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Of his previous trips to Africa, Larry Jackson says simply, “[They have been] tattooed on my heart.” Now, with his latest venture, he’s looking to put his own stamp on the continent.
Gamma, Jackson’s recently launched media company, announced in May that it was expanding operations into Africa and the Middle East with Sipho Dlamini and Naomi Campbell onboard as president and special advisor for Africa and the Middle East, respectively. And this month, the company named Larry Gaaga vp/GM for Africa and Dany Neville as vp of A&R for the Middle East. One of Gaaga’s primary focuses will be spearheading initiatives to develop local talent, and he’s already begun discussions with Dlamini and Campbell on how they’ll discover and develop more African female artists. In his role, Neville will be identifying and nurturing Middle Eastern talent.
The move into both regions comes at an opportune time. According to the 2023 IFPI Global Music Report, Sub-Saharan Africa became the fastest-growing region in the world last year, with a 34.7% increase in revenue largely driven by South Africa’s booming market, where sales were up by 31.4%. Meanwhile, the Middle East and North Africa (MENA), 2021’s fastest-growing region, experienced a 23.8% increase in revenue driven almost entirely by streaming, which has a 95.5% share of the region’s recorded music market — the highest of any in the world.
Gamma is joining a long list of Western music companies to have set up shop in both territories over the last few years. UMG Nigeria and Sony Music Entertainment West Africa have both established offices in Lagos, Nigeria. In 2020, EMPIRE signed a distribution and publishing deal with Olamide’s independent label YBNL Nation, leading to the launch of EMPIRE Africa in Lagos two years later. Elsewhere on the continent, Warner Music Africa is based out of Johannesburg, South Africa, where Universal Music Africa also established one of two regional headquarters (the other is in Abidjan, Côte d’Ivoire). UMG has also been making inroads in the MENA region, from Republic Records partnering with Wassim “Sal” Slaiby to launch Universal Arabic Music to becoming the first major music company to open operations in Casablanca, Morocco. Universal Music MENA and Sony Music Middle East have headquarters in Dubai, United Arab Emirates, while Warner Music Middle East is based out of Beirut.
Gamma will have staff in Johannesburg, Lagos and Dubai, with plans for a physical office in Lagos. Dlamini will be based in Lagos and Dubai while frequently traveling to South Africa, Saudi Arabia and other countries in the markets; Campbell will also be frequently present in both regions, says a company spokesperson. On the African continent, Gaaga will help guide teams in Johannesburg and Lagos (where he’ll be based). And in the Middle East, Neville will be stationed in Dubai, where he’s established himself as one of the UAE’s groundbreaking on-air radio personalities/DJs.
The company has already gained a foothold in Africa thanks to its acquisition of music distribution service Vydia in December. Vydia’s founder/gamma chief technology and product officer Roy LaManna says that since Vydia launched on the continent in 2017, it’s become the company’s second-largest territory in the world thanks to partnerships with local record labels like Mr. Eazi’s emPawa Africa and Don Jazzy’s Mavin Records — which gamma is now using to further expand there. In April, gamma exclusively distributed and marketed a re-release of Mavin artist Rema’s Rave & Roses debut album in African territories, marking the company’s first regional move. The album includes Rema’s latest smash “Calm Down” with Selena Gomez, which has amassed 7.52 billion total on-demand streams globally, including user-generated content (UGC does not count toward Billboard’s charts). Vydia says the single has garnered 482 million streams across the African continent, while Rave & Roses has amassed more than 580 million streams across all tracks.
By owning Vydia, gamma will be able to support African artists in building careers in their home countries and beyond by offering technology and data that “can identify where tracks and artists are performing and then support and elevate them into a better space,” says Dlamini, while also offering staff on the ground where they are.
Dlamini has an impressive track record. For 24 years, he has been a music industry leader in Africa, including the seven years he spent at UMG, first as MD and then as CEO, along with a four-year stint at the Southern African Music Rights Organization (SAMRO), where he was eventually promoted to CEO. Prior, Dlamini was vp of operations at CSM Sport & Entertainment in Dubai, where he oversaw the largest concerts and music festivals in the region. In his previous role as MD of Universal Music South Africa and Sub-Saharan Africa, he launched Def Jam Africa — where he hired Gaaga as vp of A&R last year — with headquarters in Lagos and Johannesburg.
Jackson says he “had always admired” Dlamini’s hustle as CEO of Universal Music South Africa and Sub-Saharan Africa. “[He] built them into the No. 1 market share of any company in music in Africa,” he says. When the two eventually met through a mutual friend, music industry veteran Marc Byers, he continues, “I knew that I wanted to work together.”
While Campbell may not be known for her music industry experience — which has been limited to music video cameos and one studio album — she has long been a champion of developing opportunities in both Africa and the Middle East. She’s founded several charitable organizations benefiting emerging markets, including Fashion for Relief, which helps develop fashion, technology, business, entertainment and arts industries around the world, as well as the Emerge Initiative, which supports the next generation of creatives and entrepreneurs through apprenticeships, after-school programs and more.
“Naomi is truly one of the most powerful and impressive dignitaries in the world,” says Jackson. “She’s really rising to the challenge of being an executive and really has foresight, energy, ambition, ideas, influence – all of it.” Before gamma, Campbell helped him sort out “some work visa issues” when he traveled to South Africa with Drake in 2016 (during his stint as global creative director at Apple Music) by tapping her contacts within the country’s government as well as with Nelson Mandela’s family. Since then, she has introduced him to some of the most notable figures in Africa and the Middle East, from Afrobeats superstars Wizkid and Burna Boy to the Saudi Arabian minister of culture, Prince Badr bin Abdullah bin Mohammed bin Farhan Al Saud.
“I’m proud that a brother, a man of color and culture, is taking the reins and starting his own company,” says Campbell. “When he offered me this gig, I said yes because it’s a challenge for me. Yes, it’s not my day job, but at the end of the day, it’s about if you care. And I care, as everyone knows, about the continent and all the emerging markets.” Campbell also signed a podcast deal with gamma, according to Jackson, with the show expected to launch later this year.
For all of their promise, the African and Middle Eastern music markets come with significant hurdles. Chief among them is the issue of low streaming service subscribers in Africa, which Jackson is currently focused on finding solutions for.
“Streaming services in one of the biggest [African] territories, if not the biggest territory, Nigeria, have very low subscriber growth and very low subscribers in general,” says Jackson, adding that he’s already been speaking with his former Apple colleague Oliver Schusser about solving what he calls the biggest issue limiting that growth: payment.
