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Jeremy Furze was named as manager of the year at the 2024 AAM Awards in Sydney on Wednesday, May 1, recognition for his behind-the-scenes work guiding the Teskey Brothers’ stellar year.
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Furze collected the top honor at the third annual AAM Awards, following a stretch during which the Teskeys could do no wrong.
The Teskeys, Josh and Sam, hail from Warrandyte, Victoria, and had the touring world at their feet, selling 15,000 tickets in London, 12,000 tickets in Amsterdam, and 6,000 tickets in Los Angeles; their third studio album The Winding Way opened at No. 1 on the ARIA Chart; and the band won ARIA and Rolling Stone Awards. Just hours after the AAM Awards wrapped, another piece of silverware for the Teskeys, as they nabbed songwriters of the year at the 2024 APRA Music Awards.
Furze, founder of Applejack Music, is “an engaged member of the artist management community, recognizing the importance of mentorship and shared knowledge,” reads a statement from the Association of Artist Managers, the trade body that produces the annual awards. “He has mentored under the Co-Pilot program for the past two years and frequently opens his door to independent artists and managers for informal support and career consultation.”
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As festivals fall over, venues close and Australian artists struggle to impact the national sales charts, Furze told his peers from the stage, “We’re in a pretty deep crisis. It’s going to be up to all the people around this room to keep us on track in the next few years, and we need support ourselves…we’ve got to do it for each other.”
Other winners at the AAM Awards included Megan Rasmussen and Harry White (Future Classic) for breakthrough manager of the year; Kerry Kennell, chief of Kennell & Co, for community engagement award; Our Golden Friend’s Lorrae McKenna for the patron’s gift – an initiative of the late Michael McMartin; and Hayley-Jane Ayres, 360 Artist Logistics, who was the recipient of the APRA AMCOS Lighthouse Award, which includes a A$5,000 cash prize to support her business and professional pursuits.
As previously announced, Tame Impala manager Jodie Regan, founder of Spinning Top Music, scooped the Legacy Award. Presenting the award, Damien Trotter, managing director of Sony Music Publishing Australia, remarked that Regan, who is based in the remote Western Australia capital, Perth, led with “loyalty, trust and integrity,” and got about her work “without a hint of arrogance.”
AAM executive director Maggie Collins delivered the quote of the day when she told the house that AI “will never replace artist managers, because even robots wouldn’t want to do our job.” Collins also unveiled a touring initiative, “Michael’s Rule,” named after McMartin, that the management community hopes will give homegrown artists a much-needed lift.
Guest speakers at a packed Sydney Crowbar included John Graham special minister of state, minister for roads, minister for arts minister for music and the night-time economy, and minister for jobs and tourism; and performers included Folk Bitch Trio and Miss Kaninna.
The AAM represents over 300 active managers, who in turn represent over 1,000 artists in contemporary music.
2024 AAM Awards winners:
Manager of the Year (Presented by Oztix)Jeremy Furze, Applejack Music
Breakthrough Manager of the Year (Presented by DMT Law Firm)Megan Rasmussen and Harry White, Future Classic
Community Engagement Award (Presented by Live Event Logistics)Kerry Kennell, Kennell & Co
Legacy Award (Presented by Sony Music Publishing)Jodie Regan, Spinning Top Music
Patron’s Gift (Presented by AAM Patrons)Lorrae McKenna, Our Golden Friend
APRA/AMCOS Lighthouse AwardHayley-Jane Ayres, 360 Artist Logistics
K-pop giant HYBE posted its lowest total revenue in two years as its recorded music segment sank to its lowest level in seven quarters, the South Korean company announced Thursday (May 2).
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HYBE had first quarter revenue of 360.9 billion won ($271.5 million), down 12.1% year over year and the lowest since posting 285 billion won ($214.4 million) in the first quarter of 2022. Operating profit fell precipitously to 14.4 billion won ($10.8 million), down 72.6% from the prior-year period.
