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Taylor Swift blocks-out the entire top 5 on Australia’s albums chart, as Swifties fire-up her catalog just days out from the start of her tour Down Under.
The U.S. pop superstar leads the ARIA Chart, published Friday, Feb. 9, with 1989 (Taylor’s Version) (via Universal), which clocks its 14th non-consecutive week at No. 1, tying with Midnights as her longest-running leader.
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It’s all TayTay from there, as Midnights (Universal) holds at No. 2, Lover (Universal) lifts 8-3, Reputation (Big Machine/Universal) holds at No. 4, and Folklore (Republic/Universal) fires 8-5.
It’s not the first Swift Sweep of the ARIA Chart. The “Wildest Dreams” singer completed what was then an unprecedented lock-up of the top 5 last July, led by Midnights, followed by Lover, 1989, Reputation, and Folklore, respectively.
On that occasion, Swift-mania was triggered by the general ticket on sale for her The Eras Tour of Australia in 2024, produced by Frontier Touring.
The time has come. Swift will play her hits across seven concerts at the Melbourne Cricket Ground and Sydney’s Accord Stadium, starting from next Friday (Feb. 16) at the MCG.
No other artist has come close to commanding the ARIA top 5. The late Michael Jackson was the standard-bearer before Swift, once landing the top three albums on the chart a week following his death in 2009.
The top new release on the latest ARIA Albums Chart is Prelude To Ecstasy (Island/Universal), the debut LP from the critically-lauded British group The Last Dinner Party. It’s new at No. 35.
Prelude To Ecstasy zoomed ahead on the midweek U.K. chart, and should give the London five-piece group a No. 1 there, adding to their growing collection of trophies which includes the BRITS Rising Star Award and the BBC Sound of… 2024 poll.
Over on the ARIA Singles Chart, Noah Kahan sticks a second week at No. 1 with “Stick Season” (Universal), ahead of Jack Harlow’s former leader “Lovin On Me” (Atlantic/Warner), holding at No. 2.
U.S. viral star Benson Boone has a new career high with “Beautiful Things” (Warner), which improves 9-3. Until “Beautiful Things,” his ARIA Chart best was No. 34 for 2022’s “Into The Stars.”
Finally, Dom Dolla marches into the top 10 for the first time with “Saving Up” (Sony). A standout on the triple j Hottest 100 poll, where it dropped in at No. 3, “Saving Up” lifts 11-10 on the ARIA Chart.
“Saving Up” is one of 11 homegrown recordings in the top 100, ARIA reports, including cuts by Royel Otis, Troye Sivan, Vance Joy, Ocean Alley, FISHER with Kita Alexander and Flume with Kai.
The ultimate power couple is back. Gwen Stefani and Blake Shelton teamed up on Friday (Feb. 9) to release their newest duet, the retro-tinged “Purple Irises.” The song comes just two days after the couple announced the track with the 1970s-inspired cover art, in which Stefani is seen lounging on a couch in a denim […]
Karol G will be honored alongside other amazing women at Billboard’s Women in Music Awards on March 6. Landon Barker took to social media to confirm his breakup with Charli D’Amelio. Britney Spears posted a throwback photo on Instagram that featured actor Ben Affleck; the singer revealed that she made out with the actor the […]
Worldwide Independent Network (WIN), the organization that brings together local independent music trade bodies across the globe, taps five new board members, while ratifying the reappointment of its chair and treasurer.
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Dario Draštata (Dallas Records, Croatia), Fran Sandoval (IMICHILE, Chile) and Marty Ro (Sound Republica, South Korea) are among the new directors named to the 20-strong WIN board, announced Thursday, Feb. 8. The other new faces are Alejandro Varela (S-Music, Argentina) and Sridhar Swaminathan (SIMCA, India), who are named as observers.
The trade association gives “warm thanks” to outgoing members Francesca Trainini (PMI, Italy), Jeffrey Chiang (Fluxus, South Korea) and Oliver Knust (IMICHILE, Chile).
Renewed each year, the board is comprised of independent music company and trade association representatives from around the world, appointed by WIN members on a geographical basis.
The organization rings in the changes this year by creating a new international structure based on five regional blocs: North America, Latin America, Europe, Asia and Australasia, a move that reflects “diversity of languages, genres and cultures that make up its membership,” reads a statement.