While “the value of music and people’s willingness to pay for music” on the continent “is a lot less than in other territories,” Jackson admits, part of the payment issue stems from the fact that more people in Africa are likely to own a mobile phone than a bank account — which is why streaming services have been relying on telecommunications deals to significantly grow their subscriber bases. Through partnerships with local wireless providers in key markets — Vodacam in Tanzania, Airtel in Nigeria and MTN in Nigeria, Ghana and South Africa — Africa-focused streaming service Mdundo can bypass the issue of low penetration of payment cards in Africa and reach 185 million wireless subscribers, according to the company’s June 2023 guidance report. Other streamers have developed alternative payment methods, such as M-Pesa, which transforms a user’s SIM card and phone into a virtual banking system. Spotify allowed users in Kenya to pay using M-Pesa when the company began operating in the country two years ago.
While Jackson certainly sees the value in streamers making telco deals in Africa, he believes more can be done to convert music fans into streaming subscribers by, for example, making exclusive deals with artists — a strategy he successfully implemented during his previous gig. “Nothing has more relevance than Drake’s album being exclusive on Apple,” he says. “You can debate that all day, [but] there’s no carrier deal that’s going to bring you that level of audience. Bringing the artists and the culture and the community together with the streaming services I think is a missing part that hasn’t been done.”
Sony Music Nashville artist Nate Smith, who earned a No. 1 Billboard Country Airplay hit with “Whiskey on You” early this year, signed with The Neal Agency for booking representation. He is also represented by The Core Entertainment for artist management. The Neal Agency’s roster also includes Morgan Wallen, Bailey Zimmerman, HARDY, Ernest, Chase Rice, Anne Wilson, Ella Langley and Jake Worthington, as well as lifestyle brands Whiskey Jam and Stevenson Ranch. – Jessica Nicholson
Genre-agnostic singer-songwriter Atlus signed with UTA for global booking representation. The Denver native is preparing to hit the road on his nine-stop High Expectations tour and will release his latest single, “Tom Petty,” on Friday (Aug. 1). He’s represented by Brett Saliba and Mackenzie Coberley at UTA.
Warner Music China signed Chinese R&B artist Elva Hsiao. The label will work to strengthen Hsiao’s domestic following while using its international network to boost her fanbase throughout Asia and the rest of the globe. According to a press release, Hsiao was the first native Mandarin-speaking artist to release an R&B album into the Chinese market and is one of the country’s biggest-selling artists.
The Familie signed singer-songwriter sombr (born Shane Boose) to its roster. Sombr signed with Warner Records earlier this year and will be releasing an EP in September. He’s best known for the track “Caroline,” which was propelled by TikTok where he boasts over 258,000 followers and 8.7 million likes.
Artist-songwriter-producer JHart (a.k.a. James Abrahart) partnered with United Masters for the distribution of his upcoming D’Mile-produced EP, The Wishing, The Wanting, The Longing, which is slated for release on Oct. 27. As a songwriter, he has co-written songs for artists including Justin Bieber, Jason Derulo, Rita Ora and Little Mix. He is managed by Lucas Keller, Danny Herrle and Nic Warner at Milk & Honey Music + Sports.
Songwriter-executive producer-vocalist Trey Campbell signed a worldwide management deal with SILO: Music. The Grammy-nominated Campbell has collaborated with artists including Kim Petras, Giveon, Ellie Goulding, Ariana Grande, Lola Young and John Legend. He was brought to the company by SILO: Music director of A&R, management/publishing Jessica Thomas.
Cincinnati-based singer-songwriter Nolan Taylor (“68”) signed with Atlantic Records, which released his latest single, “Wicked Ways,” on Friday (Aug. 25). He’s represented by Kanan Vitolo at WME for booking and managed by Julian Wilkey at Unlikely MGMT.
Chicago band Friko — comprised of Niko Kapetan (vocals/guitar) and Bailey Minzenberger (drums) — signed with ATO Records. The label re-released a new 7-inch vinyl of the band’s “Crimson to Chrome,” limited to 500 copies worldwide, and will put out its debut album early next year. Friko is represented by manager Dawn White and booking agent Erik Selz at Arrival Artists.
LONDON — Located around 65 miles outside London, Bicester in leafy Oxfordshire is far removed from the bustling world of rock and roll. Despite its lack of star power, the historic market town is nevertheless set to play a key role in the British record industry as home to the United Kingdom’s biggest distribution warehouse for physical music and home entertainment.
Due to begin trading today (Aug. 29), the new 25,000-square meter facility is being opened by Swiss-based Utopia Music as part of a £100 million ($125 million) long-term deal with international logistics company DP World. With handling capacity of up to 250,000 units per day, operators say the state-of-the-art warehouse will distribute over 30 million CDs, vinyl records and Blu-ray discs a year across the United Kingdom and export markets on behalf of clients, including Universal Music Group, Sony Music Entertainment and [PIAS].
For Utopia Music, the opening of the Bicester site provides a much-needed boost after a troubled 12 months that has seen the company undergo multiple rounds of job cuts, executive departures, office closures, legal action over a stalled acquisition deal and the offloading of three of its businesses — Absolute Label Services, U.S.-based music database platform ROSTR and U.K.-based publisher Sentric.
For the wider music industry, the new warehouse facility acts as further proof of the continued demand for physical music formats, driven by the ongoing vinyl boom.
Last year, vinyl sales climbed 2.9% to 5.5 million units in the United Kingdom, marking the 15th consecutive year of growth, according to labels trade body BPI. In contrast, CD sales fell 19% year-on-year to 11.6 million units in 2022, though the format still accounted for more than two-thirds (67%) of all physical music purchases. Total revenue from physical music sales stood at £280 million ($352 million) in the United Kingdom last year — down 3.8% versus 2021 but up £9 million ($11 million) on 2020’s total, according to trade organization the Entertainment Retailers Association (ERA).
The latest year-to-date figures from BPI, meanwhile, show slight growth across the U.K. physical music market in 2023 compared to last year, while vinyl sales are up by around 15% versus the first 33 weeks of 2022 in volume terms. The trade body says that physical music revenues are on track to record double-digit percentage growth in 2023.
“A lot of people were too quick to write off physical and maybe now realize there is still a large and viable business here,” says Utopia Music vp of distribution Drew Hill on the eve of the new facility opening.
