State Champ Radio Branding
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This weekend brought the offical end of brat summer, and Charli XCX is now a week into her 21-city North America arena tour with Troye Sivan. So how much was brat summer worth?
While it’s impossible to know how much Charli made in total from the groundswell around brat, a colorful concept built on spontaneity and living life to its fullest, we crunched the numbers around a few brat summer deals. According to our rough estimate, these deals — specifically her cut of the ticket sales revenue from her co-headlined Sweat tour and other shows, earnings from the revenue generated by her catalog and songwriter share royalties this year, and the H&M ad campaign deal — netted Charli around $9.62 million so far this year.
Brat, Charli XCX’s sixth album, which debuted at No. 3 on the June 7-dated Billboard 200, is the long-time London rave singer’s most commercially successful album by far. Its lime green album art, Charli’s candid, sometimes vulnerable lyrics, and the open-ended conversation about what it means to be “brat” resonated with audiences, putting Charli at the center of the cultural conversation with everyone from Vice President Kamala Harris’s campaign for U.S. president to a vegan sausage company embracing “brat” culture.
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“She has got the attention of anybody that she wants right now,” says Jenna Adler, Charli’s agent at CAA. The album’s 23 tracks (including remixes) passed the more-than 1 billion streams mark on Spotify in late August, and, according to Luminate, her catalog has racked up around 2 billion on-demand streams globally. Charli announced brand partnerships with H&M and Skims, and her first North America arena tour with Sivan sold out shows in Boston, Chicago, New York and San Francisco immediately.
Touring
The momentum that built over brat summer helped the pair of Charli XCX and Sivan sell more than 97%, or 261,694 of 269,733, of the total tickets available for their Sweat tour, Adler says.
With an average ticket price of around $90, Billboard estimates the tour has grossed roughly $23.5 million. After touring’s various costs, including the artist manager’s fee, touring artists usually take home around 34% of ticket sales, or in this case about $8 million. If it is a co-headline tour, that would likely be split 50/50, with Charli earning $4 million.
To build excitement ahead of the arena tour, Charli headlined a handful of sold-out shows branded Charli XCX Presents: PARTYGIRL shows, that were intentionally small to allow fans to feel part of a Charli XCX-DJ’d dance party, Adler says.
Three of those shows — held in London, Los Angeles and Sao Paulo in June — grossed $377,300 from a combined total of 7,413 tickets sold, according to figures reported to Billboard Boxscore. Billboard does not have data on two additional shows Charli headlined in Brooklyn and Chicago, and our calculations do not include Charli XCX’s many festival performances this year or revenue from merch sold at concerts — an area of touring that can be quite lucrative.
The Sweat tour marks the first time either Charli or Sivan will headline arenas in the world’s biggest music market, and tickets went on sale to the public on April 26. Roughly 70% were sold by the end of May, rising to 80% by mid-June and over 90% by the end of July, Billboard reported.
Total estimated touring income (for 3 party girl shows and Sweat tour): $4.1 million
Streaming
Kamala Harris’s campaign for president leaned into brat summer on July 21, the day President Joe Biden dropped out of the 2024 presidential race and endorsed Harris. Charli XCX posted on X (formerly Twitter) “kamala IS brat,” Harris’s campaign briefly adopted brat’s lime-green hue on social platforms, and the week of the 2024 Democratic National Convention, from Aug. 19 through Aug. 25, it was the sole sponsor of Spotify’s official “This is Charli XCX” playlist.
While Charli did not directly benefit from the sponsorship—the Harris/Walz campaign paid Spotify an undisclosed amount—the popular playlist with 2 ½ hours of her most popular songs got a boost in listeners and followers.
Roughly 127,000 Spotify users follow — or have saved — the Spotify playlist, which gained 12,400 new followers between Aug. 10 and Sept. 10, with around 5,000 users piling on during the Harris campaign’s sponsorship, according to Chartmetric.
Spotify monthly listeners of the playlist rose by 8.6 million, or 23.4%, to 45.5 million between Aug. 12 and Aug. 27. Listenership declined slightly during the three days that led up to Aug. 19, the first day of the DNC convention, but that trend reversed with the biggest single day boost occurring on Aug. 20. By Aug. 28, brat’s 23 official tracks, remixes and bonus tracks had nearly 1.08 billion streams on Spotify, Chartmetric says.