HYBE’s share price was barely affected by the slowest quarter in years. The share price initially rose 1.7% to 205,500 won ($149.23) but my midday had fallen to 201,500 ($146.33), down 0.2%. The stock is down 13.7% year to date, however, and fell 12.6% last week following news that HYBE will report the CEO of its ADOR imprint, Min Hee-jin, to the police for “breach of trust and other related allegations.”
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Earnings before interest, taxes, depreciation and amortization (EBITDA), a measure of profitability that strips out non-cash items, was 39.8 billion won ($29.9 million), down 45% year over year and the lowest since the first quarter of 2021.
Concerts revenue of 44 billion won ($33.1 million) was up 74.5% year over year. Although that was the biggest year-over-year increase of any category, the first quarter of 2023 was abnormally slow. HYBE’s latest quarter was on par with 45.3 billion won ($34.1 million) of concert revenue in the fourth quarter of 2021, the first quarter the company had performances after COVID-19 restrictions shut down the touring industry.
Recorded music, the company’s largest segment at 40.2% of total revenue, fell 21.3% to 145.1 billion won ($109.2 million). HYBE successfully debuted two new groups during the quarter. Sparkling Blue, the debut EP by PLEDIS Entertainment boy band TWS, sold 260,000 units in its first week for and accumulated 500,000 units in the first nine weeks of release. Girl group ILLIT’s EP, Super Real Me, released through BELIFT LAB, sold 380,000 units in its debut week and reached the 500,000-unit mark in just four weeks. The single “Magnetic” debuted at No. 91 on the Billboard Hot 100 singles chart in April.
Merchandising and licensing fell 11.9% to 60.7 billion won ($45.7 million). Contents fared worse, dropping 29.8% to 61.1 billion won ($46 million).
Weverse, HYBE’s social media platform, saw its monthly active users (MAUs) decline for the second quarter. After reaching a peak of 10.6 million MAUs in the third quarter of 2023, MAUs fell to 10.1 million in the fourth quarter and 9.2 million in the first quarter. Both average revenue per paying user and payment amount fell below levels reached in 2022 and 2023; HYBE does not provide specific numbers for either metric.
Universal Music Group (UMG) and TikTok have struck a new licensing agreement which will soon bring UMG’s catalog of millions of sound recordings and songs back to TikTok after three months off the platform. Though it is unclear exactly when all of UMG’s catalog will return to the app, a press release about the new license says it will return in “due course” and the two companies are “working expeditiously” to return the music.
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UMG’s last license with TikTok expired at the end of January after negotiations soured between the two companies. UMG announced that its music would be pulled from the app starting Feb. 1 in a letter to its artists and songwriters, saying that TikTok refused to pay the “fair value” of music and that it had concerns about TikTok’s stance on AI and artist safety.
Eventually, over the course of February, millions of sound recordings and compositions in the UMG catalog were removed from TikTok, which has been known as perhaps the most effective artist promotion and marketing platform of the 2020s. This included the removal of superstars like Taylor Swift, BTS, Drake, Ariana Grande, The Weeknd, Lady Gaga, Lana Del Rey, Billie Eilish, Eminem, Nicki Minaj, Justin Bieber, Karol G and Post Malone. Its impact stretched even wider when UMG’s publishing interests were also removed from TikTok, which included many recordings released by other record companies.
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According to a press release about their new deal, UMG and TikTok will now enter a “new era of strategic collaboration” and that the deal “improves remuneration for UMG’s and artists, new promotional and engagement opportunities for their recordings and songs and industry-leading protections with respect to generative AI.”
The two companies will now collaborate to realize more monetization opportunities within TikTok’s ecommerce services, which the short-form video app has been leaning into in recent months, particularly with the launch of TikTok Shop. TikTok will also invest “significant resources into building artist-centric tools.” This will include integrating ticketing capabilities and better data and analytics.
