Audacy
It’s time to drop the needle on another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been quite a bit of staffing news this week, “Da Pope” included, so let’s get to it.
Downtown Music Publishing appointed Jason Taylor as vice president of business development, based in Los Angeles and reporting to chief creative officer Jedd Katrancha. Taylor, who brings prior experience from ICONOCLAST, Hipgnosis Songs Group and Big Deal Music Group, will focus on expanding DMP’s global roster, emphasizing legacy catalogs and B2B partnerships. Additionally, Bea Koramblyum was promoted to global head of business affairs and vice president of business development (GHBAVPBD for short), recognizing her role in strategic dealmaking and catalog growth. A newly appointed chair of the Music Business Association, Koramblyum has been key in deepening industry relationships. These appointments follow a strong year for DMP, including over 30 Grammy noms-noms and notable signings like Peso Pluma and Tori Amos. Katrancha praised both execs, saying “Jason brings a rare blend of creative instinct and commercial acumen, with a track record of cultivating long-term relationships and building enduring catalog value” and that “Bea’s expanded role is a reflection of the leadership and vision she has brought to Downtown for many years.”
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The change train keeps a-rollin’ at Audacy, with the departure of longtime chief technology officer Sarah Foss, effective May 2. Foss joined the company (then Entercom) in mid-2020 as chief information officer and helped guide the company through the pandemic. “We innovated. We cut costs. We modernized. We got scrappy. We held virtual planning events. We went back to the office,” she said in her announcement on LinkedIn. Taking over is Steve Rollins, reviving the CIO title, who will oversee all IT and technical operations at the radio and podcast giant. Rollins arrives from Gabstin LLC but he previously served as CIO of SESAC — where he worked with Kelli Turner, who replaced David Field earlier this year as Audacy’s president and CEO. The shakeup at Audacy has also seen the recent departures of CMO Paul Suchman (replaced by Jenny Nelson), COO Susan Larkin, chief digital officer J.D. Crowley, and general counsel Andrew Sutor (succeeded by Michael Dash).
Range Music launched a new composer division, expanding its music management services into film and television scoring. L.A.-based industry veteran Jeff Jernigan joins as the first hire, bringing a roster that boasts Steven Price (Gravity), Tom Howe (Ted Lasso) and Helen Park (KPOP). Jernigan, formerly with Kraft-Engel Management, will represent composers, music supervisors, songwriters and executive music producers, working alongside Leah Cook, Range’s vp of creative sync and strategy. Range already has a strong foothold in music supervision, with clients like Andrea von Forester (Yellowstone) and Jordan Carroll (Dear Evan Hansen), and Jernigan has worked with Range’s film co-presidents Fred Berger and Brian Kavanaugh-Jones on projects like La La Land and A Complete Unknown. “As the first hire for this division, Jeff brings with him a wealth of knowledge, an incredible roster, and vast experience working along our film division,” says Berger and RMP co-founding managing partner Matt Graham.
NASHVILLE NOTES: Country Music Hall of Fame and Museum curator of recorded sound collections Alan Stoker retired at the beginning of the month, exactly 51 years after he started with the institution. His audio preservation and remastering expertise has been applied to recordings by Hank Williams, Patsy Cline and Merle Haggard, among others … Prescription Songs promoted Kelly White to A&R Coordinator. Based in Nashville, she works with artists, songwriters, and producers across Atlanta, LA, and Nashville, including Big Boss Vette and Trent Dabbs. A Belmont University graduate, she recently organized a songwriting camp with Tay Keith’s Drumatized label and plans additional camps to support Nashville’s growing creative community … Christian imprint Centricity Music promoted five longtime team members to senior roles, including John Mays as president of A&R and Camy McArdle and Andrew Lambeth as co-GMs. John Stokes becomes svp of marketing and operations, and Chad Segura is now svp of publishing.