Globally, Charli XCX’s catalog has accumulated nearly 2 billion on-demand streams, according to Luminate. So far this year, her recorded music catalog has generated 722,000 album consumption units in the United States, as of Sept. 9, compared to an average of 216,000 album consumption units from 2021-2024, according to Luminate. Her songs have generated 781.13 million on-demand streams in the U.S. this year, primarily from audio on-demand streams. Programmed streams topped 10.73 million or double her three-year average.
That translates to nearly $6 million in revenue for her U.S. label and $13.4 million globally so far this year, based on Billboard estimates which were calculated by using RIAA U.S. data to determine wholesale rates, and per-stream rates provided by financial sources at major and indie labels. If Charli XCX gets traditional superstar royalties of 22% for “sale” formats like CDs, vinyl and downloads; and a 37% rate for on-demand streaming, Billboard estimates her take-home pay so far this year, minus the traditional 4% producer’s fee, would be nearly $4.1 million.
Charli’s master recordings have produced $1.52 million in royalty revenues for the publishers of the songwriters she has used and nearly $3.5 million in publishing royalties when extrapolating for global publishing revenue, according to Billboard’s estimates.
Billboard estimates Charli XCX has a 30% songwriter share for the songs on her album, which means her publisher would realize roughly $1.05 million for her catalog’s global activity so far this year. If Charli has a traditional 50/50 publishing revenue split deal, she would receive $525,000; if she signed a co-publishing 75/25 deal, she would net about $788,000; and if she owns her publishing royalties and has signed an administration deal, which can run from 85/15 to 94/6 with as much as 94% of the publishing revenue going to the songwriter and 6% going to the administrator, she could net as much as $922,000. (Calculations are based on a typical 88% administration rate.)
Total estimated streaming, catalog and publishing income: max $5.02 million.
Brand Deals
In the past month, Kim Kardashian’s SKIMS and H&M have both launched campaigns featuring Charli XCX. The SKIMS campaign, launched Aug. 21, has Charli modeling its new cotton collection of boxers, bralettes and fleece pants. For H&M, Charli stars alongside other culture shifters Arca, Lila Moss, Ajus Samuel, Loli Bahia, Wali Deutsch and others in the global retailer’s A/W 2024 campaign. Financial details of these deals are not public, but sources estimate Charli was paid a sum in the mid-six-figures for her deal with H&M.
Billboard has reported in the past that branding deals contribute $2.6 billion in revenue annually to the music industry, with sponsorship spending on music tours, venues and festivals comprising more than 60% of that amount. The remainder comes from fees paid for the use of music in ads, films, games and TV shows, with endorsement payments, such as clothing brand partnerships, contributing the smallest portion of revenue.
Marcie Allen, the MAC (Marcie Allen Consulting) president known for orchestrating some of the highest-profile brand partnerships in the music industry, says these kinds of deals, and what it takes to land them, are rarely about the money.
To attract attention from top companies serving the Gen Z market, “it isn’t just about awareness, recognition or buzz. It is about puncturing through culture to create an entire subculture, a new vernacular, and ultimately becoming embedded into identity.”
“The concept of ‘going viral’ is fundamentally changing and Charli XCX’s ‘brat summer’ is a perfect example.”
Additional reporting by Ed Christman and Eric Frankenberg
This is the first of a new column Billboard is launching in which we will unpack one financial issue a week for an artist in the news. Thanks for reading, and if you have suggestions or tips, email me at ediltsmarshall@billboard.com.
When he’s not obsessed with the double-bass patterns in “A Skull Full of Maggots” and “Hammer Smashed Face,” Cannibal Corpse‘s Paul Mazurkiewicz Jr. contemplates coffee. “Always thought, in the back of my mind, ‘It’d be cool to have a Cannibal Corpse coffee,’” he says. So when Mike Tonsetic, a founder of Concept Cafes, reached out to the death-metal drummer on Instagram and proposed the band-branded Brazilian blend Beheading & Brewing, Mazurkiewicz responded: “Sounds like what I was thinking about for years. Why not?”