To address UMG’s concerns about AI and artist safety, the press release says the app will strengthen safety for artists and fans and that the two companies will work together to remove unauthorized AI-generated music from the platform. Since the anonymous TikTok user Ghostwriter used the platform to release his song “Heart On My Sleeve” last year, which featured the AI voices of Drake and the Weeknd, TikTok has been a destination for AI voice parody songs, including one particularly popular original sound that paired an AI Lana Del Rey’s voice with Mitski’s “My Love Mine All Mine.”
TikTok will also “improve artist and songwriter attribution” as part of the deal, which will ultimately help UMG’s talent get paid for uses on the platform.
Lucian Grainge, Chairman and CEO, Universal Music Group, says of the deal: “This new chapter in our relationship with TikTok focuses on the value of music, the primacy of human artistry and the welfare of the creative community. We look forward to collaborating with the team at TikTok to further the interests of our artists and songwriters and drive innovation in fan engagement while advancing social music monetization.”
Shou Chew, CEO of TikTok, adds: “Music is an integral part of the TikTok ecosystem and we are pleased to have found a path forward with Universal Music Group. We are committed to working together to drive value, discovery and promotion for all of UMG’s amazing artists and songwriters, and deepen their ability to grow, connect and engage with the TikTok community.”
Ole Obermann, TikTok’s Global Head of Music Business Development, said: “We are delighted to welcome UMG and UMPG back to TikTok. We look forward to working together to forge a path that creates deeper connections between artists, creators, and fans. In particular, we will work together to make sure that AI tools are developed responsibly to enable a new era of musical creativity and fan engagement while protecting human creativity”.
Michael Nash, Chief Digital Officer and EVP, Universal Music Group said:“Developing transformational partnerships with important innovators is critical to UMG’s commitment to promoting an environment in which artists and songwriters prosper. We’re gratified to renew our relationship with TikTok predicated on significant advancements in commercial and marketing opportunities as well as protections provided to our industry-leading roster on their platform. With the constantly evolving ways that social interaction, fan engagement, music discovery and artistic ingenuity converge on TikTok, we see great potential in our collaboration going forward.”
Troye Sivan scooped song of the year at the 2024 APRA Music Awards, held Wednesday, May 1 at ICC Sydney.
The Australian pop artist nabbed the peer-voted category, the top honor at the APRAs, for “Rush,” co-written with Styalz Fuego, and lifted from Sivan’s third studio album Something to Give Each Other, which bowed at No. 1 on the ARIA Chart in October 2023.
Fuego was on hand to receive the ring-shaped award, the final presented on the night.
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“As a creative when I work with an artist that I’m already a fan of, I think like ‘don’t f— this us.’ It’s always like, I imagine this song could ruin their career,” he remarked. “I’m so happy that with Troye we did something that people ended up loving.”
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Sivan has been in sparkling form at awards ceremonies, dominating the 2023 ARIAs with four wins, and landing a Grammy nomination with “Rush” (best pop dance recording). Sivan (2017) and Fuego (2013) are both former recipients of the APRA breakthrough songwriter of the year category.
Meanwhile, blues act The Teskey Brothers snagged songwriter of the year, following the release of their ARIA No. 1 album The Winding Way, adding to a collection that includes ARIA Awards and a Rolling Stone Australia Award, won earlier this year for best record. The coveted prize is decided by the APRA board of writer and publisher directors.
Singer and songwriter Dean Lewis doubled up with APRAs for “How Do I Say Goodbye,” a tear-jerker that captures his shock after learning of his dad’s cancer diagnosis. “Goodbye” won for most performed Australian work and most performed pop work, lifting his all-time APRAs tally to six. During his taped acceptance speeches, Lewis gave a shoutout to the “great Mike Taylor,” the former chief of Island Records Australia who died in January following a battle with cancer, aged 54. “Goodbye” was the last song they worked on together, Lewis explained.
Other winners at the APRAs included grentperez, the inaugural recipient of the emerging songwriter of the year award; Parkway Drive for the inaugural most performed hard rock/heavy metal work category; ONEFOUR for most performed hip hop / rap work; Sia, landing most performed Australian work overseas for the fifth time; and Taylor Swift for international work of the year.