Reliant Talent Agency expanded its talent division with four agents. Scott Simpson has been named as head of talent, to lead Reliant’s Talent, Comedy, Unscripted Television and beyond. Also joining Reliant Talent Agency is Jonathan Perry, who will lead West Coast Talent, alongside talent agent Katie Edwards. Melanie Moreau will lead the Unscripted Department. Industry veterans, president Steve Lassiter and his partners Heath Baumor and Matt McGuire will lead the Nashville-based agency, which had a concentration in concert touring prior to this expansion. The new infrastructure will give the agency talent outposts in Chicago, Los Angeles, Nashville, New York and Tampa. –Jessica Nicholson
WME appointed Alexis Rosenberg as senior director of external relations in its Nashville office, a new role designed to enhance connections with the Nashville business and entertainment communities. Reporting to WME senior partners and Nashville co-heads Becky Gardenhire, Joey Lee and Jay Williams, Rosenberg will work with corporate communications and marketing to foster corporate partnerships, sponsorships and strategic relationships. She will act as a liaison across music, sports, and business sectors, boosting WME’s industry presence and client support. Rosenberg brings over a decade of experience in professional sports, including roles with the NBA’s Orlando Magic and Major League Soccer’s Nashville Soccer Club.
Ralph Torrefranca has been promoted to executive director of writer creative at Angry Mob Music Group, where he has been a key player since 2015. Torrefranca has significantly contributed to the success of hits like “My Fault” by Shaboozey and “She Likes It” by Russell Dickerson. He has also fostered the growth of writers and producers such as Bus and Bailey Bryan. In his new role, Torrefranca will continue to oversee the creative development of Angry Mob’s roster and expand his influence across company projects. He founded The New Normal, an inclusive writing camp that highlights underrepresented voices in music, with over 70% women participation and representation from over 10 cultural backgrounds. Torrefranca is based in L.A. and will continue to report to Angry Mob’s CEO Marc Caruso, who said “his ability to work with and develop relationships that reach the core of who our writers and artists are as humans and creatives is incredibly unique and unlike any other A&R in music publishing.”
RADIO, RADIO: Connoisseur Media acquired Alpha Media, forming a combined company under the Connoisseur name, led by CEO Jeff Warshaw. The new entity will operate 218 stations across 47 markets, covering 20% of the U.S., and rank among the top 10 U.S. radio groups by station count and revenue. The deal, subject to FCC approval, is expected to close in late 2025 … Hope Media Group promoted Jeff Evans to vp of radio, having joined as WayFM Network program director in July 2023. In his new role, he’ll oversee WayFM programming, all program directors, and the creative audio services department, enhancing talent development across the Houston media group’s brands, including WayFM, Vida Unida and the God Listens Prayer App.
444 Sounds, the label services and management firm founded by former HITCO marketing exec Joe Aboud, appointed Izzy Parrell as director of streaming and digital partnerships. Parrell will manage streaming and digital strategies, enhancing the firm’s focus on long-term artist development and fan engagement. Previously at Apple Music, she shaped the platform’s global editorial voice, specializing in viral and pop playlist curation. As part of Apple Music’s global programming team, Parrell worked on Apple Music’s Viral Hits playlist and contributed to the 100 Best Albums list. “I’m beyond excited to join 444 Sounds at such a pivotal moment.” said Parrell “This team is reshaping the future of digital strategy in today’s ever-evolving music landscape, and I’m honored to be part of a mission that champions creativity, culture, and community.”
Tresóna named Jann-Michael Greenburg as president of the specialty licensing company. Greenburg, who has served as vp of business affairs since 2017 and interim president since 2024, brings early-career experience as an analyst for Deloitte UK. Founded in 2009 and based in Scottsdale, Ariz., Tresóna uses proprietary technology to streamline music licensing, ensuring proper rights for performances and recordings. Mark Greenburg, Tresóna’s Founder and Chairman, praised Jann-Michael’s impact on the business and his commitment to fair remuneration for songwriters.
Dynamic Talent International further expanded its Nashville presence with the opening of its new office at 401 Commerce Street. The company has also hired Nashville-based agent Robert Baugh, who will work alongside fellow Dynamic Talent International representatives in promoting artists including Danielle Bradbery, Drew Green and Erin Kinsey. Dynamic Talent International has operated in Music City for the past decade and has been instrumental in the K-pop arena, helping P1Harmony become the first K-Pop act to play at the Grand Ole Opry and aiding K-Pop artists including Mamamoo. –J.N.