Meanwhile, Zena White (Partisan Records, U.S.) and Maria Amato (AIR, Australia) are reappointed as chair and treasurer, respectively. Melbourne-based Amato, the CEO of the Australian Independent Record Labels Assn., in 2022 became WIN’s first female chair and the organization’s first from the southern hemisphere.
“I am grateful to be given the opportunity to continue as chair of WIN and my congratulations go to our five new board members,” comments White in a statement. “Our North Star is to strengthen the sector by having an independent music trade association in all countries where there is a commercial music business. The new regional bloc structure reflects our purpose to connect as many territories as we can. I am particularly proud of WIN’s work with groups in Latin America and Asia-Pacific on their specific agendas, as well as adding associations in India, Paraguay and Bulgaria to our membership.”
The organization launched in 2006 and became a trade association in 2016, serving as a global coordination and support body for the independent sector, and representing thousands of music companies and professionals worldwide. Its focus is on long-term development and sustainability.
Each year, WIN commissions and publishes the WINTEL market report that measures the economic and cultural impact of the independent music sector globally.
Next up, White and Noemí Planas, CEO of WIN, will join reps from member associations in other Latin American countries to visit Guadalajara, Mexico in late February and early March for the FIM GDL conference and to host an independent labels summit and WINHUB networking gathering.
WIN board for 2024:North America
Garry West (Compass Records, U.S.)
Gord Dimitrieff (Aporia Records, Canada)
Jason Peterson (GoDigital Media Group, U.S.)
Richard Burgess (A2IM, U.S.)
Zena White (Partisan Records, U.S.)
Observer: Tony Kiewel (Sub Pop, U.S.)
Latin America
Francisca Sandoval (IMICHILE, Chile)
Sandra Rodrigues (ABMI, Brazil)
Observer: Alejandro Varela (S-Music, Argentina)
Europe
Dario Draštata (Dallas Records, Croatia)
Gee Davy (AIM, UK)
Geert De Blaere (N.E.W.S., Belgium)
Jörg Heidemann (VUT, Germany)
Mark Kitcatt (Everlasting Records, Spain)
Observer: Helen Smith (IMPALA, Europe)
Asia
Marty Ro (Sound Republica, South Korea)
Takuya Yamazaki (IMCJ, Japan)
Observer: Sridhar Swaminathan (SIMCA, India)
Australasia
Maria Amato (AIR, Australia)
Observer: Dylan Pellett (IMNZ, New Zealand)
Vinyl Group now has a fourth pillar.
Following the completion of its acquisition of The Brag Media, the Sydney-based music and tech specialist doubles-down on its mission to build revenue and integrate its new asset.
As previously reported, the transaction is funded with a new investment by billionaire WiseTech Global founder and CEO Richard White, by way of an A$11 million ($7.5 million) placement and debt facility, uniting the only music specialist company listed on the Australian Securities Exchange (ASX) with the market leader in premium youth content and events.
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“Our real mission or vision that we all have in the company is to empower and power all facets and parts of the music ecosystem,” Vinyl Group CEO Josh Simons tells Billboard.
When the group, previously known as Jaxsta, prior to a rebrand in early December, spotted an opportunity with The Brag Media, “we also knew that the company was going to evolve into more of a portfolio music company,” Simons continues.
Prior to the purchase, Vinyl Group’s portfolio was built on the three pillars of its music credits business Jaxsta; the leading music industry social-professional network and talent marketplace Vampr; and Vinyl.com, the online record store. The Brag Media, with its range of titles including Rolling Stone AU/NZ, Variety Australia, Tone Deaf and trade title The Music Network, is its fourth pillar.
Vinyl.com is a “very fast growing ecommerce platform, it speaks to the fan,” Simons continues, “but a huge part of connecting the dots here is connecting fans as creators, and media and events and everything that The Brag does, fills that gap.” When the opportunity came across the table, and “when we knew what direction they were boldly headed in, it made a lot of sense and got us excited very quickly.”
The amalgamation of both business presents “some really obvious low hanging synergies,” he explains, pointing to sales synergies between Vampr and The Brag Media as one example, “but broadly speaking, it plugged a hole in this broader flywheel of servicing all participants in the music ecosystem.”