Fintech firm Utopia Music has owned a large stake in the U.K. physical music distribution business since January 2022, when it acquired Proper Music Group, the United Kingdom’s biggest independent physical music distributor, for an undisclosed sum. Eight months later, Utopia bought up the assets of Cinram Novum — which provides warehouse, fulfillment and distribution services to music labels and home entertainment companies — and renamed it Utopia Distribution Services (UDS).
Drew Hill
Utopia Music
Over the summer, stock has been transported from UDS’ previous warehouse in Aylesbury to the new Bicester site, which will handle 70% of all U.K. physical music sales, as well as 35% of domestic physical video (DVD and Blu-ray discs) sales each year, according to Utopia. Proper Music Group, which trades as a standalone entity within the Utopia group and provides distribution to over 5,000 indie labels and service companies, will continue to operate from its existing warehouse in Dartford.
Hill says the multi-million-pound investment that UDS is making in physical music will help ensure the survival of CD and vinyl formats for future generations. “Lots of other distributors have either gone to the wall or they have been massively underfunded. The physical music business is still a quarter of a billion-pound industry, and it really needed someone to come in and upgrade the infrastructure to be able to support that,” he says.
Utopia Music co-founder and interim CEO Mattias Hjelmstedt says the Bicester facility “marks a new beginning for the U.K.’s physical distribution market.”
The continuing shift away from physical formats toward streaming does, however, present considerable challenges to any company operating in the physical market. In 2022, Proper Music Group recorded revenue of £30.1 million ($38 million) for the nine-month period ending Dec. 31, down from £42 million ($53 million) in the prior 12-month accounting period, according to its latest financial records. The company says lower sales and increased operating costs were behind the £1.9 million ($2.4 million) net loss it posted last year.
In response to inflationary pressures, Proper raised its prices for the first time in over 15 years in late 2022, with UDS also increasing prices on what Cinram Novum was previously charging clients. Hill declines to reveal how much prices have increased but is confident that the measures taken will help Proper return to profitability in 2024, while the new Bicester facility will enable UDS to grow its client base through increased capacity and a greater focus on direct-to-consumer sales.
By tapping into DP World’s global network, which spans 75 countries on six continents, UDS will also be looking to grow physical music exports outside the United Kingdom. It also, says Hill, has long-term plans to replicate its centralized distribution model overseas, possibly in North America or Europe.
Commenting on Utopia’s well-publicized recent difficulties, Hill says support from the Swiss-based tech firm has been “unwavering” and both Proper and UDS have been “ring-fenced” from the cuts Utopia has implemented elsewhere over the past year.
“[CEO] Mattias [Hjelmstedt] has talked internally about how physical distribution is the engine room of Utopia. We provide a funnel through which it can present and sell its other products and services,” says Hill, who has worked for Proper for more than 15 years.
Hill adds that he has no concerns about the financial stability of Utopia and points to the growing popularity of vinyl, deluxe boxsets and special edition releases among music fans as a thriving growth area for the physical music business.
“Over time, maybe we will start to shift fewer units, but they will be units of higher value,” he says. “As long as you create a beautiful package with valuable content in it, people will always want to buy it.”
In his Washington, D.C. office, Michael Huppe rolls his chair past gold records, an Elvis Costello poster and an electric guitar to a back shelf to locate a key and unlock a drawer. “Let me see if I still have it here,” the SoundExchange president/CEO says before pulling out a black vest with capital yellow letters that read “RIAA Anti-Piracy Unit” and draping it over his coat.
Prior to collecting performance royalties from digital radio stations, as well as broadcast companies such as SiriusXM and distributing them to creators for non-interactive digital streaming through SoundExchange, Huppe helped hunt down piracy rings around the country for the RIAA to ensure artists weren’t losing out on revenue. “I have gone on raids — flea markets, cassette operations, some CD operations,” he says.
Since Huppe joined SoundExchange in 2007, his tactics have changed — but his primary goal of getting performers and rights owners paid has not. Over the past two decades, he has helped raise their royalty rates and helped track them down at locations from music festivals to Mississippi Delta homes to distribute earned royalty payments. Now SoundExchange is marking its 20th anniversary and, in May, announced it had distributed $10 billion overall in payments. According to the organization’s most recent annual report released in July, SoundExchange collected $1 billion in digital royalties from more than 3,600 digital streaming platforms and distributed them to over 600,000 creators and rights holders in 2022 alone.
“You recognize you’re really making a difference in people’s lives,” Huppe says.
Explain what it means for SoundExchange to cross what it calls the “$10 billion distribution milestone.”
The growth rate of our payments surprised everyone, including me. When I came over to SoundExchange, I saw streaming was going to grow. We pay significant amounts of money to the big superstars, but also good amounts to working-class musicians that you may or may not have heard of. It makes a difference as to whether they stay in the industry. During the pandemic, for a lot of those musicians, we were the only revenue stream. The emails we received … it’s really gratifying.
What are some examples of those messages?
One band with regional popularity had been driving around trying to make it in a van, crashing on friends’ couches, barely getting by. We were trying to find them because we had money for them. They were literally about to hang it up — they were at the end of their run, running out of steam. That initial SoundExchange payment made all the difference and incentivized them to keep going.
There was a widow of a Delta blues singer we had been trying to find forever. We finally found her, and she was in tears because they were about to foreclose on her house and because of that [payment], they saved her house.
Country artist Randy Travis (seated), his wife, Mary Travis, and Michael Huppe.
Courtesy of SoundExchange
After working at the RIAA, you joined SoundExchange in 2007, which had been operating for four years. What were those early days on the job like?
We were still sending out paper checks. Back then, they were quarterly or semi-annually, and half the staff would gather into a room and run the distribution. That makes me think how far we’ve come, from paper checks to a system that processes 35 billion [digital] performances a month from 600,000 accounts. We were like, “Oh, my God — the next $100,000 [comes in] this quarter!” Now we’re regularly doing $1 billion [in payouts] per year.
It’s SoundExchange’s 20th anniversary. What have been the company’s biggest achievements during your tenure?
When I first started working — I guess I was still at the RIAA — SiriusXM was paying 2% of revenue, and now it’s 15.5%. And streaming rates we get from webcasting have more than quadrupled. We’ve done a really good job of demonstrating and achieving the value for music. [Editor’s note: In August, SoundExchange filed a lawsuit against SiriusXM claiming the platform is “gaming the system” to “grossly underpay the royalties it owes” to the amount of $150 million by manipulating how it bundles satellite services with web streaming services. A representative for SiriusXM has denied the allegations.]
How has SoundExchange helped those rate increases?