Alex Stolls is now partner at Boyarski Fritz LLP, a top music and entertainment law firm where he has worked since 2017. Specializing in entertainment and intellectual property law, NYC-based Stolls represents a high-profile roster that includes the Estate of Maurice White, Lil Kim, Will Smith, JISOO of BLACKPINK, and top producers like Louis Bell and Hit-Boy. He also serves as outside business affairs counsel for companies such as Create Music Group and BMG. His early career included roles at William Morris Endeavor and Cowan, DeBaets, Abrahams & Sheppard LLP. Founding partner Jason Boyarski praised Stolls as a “homegrown success story,” citing his strategic thinking and key role in the firm’s growth.
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AEG promoted Katie Pandolfo from Dignity Health Sports Park to GM of Crypto.com Arena in L.A., effective June 1, succeeding Lee Zeidman … AEG also announced that Andrew Spencer has been named chief operating officer of AEG Presents Europe … EarthPercent, the Brian Eno-founded org taking on climate change, appointed five new U.S. board members … and Sara Nix and Joe Mortimer were named co-heads of creative at Capitol Music Group. [Keep Reading]
Last Week’s Turntable: New Head of Lumineers Label
Audacy has announced a slate of executive changes, with Kelli Turner appointed as president and CEO, while Chris Oliviero has been named chief business officer, and Bob Philips named as chief revenue officer.
Turner had been serving as interim president and CEO since January, after former Audacy chief David Field stepped down, and has served on the Audacy board since September 2024. Turner most recently served as managing director and CFO for Sun Capital Partners, and previously served as president and COO for Blackstone-owned music licensing and rights management SESAC Holdings. She has also served in various executive and leadership roles in the investment and media industries, including RSL Group, Martha Stewart Living, Time Warner, Allen & Company and Citigroup.
Oliviero was most recently market president for Audacy New York, and Philips was president of Audacy Networks and multi-market sales.
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“On behalf of the Audacy board, we are delighted that Kelli Turner has agreed to take on the permanent President and CEO role and lead Audacy through its next phase of reinvention and growth,” Michael Del Nin, chairman of Audacy, said in a statement. “She is an exceptional media executive who, along with Chris Oliviero and the rest of the Audacy team, will ensure we continue to invest in high-quality content to engage our audiences and provide best-in-class solutions to our partners.”
“It’s a privilege to lead Audacy at this exciting moment in its impressive history and the evolution of audio,” Turner added. “This is one of the most dynamic businesses in media and entertainment, and I am looking forward to partnering with Chris Oliviero and all of our teams to build on our momentum with audiences, creators and advertisers. I’m especially excited by the appointments of Chris and Bob, who know Audacy’s businesses inside out and whose track records in management, programming and sales are second to none.”
Oliviero has served as market president in New York since 2020 and previously spent over 23 years at CBS Radio (which became part of Audacy in 2017). Philips joined CBS Radio in 1996 and later took on the role of CRO for CBS Radio and Entercom. After Entercom’s rebranded as Audacy in 2021, Philips transitioned into his most recent role.
Audacy has also announced several departures, including COO Susan Larkin, chief digital officer J.D. Crowley, chief marketing officer Paul Suchman and executive vp and general counsel Andrew Sutor.
Mike Dash, who has been with Audacy’s companies for nearly 20 years, has been named executive vp and general counsel, and will succeed Sutor, who will stay on for a transition period.
Audacy, the second-biggest broadcast company after iHeartMedia, laid off 200 employees this week, according to a radio business source. “Audacy has made workforce reductions to ensure a strong and resilient future for the business,” added a company spokesperson, who wouldn’t confirm or elaborate on the layoffs. “We are streamlining resources to stay competitive in a rapidly […]
Audacy president/CEO David Field is stepping down, with current Audacy board member Kelli Turner to serve as interim president/CEO, effective immediately. A search is underway for Field’s permanent successor, the company said on Wednesday. Field has served as president of Audacy since 1998, and added CEO duties to his role in 2002. He will continue […]
Shaboozey’s “A Bar Song (Tipsy)” updates a long-standing country music tradition — drowning one’s sorrows in whiskey — by way of J-Kwon’s 2004 rap hit “Tipsy.” The first time the singer played it for his label, EMPIRE, one question was top of mind for those in attendance: “Everybody was like, ‘When are you going to country radio?’” recalls EMPIRE CEO Ghazi.
In Ghazi’s view, that was a “very limited” plan. He had a more ambitious one: Push the song to multiple formats simultaneously. “For a record like that,” he says, “it’s a no-brainer.” Shaboozey released “A Bar Song (Tipsy)” in April; within a month, EMPIRE was promoting it to five different segments of the airwaves.