Introduced on Halloween 2022 and emblazoned with album cover artist Vince Locke’s image of a disemboweled zombie drinking from a decapitated head, Cannibal Corpse coffee bags have been “selling really well” on tour and online, according to Mazurkiewicz. And it’s part of a new branding formula in heavy music: touring stars from GWAR (“espresso destructo”) to August Burns Red (“revival roast”) aligning themselves with gourmet blends, copious caffeine, black bags and scary artwork.
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“We thought it was going to be hell-raisers and beer drinkers shooting us down, and saying, ‘Coffee is stupid,’” says Tonsetic, whose Orlando-based company has also teamed with Ministry, Soulfly and Suicide Silence’s Chris Garza. “But metal fans in their 40s-plus, a lot of them are sober and not just drinking beer. They’re getting into other things, whether it’s coffee or tea.”
Rockers have teamed with coffee companies for years. Iggy Pop customized a blend with Portland’s Stumptown Coffee in 2019, and KISS (of course), Dropkick Murphys and members of Green Day have put out their own brands. While hard-rock bands have historically focused on branding bourbon and other alcohol products, in recent years, the estimated $458 billion coffee industry has come for metal, often through roasters with “death” in their names and skulls in their logos. “Like everything, after a couple happen, everyone starts doing it,” says Cory Brennan, founder of 5B Artist Management, whose clients Slipknot and Babymetal do not have their own blends. “The coffee-metal world is getting saturated, but there are some great ones.”
Metal-branded coffee deals vary. Several sources say they’re 50-50 revenue splits between artist and coffeemaker, but another source adds that expenses for a high-end brew can be as much as $12.50 per bag, so for a $20-25 price point, the coffeemaker might give a well-known band roughly $8, or $5 for a lesser-known artist. “If I do a collaboration, as long as I cover my costs, they get to have the profit,” says Carl Fricker, owner of 24-hour Brisbane, Australia, espresso house Death Before Decaf, which sells blends by rising metalcore stars August Burns Red and Sydney metal band Northlane. “A lot of the bands, as they’re getting on in years, they don’t go out and get smashed anymore. When they get into coffee, they get right into coffee.”
Cannibal Corpse Coffee
Courtesy Photo
“It does really well,” says August Burns Red guitarist Brent Rambler. “We’re big coffee drinkers. At worst, I’ll get some great coffee out of it.” Adds vocalist Keith Wampler, whose band The Convalescence sells its Brazilian hazelnut through Grindcore Coffee Co.: “If you make it gory and put some skulls on it, it’s a little cooler than your average bag of coffee you grab at the store.” (The word “death” can be fraught for coffee companies in the U.S.; when Death by Decaf attempted to expand here, by trying to extend its Australian business name with the U.S. Patent and Trademark Office, New York-based Death Wish Coffee Co. sued for infringement. Death by Decaf settled last December, and the owner says he spent $200,000 on legal fees.)
As for flavor, most metal stars leave aesthetic coffee details to the experts: “I’ve got three options that are pretty extreme in the caffeine count, and that seems to be a huge selling point for a lot of bands,” says Chad Petit, Grindcore’s owner.
But for Grindcore’s coffee bag with GWAR, displaying a cartoon of the band wielding a buzzsaw and giant hammer, the shock-metal veterans insisted on elaborate tastings and feedback. “This is a band that kills people on stage and cuts people’s heads off,” says GWAR co-manager Liam Pesce. “Obviously, they’re going to want the darkest roast and flavor imaginable.” Adds John Bambino, another GWAR co-manager: “I think there was mention of nutmeg in there.”
Spotify is launching a music advisory agency for brands, the streamer announced on Wednesday (Feb. 21). For its inaugural campaign, the agency, dubbed AUX, connected Coca-Cola with the DJ-producer Peggy Gou. The two have “built a long-term partnership that will span live concerts and events, social media content, a branded playlist, and on-platform promotional support,” […]
The National Hockey League (NHL) and Adidas have collaborated with Justin Bieber‘s fashion brand Drew House on designs for the 2024 NHL All-Star jersey collection.
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On Saturday (Jan. 13), the NHL announced that the vibrant new jerseys will be worn by the league’s players during the NHL All-Star Game at Toronto’s Scotiabank Arena on Feb. 3. The Toronto Maple Leafs and the city of Toronto will host the 2024 NHL All-Star Weekend from Feb. 1-3.