For the first few years, we would go before this three-judge panel at the Copyright Royalty Board. We’ve had a good track record of convincing them why we should be paid higher rates for music, which is so important to these services. The last satellite radio proceeding we had went from 11% to 15.5% overnight. So Dec. 31 of one year [2017], it was 11%, and the next day, they were paying us 15.5%. For the most part, it has been a gradual uptick.
What is SoundExchange’s general strategy for helping to persuade the CRB to raise the rates?
You put on artist witnesses and people from the union and record-label folks who explain what goes into the making of sound recordings. You bring in experts who can talk about the profitand-loss situation or what the future five years of the industry is projecting. You do all that the right way and make a convincing case, and the court increasingly recognizes the value music plays in the services. They are big, long, expensive cases, but it’s worth it because we have to look out for the value of music.
How quickly does SoundExchange make those payments?
Ninety percent of our royalties are out the door in 45 days, whereas around the world, on average, folks pay out annually, semi-annually or quarterly. We’re working for the creators. Our job is to take their money from the digital service providers and get it to them as accurately and efficiently as possible.
Are you a musician?
I’ve played piano since I was 4 years old. My chops are not what they used to be! So don’t ask me that. I played in different bands through high school. I’ve always loved music.
I’ll be honest with you: I never thought I’d end up in the music industry. I’m a recovering lawyer. When I was in law school, I got really interested in intellectual property [IP]. It’s this thing you can’t touch, you can’t hold, it’s not tangible — but the government vests a property right in it because they want to incentivize investment in creation. It just was a really interesting concept. [Without it], you wouldn’t have research in the next cancer treatment. You wouldn’t have people investing in music or movies or software.
Rapper Armani White (left) and Michael Huppe.
Courtesy of SoundExchange
After Harvard Law School, you started at the RIAA in 2000. How did you get to that job?
I clerked in court in the Eastern District of Virginia. We saw a lot of IP — when someone’s infringing your patent, you could be losing millions of dollars a day or tens of millions, and it makes a difference going to a quick court. When I started out as a lawyer in a law firm here, I tried to do IP if I could, but I was just doing general litigation. I got this headhunter to [help me] come over to work at this place called the RIAA, which happened to be across the street from where I was working. I came in to do litigation and piracy work and a lot of other things at the RIAA.
Like what?
There were still full-blown, big, commercial pirate cassette operations. I was helping to develop processes and cases. Slowly, that work moved from cassettes to commercial CDs to burnable CDs and downloads, and by the time I left, it was all streaming. We had eight offices around the country, probably 60 people in the department, tons of investigators. I helped create a system where we could build our own cases against pirates because we started to move toward the civil side instead of just criminal.
Any stories about busting flea markets?
The more tense times are when you’re going to someone’s house and they’ve got a CD-burning factory in the basement. Then you move on to the internet. It’s a whole different ball of wax. You’ve got people hiding behind 14 different anonymizers who may not even be based in this country. It was an interesting way to get into the business, that’s for sure.
In addition to Michael Huppe, SoundExchange is guided by an executive leadership team consisting of (from top) chief business officer Tommy Korpinen, CFO/COO Anjula Singh, general counsel Tim Dadson and chief technology officer Luis Bonilla.
Elliot O’Donovan
What are the next big goals for SoundExchange?
SoundExchange, 10 years from now, is going to be an even bigger part of the industry than we are today. When we moved into publishing in June 2022, part of that was to bring some of the same philosophy and perspective and transparency into the publishing world that we brought into the sound-recording world. The ultimate thing is to marry up the metadata. Wouldn’t it be great if there was one central nonprofit place where you had all the authoritative data about who wrote the song, who owns the publishing, what are the splits, who played [in the] background, who sang vocals? It’s interesting and a little crazy we don’t have that as an industry. If we can move in that direction, that removes friction.
Obviously, [artificial intelligence] is a big topic. There are a lot of benefits and a lot of threats. We would like to play a part in making sure AI is rolled out responsibly so we can take advantage of all the benefits, but also set up guardrails so it doesn’t hurt creators — and, by the way, society.
I would love to continue our work in making the business side of music flow more smoothly. The sign of success, in 10 years, is that no one’s even talking about transparency or metadata or mistaken lineups or not knowing who wrote a song. I hope in 10 years, we’re not even talking about that because we’ve solved the problems that got us here.
How has SoundExchange changed over 20 years?
In those early years, people didn’t necessarily know who SoundExchange was. We would have money for somebody and contact them: “Just give us your name and number and bank account.” Understandably, people rarely give that up unless they get to know you. I think people know who we are now. At South by Southwest, we get a list of all the bands, we cross-reference bands, we put up fliers: “Do you know this band? Send them here. We have money for them.” If you’re commercially active in the industry and you don’t know who SoundExchange is, that’s kind of more on you than it is on us.
SoundExchange’s Fight for Fairness
Visitors are cast in silhouette at the top of stairs near the Capitol Visitors Center at the United States Capitol on Wednesday, Oct. 5, 2022 in Washington, DC.
Kent Nishimura/Los Angeles Times/Getty Images
Under its president/CEO, Michael Huppe, SoundExchange has consistently supported the American Music Fairness Act — which would, for the first time ever, impel terrestrial radio companies to pay performers and copyright holders when airing their songs.
Since U.S. Reps. Ted Deutch, D-Fla., and Darrell Issa, R-Calif., introduced the bill in June 2021, it has slowly progressed through Congress. In December 2022, the House Judiciary Committee approved the legislation. “For decades, broadcast corporations have made hundreds of billions of dollars while denying creators royalties for music played on AM/FM radio stations,” Huppe said in a statement at the time. “That’s fundamentally wrong.” In February, Sens. Marsha Blackburn, R-Tenn.; Alex Padilla, D-Calif.; Thom Tillis R-N.C.; and Dianne Feinstein, D-Calif., reintroduced the bill into the U.S. Senate.
On its website, SoundExchange summarized a key exception for small, local broadcasters: Those making less than $1.5 million in annual revenue and whose parent companies make less than $10 million annually would pay just $2 per day to rights holders so they could play any song they want over the air.
The National Association of Broadcasters, which opposes the bill, last December called the legislation an “onerous performance fee” and a “new performance tax” that would “irrevocably damage local radio.” Since the Copyright Act of 1909, broadcasters have consistently won this argument. In the 1930s, top bandleaders Fred Waring and Paul Whiteman formed an advocacy group called the National Association of Performing Arts; in the late 1980s, Frank Sinatra wrote letters to fellow pop stars to build a unified artist coalition; and in the 1990s, Congress passed laws forcing digital services to pay royalties and exempted over-the-air broadcasters from doing the same.
