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When executives from across the United States and international markets convene in Nashville May 15-18 for the Music Biz 2023 conference, they will connect with a trade organization widening its reach, with a leader boasting credentials that are uncommon in the music industry.
Portia Sabin, who became Music Business Association president in September 2019, brings to her role a Columbia University doctorate in anthropology and education and savvy that she gained from a subsequent 13 years as president of the respected independent label Kill Rock Stars and eight years as host of music business podcast The Future of What.
It’s no wonder that Sabin has cultivated an esteemed fan club of music industry professionals, including the heads of other trade groups.
“Because of her background and her personality, she’s got analytical and creative skills to put fresh ideas out there, and she’s not afraid to push the envelope,” says Mitch Glazier, chairman/CEO of the RIAA.
“She remains focused on educating and improving this business, pushing for growth and inclusion while helping others to navigate the challenges that come with never-ending technological and economic change,” says Michael Huppe, president/CEO of SoundExchange. “I have a tremendous amount of respect for Portia as a strong and insightful voice in the music industry.”
Highlights of this year’s Music Biz conference will include four days of panels and workshops, keynote addresses by Kobalt founder and chairman Willard Ahdritz and leaders of the Black Music Action Coalition, as well as the second Bizzy Awards to recognize companies and individuals who are making a difference in improving the global industry. The 2022 Music Biz drew over 2,100 attendees from across some 750 companies, with 8% of participants coming from outside the United States.
“Running a label made me get very interested in the business of the music industry,” Sabin says of the road that led her to her Music Business Association role. “I was also on the board of A2IM [the American Association of Independent Music] for 12 years, on the board of the RIAA for a couple years, on the Recording Academy Board of Governors in the Pacific Northwest for six years and I also started a podcast about the music industry in 2014, so I had a lot of interest in the business itself.
“It’s a fascinating industry,” Sabin continues. “There’s a lot to know, and it’s also one of those weird ones where everybody thinks it’s easy from the outside until you get involved in it. We really saw that in the tech boom, starting about 10, 12 years ago, when all these tech people came into our sector saying, ‘I don’t know what your problem is. We can make lots of money,’ and then one by one they have disappeared. The only ones who stuck were the ones who bothered to learn and respect the music industry.”
Portia Sabin
Nashville Corporate Photography
Originally comprised of music wholesalers, retailers and distributors, the Music Business Association had already begun to broaden its scope during the tenure of James Donio, Sabin’s predecessor — a shift indicated in 2013, when the organization changed its name from the National Association of Recording Merchandisers (NARM) to the broader moniker it has today. Continuing that expansion was one of Sabin’s early priorities.
“We’ve made a concerted effort to be inclusive, to reach out to companies that are coming in, like tech startups, that are doing cool things and solving problems that people have,” Sabin says.
The music business, she notes, is “an ever-changing landscape, and I think it’s one of those things you have to be comfortable with when you set out to have an inclusive trade association.”
Today, the Music Business Association has several initiatives to more broadly serve the music industry. For example, the Music Biz conference has added programming that focuses on the touring and ticketing industry “because that part of our business has always weirdly been a little bit separate,” Sabin says. “I certainly found out when I was running a record label that that whole live side was sort of its own animal. The booking agents are over there, the promoters, the big talent agencies.”
But the pandemic highlighted the fact that the music business “is an ecosystem and we all rely on each other, and when one goes down, the whole goes down,” says Sabin of the live sector. “So we have made a big effort since 2019 to get those folks involved.”
The conference’s programming style has also evolved. “We have discovered the power of creating tracks for discussion,” Sabin says. “It helps people get more in-depth knowledge. If you’re going to do three panels on a topic, one right after the other and everybody is having the conversation together, that makes it stronger, so we’re doing quite a lot of tracks at this year’s Music Biz.”
MIDiA Research’s Tatiana Cirisano (center) at the UMG Mixer at Music Biz 2022.
Graham Dodd
Sabin’s desire for a larger tent extends beyond the types of companies that make up the Music Business Association. Achieving a more inclusive board “was a huge goal for me,” Sabin says. “It has taken us four years, but now we’ve gotten to 52% people of color on the board, 57% women, as well as a nice, wide range of diversity in company type. I think that’s also really important.”