The 2024 NHL All-Star jersey collection includes four versions of the jersey (one for each All-Star team) in four colors: blue, red, yellow and white. The NHL shield will feature bubble letters and enlarged dimensions, and the crest is one of the largest to be included on a NHL jersey.
NHL, Adidas and Bieber’s Drew House previously collaborated on a reversible alternate jersey for the Maple Leafs.
“After the tremendous success of our first NHL, Adidas and Drew House collaboration for the Maple Leafs’ Next Gen jerseys, we have looked forward to another opportunity to bring a bold, fashion forward look to NHL jerseys,” Brian Jennings, NHL’s chief brand officer and senior executive VP, said in a statement. “The All-Star Weekend in Toronto is the perfect setting for a fresh perspective on the All-Star jersey. The vibrant colors in this year’s All-Star collection are both youthful and classic and offer the perfect complement to the young NHL talent set to meet in Toronto for this year’s NHL All-Star Weekend.”
Nic Corbett, director of sports marketing and hockey at Adidas, added: “Since our inaugural year of collaboration with the NHL, Adidas has not only elevated but redefined the benchmarks for performance, sustainability, storytelling and design inherent in the iconic NHL All-Star jersey. This season, our partnership with the NHL and Drew House presents a distinctive opportunity to transcend conventional uniform design, seamlessly merging the realms of sport and youth culture. The added layer of enthusiasm stems from the fact that this extraordinary event unfolds in a hockey-obsessed market, amplifying the excitement to unprecedented heights.”
The NHL All-Star jerseys are currently available for purchase through adidas.com and nhlshop.com, as well as other online and physical retailers.
See designs for the 2024 NHL All-Star jersey collection below.
2024 NHL All-Star jersey collection
Tyrell Hampton
The bitter legal battle between Sean “Diddy” Combs and alcohol giant Diageo over their soured tequila venture is going to be paused until at least next spring, an appeals court says.
In a ruling on Tuesday, a panel of judges on New York’s appellate division granted Diageo’s request for a so-called stay of the lawsuit, in which Combs accused the company of racism and failing to adequately support his DeLeon brand of tequila.
Diageo’s attorneys asked for the pause while they try to convince the appeals court to overturn a ruling this summer for Diddy and send the case to private arbitration, which would negate the need for continued litigation. Combs’ attorneys had called Diageo’s request a “desperate attempt to delay judicial scrutiny for its discriminatory conduct.”
Tuesday’s decision means any progress in the underlying case will be paused until at least April, which is when the appeals court said Diageo’s appeal must be ready to be heard.
Following the ruling, Combs’ attorney John Hurston told Billboard: “Once the appellate court considers the actual merits, we are confident that they will reach the same conclusion as two separate judges already: that Diageo can’t avoid a public trial.”
A spokeswoman for Diageo did not immediately return a request for comment.
Combs sued in May, claiming Diageo breached his partnership deal for DeLeon Tequila by failing to properly support the brand. But he also went a lot further than that, leveling accusations of racism and claiming Diageo had treated his product line “worse than others because he is Black.”
“Cloaking itself in the language of diversity and equality is good for Diageo’s business, but it is a lie,” Combs’ lawyers wrote. “While Diageo may conspicuously include images of its Black partners in advertising materials and press releases, its words only provide the illusion of inclusion.”
The case claimed that Diageo had “typecast” his DeLeón Tequila as a “Black brand” that could only be sold to “urban” consumers, harming its sales and leaving it lagging behind competing Diageo brands like Casamigos and Don Julio.
Diageo responded a month later, calling the lawsuit a “bad faith, sham action” filed by a star who had “amassed nearly one billion dollars” from their partnership but now wanted to “extract” billions more.
“These allegations are nothing more than opportunistic attempts to garner press attention and distract the court from the fact that plaintiff’s breach-of-contract claim is entirely without merit,” the company’s attorneys wrote. “Diageo categorically denies these accusations.”
Diageo demanded that the case be sent to private arbitration, citing a provision in Diddy’s partnership contract that they said required such disputes be handled out of court. The company argued that, if Diddy’s “inflammatory rhetoric” about racism was removed, the case was nothing more than a “garden variety” business dispute that must be arbitrated.
But in September, the judge overseeing the case rejected that argument, meaning the case would move forward in state court, with the trial open to the public.