One of the highlights of the night was the presentation of the Ted Albert Award for Outstanding Services to Australian Music to Bart Willoughby, singer, songwriter and drummer with pioneering Indigenous rock band No Fixed Address. Long-time friends Stephen Pigram and Don Walker of Cold Chisel did the honors.
The 2024 edition of the APRAs “was a memorable night where we honored several first-time winners as well as established national treasures, including the extraordinary Bart Willoughby,” comments APRA AMCOS CEO Dean Ormston.
“In recognizing the incredible talent in Australia’s music landscape, it’s important to acknowledge that as an organisation that champions gender diversity through advocacy, funding and creative opportunities, there’s more to do to address the disparity in the industry of male to women, non-binary and gender diverse award winners.” He continues, “We must continually question the absence of diversity in every facet of the industry—whether in rooms, executive offices, on stages, or across airwaves and streaming platforms—and commit to amplifying the entirety of Australia’s musical brilliance.”
Established in 1982, the Australasian Performing Right Association’s annual songwriters’ ceremony is one of the Australian music industry’s most treasured events, a worthy counterpart to Britain’s Ivor Novello Awards.
Full list of 2024 APRA Music Awards winners:
Peer-Voted APRA Song of the YearTitle: RushArtist: Troye SivanWriters: Troye Sivan / Styalz Fuego* / Alex Chapman^ / Kevin Hickey^ / Brett McLaughlin~ / Adam Novodor~Publishers: Universal/MCA Music Publishing / Universal Music Publishing* / Kobalt Music Publishing^ / Sony Music Publishing~
Ted Albert Award for Outstanding Services to Australian MusicBart WilloughbySongwriter of the Year The Teskey BrothersWriters: Josh Teskey / Sam TeskeyPublishers: Mushroom Music obo Ivy League Music
Emerging Songwriter of the YearWriter: grentperezPublisher: Mushroom MusicMost Performed Australian Work Title: How Do I Say GoodbyeArtist: Dean LewisWriters: Dean Lewis / Jon Hume*Publishers: Kobalt Music Publishing / Concord ANZ*Most Performed Alternative WorkTitle: DaylightArtist: Birds of TokyoWriters: Ian Berney / Ian Kenny / Glenn Sarangapany / Adam Spark / Adam WestonPublisher: Mushroom MusicMost Performed Blues & Roots Work Title: Dancing in the DarkArtist: Ziggy AlbertsWriter: Ziggy AlbertsPublisher: Kobalt Music Publishing
Most Performed Country Work Title: Summer NightsArtist: Casey BarnesWriters: Casey Barnes / Michael De Lorenzis / Michael PaynterPublisher: Mushroom Music
Most Performed Dance/Electronic Work Title: Never Let You GoArtist: Jason Derulo & ShouseWriters: Jack Madin* / Edward Service* / Sean Congues / Jason Desrouleaux^Publishers: ONELOVE Publishing* / Sentric Music Publishing / Universal Music Publishing^
Most Performed Hard Rock/Heavy Metal Work Title: Darker StillArtist: Parkway DriveWriters: Benjamin Gordon* / Luke Kilpatrick* / Jeffrey Ling* / Winston McCall* / George HadjichristouPublisher: Kobalt Music Publishing*Most Performed Hip Hop / Rap WorkTitle: COMMA’SArtist: ONEFOUR ft. CGWriters: Spencer Magalogo* / Jerome Misa* / Salec Su’a* / Bailey Pickles / Chandler Hammond / Hugo Hui / Caleb TiedemannPublisher: Sony Music Publishing*Most Performed Pop Work Title: How Do I Say GoodbyeArtist: Dean LewisWriters: Dean Lewis / Jon Hume*Publishers: Kobalt Music Publishing / Concord ANZ*
Most Performed R&B / Soul Work Title: CinderellaArtist: JKINGWriter: Jordan Samatua
Most Performed Rock Work Title: Good TimeArtist: Polish ClubWriters: David Novak / John-Henry Pajak / Robby De SaPublisher: Sony Music PublishingMost Performed Australian Work OverseasTitle: UnstoppableArtist: SiaWriter: Sia Furler / Christopher Braide*Publishers: Sony Music Publishing / Concord ANZ* Licensee of the YearAustralian Calisthenic Federation IncMost Performed International Work Title: Anti-HeroArtist: Taylor SwiftWriters: Taylor Swift / Jack Antonoff*Publishers: Universal/MCA Music Publishing / Sony Music Publishing*
It’s Wednesday, May 1st, and Drake possibly responded to Kendrick Lamar’s diss track “euphoria.” Drake joined Nicki Minaj during the Toronto stop of her tour, and although he didn’t respond to the diss track on the stage, he may have made a reference to it on his Instagram Story with a monologue from Julia Stiles’ […]
Samantha McClymont, a founding member of Australian country act the McClymonts, is battling a rare type of breast cancer.