“She formed a diversity, equity and inclusion committee pretty much immediately, so that was a core element of building and reconsidering the organization,” says Downtown Music Holdings chief marketing officer Molly Neuman, who recalls that Sabin’s early priorities included making the organization’s board more diverse and expanding the voices heard at its events. “That was in place when George Floyd was murdered and we had Blackout Tuesday and all the things that happened in the summer of 2020, so we already had this core unit considering these things for the industry, but we were also in a position to offer mutual support as well as long-term plans.”
That commitment to inclusion was illustrated recently when the Nashville-based Music Business Association issued a statement decrying anti-LGBTQ+ bills passed by the Tennessee Legislature.
Broadening the scope of the Music Business Association also includes an effort to increase the involvement of younger music professionals. “We have a programming track called #NextGen_Now, and we tried our first physical event with them [in March] in Nashville,” Sabin says. “We had a cocktail mixer and it was incredibly successful; they all had to be kicked out at the end of the evening because they were enjoying themselves too much, which is great.”
The association is also reaching students through its #NextGen_U initiative. Like its predecessor, NARM, the Music Business Association has continued to offer scholarships to help the next generation of music business executives.
“The programming that we did online for them was very successful over the pandemic and we continued to do those through as recently as February of this year,” says Sabin. “We think it’s easier for students to attend a two-day virtual conference for $39 rather than flying and getting a hotel room. We also have an academic-partner newsletter now that we send out monthly.”
Willard Ahdritz
Paul Brissman
Another recent Music Biz outreach echoes NARM’s almost-forgotten 1970s-era playbook — the Road Show.
“For the vast majority of our members, their clients are actually artists and musicians and Music Biz [previously] didn’t provide any forums for them to get in front of those people,” Sabin says. “So I put together what we call the Music Biz Road Show. We usually partner with a trade association in a city and go for a day and do a mini Music Biz, where we put on some panels, maybe a fireside chat and a cocktail hour. The local trade association brings a couple hundred local artists so our members get to get in front of their actual clients, the people who they actually want to meet. And we get to do educational programming for those folks. It has been very successful so far.
“We’ve had them in Atlanta, Portland, Ore., and Memphis and we have them coming up in Huntsville, Ala., New Orleans and Miami,” Sabin continues. “If my staff doesn’t kill me, I would like to have at least one a month.”
Amid such outreach, what are the priorities for this year’s expanded Music Biz conference?
“I think everyone is always interested in what’s coming next, so I think generative [artificial intelligence] is a conversation that people really want to have,” Sabin says. “Because our conference is crowdsourced, it’s really fun to see what topics come in over and over and which ones fall by the wayside.
“For example, we had the highest number of [programming suggestions] that anyone can ever remember receiving, like 326 proposals this year, and there was only one on [non-fungible tokens]. So you can tell that’s no longer of concern to the membership.”
But a perennial concern remains: “What are the revenue streams that are out there and how do we capture them? That is what the internet has done for the music industry; it has created boundless opportunities, with this scary downside of, ‘How do [creators] collect [revenue for their creations]?’
“I feel like the music business has always been playing catch-up to technology,” Sabin adds. “A new technology comes along and we spend 20 years figuring out how to get it monetized properly, and by that time another technology comes along. But it’s happening so much faster right now and I think that’s the central interest of our membership, and that’s really what we are.”
This story originally appeared in the May 13, 2023, issue of Billboard.
Luminate is launching a new platform that will house the company’s global data capabilities across music, film, TV and more, the company announced Monday (May 15).
An improvement from the company’s current legacy data platform, Music Connect, the new platform includes the industry-leading music sales, streaming and airplay data that has powered the Billboard charts for over three decades. The design was built to complement the rapidly evolving entertainment industry and allows users to explore a more comprehensive view of music consumption by artist and project at both global and individual country levels. It also provides customers with the ability to extract more in-depth insights.
The news was broken Monday morning at the annual Music Biz conference in Nashville by Luminate CEO Rob Jonas.
“As conversations of uncertainty surrounding AI and other technological advancements begin to inundate the entertainment industry, there’s never been a more pressing time for transparency and objectivity in how data is used across music, film, TV, streaming video content and more,” said Jonas. “Luminate’s new platform is built upon three decades of expertise – the information and content we collate and analyze every day forms a rich data asset on which prediction and recommendation will become commonplace for our customers and partners. We are focused on centralized, unbiased information to help keep creators informed, honest, and united by a singular reference point.”