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Radio promotion is traditionally expensive, which is why it’s one of the last frontiers in the music industry that is still dominated by the major labels. Yet “A Bar Song (Tipsy),” released by an independent, recently became the first single in history to crack the top 10 on Billboard’s Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay charts. (Adult pop is like regular pop but more sedate, while rhythmic usually mixes rap, R&B and some dance music; the rankings are based on airplay from a panel of stations in each format.)
“It’s important that Shaboozey has been able to show that you can do that as an independent artist,” says Heather Vassar, senior vp of operations for EMPIRE in Nashville. “We had several offers from majors who wanted to work the record, and it was really important that we were able to stay true to how we operate” — and scale the charts without their help. All that airplay counts towards the Hot 100, which Shaboozey has topped twice in non-consecutive weeks; notably, when “A Bar Song (Tipsy)” rebounded to No. 1 on the latest ranking, it was down in streams and sales, but up 11% in radio audience.
Songs that do well in multiple spaces on the airwaves usually unite coalitions of similar-minded formats. Miley Cyrus’ “Flowers” and The Weeknd’s “Blinding Lights,” for example, both hit No. 1 at pop, adult pop and adult contemporary. “Typically pop will share a lot with adult contemporary,” says Tom Poleman, chief programming officer at iHeartMedia. “It’s a similar group [of listeners], just an older demographic.”
The biggest R&B hits, however, tend to amass a different base of support. Robin Thicke, Pharrell Williams and T.I.’s “Blurred Lines” and Mariah Carey’s “We Belong Together,” both massive radio hits, reached No. 1 at adult R&B, mainstream R&B/hip-hop, rhythmic and pop.
EMPIRE, which has been traditionally strong in hip-hop and Afrobeats, will often promote songs to mainstream R&B/hip-hop, rhythmic and pop, according to Ghazi. But Shaboozey’s combination of formats is unusual. Only 13 songs have ever appeared on all four of the charts where he is now romping inside the top 10.
Country radio in particular has faced criticism in recent years for being unwilling to support songs by women or Black artists. Despite this history, 30 stations played “A Bar Song (Tipsy)” in April before EMPIRE sent the track to country programmers on May 3. “The streaming numbers were undeniable, but I was wondering how long it would take to convince a terrestrial country radio program director” to play the track, says Johnny Chiang, lead programmer for country music at SiriusXM and Pandora. “I am pleasantly surprised that they got it pretty quick.”
EMPIRE brought in Magnolia Music, an indie promotion company that has worked with the singer Randy Houser, to handle its country radio campaign. “Country radio, respectfully, always wants loyalty from artists,” Vassar says. “There was curiosity — is this one-and-done? Is Shaboozey going to go elsewhere [and stop paying attention to country radio] after this?”
Not everyone was concerned, though. For Tim Roberts, Audacy’s vp of country, Shaboozey “was already accepted by a bunch of country artists, so it just seemed natural” to play him. He first learned about “A Bar Song (Tipsy)” from a DJ who told him it was filling the floor at Coyote Joes, a country nightclub outside of Detroit, where Roberts also serves as a brand manager for WYCD. Two Audacy stations, KMLE and WPAW, were among the first prominent supporters of the song.
To quell other programmers’ anxieties, EMPIRE played them the rest of Shaboozey’s album, which has plenty of country signifiers, from pedal steel guitars to a sample of a horse neighing. In addition, Vassar says, the label introduced the singer to programmers when they were able to, “so they can understand the world that he’s building.” Roberts met Shaboozey the week of the Academy of Country Music Awards; the singer Jelly Roll brought him out during a performance at Billy Bob’s.
After EMPIRE officially started pushing “A Bar Song (Tipsy)” to country radio in May, 43 more stations threw it into their playlists immediately, including 38 owned by iHeartMedia. The format accounts for more than 20% of the single’s airplay so far, second only to top 40.
Shaboozey’s efforts to conquer pop and adult pop were aided by the fact that those formats have been more receptive to country songs recently — last year, Luke Combs’ “Fast Car” and Morgan Wallen’s “Last Night” both crossed the divide. That sound “has been working at the top 40 format,” says Matt Johnson, program director for WPLW. “And when you combine that with a feel-good song as the weather is getting sweltering, that’s a recipe for a summertime hit.”
iHeartMedia felt similarly. “We got really aggressive at pop on that song because we saw it taking off,” Poleman says. Pop stations now account for more than 40% of Shaboozey’s airplay.