In a December 2022 Billboard op-ed, Huppe countered the NAB: “Corporate broadcasters argue that a ‘mutually beneficial relationship’ exists between AM/FM radio and music creators,” he wrote. “Yet their actions belie that claim, as they spend millions to fight this legislation and avoid sharing the billions of dollars they make in advertising from music.”
This story originally appeared in the Aug. 26, 2023, issue of Billboard.
A new social action platform, ShowUp, wants to make it easy for artists to integrate activism into album releases, touring strategies and other components of their work.
Launching Monday (Aug. 28), ShowUp connects artists with organizations supporting the causes they care about in order to create, support and scale activism in the music industry. The platform is currently linked with more than 300 hand-selected nonprofit organizations across climate justice, social justice, women’s rights, LGBTQ activism and more. (Using a broader search, users can access more than 1.7 million international organizations.)
ShowUp will be activated by artists as the demand for projects that incorporate activism grows within the industry and among fans. This connection to artists is being facilitated by ShowUp’s partners at launch: ADA Worldwide, Downtown, EMPIRE, The Orchard and Symphonic Distribution.
“Ultimately, ShowUp is an artist services tool, and collectively our partners act as a broadcast point for us to over 100,000 artists and growing,” says ShowUp co-founder/CEO Mat Hall. “ShowUp provides timely and forward-thinking, actionable information and tools to our partners to inform and activate artists.”
Hall continues, “How can artists help our neighbors in Maui? What local organizations can artists support during Hispanic Heritage Month? How can an artist support women’s reproductive health in Mississippi? The teams and leaders we work with daily at our partners help us identify artists across their roster interested in this work and help shape the campaigns we create.”
ShowUp also makes it possible for qualifying artists to select an organization to dedicate a portion of their royalties to via a new release or catalog track. Admin for this function happens seamlessly through existing split-share technology on each partner’s backend.
ShowUp will also provide artists with data regarding who gave what, where and when so that artist teams can identify the activism-oriented segments of their fanbases.
“Our goal isn’t to turn every artist into an activist,” says Hall. “This work isn’t for everyone. However, we do want to make sure that any artist practicing activism, or who may be inclined to do so, has the tools and support so that, when they decide to speak out about what’s important to them, their message reaches the broadest possible audience and drives the greatest financial impact possible to the communities and concerns they are supporting.”
Hall adds that this goal makes label and distribution partners essential to ShowUp’s work.
“Providing a scalable platform for artists to raise awareness and engagement while delivering impactful, measurable results for causes they support enhances our value proposition in meaningful ways,” The Orchard president/COO Colleen Theis adds in a press release. “We are proud to partner with ShowUp to make advocacy and fundraising integral components of The Orchard’s client offering.”
“We all know ‘why’ this work is imperative, but many of us get lost at ‘what’ and ‘how,’” added ADA Worldwide president Cat Kreidich. “ShowUp helps answer these questions, and has been a valuable and practical starting point for our artists and teams as we all consider our potential for impact.”
Added Downtown Music Holdings chief commercial officer Tracy Maddux: “Activism is becoming an increasingly important part of how creators interact with their audience and the world around them. ShowUp provides them a platform to do this authentically and effectively and Downtown is a proud partner in helping make their voices heard.”
“Integrating the ShowUp platform allows our artists to seamlessly support the things that matter to them,” said EMPIRE chief product officer Stephen White. “When artists make these commitments, our artist teams have an incredibly powerful new marketing tool that not only drives advocacy and fundraising, but new channels of fan and streaming engagement. Everyone benefits.”
Live music companies’ stocks fell an average of 4.4% on this week’s Billboard Global Music Index despite their optimism about sustained consumer spending and healthy revenue and ticket sales in the second half of the year. While Live Nation shares rose 0.5% to $84.79, the other promoters and ticketing companies in the index had down weeks: Madison Square Garden Entertainment fell 2.7%, CTS Eventim dropped 5.7% and Sphere Entertainment Co. plunged 9.6%.
Sphere Entertainment shares have gained over 19% since the company turned on the external display on its state-of-the-art Las Vegas venue and showcased the potential inside the structure on July 5. The company’s second quarter results, released Tuesday, showed revenue of $129.1 million — with the Sphere contributing just $700,000 and the remainder coming from MSG Networks. Sphere’s share price rose nearly 8% to $39.58 following Tuesday’s earnings results but fell nearly 15% over the next three days. The $2.3-billion Sphere will open on Sept. 29 with a 25-date residency by U2.
iHeartMedia shares rose 6.6% for the week to close at $3.56 on Friday (Aug. 25), making the radio giant the week’s greatest gainer on the Billboard Global Music Index. However, radio companies’ struggle with weak national advertising has hurt their share prices overall in 2023. Year to date through Friday, iHeartMedia was down 41.9% and Cumulus Media had lost 41.9%. Audacy, troubled by debt on top of the soft advertising market, was de-listed by the New York Stock Exchange on May 16 and currently trades over the counter at 75 cents per share despite a reverse stock split on June 30 raising the price from 7 cents to $2.13. Audacy was removed from the Billboard Global Music Index following the de-listing.
Overall, the 21-stock Billboard Global Music Index was flat this week at 1,298.80. Ten stocks finished the week in positive territory, ten stocks lost ground and one stock, Round Hill Music Royalty Fund, was unchanged. Record labels and music publishers were the top performing sector with an average gain of 1.7% and only one company, Universal Music Group (down 0.7%), finished in negative territory. Streaming companies and radio companies suffered average weekly losses of 1.3% and 1.7%, respectively.
Year-to-date, the index has increased 11.2%, even as it’s now on its fifth straight week without a gain.
Stocks in general performed better than music stocks. In the United States, the S&P 500 gained 0.8% and the tech-heavy Nasdaq composite gained 2.3%. In the United Kingdom, the FTSE gained 1%. South Korea’s KOSPI composite index gained 0.6%.
The week’s biggest loser, streaming company Anghami, fell 17.5% to 94 cents per share. The stock traded below $1 per share from Wednesday to Friday, marking the first time since July 18 the stock has dropped below $1. On Monday, Anghami announced the sale of a convertible note worth $5 million to SRMG Ventures, a venture arm of Saudi Research and Media Group. The company plans to use the proceeds for working capital, growth and other corporate purposes.
How long will consumers keep spending $200 on concert tickets, $15 on a cocktail at the venue (and God knows what for parking) and $11 on a music subscription? Judging from recent comments by some executives, people may be dealing with inflation, but they will still pay to be entertained.