The platform’s improved benefits and features include a more customizable user interface, allowing for various sorting, filtering and grouping functionality; an improved search, with dedicated page and separation per categories (artist/song/album) for quicker access; and the ability for users to share dashboards with team members by copying and pasting a URL for easier collaboration.
Additionally, the platform boasts upgraded data infrastructure, using a multi-cloud architecture incorporating Amazon Web Services and Snowflake, making it faster and more flexible than any of its predecessors. It is designed to ingest thousands of data sources and present them as valuable insights and trends about consumer engagement and behavior, with data exchange and API support available for customers who require data ingestion into their own systems and platforms.
The platform also incorporates more comprehensive artist metadata, including country of origin, language(s) and label information. Additionally, users can drill down to the ISRC or EAN/UPC level, as well as break out the data by different criteria; they also have the ability to separate all activities from Charts Equivalent by providing a dedicated “charts view.” The platform also includes international market-level data via new global filters — an improvement from Music Connect, which largely represents North America — giving users the ability to drill down to key international data from specific countries.
Lastly, the new platform incorporates support for new forms of consumption, including short-form video and gaming environments.
In the coming quarters, Luminate will integrate its other data offerings into the new platform, including music audience research, film metadata, TV metadata and streaming video analytics. New data provider partners will also be announced in the coming weeks.
“Luminate’s new platform was designed in collaboration with some of our most valued partners across the entertainment industry,” said Luminate chief product officer Arnaud Retureau. “Their feedback was invaluable to our efforts in providing a user experience that is beneficial to the entire music community, especially in creating a central reference point pertaining to baseline consumption metrics and expert insights. We’re looking forward to continuing to engage with that feedback to maintain the most effective and useful product possible.”
Luminate’s team is currently on the ground at Music Biz, where they’re scheduled to participate in featured speaking sessions and curated music data programming and will be offering demos of the new platform for industry professionals. You can learn more about their presence at the conference here.
Luminate rebranded in March 2022 and was previously known as Nielsen Music and P-MRC Data.
Cumulus Media’s share price climbed 11.9% to $3.30 on Friday (May 12) after the company announced it commenced a “modified Dutch auction” tender offer to purchase up to $10 million of shares of its common stock at up to $3.25 per share. That news led to a 19.1% improvement this week and made Cumulus, the […]
LIVERPOOL, U.K. — On Saturday, 26 music acts from Europe, Israel and Australia — many dressed in a dazzling display of outlandish outfits — will take the stage at Liverpool’s M&S Bank Arena to compete in the Grand Final of what can justifiably call itself the biggest music competition in the world: the Eurovision Song Contest.
When it comes to music television shows, Eurovision, taking place this year in Liverpool on behalf of war-torn Ukraine, dwarfs them all. More than 161 million people across 34 countries watched last year’s show, held in Turin, Italy and won by Ukrainian rap-folk band Kalush Orchestra, an increase of 7 million viewers (4.5%) from 2021, according to organizers the European Broadcasting Union (EBU).
In audience terms, that puts Eurovision ahead of the Super Bowl, the biggest annual U.S. television event, which drew 113 million TV and online viewers for February’s contest. Comparing to awards shows, 12.5 million viewers tuned into this year’s Grammy Awards, a rise of 31% year-on-year, while 2022’s MTV Video Music Awards averaged 3.9 million viewers, up 3% on the prior edition. This year’s Brit Awards, the U.K.’s biggest music awards show, also drew a television audience of just under 4 million.
While many viewers in the United States and United Kingdom have long regarded Eurovision as little more than a kitsch joke with novelty costumes, the song contest’s enormous audience gives it an unrivaled reach as a marketing platform, making the competition – famous for introducing ABBA to the world — an increasingly attractive launching pad for record labels to develop artists.
Netflix 2020 musical comedy film “Eurovision Song Contest: The Story of Fire Saga,” starring Will Ferrell and Rachel McAdams, further elevated the event’s international profile, introducing its idiosyncrasies to a wider global audience.
But it was the success of Italian rock band Måneskin, whose international career exploded after winning 2021’s contest with “Zitti e buoni” (Shut up and behave) that “changed the game completely” in how executives and labels approach the competition, says Andrea Rosi, CEO of Sony Music Italy, which counts Måneskin on its roster.
Earlier this week, the Italian act played a sold-out show at London’s 20,000-capacity The O2 arena, while the band’s most recent album, Rush!, topped the charts in multiple countries and debuted at No. 18 on the Billboard 200 in January – Måneskin’s highest ever U.S. chart placing.