The 38-year-old artist shared the troubling news on her social media page.
“Last October, I found a lump,” she writes. “After initially being misdiagnosed,” she continues, her “life completely turned upside” down four months later when she was diagnosed with Triple Negative Breast Cancer. According to Cancer Research U.K., about 15% of breast cancers are of this type.
“It has become my full-time job having treatment,” she continues. “It has begun with chemotherapy/ immunotherapy, which in total will be 5 months, followed by surgery and then radiation.”
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Friends and family “have been incredibly supportive as Ben, the boys, and I navigate our new routine,” she writes in a post that’s accompanied with a picture of the singer getting hugs from her sons.
McClymont has wiped clean her work slate for the rest of the year, as she recovers from her illness. “I know I will come out the other side of this,” adds McClymont, “but it’s one step at a time.”
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The sibling trio – Sam, Brooke, and Mollie – has released six studio LPs, the most recent, Mayhem To Madness (Island Records Australia / Universal Music Australia), dropping in 2020 and opening at No. 3 on the ARIA Albums Chart. Mayhem To Madness was shortlisted for country album of the year at the ARIA Awards.
“Their harmonies are tight, and their songwriting is nothing short of first rate,” wrote Billboard’s late country writer Chuck Dauphin for a 615 Spotlight on the group, published in 2011. “For every Keith Urban that has been able to transcend nationalities with their sound in the genre, there are at least two that have not been able to. The McClymonts are making that jump – and making it successfully.”
Over time, the group has collected 13 Golden Guitar Awards, two ARIA Awards and an APRA Award.
It’s Tuesday, April 30th, and we have lots to go through with your favorites. Kendrick Lamar just dropped his new diss track aimed at Drake, titled “euphoria.” Katy Perry is seen rocking a new ‘do for ‘American Idol,’ Dua Lipa shares new blonde hairdo and Blue Ivy Carter is making her film debut alongside Beyoncé […]
The latest episode of American Idol was an eventful one, as the top seven contestants were identified, America waved goodbye to one hopeful, and a musical tribute was paid to the late Idol alum, Mandisa.
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Monday night was the Judge’s Song round of Idol’s 22nd season, a game within a game that saw the Top 8 perform one of three songs secretly selected by Luke Bryan, Katy Perry and Lionel Richie.
Will Moseley covered Johnny Cash’s “Folsom Prison Blues,” Kaibrienne sang “Traitor” by Olivia Rodrigo, McKenna Faith Breinholt hit Lissie’s “Everywhere I Go,” Jack Blocker belted out “Always On My Mind,” Abi Carter tackled “Bring Me To Life,” Julia Gagnon went with “Over The Rainbow,” Triston Harper impressed with Morgan Wallen’s “Sand In My Boots” and Emmy Russell performed Loretta Lynn’s signature song, “Coal Miners Daughter.”
Just to add some spice, America voted live for the Top 6, and the judges made a save for the Top 7. When the votes were tallied, Kaibrienne was eliminated.As previously reported, the special two-hour episode also welcomed back three American Idol alumni to pay homage to late season five star Mandisa. Melinda Doolittle (season six), Danny Gokey (season eight) and Colton Dixon (season 11) came together to sing one of Mandisa’s favorite songs, “Shackles” by gospel duo Mary Mary.The 47-year-old Grammy-winning Christian contemporary singer was found dead of as-yet-undisclosed causes in her home earlier this month.