“After another quarter of record-breaking [gross order value], it is clear consumers continue to prioritize live events experiences,” said Vivid Seats CEO Stan Chia on the company’s Aug. 8 earnings call.
Investors, though, seem worried about the potential effects of millions of American student loan borrowers resuming payments this fall after years of pandemic-era forbearance. In over three years, the forbearance on student loan debt totaled about $185 billion that was spent elsewhere or saved, according to an estimate by Goldman Sachs. Asked by an analyst about the possibility that loan payments will put a crimp in concert spending, Live Nation president/CFO Joe Berchtold said the company doesn’t expect a problem. Live Nation’s analysis is that the positive impact of fans returning to live events after the pandemic “is about 10 times the impact of any potential headwind coming from the student loan payments needing to get made,” Berchtold said during the company’s July 27 earnings call.
Chia echoed Bechtold’s optimism. Vivid Seats sees “resiliency” in consumer demand and strong trends for live music, he said. To that point, Vivid Seats increased its guidance for 2023 for the second time this year and now expects marketplace gross order value (GOV) of $3.4 billion to $3.6 billion and revenues from $630 million to $650 million.
What’s more, Live Nation expects people won’t be shy about opening their wallets. Full-year concerts margin will increase in 2023 thanks to an “increase [in] the per-fan profitability” from on-site spending — things such as food and drink — and “containing to focus on the costs,” said Berchtold. Price-conscious consumers “are continuing to spend strongly,” he said, and Live Nation is seeing an increase in both the number of fans per show and per-head spending.
Eventbrite, which increased the mid-point of its 2023 revenue guidance from $323.5 million to $325 million, is finding people are still eager to do things in the real world after COVID-19 lockdowns moved much of their lives online. In an Aug. 3 earnings call, CEO Julia Hartz said the company’s improved outlook comes from “strong demand signals across the board, particularly for categories like music, film and media, food and drink, nightlife, performing and visual arts.” What’s more, Eventbrite is seeing “people really want to get out and connect with one another,” she added: “Singles and dating events are 50% up year over year. Independent singer-songwriter-hosted events were up 60%.”
German promoter CTS Eventim expects moderate growth in internet ticket volume and live entertainment revenue this year. And while CTS believes its future is clouded by unquantifiable effects of geopolitical security uncertainty, persistently high inflation and a potential economic stagnation or recession, the company said in its mid-year earnings report that “earnings figures should improve substantially compared with 2022.”
Consumer spending on music subscriptions also appears to be strong going into 2024. Spotify, which raised the price of its individual plan by $1 per month in the United States in July, expects to have 224 million subscribers by the end of September, after adding 15 million in the first half of the year. Its third quarter revenue guidance of 3.3 billion euros ($3.56 billion) would mark a nearly 9% gain from the prior-year period, although analysts surveyed by StreetAccount expected guidance of 3.4 billion euros ($3.67 billion). And its gross margin guidance of 26% would be a marked improvement from 25.2% and 24.1% in the first and second quarters, respectively.
While consumer spending continues unabated, brands’ spending on advertising — an important revenue stream for labels and publishers — is a different story. A soft advertising market has hurt everything from radio revenues to online advertising (though Live Nation’s advertising and sponsorship revenue has rebounded nicely from the pandemic and has seen no slowdown, according to Berchtold). iHeartMedia expects third-quarter revenue, excluding the impact of political advertising, to decline in the low-single digits, as July revenue was down about 5% year over year.
But radio advertising could rebound in the second half of the year, according to B Riley Securities analyst Daniel Day, and Cumulus Media’s better-than-expected second quarter earnings results were a positive sign. While iHeartMedia investors weren’t enthusiastic about the company’s second quarter earnings — its share price fell 17% the day earnings were announced and dropped another 6% through Thursday — the company remains optimistic. “While there was some softness in our larger advertisers, in Q2 our smaller advertisers remained resilient,” said iHeartMedia CEO Bob Pittman during the Aug. 8 earnings call. “And we saw a gradual improvement from our larger advertisers as well, which leads us to believe that we’ll continue to see improvements in the business through the remainder of the year.”
Three weeks ago virtually no one knew who Oliver Anthony was. But in the 18 days since radiowv published a video of the Virginia singer/songwriter performing his everyman anthem “Rich Men North of Richmond” to YouTube, he has become a household name.
Not only has “Rich Men North of Richmond” soared to the top of the Billboard Hot 100 — making him the first artist to debut at No. 1 with no prior chart history — he has become so ubiquitous that Wednesday night’s Republican presidential candidate debate included a question about the song.
Propelled by the right’s embrace of the song because of its themes about working class people’s struggle, unfair taxation and its dismissive tone about “obese” people on welfare, “Rich Men North of Richmond” has become a touchstone for the country’s divisiveness and a rallying cry for the disenfranchised.
Though labels and booking agencies are clamoring to get into business with Anthony — one record executive told Billboard, “I don’t think I’ve ever seen anything like this before” — Anthony has said he is in no rush to sign any deal. His co-manager, Draven Riffe, told Billboard that they planned to “take it slow” while surveying potential offers and also expressed a desire to do as much as they can on their own.
While Anthony plots his next move in hopes of turning a runaway hit into a lasting career, Billboard asked a number of top country executives what advice they might offer to help the newcomer navigate his way onward and through the feeding frenzy.
Jon Loba, president, BMG Nashville president: “Not that he needs advice from me, but my guidance would be, stay true to yourself and authentically who you are. Early on, it’s obvious that’s exactly what he is doing, which impresses me as much as his music. While different sides of the political spectrum are celebrating or roasting him, he doesn’t let any side take ownership of who he is and what he stands for. He is not afraid to say he is middle of the road and hopes for unity, which in this day and age can be a risky proposition.”
Tim Wipperman, managing director, ONErpm Nashville: “There is no reason for him to give away ownership of his intellectual property in a traditional deal. That is the annuity for him and his family. We have deal structures that have all the benefits of worldwide scale in the digital realm without the encumbrances of a corporate box. Keep your ownership, and don’t trade that for a big advance.”Derek Crownover, partner and vice chair, music Industry, Loeb & Loeb: “Songs and lyrics on controversial topics and particular viewpoints, whether it’s love, alcohol, religion or politics, are age old. The song and the passion Oliver is delivering through his vocals are speaking loudly to a group obviously; however, there is also the new viral phenomenon of curiosity, which the media is helping to fuel. So there is some uplift that’s there too. It seems Oliver did a lot of this on his own, so he should preserve the rights he has as best he can. Maybe a record distribution deal and a publishing admin deal to help him collect the money on those songs he put out and then a go-forward [publishing deal] with more investment to build off his platform.”