In the past, Eurovision “was not so important for the Italian market,” and there were some years when it was not televised in Italy at all, says Rosi. “Now the picture is completely different. National television is giving much more space to the [competition] and it brings massive exposure to the artists [taking part] across the world.”
Italy’s entry in Eurovision’s 67th edition, which wraps up Saturday, is Marco Mengoni, already an established star in his home country, who came seventh in the competition 10 years ago and is signed to Sony Music Italy. Rosi is confident that Mengoni’s song, “Due Vite” (Two Lives), a soaring orchestral ballad sung in Italian, will help open up new markets for the artist.
Ahead of the competition, which kicked off Tuesday with the first of two semi-finals, Sony Music Italy worked with its international label partners to devise an extensive marketing campaign to build Mengoni’s profile in Europe. Last month, he played club dates in France, Germany, Belgium and Switzerland. A larger follow-up European tour, promoted by Live Nation, is scheduled for the fall. This summer, Mengoni will play a series of sold-out stadium shows in Italy, wrapping July 15 at Rome’s Circus Maximus.
Since being selected in February to represent his home nation at Eurovision, Mengoni’s “Due Vite” has topped the charts in Italy and, says Rosi, is now “starting to have traction” in other European countries, including Germany and Switzerland. “It’s been a long time [since] an Italian pop artist has been successful outside Italy,” he says. “We have big hopes for Marco.”
As one of the so-called ‘big five’ countries taking part in Eurovision, Italy’s entry automatically qualifies for a place in Saturday’s grand final because of their broadcaster’s financial contributions to the event. The rest of the big five is made up of the United Kingdom, France, Germany and Spain, while Ukraine also receives a free pass as last year’s winner. In total, 37 countries are taking part in Liverpool across two semi-finals and the main show.
Among this year’s favorites to win is Sweden’s Loreen, who won the competition in 2012. Her 2023 Eurovision entry “Tattoo” has earned around 20 million combined views on YouTube. (The singer’s official Eurovision video has 3.8 million views).
Another hotly tipped act is Finnish rapper Käärijä, whose catchy entry “Cha Cha Cha” has generated around 15 million combined views on YouTube, by Billboard’s calculations. Since being first released in January, the song has been streamed more than 18 million times and has become “the biggest phenomenon ever in Eurovision history in Finland,” says a spokesperson for Warner Music Finland.
The publicity has given a massive boost to Käärijä’s profile. At the start of the year, the artist had around 1,500 followers on TikTok. Following the first semi-final on Tuesday, that number had grown to just under 100,000. Monthly listens on Spotify have jumped from just under 50,000 in January to 1.2 million.
Käärijä is one of four Warner Music entries in this year’s contest – the others being Austria’s Teya & Salena’s “Who The Hell Is Edgar?”, Reiley’s “Breaking My Heart representing Denmark and Polish singer and model Blanka, whose song “Solo” marks her debut for the label. Since its release in November, “Solo’s official video has had 23 million views, while Spotify streams have crossed 10 million — largely fueled by the publicity from Eurovision.
Hubert Augustyniak, head of non-urban A&R at Warner Music Poland, is confident that competing in the competition can help break Blanka outside her home market, where, he says, Eurovision has already made her a “really well-known” star.
“It is not easy to do international marketing when you are a Polish label,” says Augustyniak, “so this is a huge opportunity for us.”
After months wrestling over the fate of milions of unsold Yeezy shoes, Adidas said Thursday it will sell a portion of its remaining inventory and donate the proceeds to charitable organizations.
The German sportsware company cut ties with Ye, the rapper formerly known as Kanye West, in late October, following his antisemitic comments on social media and in interviews. Since then, the fate of 1.2 billion euros ($1.3 billion) worth of the unsold Yeezys, a lucrative sneaker line launched with Ye, has been up in the air.
At Adidas’ annual shareholders meeting, CEO Bjorn Gulden said the company had spent months trying to find solutions. He said the company spoke to nongovernmental organization and groups that were harmed by Ye’s comments and actions.
“Burning those shoes cannot be the solution,” Gulden said, adding that Adidas will try to sell part of the remaining Yeezy inventory and “donate money to the organizations that help us and were harmed by what Ye said.”
Exact details of the plan — including how many shoes will be sold and the timeline of selling them — were not disclosed. Gulden said the company will provide updates as it moves forward.