Diageo quickly appealed that ruling, and asked for a stay to prevent the case from moving forward while the appeal played out. Without a pause, the company said it faced “irreparable harm” because it would be forced to “arbitrate and litigate the same issues at the same time.”
After Tuesday’s ruling granting that request, the case will not proceed until the appellate court rules on Diageo’s appeal. Tuesday’s order said the appeal must be “perfected for the April 2024 Term of this Court,” but it’s unclear if that means the case will be decided by then, or merely argued and briefed.
During a show last month at Madison Square Garden, Stevie Nicks announced a surprise collaboration with an unlikely partner: Barbie.
The 75-year-old musician, who rose to rock icon status as a member of Fleetwood Mac and as a solo musician, told the sold-out crowd that a doll fashioned after her 27-year-old self would soon be released (she later announced the news on X). When the $55 doll was made available for pre-order hours later, it sold out almost instantly.
The tambourine-toting Stevie Nicks Barbie doll arrives to buyers on Friday (Nov. 10) as part of a limited-edition collaboration between Nicks, Barbie manufacturer Mattel and independent publisher Primary Wave. Primary Wave’s chief brand officer, Jeff Straughn, says that “all the stars aligned” for a project that’s also creating fresh opportunities for Nicks and the company.
In 2020, Primary Wave acquired a majority stake in Nicks’ publishing copyrights as well as her name and likeness (partnering with Kobalt on administration for the catalog). As part of the deal, Primary Wave represents Nicks in brand alliance and brand marketing opportunities and offers her access to its marketing, branding, Broadway, film/TV, digital strategy, licensing and synch teams. The Stevie Nicks Barbie is the first project developed under this partnership.
The company had already established a sparkling track record in such endeavors, telling Billboard last year that it had quadrupled the value of the Whitney Houston estate after assuming 50% ownership of the late icon’s assets in 2019. Other legendary clients include Smokey Robinson, portions of the estates of Prince and Bob Marley and the entire James Brown estate.
Primary Wave had already been in general discussions with Mattel about prospective collaborations when it signed the deal with Nicks. “Given that we have a lot of legendary and active artists, I felt like there had to be a match,” says Straughn. “We went into the conversation a little broader, but we also knew, through my conversations with Sheryl [Louis, Nicks’ longtime manager] that Barbie would be something Stevie is very interested in doing.”
“She doesn’t say yes to a lot of things,” Straughn continues, “but this isn’t about branding for her, this is a passion … and what we try to do a Primary Wave is go with organic opportunities that are authentic to the brand and audience.”
Nicks and her team worked directly with Mattel on the doll’s design. There were several iterations of the face and outfit, with the team ultimately styling it after Nicks’ iconic look from the cover of Fleetwood Mac’s 1977 classic, Rumours. Nicks even sent the actual outfit she wore on the album cover to Mattel for accuracy.
“Sheryl told me from the beginning that when Stevie gets involved, she’s hands-on, and she wasn’t lying,” says Straughn.
The doll is thus dressed in a black velvet dress with gauzy flowing sleeves. She sports a pendant necklace and a moody gaze that seems to ponder the players who only love you when they’re playing, with Nicks overseeing details “all the way down to the tambourine,” says Straughn.
Stevie Nicks Barbie
Excitement about the project was already high at Primary Wave during development, but the project was brought to a new level with the 2023 Barbie movie. The film — which was released in July and grossed $1.4 billion at the box office — fostered a renewed level of appeal and cultural relevancy for the Barbie brand, helping fuel enthusiasm around Nicks’ version of the doll.
While the doll was originally slated to come out closer to the 2023 holiday season, it was Nicks’ idea to move up the release date to capitalize on movie’s success, an opportunity Straughn calls “once in a lifetime” synergy.
The Barbie movie’s appeal also synchs with Nicks’ own broad fanbase. “Not many artists like Stevie, who’s 75, can hit multi-generations,” says Straughn. “There are seven-year-olds out there that love Stevie Nicks.” He says Mattel was aware of this broad appeal and “identified Stevie as something that would be interesting to them, based on their research.”
Mattel has previously transformed rock stars into toys with Barbie versions of Tina Turner, David Bowie, Gloria Estefan and Celia Cruz. Now, Straughn says other Primary Wave artists have approached him asking for their own doll. Although he says it’s not a project every artist can do, he does hint that other Primary Wave collaborations with Mattel may be forthcoming.