While there has been common ground recently between country and pop-adjacent formats, it’s still rare for country and rhythmic stations to share tracks. “Sometimes programmers follow the rulebook too much where it’s like, ‘This song doesn’t fit the normal criteria of what a rhythmic record should sound like,'” acknowledges Jonathan Steele, brand manager for KKFR in Phoenix. “I listen to everything and ask, is this going to alienate our audience? With Shaboozey, I knew my audience was going to get that hook stuck in their head.”
The rhythmic format was slower to welcome “A Bar Song (Tipsy)” relative to country and pop. But the track kept showing up on Shazam charts in places like Columbus, Ohio, where Chris Harris oversees WCKX, another rhythmic outlet. He started playing Shaboozey’s single in May, and he now has his eye on another alcohol-fueled country-rap fusion, Moneybagg Yo’s “Whiskey Whiskey,” a collaboration with Wallen.
Harris also “took a gamble” at his mainstream R&B/hip-hop station, WIZF, and added “A Bar Song (Tipsy)” there recently. “We got a great response,” he says. But this is the one format EMPIRE targeted where “A Bar Song (Tipsy)” has faltered, failing to get near the upper reaches of the chart.
Still, “Next week, we should be top five at four formats,” Ghazi says. “I’m going to take a stab at going No. 1 at all four. Why not?”
It’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. Check out this year’s Pride List of top LGBTQ+ executives in the industry. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
Universal Music Sweden managing director Joakim Johansson has been promoted to president of the entire Nordics region for Universal Music Central Europe. He’ll continue MD’ing on the Sweden side but adds oversight of UMG operations in Denmark, Norway and Finland, as well as the Baltics (Estonia, Latvia and Lithuania). The individual directors of those markets (Casper Bengtson/Denmark, Kimmo Valtanen/Finland and Bjørn Rogstad/Norway) will now report directly to Johannson, who continues to beeline to Frank Briegmann, chairman & CEO of UMCE and Deutsche Grammophon. Johansson’s expanded role aligns with Briegmann’s ongoing strategy to amplify cross-market collaboration and innovations throughout Central Europe. Johansson joined the company in 2013 as GM of Universal Music Sweden, being promoted to MD six years later. “The Nordic countries boast a rich musical heritage and are at the forefront of industry innovation,” he said. “It’s an honor to lead our talented team in this vibrant region, and I look forward to driving our vision into the future.”
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Audacy elevated journeyman Jeff Sottolano to chief programming officer, effective immediately. Sottolano, who joined CBS Radio in 2001 as an intern and has served as executive vp and head of programing since 2021, will now oversee content strategy and creation in all formats across broadcast, streaming and podcasts, as well as work with product and technology teams on ways to improve creator tools and more. Over a 15-year stretch at CBS, which was acquired in 2017 by Entercom (later Audacy), Sottolano held programming roles in Rochester and Philadelphia before joining the front office in 2014 as director of programming. During the Entercom era, he rose to executive vp of programming, which carried over following the post-Audacy rebrand. For most of the last decade, Sottolano’s brand portfolio has gained market share in the A25-54 demo and he has led numerous company-wide initiatives including Audacy Launch, the company’s new music discovery platform for rising artists. “I consider myself so fortunate to work with our programmers, talent, anchors, reporters and producers who, together, build incredible brands, entertain and inform, and make a difference in the lives of millions of consumers every day,” said Sottolano.
Spirit Music Group appointed Lou Al-Chamaa to executive vp of A&R, a role based in Los Angeles and reporting to Spirit’s chief creative officer, Frank Rogers, who lauded the new hire’s “drive, passion and experience in building successful writer rosters” while in senior roles at AVEX USA, Sony Music Publishing and during his time as a consultant. “The opportunity to collaborate with such a forward-thinking team and contribute to the evolution of music creation is incredibly inspiring,” Al-Chamaa said. “I am deeply committed to fostering an environment where artists, songwriters, and producers can thrive creatively.”