The move comes as Adidas is trying to stage a comeback and move beyond the Yeezy partnership. Cutting ties with Ye has cost the company hundreds of millions of dollars — contributing to a loss of 600 million euros ($655 million) in sales for the last three months of 2022, helping drive the company to a quarterly net loss of 513 million euros.
Adidas reported 400 million euros ($441 million) in lost sales at the start of 2023, the company announced last week.
Net sales declined 1% in the first quarter, to 5.27 billion euros, and would have risen 9% with the Yeezy line, the company said. It reported a net loss of 24 million euros, a plunge from a profit of 310 million euros in the same period a year ago.
Operating profit, which excludes some items like taxes, was down to 60 million euros from 437 million euros a year earlier.
Meanwhile, Adidas is also facing a class-action lawsuit from investors who allege the company knew about offensive remarks and harmful behavior from Ye years before terminating its pact with him. Adidas has pushed back on the allegations made.
Still, Gulden reminded investors that the nine-year partnership between Adidas and Ye was “sensational.”
While he noted that Ye is a difficult person, “he’s the most creative person in our industry,” Gulden said. “He created a model with Adidas that was sought after around the world.” But he added, “We lost that in a month.”
Mary Rahmani, the founder of Moon Projects and former director of music content and artist partnerships at TikTok, has joined Songfluencer and its parent company, Genni & Co., as a strategic advisor, Billboard can reveal.
Songfluencer is a social media marketing agency for the music industry that has led digital marketing campaigns for artists including Samara Joy and Wet Leg. Genni & Co. is also home to the marketing technology service Genni, social media competition platform Preffy and short-form content agencies Genni Agency and YO SUZY!
In her new role, Rahmani will provide insights and guidance to both companies based on her robust background in music and technology.
“If you have been at the intersection of creators and music over the last few years, it would be difficult to not bring up Mary Rahmani,” said Songfluencer CEO/founder Johnny Cloherty. “We are very proud to be working with her and excited to learn from her expertise.”
“Johnny has been behind some of the most exciting trends in music and short-form video, and I’m looking forward to collaborating with him and adding my own perspective to his business,” added Rahmani.
Rahmani’s Moon Projects is described as a multi-disciplinary firm that provides curation, strategy and digital consulting services for musicians and brands. It’s also a joint venture music publishing company with Warner Chappell Music and a joint venture record label with Republic Records. Moon Projects is home to “Numb Little Bug” singer/songwriter Em Beihold.
Albert Piedrahita was appointed director of national publicity at Universal Music Latino, while Sebasti Daneilas was upped to manager of publicity. Piedrahita has been key in developing and leading communications strategies in both the Latin and general market, including campaigns for Karol G, Jhayco and Feid. Daneilas, who will report to Piedrahita, will continue managing and supporting communications strategies for the roster. Piedrahita can be reached at albert.piedrahita@umusic.com.
David Ecker was named label development manager at Exceleration Music, while Rachel Cunningham joined the company to lead fan engagement and commerce. Ecker, who boards Exceleration after spending eight years on Spotify’s artist and label partnerships team, will play a crucial role in managing day-to-day relationships with Exceleration’s family of label and artist partners. Cunningham will lead the development of audience growth and e-commerce strategy to drive Exceleration’s direct-to-fan business, including the development of online stores and the building and rollout of the company’s marketing technology stack. She comes from Gimme Radio, where she served as head of fan engagement & e-commerce marketing.
Andrew Ellis joined Ground Control Touring, bringing with him acts including Manchester Orchestra, Men I Trust, New Found Glory, The Front Bottoms, Alkaline Trio, Thrice, Bayside, Cults and Senses Fail. His longtime associate, Gabe Sunshine, will join him at the company’s New York office. Ellis can be reached at ellis@groundcontroltouring.com.
Whitaker Elledge was promoted to GM/senior vp of artist development at Dualtone Music Group, up from his previous role of vp of artist development. Based out of Nashville, Elledge will now oversee all Dualtone staff and daily operations, including continuing to lead all album rollouts, marketing campaigns, teams and spends against budget performance. He will be the point person for all artists and their teams through album cycles as well as third-party team members.
Joanna Noyes was promoted to senior vp of global marketing & brand strategy at The Orchard; she was previously vp of brand marketing and communications. She will now oversee global marketing and brand strategy in over 45 markets globally, leading a team of over 40 employees.