The doll — already selling for more than twice its sticker price on the secondary market — isn’t likely to generate vast revenue and wasn’t intended to. (Primary Wave is not able to disclose exactly how many dolls were manufactured, although Straughn estimates it was “tens of thousands.”)
“It wasn’t as much about a financial win as much as it was about marketing,” says Straughn. The real benefit is the buzz that’s lifting all parts of Nicks’ and Primary Wave’s businesses. Straughn reports that streams of Nicks’ music have gone up since the doll’s announcement, and that it has brought multiple queries about synching her work for campaigns.
“That impact is exactly why I lead this branding team,” says Straughn. “The message here is really that these projects open up other opportunities, music-wise.”
Stevie Nicks Barbie
LONDON — Currently languishing near the bottom of the fourth tier of English football, Forest Green Rovers don’t have the global profile, colossal riches or superstar players of the world’s top teams. But despite their small stature, the Rovers enjoy one major bragging right: they’re the first European soccer club to be sponsored by Rock & Roll Hall of Famers the Grateful Dead.
“For us, it’s a perfect match,” says the California band’s archivist and legacy manager, David Lemieux. “Forest Green Rovers is a team that really follows Grateful Dead values, which is to say that we’re both conscious of the world around us and we want to make sure that we leave it a better place than when we arrived.”
Grateful Dead’s decades-long promotion of environmental causes is well-known throughout the music business, but Forest Green Rovers’ eco credentials are equally impressive.
Based in the small town of Nailsworth, Gloucestershire, just over 100 miles outside London, Forest Green Rovers Football Club has been recognized by both the United Nations and football’s international governing body, FIFA, as “the world’s greenest football club.” The team and its owner, Dale Vince, have won praise for pioneering sustainable practices like using renewable energy to power its 5,000-capacity ground, transporting players in an electric bus and serving vegan food to players, staff and fans.
Forest Green Rovers Chairman Dale Vince at a Labour Party conference in Liverpool on Oct. 8, 2023.
OLI SCARFF/AFP via Getty Images
The idea to partner Grateful Dead with Forest Green first landed on Lemieux’s desk 18 months ago when it was presented to him by the retail and licensing team at Warner Music Group’s services division WMX, which looks after the group’s merchandising rights outside of touring and online. (Grateful Dead’s music catalog is handled by WMG’s Rhino Records, which also runs the band’s Dead.net website, while Warner Chappell Music represents the act’s publishing interests globally, in conjunction with the Grateful Dead’s company, Ice Nine).
At the time of WMX’s pitch, Lemieux wasn’t familiar with Forest Green Rovers, which has spent much of its 134-year history competing outside the top level, with its best-ever finish coming in the 2021/22 season when the club was crowned champions of League Two (they were relegated 12 months later). But after researching the club and its energy industrialist owner, he says it was a natural fit for the two organizations to team up on a clothing merch deal that sees Grateful Dead’s iconic green skull logo featured on a range of Forest Green co-branded sporting wear, t-shirts and hoodies, produced by U.K. sustainable clothing business I Dress Myself.
“We love to partner with cool people, cool companies and cool organizations who are trying to make a positive difference,” says Lemieux, a self-confessed “hippy Deadhead” who has worked for the legendary California-formed group for 25 years and been a follower of English football since the late 1990s, when he studied in the United Kingdom and would regularly attend matches.
Courtesy of Warner Music and Forrest Green Rovers.
Financial terms of the deal with Forest Green have not been disclosed, although Lemieux describes it as “not a huge money-maker for anyone.” (The most expensive clothing item on sale in the Forest Green online store is a “Grateful Dead Lightning Hoodie” featuring the green skull motif that costs around $75.00.)
For custodians of Grateful Dead — which officially disbanded in 1995 following the death of guitarist and songwriter Jerry Garcia but has continued to tour in various incarnations, most recently as Dead & Company, featuring original members Bob Weir and Mickey Hart — the tie-up with Forest Green is the latest in a vast and ever-growing line of merch and licensing deals helping keep the Grateful Dead brand alive.
At present, the band has deals with more than 100 merch partners and more than 750 products on sale in over 50 territories, spanning everything from water bottles to cosmic mushroom foraging tools to camping equipment to Grateful Dead-branded skis and snowboards, as well as an extensive range of t-shirts and clothing.