Capitol Christian Music Group boosted its A&R efforts at a pair of its most storied imprints. Walter Thomas is promoted from director of artist development at CCMG to the new position of vp of artist development for Motown Gospel and TAMLA. Thomas, who joined the UMG label group last year, reports to CCMG co-presidents Brad O’Donnell and Hudson Plachy. Working closely with Thomas is Alexandria “Dria” Dollar, who joined CCMG in the role of senior director of A&R at TAMLA and Motown Gospel following a stretch as director of A&R at Reach Records in Atlanta. “These iconic labels have a legacy of inspiring and uplifting music,” said Thomas, adding that “Alexandria’s innovative approach and keen ear for talent are unmatched, and I am confident that together we will elevate our artists to new heights.”
Kelly Bolton
Credit: Jessica Amerson
Warner Records added Kelly Bolton as vp of A&R. Working out of Nashville, Bolton will work with Warner co-chairman/CEO Aaron Bay-Schuck on signing, developing, and cultivating country artists for the Los Angeles-based label. Bolton will report to executive vp and head of A&R Karen Kwak. Over the past few years, Warner has added artists including Zach Bryan, Dasha and Warren Zeiders to its roster. Bolton most recently served five years at Ashley Gorley’s Tape Room Music, rising to senior vp of A&R. Prior career stops include Big Deal Music and Black River Entertainment. –Jessica Nicholson
RADIO, RADIO: Vox co-founder Melissa Bell is the next CEO of Chicago Public Media, non-profit owner of WBEZ and the Chicago Sun-Times. She succeeds Matt Moog and officially starts Sept. 3 … Not so fast on that retirement, Joe Verbrugge. SiriusXM‘s chief commercial officer was supposed to depart yesterday (June 27) but will instead remain in place until July 31 before switching to a part-time role as advisor to the CEO through the end of the year.
Wasserman Music added three veterans to its global ranks as it looks to build on the firm’s suite of client services. Joining the London team as manager of tour marketing is Adam Clements, who has 15 years of experience between stops at Birmingham’s O2 Academy and O2 Institute, Eventim UK and AEG Presents. Over in Chicago, Oskar Muller joined as director of pricing & ticketing (Chicago) after serving as pricing director at Live Nation Entertainment. Finally, in sunny L.A., Jenn Rilloraza joined as manager of brand partnerships following time as director of marketing, brands and creative services for Create Music Group’s VRTCL vertical. “We are relentless in continually creating new ways to serve our valued clients around the world, and these important new additions to Team Wass reflect that,” glowed Wasserman Music president Lee Anderson.
The Academy of Country Music made promotions and new hires across several departments. Tommy Moore has been promoted to chief of staff and vp, industry relations & awards, board administration and governance. Kris Reyes has been promoted to senior director of finance, operations and HR. Meanwhile, Jesse Knutson has been elevated to director of publicity and media relations. Haley Montgomery has been elevated to director of industry relations & awards, while Jennifer Davis has been promoted to senior manager of events. Brittany Uhniat has been promoted to manager of content & creative production. New hires include Katie Casserly as coordinator of social media, with Maggie Feyrer hired as coordinator of strategic partnerships and Delaney Loughran as assistant, industry relations & awards. –J.N.
BOARD SHORTS: The Association of Music Producers elected Matt Nelson of Yessian Music as the ad music trade group’s new president of its national board. Nelson, who joined the board’s eastern chapter six years ago, succeeds Carol Dunn as national board president. Succeeding Nelson as president of the eastern chapter will be Made Music Studio executive Amy Crawford … The International Bluegrass Music Association elected two new members of its board and welcomed the return of a third. After a year away, former IBMA board chair Mike Simpson is back, and joins newcomers CJ Lewandowski and Annie Savage as board officers … Musicians On Call appointed True Public Relations co-owner Marcel Pariseau and songwriter Sam Hollander to its national board of directors.
Dylan Brewer, a veteran label executive and experiential marketer, launched a new creative music company dubbed FRAUDULENT. Since forming, the Los Angeles-based firm has already worked on campaigns for Laufey (alongside Microsoft) and Jessie Reyez. The two-time Clio award winner was most recently vp of marketing and head of experiential at Epic Records, working on a roster including Ozzy Osbourne, Madison Beer, Bakar, BEAM, AG Club, Headie One, J Hus and more. Prior to joining Epic in 2018, Brewer was a marketing and strategy lead at Def Jam Recordings for over three years, and earlier in his career produced music campaigns at Google. Reach out to Brewer at hi@fraudulent.live.