Otto Price joined WME as an agent in the Christian music department at the company’s Nashville office. He joins the agency from Square One Creative Group, where he worked as a producer, arranger, composer and musician; he previously worked in A&R at Warner Music Nashville’s label group. In his new role, he will oversee the daily touring, TV, literary and sponsorship opportunities for artists as well as bookings in international territories. Price can be reached at OPrice@wmeagency.com.
Kirsty McDonagh joined Various Artists Management as senior manager. Based in London, McDonagh joins the firm from Insanity Group, where she spent eight years. In her new role, she will be working day to day with Tom Grennan, Melanie C, Caseyette, Kingdoms, Rndmbeats and Liv Dawson. McDonagh can be reached at Kirsty@variousartistsmanagement.com.
Elon Musk said Thursday he has found a new CEO for Twitter, or X Corp. as it’s now called — and it’s a woman. He did not name her but said she will be starting in about six weeks.
Musk, who bought Twitter last fall and has been running it since, has long insisted he is not the company’s permanent CEO. The Tesla billionaire said in a tweet Thursday that his role will transition to being Twitter’s executive chairman and chief technology officer.
In mid-November, just a few weeks after buying the social media platform for $44 billion, he told a Delaware court that he does not want to be the CEO of any company.
While testifying, Musk said “I expect to reduce my time at Twitter and find somebody else to run Twitter over time.”
More than a month later, he tweeted in December: “I will resign as CEO as soon as I find someone foolish enough to take the job.” The pledge came after millions of Twitter users asked him to step down in a Twitter poll the billionaire himself created and promised to abide by.
In February, he told a conference he anticipated finding a CEO for San Francisco-based Twitter “probably toward the end of this year.”
Shares of Tesla rose about 2% Thursday after Musk made the announcement. Shareholders of the electric car company have been concerned about how much of his attention is being spent on Twitter.
Last November, he was questioned in court about how he splits his time among Tesla and his other companies, including SpaceX and Twitter. Musk had to testify in the trial in Delaware’s Court of Chancery over a shareholder’s challenge to his potentially $55 billion compensation plan as CEO of the electric car company.
Musk said he never intended to be CEO of Tesla, and that he didn’t want to be chief executive of any other companies either, preferring to see himself as an engineer. Musk also said at the time that he expected an organizational restructuring of Twitter to be completed in the next week or so. It’s been nearly six months since he said that.
Musk’s tenure at Twitter’s helm has been chaotic, and he’s made various promises and proclamations he’s backtracked or never followed up on. He began his first day firing the company’s top executives, followed by roughly 80% of its staff. He’s upended the platform’s verification system and has scaled back content moderation and safeguards against the spread of misinformation.
Bantering with Twitter followers late last year, Musk expressed pessimism about the prospects for a new CEO, saying that person “must like pain a lot” to run a company that “has been in the fast lane to bankruptcy.”
“No one wants the job who can actually keep Twitter alive. There is no successor,” Musk tweeted at the time.
On Thursday (May 11), Roc Nation penned an open letter about their desire to build a casino in the New York City. The full page letter — which resides in the New York Post, New York Daily News and Amsterdam News — includes plans to “enhance the lives of everyday New Yorkers” as the company is currently competing with four other billionaire groups, which include New York Mets owner Steve Cohen, Miami Dolphins owner Stephen Ross, Stefan Soloviev, and John Catsimatidis.
“The winning group must have a track record of turning words into deeds—of putting New York City and its residents first—people of all races, religions, ethnicities, genders, sexual orientations and socio-economic statuses,” reads the letter. “New Yorkers in every corner of every borough – all of us. The winning organization must have a history of campaigning for fair hiring, representation, and reform. Hate, as well as groups that have a history of oppressing the most vulnerable, have no place in New York.”
In December 2022, Jay-Z partnered with SL Green and Caesar Entertainment in their bid to open NYC’s first full-scale casino in Times Square. “The winning licensee must always put the well-being of New Yorkers at the top of their agenda and do right by its residents,” the letter continues. “This is too important of a moment in our city’s illustrious history. Times Square, the epicenter of entertainment with a palpable energy, is unmatched. Roc Nation and our partners are here to ensure Times Square remains connected to all facets of culture. There’s no better location for a Caesars Palace entertainment destination than the Crossroads of the World.
Roc Nation lays out the plan to bolster the lives of New Yorkers, which includes “giving back to all surrounding businesses, investing money into sanitation and security from the bowtie all the way west into Hell’s Kitchen, developing and delivering a much-needed transportation plan, and protecting the interests of the actors, producers, theatre staff, writers and patrons that represent the true heart and soul of Broadway.”