People, product and process – “that’s really always my focus,” explains Simons.
The co-founder of Vampr, Simons was elevated from chief strategy officer to CEO in June 2023, succeeding Beth Appleton, who stepped down as CEO with immediate effect.
“Revenue, cost efficiency and profitability remain the top priorities for Jaxsta,” Simons commented at the time of his ascension, “and I look forward to building on the current momentum.”
The agenda remains the same.
“The headline KPI was four quarters of consecutive revenue growth and moving towards profitability,” Simons says. “Under my tenure, we’ve released three quarters of performance. And in each quarter, we’ve averaged 204%, quarter over quarter.” The Brag deal “turbo charges that”.
The completion of the acquisition was confirmed with a statement Feb. 1, when stock was trading at $0.063. At the close of trading today (Feb. 8), VNL stock was trading at $0.066, for a market cap of $41.73 million.
Prior to the deal going through, The Brag Media bolstered its executive team with a triumvirate of appointments. Dane Robertson returned to the company in the newly-created role as head of client and event partnerships in Australia and New Zealand, following a stretch at media firm Pedestrian Group. Also, Denise Barnes joined as client projects director following six-plus years with lifestyle site Man of Many, most recently as head of branded content, and Anan Salvarinas joined the team as senior creative strategist, following two-and-a-half years with LADbible Australia, including a recent run as senior creative (brand).
This year is an “important” one for the business “as we focus on integrating The Brag Media into Vinyl Group’s properties as well as continued strong growth of our technology products,” explains Simons in the Feb. 1 statement to the ASX. “We now have a very clear path to profitability.”
Colombian band Morat sat down with Billboard‘s Chief Content Officer of Latin/Español, Leila Cobo, to talk about their upcoming tour in Latin America, performing in El Campín stadium in Colombia and more! Tetris Kelly: Morat is about to hit the road and Leila Cobo sat down with the boys to talk about touring. Leila Cobo:This […]
Singer-songwriter and Nashville native Conner Smith reaches the Billboard Hot 100 chart for the first time with his single “Creek Will Rise.”
Released in February 2023 on Valory Records, the track debuts at No. 89 on the Feb. 10-dated chart with 14.4 million radio airplay audience impressions (up 2%) and 3.3 million official U.S. streams (up 177%) Jan. 26-Feb. 1, according to Luminate.
The song’s profile was boosted by the Jan. 26 release of his debut full-length, Smoky Mountains. The 12-song set, which includes “Creek Will Rise,” debuts at No. 42 on Top Country Albums with 6,000 equivalent album units earned in its opening week.
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“Creek Will Rise” also holds at its No. 14 high on Country Airplay and jumps 31-23 for a new best on the multimetric Hot Country Songs chart.
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Previously, the 23-year-old charted two tracks on Country Airplay: “Learn From It” (No. 38 peak, 2021) and “Take It Slow” (No. 52, 2023). He scored his first overall chart appearance in October 2021, when “I Hate Alabama” debuted and peaked at No. 21 on Country Digital Song Sales after going viral on TikTok. The song surged after the third-ranked University of Georgia defeated top-seeded University of Alabama in the College Football Playoff National Championship on Jan. 10, 2022, giving Georgia its first trophy since the 1980 season. The timely lyrics, “I hate Alabama/ I hate crimson red/ I hate how they yell ‘Roll Tide’ when I got a Braves hat on my head” were particularly prescient.
That breakthrough helped Smith ink a deal with Big Machine’s Valory imprint. In January 2022, Billboard named him Country Rookie of the Month. “The Lord’s timing is perfect and that was true with [“I Hate Alabama”]. We put out this song on a Friday and the very next day, Alabama lost in football for the first time in two years,” Smith told Billboard at the time. “That is what made the song explode. So now anytime Alabama is playing, the song gets some love.”
Smith is the first Valory signee to debut on the Hot 100 in 2024. Three songs on the label entered in 2023: Justin Moore and Priscilla Block’s “You, Me, & Whiskey” (No. 37 peak), Thomas Rhett’s “Mamaw’s House” featuring Morgan Wallen (No. 55), and Rhett’s “Angels Don’t Always Have Wings” (No. 69).