Historically, the bulk of those merch deals have been with companies in North America, Grateful Dead’s biggest market for touring and record sales. But Lemieux says he’s now seeing an increasing number of licensing offers come in from Japan, England, South America and other international territories.
“Brand awareness is growing and it’s growing fast in the international markets,” says Lemieux. He credits Warner Music’s licensing teams in New York and England for working hard to find “best in class” partners.
“At the heart of everything Grateful Dead do is sustainability, so when we work on projects for them, whether it’s a multi-million-dollar deal or a small project, they need to know about its sustainable nature,” says WMX licensing and record retail account director Alex Mitchell, who oversaw the merch deal with Forest Green Rovers.
Courtesy of Warner Music and Forrest Green Rovers.
Mitchell says the season-long partnership with the club (with an option to renew next year) is one of several licensing deals WMX are working on to “make the Grateful Dead story better known” in the United Kingdom and Europe beyond “just being a cool band t-shirt.”
Sports and music brand tie-ups are, of course, nothing new, and Grateful Dead has struck similar deals in the past (the band famously sponsored Lithuania’s cash-strapped 1992 Olympic basketball team and more recently held one-off brand partnerships with various baseball, basketball and ice hockey clubs in North America). But Forest Green marks its first real foray into the world’s most popular sport.
The deal comes at a time when soccer’s profile in the United States continues to climb, especially among young Americans, fueled by the arrival of global superstars like Lionel Messi to Major League Soccer and the crossover success of Apple TV+’s Ted Lasso and the hit FX series Welcome To Wrexham, which documents the fortunes of Wrexham A.F.C (who play in the same league as Forest Green) and its Hollywood actor owners Ryan Reynolds and Rob McElhenney.
A year in to Spotify’s partnership with FC Barcelona and the music streamer and leading European soccer club are now focused on evolving the sponsorship deal to create “cultural moments” through sports and music collaboration.
“One year ago, we said this would be more than a partnership because we like to say that Barça is more than a club and that’s important because it’s our motto but also important when it comes to partnerships,” says Sergi Ricart, chief marketing and revenue officer, FC Barcelona. “It’s been a pioneer strategic partnership. The engagement of new audiences with the club and the engagement that the content we created has seen, it’s been massive.”
The deal — touted as a new way for the streaming giant to amplify artists across the globe — spans four seasons for team shirts and three seasons for training shirts. It will also rebrand FC Barcelona’s Camp Nou stadium as Spotify Camp Nou, following an extensive redevelopment project that’s scheduled to be ready for the 2024-2025 season. The partnership kicked off with two major artist campaigns featuring Drake‘s OVO and Rosalía‘s Motomami logos, respectively, on the Blaugrana team jerseys. Rosalía’s logo was the first to be featured on both the men’s and women’s teams home kits as part of the partnership.
Following the unveiling of Rosalía’s match kit on March 15, searches for “Rosalía” and “Motomami” on Spotify increased by over 100% globally and by nearly 200% in Spain (compared to searches on March 14), according to the streaming company. Moreover, in the hour after the El Clásico match ended on March 19, global streams of Rosalía tracks climbed on Spotify in multiple markets globally, including Egypt where the tracks saw a more than 220% boost, 170% in Morocco and almost 70% in Nigeria.
“Rosalía’s El Clásico match kit drove streams and awareness because that match has two or three times more global eyeballs than the Super Bowl. These artists are getting fully integrated campaigns and it’s stuff that is enormous in marketing value,” explains Marc Hazan, vp partnerships, Spotify.
Now, with the partnership in its second year, artists such as Anitta and Fuerza Regida have visited the training facilities for the making of the Barça on Tour summer playlist . And, during the team’s stop in L.A. on July 26 for their match against Arsenal, Daddy Yankee toured the Spotify studio with Barcelona players in tow where he showed them a behind-the-scenes-look at his recording process. Additionally, the partnership will support artists on the LED boards during the Barcelona matches while on the U.S. tour.
“We’re creating a cultural moment and for the club it’s so important,” adds Ricart. “We humbly think that we’re the biggest global sports brand but how can we move into a cultural brand and with the support of this partnership we are moving that way.”