Read the full letter here:
pic.twitter.com/YY71guGYgB
— Roc Nation (@RocNation) May 11, 2023
PJ Harvey signed with Partisan Records, which will release her tenth studio album, I Inside the Year Old Dying, on July 7. The album — Harvey’s first since 2016’s The Hope Six Demolition Project — was preceded by the song and video, “A Child’s Question, August.” Harvey is managed by Sumit Bothra at ATC; her agents are Marsha Vlasic at AGI in North America and Alex Bruford at ATC for the rest of the world.
Rising Toronto artist ThxSoMuch signed with Elektra Records, which will release his debut EP, Sleez, on May 19, preceded by the single “Crumbled.” ThxSoMuch is managed by Tommy Kiljoy at mad world and Mac Moon; his booking agents are Jay Belin, Jesse Robbins and Robby Fraser at WME.
Country singer/songwriter/rapper David Morris signed with Virgin Music Group via a partnership with Grey Area Music. The label will release Morris’ new single, “Jenny’s Song,” on May 23.
British rock band Skunk Anansie signed with Blue Raincoat Artists for management. They will be managed by the company’s co-founder/CEO Jeremy Lascelles, in partnership with Kat Kennedy of Big Life Management (Lascelles signed the band to their first music publishing agreement in 1994 while at Chrysalis Music). Skunk Anansie was previously managed by Leigh Johnson, who oversaw the band’s career for over three decades. The group is currently working on tracks for a new album to be released next year, with plans to tour in 2024 and 2025.
Singer-songwriter BJ the Chicago Kid signed with Yeti Beats‘ Reach the World Records, a joint venture with RCA Records. His latest single, “Forgot Your Name,” was released May 3, with a second single expected soon. He is managed by Myisha Brooks; his booking agent is DeMont Callender at Wasserman.
Jonas Group Entertainment announced two new management signings: Country-pop artist/songwriter Levi Hummon (“Good Riddance,” “Paying for It”) and country singer MaRynn Taylor. Hummon is signed to Reservoir Media for publishing, while Taylor, who will work directly with Blue Raincoat CEO Phil Guerini, is signed to Black River for both recording and publishing.
Mysterious artist-producer underscores signed with Mom+Pop Music. Her first release on the label is the new song and video, “Cops and robbers.”
Swedish synth-pop duo Kite signed with Dais Records, which released their single, “Don’t Take the Light Away,” last month. Kite is represented by manager Adam Borjesson and booking agent Robin Sumpton at Luger.
Married Americana artists Mark and Maggie O’Connor signed with ONErpm Nashville, which will release their latest album, Life After Life, this summer. It will be preceded by the lead single “Verbovaya Doschechka,” which is a new arrangement of the Ukrainian folk song of the same name. Maggie will play violin and sing leads on the new album, while Mark will add harmonies while playing acoustic guitar, violin and mandolin. They’re represented by Skyline Artists for booking and managed by MOC Enterprises. They were previously signed to Sony/The Orchard for distribution.
Jazz artist/pianist/producer/composer Kayla Waters signed with Shanachie Entertaiment, which will release her label debut album, Presence, on July 7.
Australia garage rock band Girl and Girl signed to Sub Pop, which released their single, “All I See,” last month. The group is currently working on new music and touring throughout May. Girl and Girl are managed by Simone Ubaldi and Andrew Parisi; they’re signed to Virgin in Australia.
Tim Kinsella and Jenny Pulse signed to Kill Rock Stars, coinciding with the release of their new single, “Sun Inspector.” Kinsella has played with bands including Joan of Arc, Carp’n Jazz and Owls; Pulse is a vocalist, electronic musician and producer who has released dance-oriented pop songs under her own name as well as experimental soundscapes and field recordings as Spa Moans. The duo is represented by booking agent Robin Taylor at Inland Empire.
Montreal quartet Nora Kelly Band signed with Mint Records for the release of their debut album, Rodeo Clown, on August 25. The label released their new single, “Lay Down Girl,” earlier this month. The group is managed by Kathryn Huyhn at Danagement.
Americana artist and songwriter Al Staehely signed with Quarto Valley Records, which will release his new album in June. Staehely is also a music/entertainment attorney; as a musician, he has played with Spirit, the Staehely Brothers and more. He has also released music as a solo artist and written songs for acts including Bobbie Gentry, Marty Balin and Keith Moon.