WHY&HOW added veteran artist manager Patrick Farr to its management team, based in Nashville. Farr arrives following six years at his own Revelator Management company, and another six at Philymack before that. During his career he has worked with such artists as Nick Jonas, DNCE and Demi Lovato, as well as Sophia Scott, who comes with him to WHY&HOW. “Not only does Patrick bring immense experience, but a fitting addition to our roster in Sophia Scott,” said WHY&HOW founder & CEO Bruce Kalmick. “I’ve been a fan of Patrick’s work ethic and savvy approach to artis development for a long time – we look forward to having him jump in with our team.”
NASHVILLE NOTES: Lauren Thomas was promoted to Columbia Nashville svp of promotion from vp and will have a day-to-day role with both the Columbia and RCA Nashville imprints … Big Machine Label Group promoted Ashley Sidoti to svp of promotion and digital for its Valory Music Co. imprint. Sidoti most recently served as vp of promotion and digital … The Gospel Music Association appointed veteran producer, marketer and network leader Steve Gilreath as executive director of the Christian & Gospel Music Museum at the Dove Center. Gilreath will report directly to Jackie Patillo, president of the Gospel Music Association … The Academy of Country Music is looking for a director of brand creative and design, as well as a director of strategic partnerships. View the listings here.
Influencer marketing agency VRTCL elevated Imani “Mango” Lewis to director, overseeing operations for the entire VRTCL team. Lewis, who is based in Los Angeles, joined VRTCL in March 2021 as music department manager before rising to head of music — and then director of music — last year. Recent wins for the viral content firm include campaigns for Beyonce’s “Texas Hold Em,” Kasha’s “Austin” and Lil Durk’s “All My Life.” “Imani’s exceptional talent and dedication have consistently driven some of our most successful influencer campaigns in recent years,” said Ash Stahl, CEO of umbrella company FH Media. “Her innovative strategies and unwavering commitment to excellence make her an invaluable asset to the VRTCL team.”
BSI Merch, a UK-based independent music merch and tech company, selected Charlie Simmonds to lead its expansion into the Asia-Pacific market. Located in Tokyo, the new outpost will primarily focus on e-commerce, merch supply, tour support, sales and superfan-related services. “By focusing on e-commerce and localising our services, we aim to deliver world-class support and grow our presence in this key market,” said Andy Allen, CEO. Throughout his career, Simmonds has worked with such artists as Billie Eilish and Sticky Fingers, and events including New York Comic Con and Signature Brew.
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UK Music made it official, appointing interim chief Tom Kiehl as full-on chief executive of the music trade body. He succeeds Jamie Njoku-Goodwin, who left last year to work for soon-to-be former Prime Minister Rishi Sunak … Music agent Cheryl Paglierani joins CAA from UTA, where she served as a partner … Rodrigo Prichard was named general manager of Rimas Entertainment, effective July 1. Meanwhile, Kristen Quintero-Garriga has been named vp of brand partnerships under RIT.MO.
Last Week’s Turntable: SXSW London Staffs Up
Jelly Roll‘s hard-fought journey from prison inmate to Billboard chart-topper is well-known, and was even the focus of the Hulu documentary Jelly Roll: Save Me. Onstage and in interviews, he is unfiltered and down-to-earth in relating to his audience and sharing his story. Explore Explore See latest videos, charts and news See latest videos, charts […]
Audacy has reduced its workforce by 2%, according to a company spokesperson. Affected employees included a Boston sports reporter who was laid off the day before today’s NFL Draft, a Chicago afternoon news anchor and roughly 98 other employees, according to reports. “It’s like, ‘How many layoffs can they go through before there’s nobody left?’” […]
Six weeks after Audacy filed for bankruptcy, a corporate maneuver that sees Soros Fund Management emerge as the radio company’s primary shareholder.
Soros Fund Management takes its seat at the head of the table after acquiring a sizeable chunk of Audacy’s debt, roughly $414 million in total.
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The private investment management fund takes around 40% of Audacy’s total senior debt, source tells the New York Post, outsizing the stakes held by the likes of PGIM, Capital Commercial Finance, Goldman Sachs Asset Management, Mockingbird Credit Opportunities Company, and Solus Alternative Asset Management.
Billboard reached out to Audacy but reps hadn’t responded at press time.