Jay Turner, program director, Sunny 102.5 Country, Santa Maria, Calif.: “A guy like Oliver Anthony could make as much money as he needs the rest of his life without ever sitting down with William Morris or CAA or Universal Music or Sony. He doesn’t need a deal with Red Light to manage him, he doesn’t need a deal with William Morris to book him…. He would be wise to do that, but he doesn’t have to do it. If [he does sign a deal], he would be very wise to enlist somebody to help him dot the i’s and cross the t’s. Will he? I don’t know. He’s going to have a lot coming at him real fast.”
Tracy Gershon, co-founder, Northern Lights Music/Shero Consultants: “Oliver Anthony’s success speaks to the shifting power from the gatekeepers to the fans. His authenticity and independence has resonated, and whomever he picks for his team needs to honor this.”
Chris Kappy, chief navigation officer, Make Wake Artists: “Fans. First.”
Scott Stem, manager (Scotty McCreery), Triple 8 Management: “It’s important that Oliver knows who he is as a person and an artist and stays true to his vision, while also continuing to evolve as all artists do. He needs to surround himself with people he can trust to have his back, who will help him grow from a momentary phenomenon to an established artist. He should be wary of anyone wanting to work with him who doesn’t feel genuine to him. While I think it would be good for him to chat with any legitimate label, publisher and concert promoter that wants to meet with him, he should take some time, learn his options, and determine what fits best with his personal and artistic goals. He can’t wait forever and miss this moment, but he doesn’t have to make snap decisions either. He should put some money where his mouth is and partner with an existing charitable organization or create his own foundation to help find solutions and make life better for those folks he sings about. He will make mistakes, as everyone does, but he can learn from them and move forward — and perhaps not be photographed eating a fudge round.”
John Shomby, owner/CEO, Country Radio’s Coach: “I would tell him, ‘Dude, this might be your 15 minutes of fame right here, so take advantage of it and perform in front of people as much as you can. Use the digital services and radio as much as you can. What do you want?’ If he says, ‘I want to make a lot of money,’ then, OK, sign with a label. But if he says, ‘I just want to do my music,’ then I’d tell him to stay in the independent music mode and not change anything because he’s done so well doing it this way… There’s a possibility that he signs a big label deal and then falls flat on his face; that’s what I’d be concerned about if I were his manager. I would say let the 15 minutes of fame go away and then see what happens from there… I think this guy is genuine, everybody’s trying to paint him into a corner. That’s another thing I would be real careful about: who we put him in front of. I would not send him to any political rallies. I wouldn’t do any of that.”
Jacquelyn Marushka, founder, Marushka Media: “With respect for Mr. Anthony, and because I am not a professional musician or songwriter but I greatly appreciate those with this gift, I’d humbly encourage him to keep writing and singing about what moves him and about what’s true to him. I’d further encourage him to be true to himself no matter what. His honesty translates in his voice; a quality that connects with listeners. Finally, if he decides to dive into the business, I’d recommend he vet partnerships very carefully and find a brilliant attorney, business manager … and a protective and savvy publicist … hint hint.”
Assistance provided by Jessica Nicholson and Steve Knopper.
If it’s Friday that means another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the music industry. As the newly retired Charles Martinet likes to say, Let’s-a-go:
BMG promoted Tony Abner to global general counsel and executive vp of business and legal affairs of the music company, often billed as the world’s fourth largest after the three majors. Based in Berlin and reporting to BMG CEO Thomas Coesfeld, Abner manages the firm’s global legal teams and, as GC, advises senior management on all legal matters. Abner has been part of the BMG family since 2018, first as vp of business and legal affairs before adding an “s” to the title two years later. He was formerly based in Los Angeles before moving to Germany a year ago. Prior to BMG, he held executive posts at PMP Records and Loud Records, as well as senior attorney positions at Lenard & Gonzalez and Davis Shapiro Lewit Montone & Hayes.
Universal Music Group Nashville promoted Stephanie Alexa to svp of finance and operations, and Gary Keffer to vp of strategic marketing for the label group, which hems in Capitol Records Nashville, EMI Records Nashville, MCA Nashville and Mercury Nashville. Alexa has “transformed the finance department” during her five-year run as vp of finance, says UMGN evp and COO Mike Harris. Prior to joining Universal, she oversaw finance and business affairs at ATO Records. Keffer has over 20 years of experience in marketing, the seven with UMGN, where he and his team scour for ways to connect UMGN artists with brands, partners and wider audiences. Before pivoting to music, Keffer was director of media and partnerships at arms manufacturer Remington. “His expertise and attention to detail have ensured that our partners and artists are always supported for success,” glowed Lori Christian, the label group’s evp of marketing.
Mark Logsdon has been named vp of publicity at BMG Nashville, succeeding former vp of p Jay Jones, who exited earlier this year. Logsdon reports to evp of BMG Nashville JoJamie Hahr and in his new role, will lead the overall publicity strategy for BBR Music Group’s roster, including Jason Aldean, Jelly Roll, Lainey Wilson, Dustin Lynch, Chase Rice and Parmalee, as well as guiding BMG Nashville’s corporate communications. Logsdon previously worked at PLA Media, where he began in 2007 as a coordinator and rose through the ranks over the past 16 years to a vice president role. Prior to PLA, his career included time at Sony, RLM/Mission Management, and the Atlantis Music Conference. During his career, Logsdon’s clients have included The Tina Turner Museum, the Johnny Cash Museum, Patsy Cline Museum, the Birthplace of Country Music Museum, Warner/Chappell Production Music, RCA Studio A, Ingram Content Group, and artists including Tyler Williams, Michelle Wright and Lynn Anderson. –Jessica Nicholson
The Orchard hired music marketing mainstay Gita Williams as its new senior vp of artist and label services in the U.S., a role in which she’ll develop and market current roster artists — and sign future ones. She is based in Los Angeles and reports to Mary Ashley Johnson, evp of sales and artist and label services. Prior to joining the Sony-owned independent music distributor, Williams ran her own management and marketing firm, The Mehan Group, and before that held senior roles at Roc Nation, Epic Records, Interscope and RCA Records. “Gita’s experience in artist management and major label leadership roles will prove invaluable as we refine our Artist Services division and strive to achieve the best possible results for our clients,” noted Johnson. You can reach Williams at gita@theorchard.com.