AC/DC is about to rock, again.
The Rock Hall-inducted band teases something massive, by way of their social accounts.
After a glimpse at the Australian rockers’ iconic lightning bolt, a countdown to a snippet of “Are You Ready,” lifted from 1990’s The Razors Edge.
A storm is clearly brewing. Those signs of life could point to a tour, the warm-up for which was AC/DC’s performance October 2023 at Goldenvoice’s debut PowerTrip festival in Indio, California, their first in seven years.
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An AC/DC reunion is always a blockbuster moment.
The band’s 18th and most recent studio album, Power Up, blasted to the summit of the Billboard 200, for their third leader, and on the Official U.K. Albums Charts, for their fourth No. 1.
In their homeland, Power Up charged to No. 1 on the ARIA Chart for their sixth leader, setting a unique record as the only Australian group to have No. 1 albums in each of the past five decades.
Power Up welcomed back British frontman Brian Johnson, who had stepped aside while touring in 2016 due to hearing-loss issues (Axl Rose of Guns N’ Roses filled in on 22 shows), and saw drummer Phil Rudd reunite with the group after a stint in rehab.
Angus Young and Co. didn’t tour in support of Power Up. Their seven-leg, 17-month-long stadium tour Rock or Bust tour wrapped up in September 2016 and remains the band’s last full-scale jaunt. Formed in Sydney, the rockers were inducted into the inaugural ARIA Hall of Fame, saluted at a ceremony in 1988, alongside Dame Joan Sutherland, Johnny O’Keefe, Slim Dusty, Col Joye and Vanda & Young.Later, in 2003, AC/DC were elevated into the Rock And Roll Hall of Fame, during a ceremony in the U.S. with Aerosmith’s Steven Tyler on induction duties.A decade later, in 2013, Back In Black was entered into the Grammy Hall Of Fame, established by the Recording Academy to honor “recordings of lasting qualitative or historical significance.”Produced by Mutt Lange, the record hasn’t lost any of its lustre. Earlier this year, its title track passed one billion streams on YT, joining an exclusive club of music videos from the 1980s. “Back In Black” is their second music video to reach the milestone, after “Thunderstruck” got there in November 2021.
Sia will break a lengthy drought this May when she releases Reasonable Woman, her tenth studio album and first pop LP since 2017.
Set to arrive May 3, the new LP is a celebrity affair featuring assists from Chaka Khan, Paris Hilton, Tierra Whack, Labrinth and fellow Australian pop superstar Kylie Minogue, whose week got off to the best possible start with a Grammy Award, taking home best pop dance recording for “Padam Padam.”
Collaborators, producers, co-writers, engineers on the fresh effort include Jesse Shatkin, Greg Kurstin, benny blanco, Jim-E Stack, Rosalía, bülow, Mark “Spike” Stent, and more.
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To celebrate the announcement, Sia shares her new collaboration with Kylie, “Dance Alone,” one of the LP’s 15 tracks.
“Dance Alone” is a favor returned. The Aussie artists previously collaborated on Kylie’s album Kiss Me Once, released back in March 2014.
The Reasonable Woman cover art features an image of a woman in orange suit with a striped grey blob for heads and hands, the type of art fans have come to expect from the singer who has often obscured her face in pictures and public appearances in an effort to maintain her privacy.
For a bit of fun, Kylie dresses as Sia in a photo accompanying the slapping new track, which can be streamed below.
Kylie Minogue as Sia
Photo credit: Erik Melvin
Warner Music Group pitches Reasonable Woman as Sia’s first proper solo album since 2016’s This Is Acting, which was mostly comprised of songs she wrote for other artists that were not released on their albums and featured the singles “Alive,” “Cheap Thrills,” “The Greatest” and “Unstoppable.” This Is Acting hit No. 4 on the Billboard 200 and No. 1 on the ARIA Chart.
The following year, the Adelaide, South Australia-raised singer and songwriter jingled into the holiday period with Everyday Is Christmas, her first with WMG’s Atlantic and first Christmas-themed album, followed by 2021’s companion soundtrack to the feature film Music, for which Sia made her directorial debut.
