-hours,” Hresko said. “Hopefully something like this gives people confidence and safety.”
After the Obama Administration’s signature healthcare plan became law in 2010, musicians were among the gig workers who suddenly no longer had to worry about insurance companies raising healthcare rates due to preexisting conditions. For most artists, the new A2IM plan will supplement the ACA as an option to achieve prescription drugs and emergency care, among other things. But Republicans have sharply attacked the ACA over the years, and programs like A2IM Artist Pro could be crucially important should the political winds change.
A2IM does not take a cut of the health-insurance payments, according to Hresko: “It’s a service for our members.”
She declined to name the organization’s health-insurance partner, to discourage members and potential members from “working their way around us.” Hresko adds: “We spent years searching for a correct partner. It was not a matter of a lack of trying, but what was available and who was willing to work with us. It took a while.”
Zena White, COO of Partisan Records; Beggars Group president Nabil Ayers; Hays Rudolph, general counsel and VP of business and legal affairs at Secretly; and Tony Alexander, president and managing director of Made in Memphis Entertainment (MIME), are among the fresh faces on the American Assn. of Independent Music (A2IM) board.
White, Ayers, Rudolph, Alexander are newly-elected to the board, which oversees the governance of A2IM, represents the not-for-profit organization’s membership at large, and assists in setting the priorities and direction for the organization.
Also announced today (July 25) is A2IM’s executive committee, led by Heather Johnson, director of label operations at FIXT, who is named as chair. Meanwhile, Victor Zaraya, COO of Concord, is appointed as treasurer, and MIME’s Alexander becomes secretary.
“We are so grateful to have such a talented and dedicated group of individuals willing to serve on the 2023/24 board of directors for A2IM,” comments Dr. Richard James Burgess, president and CEO of A2IM. “Their expertise and passion for independent music will play a vital role in shaping the future of our organization and the industry.”
A2IM represents over 600 independent record labels.
Additionally, the trade body welcomes a raft of advisory board members who will lend their expertise and counsel. They include Kristin Epstein (operations director of Screenwave Media), Steve Kline (president/COO of Better Noise Music), Jennifer Newman Sharpe (general counsel and head of business & legal affairs of Exceleration Music), Elliott Peters (senior VP, global business at Empire), Jason Peterson (CEO of Cinq Music/GoDigital Media Group) and Reed Watson (co-owner of Single Lock Records).
“With these new executive committee and advisory board members, we are confident in our ability to advocate for the needs and interests of independent record labels,” adds Burgess. “I am honored to work alongside this exceptional team to support and celebrate the power of independent music.”
Headquartered in New York City, A2IM exists to support and strengthen the independent recorded music sector, and celebrates the scene by organizing the annual A2IM Libera Awards.
A2IM’s current board of directors:
A2IM’s current board of directors:Tony Alexander – MIME (Made In Memphis Entertainment)Nabil Ayers – Beggars GroupMariah Czap – Yep Roc Music GroupDee Diaz – Reach RecordsWilson Fuller – Merge RecordsMary Jurey – Blue ÉlanHeather Johnson – FiXTTony Kiewel – Sub PopHays Rudolph – SecretlyVictor Zaraya – ConcordZena White – Partisan
Advisory board members:Kristin Epstein – Screenwave MediaSteve Kline – Better Noise MusicJennifer Newman Sharpe – Exceleration MusicElliott Peters – EmpireJason Peterson – Cinq Music/GoDigital Media GroupReed Watson – Single Lock Records.
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