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Led by chairman George Soros, who founded the private investment management fund in 1970, Soros Fund Management has experience working with radio and media assets, including $80 million invested for Latino Media Networks by way of Lakestar Finance, notes Radio Ink, plus investments in Vice Media and Crooked Media.
Addressing the Soros development, Audacy noted, “The decision by our existing and new debtholders to become equity holders in Audacy represents a significant vote of confidence in our company and the future of the radio and audio business.”
Its statement continues, “We expect to emerge from our restructuring process with a strong capital structure and well-positioned to capitalize on our strategic transformation into a scaled leading multi-platform audio content and entertainment company. We intend to continue running our business, executing our strategy and delivering for our listeners and advertisers as we always do.”
The Soros investment comes amid a turbulent time for Audacy, which on Jan. 7 said it would file for Chapter 11 bankruptcy protection to reduce debts.
The Philadelphia-based broadcasting giant, formerly named Entercom, said at the time that a deal with debt holders would reduce its debt load by about 80%, from $1.9 billion, acquired primarily from its 2017 merger with CBS Radio, down to $350 million, according to The Hollywood Reporter.
That agreement, first disclosed by The Wall Street Journal, would give Audacy’s debt holders equity in the reorganized company.
Audacy’s portfolio includes 230 radio stations, among them WCBS in New York, KROQ in Los Angeles, WFAN Sports Radio in New York and WBBM Newsradio in Chicago. Audacy’s podcasting brands include two studios, Cadence13 and Pineapple Street Studios, and Popcorn, an online marketplace for connecting creators and brands. Each month, the business claims to engage with over 170 million.
Trouble was brewing back in May 2023 when the business warned that a weak financial outlook could cause it to default on its debt.
Audacy has previously said it does not expect any operational impact due to the bankruptcy and restructuring.
A hearing to approve the Audacy restructuring plan is set for Feb. 20 in a Houston bankruptcy court.
Radio company Audacy has reached a deal with a supermajority of lenders for a prepackaged Chapter 11 bankruptcy deal that will reduce its debt from $1.9 billion to $350 million, the company announced Sunday (Jan. 7). The agreement, first disclosed last week by The Wall Street Journal, will give Audacy’s debt holders equity in the reorganized company.
Chapter 11 proceedings began on Sunday in the United States Bankruptcy Court for the Southern District of Texas. Audacy filed a proposed plan of reorganization that incorporates the terms of the agreement with lenders. The company expects the court to hold a confirmation hearing in February and to exit bankruptcy proceedings once it receives FCC approval.
Some of Audacy’s lenders have committed to providing $57 million in debtor-in-possession financing — $32 million from a term loan and $25 million from an increase in an existing accounts receivable financing facility. The financing, along with the company’s cash from operations, will help Audacy maintain its operations and pay its employees, vendors and partners.
Once the plan is approved by the court, the terms of the current board of directors will expire and a new board of directors will be assigned. The plan of reorganization calls for the new board of directors to adopt a management incentive plan to reward employees and directors of the reorganized company. The plan will set aside 10% of new common stock for stock options, restricted stock, appreciation rights and other equity-based awards.
A 2017 merger with CBS Radio helped Audacy — then named Entercom — expand its business but also increased its debt load. The interest payments would have been more manageable in a growing business, but “the perfect storm of sustained macroeconomic challenges over the past four years facing the traditional advertising market has led to a sharp reduction of several billion dollars in cumulative radio ad spending,” David J. Field, Audacy chairman/president/CEO, said in a statement. “These market factors have severely impacted our financial condition and necessitated our balance sheet restructuring.”
The Philadelphia-based company’s portfolio of about 230 radio stations includes WCBS in New York, KROQ in Los Angeles, WFAN Sports Radio in New York and WBBM Newsradio in Chicago. Audacy’s podcasting brands include two studios, Cadence13 and Pineapple Street Studios, and Popcorn, an online marketplace for connecting creators and brands.
Sunday’s announcement eliminated nearly half of Audacy’s remaining equity value as the company’s share price fell 47.1% to $0.1058 on Monday. Audacy has traded over the counter since it was delisted from the New York Stock Exchange in May. A 30-for-1 reverse stock split increased the share price from $0.07 to $2.13 on June 30, but the stock lost nearly all its value over the next six months as financial problems mounted.