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“Mandisa was an adored icon on American Idol and in the music industry,” read a statement from the show. “She had become a platinum-selling artist and had won [a Grammy] for her music. Her passing has left everyone on the show heartbroken, and we extend our deepest condolences to her family.”
Watch the performance below.
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Taylor Swift is on track for a second week at No. 1 in the U.K. with The Tortured Poets Department (via EMI).
Unlike last week when Tortured Poets creamed the competition en route to her 12th U.K. No. 1, TayTay has a challenger — in the form of Pet Shop Boys’ new album Nonetheless (Parlophone).
Based on midweek sales and streaming data captured by the Official Charts Company, Nonetheless sits at No. 2, roughly 1,000 chart units behind TayTay’s double-album.
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Nonetheless is the veteran British electronic-pop outfit’s 15th studio album, and is predicted to become their 19th U.K. top 10. If it holds its position, Nonetheless would become Neil Tennant and Chris Lowe’s highest-charting collaborative studio album since Very led the chart in 1993, one of the pair’s four No. 1s.
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Swift’s Tortured Poets last Friday, April 26, completed the chart cycle with the biggest opening-week in seven years, TayTay’s brightest-ever start in the U.K., and the fastest-selling album of 2024 so far. Also, she now joins Madonna as the solo female artists with the most all-time leaders on the U.K. albums chart, and draws level with Bruce Springsteen on the all-time leaderboard.
Meanwhile, the Zutons are predicted to grab a podium spot with The Big Decider (Icepop). It’s new at No. 3 on the Official Chart Update, and is set up to become the British band’s first U.K. top 5 LP in 18 years.
Also eyeing top 10 debus are St. Vincent, with her self-produced seventh LP All Born Screaming (No. 4 via Total Pleasure), Jess Glynne’s third album JESS (No. 5 via EMI), 5 Seconds of Summer member Luke Hemmings’ new EP Boy (No. 6 via RCA), and French electronic duo Justice with their fourth LP Hyperdrama (No. 10 via Because Music).
All will be revealed when the Official U.K. Albums Chart is published Friday, May 3.
Sabrina Carpenter’s “Espresso” is piping hot in the U.K., where it leads the chart race for the first time.
The American singer and actor has a bonafide hit on her hands with “Espresso” (Island), which debuted at No. 6 on the national chart, following its release April 11, and has continued to climb ever since.
“Espresso” is her first top 10 and fourth top 40 appearance on the U.K. chart, following “Feather” (No. 19 peak), “Skin” (No. 28) and “Nonsense” (No. 32).
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Carpenter can’t take it to the bank. Taylor Swift’s “Fortnight” featuring Post Malone dips 1-2 on the Official Chart Update, and, based on early sales and streaming data published by the Official Charts Company, is less than 1,000 chart units behind. “Fortnight” last Friday, April 26, opened at No. 1 on the Official Chart, for Swift’s fourth leader, while its parent LP The Tortured Poets Department (EMI) rampaged its way to the summit of the albums chart, for her 12th leader and third chart double.
Another track from Swift’s double album could debut in the top 10, “I Can Do It With A Broken Heart.” It’s new at No. 7 on the Official Chart Update, and could lift her career tally of U.K. top 10s to 29.
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Country music has enjoyed a revival on the U.K. charts, first with Beyonce’s No. 1 album Cowboy Carter (Columbia/Parkwood Ent), then Dasha’s single “Austin.” Shaboozey is getting in on the act with “A Bar Song (Tipsy)” (via American Dogwood/Empire), which lifts 27-8 on the chart blast and is set to give the U.S. artist his first U.K. top 10.
Dasha’s “Austin” (Warner Records), meanwhile, is predicted to hold at No. 10.
All will be revealed when the Official U.K. Singles Chart is published late Friday, May 3.