The “Chandelier” singer has amassed more than 50 billion audio streams, and landed 14 songs on the Billboard Hot 100, including a No. 1 with 2016’s “Cheap Thrills,” which led the tally for four weeks. Six of her LPs have impacted the Billboard 200, including a No. 1 for 2014’s 1000 Forms Of Fear.
Reasonable Woman includes the previously released single “Gimme Love.”
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Reasonable Woman track listing:
Little Wing
Immortal Queen (feat. Chaka Khan)
Dance Alone (Sia and Kylie Minogue)
I Had A Heart
Gimme Love
Nowhere To Be
Towards The Sun
Incredible (feat. Labrinth)
Champion (feat. Tierra Whack, Kaliii, Jimmy Jolliff)
I Forgive You
Wanna Be Known
One Night
Fame Won’t Love You (feat. Paris Hilton)
Go On
Rock and Balloon
Martin Kirkup, the well-respected co-founder of Direct Management Group, died Sunday, Feb. 4 while vacationing in Hawaii, according to his family. He was 75.
Kirkup currently managed Katy Perry, k.d. lang and Au/Ra, but over his decades-long career had also worked with artists including the B-52s, Counting Crows, Tracy Chapman, the Go-Go’s, Adam Lambert and many others.
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“Martin Kirkup and I conceived Direct Management while drinking Raki at a restaurant high above the Bosphorus in Istanbul, escaping the Los Angeles Olympics in 1984,” said Direct Management Group co-founder Steven Jensen in a statement. “We were both fans of alternative pop music and focused on establishing a boutique management company to support that exciting genre of music. I’m proud to have built Direct Management with Martin and Bradford Cobb to the global presence it has today, with integrity, honor and ingenuity, much of which was contributed by Martin. His influence is a permanent fixture of the Direct Management culture.”
The Tynemouth, U.K.-born Kirkup came to the U.S. in 1973 as a visiting professor of English Literature at the University of Rhode Island. Shortly thereafter, he moved to New York and joined A&M Records as east coast publicity director, eventually ascending to vp of artist development and working with such artists as Peter Frampton, Styx, Squeeze, Joe Jackson, the Police and Joan Armatrading.
Kirkup and Jensen opened Direct in Los Angeles in April 1985, with early clients Boy Meets Girl, Echo & The Bunnymen and Orchestral Maneuvers in the Dark, as well as guiding Roxy Music’s Bryan Ferry on his first solo international tour. In 1989, Direct experienced tremendous success with the B-52s’ quadruple-platinum album, Cosmic Thing, which included the massive hit “Love Shack.”
In the ‘90s, Direct continued to grow, working with the Counting Crows for a decade during which the band sold more than 25 million albums. Other clients during that decade included David Byrne, Joe Jackson, Seal and the New Radicals. In 1998, Bradford Cobb joined the company as a manager, becoming a partner in 2012.
Under the three principals, the company flourished in the early 2000s, overseeing the careers of lang, Perry, the Go-Go’s and Jamie Cullum. Subsequent clients also included Lambert and Steve Perry. Signing Katy Perry in 2004 was automatic, Kirkup told Billboard in 2012. “To us, it’s not remarkable that she’s hugely successful-without sounding like wise-asses, that’s why we signed her,” Kirkup says. “We really believed in her and felt she had huge potential.”
“Martin Kirkup was a class act, a gentleman, and he was brilliant,” Cobb told Billboard in statement. “Over my 25 years working alongside him at Direct, he had a major influence on my growth as a manager and a human. Of his many talents, one that I admired most was his ability to take a problem and dissect it down to its core, finding a solution with a calm demeanor that gave everyone around him confidence. Martin had excellent taste in music, and he had great reverence for the artists who created it. He was witty with a wicked sense of humor. Martin was also warm and genuinely caring, and it was an honor to be his partner.”
Kirkup, who was on Billboard Power 100 list in 2017, was a fierce advocate for his artists, but always found time to help the next generation of executives. He doled out advice freely, mentoring a number of younger managers who came to him for advice.
He is survived by his wife Lale Kirkup, daughter Melisa Kirkup Blatt and son-in-law Ben Blatt, son John Kirkup and daughter-in-law Lorien Kirkup, and three grandchildren, Sam, Abigail, and Ivy. Details on a celebration of life will come at a later date.