John Dolak joined the National Association of Music Merchants (NAMM), where he leads all communication and PR efforts for the music-and-sound trade show. The UCLA alum spent 20 years at Sony Electronics, where he rose to vp and head of communications and, notably, was the point person for participation and activations at major trade shows like CES and NAB. Additionally, NAMM announced the creation of a Member Services team, which consolidates the membership, professional development and public affairs departments. Zach Phillips, previously NAMM’s director of professional development, will now become director of member services. Erin Block, formerly NAMM’s associate director of registration and analytics, has been promoted to associate director of membership. You can reach Dolak at johnd@namm.org.
The International Bluegrass Music Association selected Ken White as the organization’s next executive director. Beginning Oct. 2, White will take over for Paul Schiminger, who held the role for six years before retiring in 2021 — but who then returned in March after Pat Morris’ resignation for personal reasons. White’s bluegrass bonafides include decades of writing and performing the art form in venues including Grand Ole Opry, Telluride Bluegrass Festival and the IBMA World of Bluegrass. For the last 21 years, he has led the Howerton+White integrated marketing agency, building the business to over 40 clients. Over the years he has also served as president of the Wichita Jazz Festival and co-produced a popular season concert series at Bartlett Arboretum in Belle Plaine, Kansas. White will be returning to Nashville for the IBMA gig.
Sound Talent Group hired veterans Jon Pleeter and John Lashnits as talent agents at the five-year-old independent booking agency. The LA-based Pleeter joins STG after working as vp of concerts at ICM, while New Yorker Lashnits arrives from APA. Both have client rosters that lean on the rock side of life, including Saving Abel and Saliva for Pleeter, and Destroy Boys and The Wrecks for Lashnits. STG was formed in 2018 by former UTA agents Dave Shapiro, Tim Borror and Matt Andersen, and boasts a vast — and diverse — roster that includes Calle 13, Clutch, Gwar, Hanson, Hatebreed, Hoobastank, Pierce the Veil, Story of the Year, Vanessa Carlton and many more.
Sony Music Publishing Nashville promoted Kenley Flynn to vp of creative A&R, where Flynn will be responsible for signing and developing talent, as well as driving creative opportunities on behalf of Sony Music Publishing Nashville’s roster. During his tenure at the company, Flynn has helped propel the creative success of breakout talent including Nate Smith (“Whiskey On You”), Trannie Anderson (Lainey Wilson’s “Heart Like A Truck”) and James McNair (Luke Combs’ “Going, Going, Gone”) as well as artists and writers including Madeline Merlo, David Morris, Tim Nichols, and Ben Hayslip. Flynn began his career at Combustion Music, before joining Sony in 2020 as senior director of creative A&R. “Kenley is a songwriter’s best friend,” said Josh Van Valkenburg, evp of creative at Sony Music Publishing Nashville. “Over the last few years, he’s been instrumental in building the careers of some of today’s biggest breakthrough hitmakers. This promotion is so well deserved.” –JN
Lauren Papapietro joined Warner Music Group as vp of communications for Rhino and Warner’s global catalog team. The 15-year PR veteran has the mighty task of helming publicity strategy campaigns for the catalogs of WMG/Rhino’s roster of icons, including one-namers like “Aretha,” “Frank,” “Sabbath,” “Otis,” “Madonna,” “Van,” “Halen” and… the list goes on. Pappapietro most recently served as head of publicity for Crush Music, where she worked with major acts, including WMG/Rhino artists Alanis Morissette and Green Day. Prior to that, she led publicity at Glassnote Entertainment Group. She is based in New York and reports to Kevin Gore, president of global catalog, recorded music at WMG.
ICYMI: Amazon Music’s head of hip-hop/R&B Tim Hinshaw is exiting the company to launch his own agency, Free Lunch … Recently photographed former president Donald Trump hired Gunna’s lawyer in his racketeering case in Atlanta … and longtime NPR programming executive Anya Grundmann is leaving the network after nearly 30 years.
SoundExchange said Tino Gagliardi, the newly elected president of the American Federation of Music, has joined its 18-seat Board of Directors. Gagliardi replaces recently retired AFM president Ray Hair on the board. “Tino is joining the SoundExchange Board of Directors at a pivotal time for the company and the music industry,” said Michael Huppe. “With his first-hand experience as an artist and expertise representing musicians for over 13 years, we couldn’t be more elated to welcome him to the board.”
Monument Records promoted Casey Thomas to director of marketing, publicity and creative. Additionally, Joel Beaver has been promoted to associate director of marketing. In her expanded role, Thomas will continue to oversee publicity and creative services, while taking on a more active role in marketing strategy, while Beaver will be responsible for marketing, brand partnerships, international and sync relations for the label’s roster which includes Alex Hall, Walker Hayes and Pillbox Patti. Thomas joined Monument from the Country Music Hall of Fame and Museum in 2018, and she previously served at Monument as director of PR and creative. Beaver joined Monument in 2017 as an intern and became a staffer a year later. Beaver has been in the center of marketing campaigns across the artist roster, most notably with Hayes and the buzzy “Fancy Like” campaign for Applebee’s. –JN
Partisan Records promoted Bryant Kitching to global director of communications. Previously director of publicity in the U.S., Kitching joined Partisan in 2018 and over the years has overseen press campaigns across Partisan’s entire roster, including PJ Harvey, IDLES, Fontaines DC, Laura Marling, the Fela Kuti estate, Beth Orton and more. He is based in NYC.
Nashville Notes: Space Colonel bulked up its management division by adding Jesse Schuster, Chris Mueller and Evan Hunsberger to its team. The Nashville-based entertainment company, launched by Adam Barnes and J.R. Denson in 2019, represents over 15 artists and producers, including Shooter Jennings, Jason Boland and new signee Beau Bedford. Space Colonel also launches S || C Records and is gearing up for the release of Lillie Mae’s upcoming third studio album … Black River Publishing hired Sarah Hudspeth as creative coordinator. Hudspeth will provide support to vp of publishing Rebekah Gordon and assist the creative staff in the company’s day-to-day operations … The Country Music Hall of Fame and Museum hired R.J. Smith, a former editor for Los Angeles magazine and The Village Voice. The museum also promoted Sam Farahmand to director of creative content … Leo33 welcomed Tracy Gibson as director of promotion and marketing. She previously worked as Big Machine regional promotion director.
08/24/2023
Searching social media for Tree Paine and Yvette Noel-Schure’s names reveals their own legions of passionate stans.
08/24/2023