Following its more than 20 global activations during the 2022-2023 season, Hazan is looking to tap into different markets immersing in different genres. “This is a long partnership for Spotify, we’re very invested,” he says. “It’s fair to say that football and music are two great passions, so to combine the two is something pretty unique and when you have Barcelona, arguably one of the biggest clubs with a massive following, you’re in a position where they want to partner heavily and there’s a full set of music rights available, that doesn’t come up every day.”
A New York state appeals court has sided with Jay-Z in his long-legal battle against a fragrance company called Parlux over a cologne endorsement deal that went bad.
In a ruling issued Thursday, a panel of appeals judges upheld a 2021 jury verdict that cleared the superstar of wrongdoing and potentially $67 million in damages. It also affirmed a judge’s ruling last year that it was actually Jay-Z, and not Parlux, that was owed money — nearly $7 million in unpaid royalties.
“There were multiple rational bases for upholding the jury verdict, and plaintiffs have not set forth a sufficient basis … to overturn it,” a five-judge panel ruled unanimously.
Barring further appeals, the decision could finally mean the end for more than six years of litigation over “Gold Jay-Z,” a cologne brand that the superstar, whose real name is Shawn Carter, launched in 2013 through a partnership with Parlux.
In its 2016 lawsuit, the company accused the rapper and his S. Carter Enterprises of failing to properly promote the brand, breaching his contract and dooming the product to failure. Jay-Z quickly countersued, claiming he had fulfilled his obligations despite numerous missteps from Parlux – and that the company still owed him money.
After a three week trial in late 2021, featuring heated testimony from the star himself, jurors largely sided with Jay-Z and found that Parlux was entitled to nothing. Then in August, New York Supreme Court Justice Andrew Borrok ruled Parlux owes Jay-Z $6.78 million in unpaid royalties, including interest.
Seeking the overturn the verdict on appeal, attorneys for Parlux argued that the trial judge had improperly instructed the jury about requirements in the contract about Jay-Z’s personal appearances and the need for Parlux to provide a “product development plan.”
But in Thursday’s ruling, the appellate panel was unmoved: “The court correctly instructed the jury on the burdens of proof, and any error in characterizing the notice requirement for personal appearances and the PDP as ‘conditions precedent’ was harmless when considering the overall instructions.”
Parlux can still challenge the outcome once more, taking the case to the Court of Appeals, New York’s top appellate court. An attorney for the company did not immediately return a request for comment.
Ozuna and Coors Light join forces and kick off their newest campaign Ritmo Chill. In the spirit of the beer brand’s slogan “Made To Chill” — which is on par with Coors Light’s aesthetic of the Rocky Mountains — Ozuna heads towards the icy route but gives his newest song some heat with the tropical-laden single, “Chill Conmigo,” written and produced by the artist himself.
The visual follows the Puerto Rican-Dominican star in an office setting who’s ready to break free and go on a quest for chiller moments. So he climbs to the peak of the Rocky Mountains and discovers a loaded Coors Light cooler. “Yo solo busco un ambiente para vacilar con mi gente,” he sings against a joyous mix of Afrobeats and calypso pop. “I’m just looking for an environment to hang out with my people.” Then the scene transitions to the Ozuna enjoying himself at a spring break-styled pool party.
“Ritmo Chill is a musical program focused on helping consumers eliminate daily pressures by relaxing with good music and a cold Coors Light,” said consumer excellence senior manager, LatAm, Yaidi Clery in a statement. “The collab with Ozuna is a dream partnership because they both embody that spirit of taking things easy and letting go with good vibes. Just like Ozuna, Coors Light is ‘made to chill’.”
Although Coors Light Latin America soft launched Ritmo Chill last year, which also includes a series of five playlists on Spotify titled “Chill with Friends,” “After Work,” “Beach Chill,” “Pool Time,” and Chill Vibes,” it’s the first time the division launches an original song and video with a Latin powerhouse performer for their campaign.
Ozuna, a global reggaeton and Latin trap hitmaker, is a five-time No. 1 chart-topper on Hot Latin Songs. He has landed on the Top Latin Albums with all of his five albums, including two No. 1s, and has reached the Billboard Hot 100 twenty times to date with hits like “Taki Taki,” “Te Boté,” “Monotonía,” “Criminal,” and more. In December, Ozuna performed live at the FIFA World Cup Qatar 2022 closing ceremony.