If Netflix, HBO, Disney, The CW and others slash their budgets for TV and movie content, as they’ve been suggesting for more than a year, the music industry could take a hit in the steady song-placement business that generates hundreds of millions of dollars annually for rightsholders.
“We’ve been in a boom period. Cutting back on production would cut down on that revenue, for labels and publishers,” says Kier Lehman, a music supervisor who works on Abbott Elementary and Spider-Man: Across the Spider-Verse. “It’s a pretty direct effect.”
After the COVID-19 quarantine ended, the decrease in demand helped create some problems for the streaming business. That has created challenges for the video streaming business: Netflix’ spending on content declined in 2022, after company officials announced a “pulling back”; HBO Max removed dozens of streaming titles last summer to cut costs; and Disney announced $5 billion in cuts two months ago, including 7,000 jobs, although newly returned CEO Bob Iger has emphasized streaming growth. The CW, Showtime and others have also removed content or cut costs.
“We’re trying to be smart about it and prudent in terms of pulling back on some of that spend growth to reflect the realities of the revenue growth,” Spencer Neumann, Netflix’s CFO, said last year.
So far, executives at labels and publishers – which generally split revenue from synch licenses 50-50 – say they haven’t noticed a change in licensing volume or rates, but in a wobbly economy beset with entertainment layoffs, they’re bracing for a harder business. “The idea of less content is always going to be a concern for us,” says a source at a major label. “If there’s going to be a slowdown in content production, it’s going to be a slowdown in music usage — it’s definitely something we’d be keeping an eye on.”
While its impact won’t be felt for a while, the ongoing Writers Guild of America strike has already pushed the pause button on numerous productions, including Stranger Things, Saturday Night Live and Loot.
Synchs have been a remarkably consistent revenue stream for the record business over the last five years, as Netflix, Hulu, HBO and others competed for viewers and created a content boom. Synch revenues for recorded music hit $285.5 million in 2018 and, after a slight dip, rose to $318 million last year. (Publishing revenue has been even more robust in recent years, growing from $696 million in 2018 to more than $1.2 billion in 2021, according to the National Music Publishers Association; synch makes up nearly 26% of that total revenue.) Synch executives at labels and publishers say they’re preparing for more challenging times. “I don’t think anybody’s not going to be affected by cutbacks,” says Oscar Martinez, creative director for film, TV and Hispanic advertising with publisher peermusic. “We expect to feel a little bit of it.”
How will labels and publishers contend with content cuts once they kick in? “We have a plan in place,” Martinez says, predicting a pivot to placing music in games such as Fortnite and FIFA. “There’s still content being made and opportunities to be had.”
Amy Hartman, svp of creative services for film and TV music at Spirit Music Group, adds that the publisher is emphasizing “budget-friendly” moves — remixing classic hits such as Billy Squier’s “The Stroke” for the Air trailer, and encouraging songwriters to create originals that can be licensed more affordably than familiar hits. “That’s one way we can make up loss of synch revenue,” she says.
Sara Torres, sync and licensing supervisor for ASAP Clearances, which works with labels and publishers to clear songs, suggests the number of scripted shows may decline in favor of reality shows — which tend to use more tracks on tighter budgets. A scripted show might blow its budget on one big song, by, say, the Beatles, then try to round out its song lineup with more affordable music by indie artists or “library music.” The reality shows Torres works with have “most favored nations” clauses, so all synchs receive the same fees. “There’s always a whisper of cutbacks with any network, so you just have to be ready,” she says.
For now, label executives say they’re not worried about content cutbacks or more inflexible network demands for lower rates. “It’s business as usual. It’s not doomsday,” says Esther Friedman, Sony Music Publishing’s svp of creative marketing for film and TV, although she adds: “This could be a different conversation in six to nine months.”
Those who work every day with production companies say labels and publishers should prepare for cutbacks. “You might be looking at the same amount of TV shows, but they have less episodes,” says Justin Kamps, music supervisor for Grey’s Anatomy and Bridgerton. “That is rough for everyone involved.”
At least to some extent, any decrease in production would hurt the music business at least somewhat. “If there are fewer shows, there will be fewer places to place music,” says Lindsay Wolfington, a veteran music supervisor whose current shows include Netflix’ Virgin River and Starz’ The Venery of Samantha Bird: “That’s just a fact.”