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Over the course of 15 years, MPT Agency, founded by Raffi Keuhnelian and Anto Dotcom, has mastered the art of getting artists heard and discovered by fans across the globe. The music publicity, promotion and marketing agency serves as a bridge between music executives and artists that can create longevity by accelerating their careers. Together, Keuhnelian and Dotcom have grown an agency that has succeeded with a range of international acts from A-listers to garage bands. As they continue to grow this roster, they use digital tools to stay ahead of the curve.
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Artists have been finding their wings with the company since its first office opened in Montreal, Canada. Now the team works with acts from the three major labels as well as hundreds of emerging artists, shaping their stories and images they need to make their mark in the industry.
One of their many success stories is Colin Brittain, who went from being a hobbyist producer to supporting artists in their journey to the Billboard charts. After a brief exposure campaign and strategic collaboration with MPT Agency, the young producer built a presence that attracted collaborators including Papa Roach, 5 Seconds of Summer, and the Jonas Brothers.
This year has been defined by the explosion of non-western music markets. With a team of 20 across four continents, Keuhnelian and Dotcom have their eyes set on the next billion streamers. In 2023, MPT Agency worked with Warner Music Group, Universal Music Group and Sony Music Entertainment to ignite careers in Brazil, Germany, Mexico, Japan, Ukraine, Korea, and Nigeria. These efforts generated over 1.2 billion views a month and resulted in three major label signings. Most notably, MPT Agency recently supported K-pop group FIFTY FIFTY in its inclusion on the Barbie soundtrack. Keuhnelian and Dotcom’s efforts have proven that the music business is a global affair and they are leading the new trend.
Raffi Keuhnelian of MPT Agency
Chris Carpenter
As the music business continues to expand globally, consumption habits are evolving with it. MPT Agency’s hybrid approach combines exposure marketing and career development to help artists develop sustainable careers in a modern music landscape that prizes virality. “Premium streamers are a niche of the past,” Keuhnelian explains, “Today the ultimate engaged fans are the communities, the listening groups, tastemakers, influencers, bloggers, and readers; they hold the balance of power in a song’s viral uptake. When it comes to igniting a career overseas, harnessing the power of these communities can build overnight empires if the sound is right.” MPT Agency approaches fanbase creation and growth by integrating artist branding with niche communities everywhere, from the traditional social media landscape of YouTube Shorts, TikTok & Instagram, to the self-propelled communities on Reddit, Discord and key music blogs.
The globalization of the music industry has been accelerated by technology, a fact that MPT Agency not only recognizes but incorporates into its mission. Dotcom and Keuhnelian further committed themselves to being ahead of the curve when they launched the Virtual Publicist service, which leverages AI, databases and more to streamline publicity campaign management and outreach. This unique platform gives users affordable and accessible support as they navigate their careers.
Anto Dotcom of MPT Agency
Chris Carpenter
“Artists and labels need to partner with us fully, or their tracks will miss the beat,” says Dotcom. “While leveraging their streaming presence to conquer global markets is just the beginning, it is the hands-on development we give debut artists that allows them to navigate those once-in-a-lifetime situations. Meeting managers, executives, and publishers—this is what the artist needs to do with the presence and exposure we are giving them. We build the foundations for what will be a chart-topping career and make sure their network is hooked on the message.”
In an ever-shifting market, Anto Dotcom and Raffi Keuhnelian have reimagined the path artists must follow to reach their dreams. If you are primed for the spotlight, look to leverage Keuhnelian and Dotcom’s marketing expertise by visiting MPT Agency and Virtual Publicist.
Kehlani signed with Wasserman Music for global representation, with agents Brent Smith and Eli Gelernter serving as her representatives at the company. The signing follows the singer-songwriter’s extensive world tour supporting her most recent album, Blue Water Road.
K-pop group RIIZE signed with RCA Records via a partnership between the U.S. label and Korea’s SM Entertainment. The group’s first release under the new deal is the single “Get A Guitar,” released on Sept. 4.
Rising country star Zach Top signed with independent label Leo33. Top is managed by Bob Doyle and Associates with booking representation courtesy of Jay Williams at WME.
Lay Zhang, a popular Chinese artist, producer, actor and dancer, signed to Warner Music China. Zhang, who debuted as a member of Korean-Chinese boy band EXO before launching a solo career, is managed by Zhang Yixing Studio.
Warner Music Central Europe signed its first digital artist, Noonoouri, and released her debut single, “Dominoes” featuring German DJ Alle Farben, on Sept. 1. Noonoouri’s voice, based on a human singer’s voice, was created using artificial intelligence. The songwriters and producers on “Dominoes” will receive royalties and publishing splits, according to the announcement of the signing in The Independent.
Chrysalis Records signed several new artists: British singer-songwriter Liz Lawrence, better known as one-half of electro-pop duo Cash + David, who is set to release her first EP on the label on Sept. 29; New York art-punk band Bodega, which will release a new album early next year; British vocal harmony group The Wandering Hearts, who will also release a new album next year; pop artist Gia Ford, who just released her new single, “Alligator,” and will put out her debut album on Chrysalis next year; and British singer-songwriter Marika Hackman, who released her latest single, “No Caffeine,” on Wednesday (Sept. 6) and will also put out an album in 2024.
Kyle Dion — whose music is described in a press release as a “blend of heartfelt R&B soul-pop” — signed a global label deal with Position Music. His latest single, “Boyfriend Jeans,” was released by Position on Aug. 25. Dion is represented by Brandon Hughes of Revel Talent Agency for booking and Lauren Camp of On Camp for management.
Alt-punk band 408 signed a multi-album deal with Los Angeles-based alternative label Big Noise, which will release the group’s next single, “Break Up With Your Girlfriend,” on Sept. 29. The band is managed by Nick Bailey, with booking representation by Jason Parent; it was previously signed to Regime Music Group.
Fievel Is Glauque, a group centered around American keyboardist Zach Phillips and French singer Ma Clément, signed to Fat Possum Records, which released its new singles, “I’m Scanning Things I Can’t See” and “Dark Dancing,” on Aug. 15. The band is managed by lucas@abusiness.company and Adam Ogushwitz at UTA for booking.
MNRK Music Group signed Los Angeles-based songwriter-producer Shawn Mackey, aka Pressplayy, to its producer and songwriter management roster. Pressplayy has collaborated with artists including Jeremih, Jadakiss, Quavo, Chris Brown, E40, Jeezy and more. He also boasts a producer partnership with Mally Mall; together, they’ve produced hits for artists including Justin Bieber, Akon and Roy Woods. Pressplayy most recently collaborated on a gospel album for the late rapper DMX.
San Francisco Bay Area singer-songwriter Maria BC signed to Sacred Bones, which will release their sophomore album, Spike Field, on Oct. 20. The label released Maria BC’s dual single, “Amber/Watcher,” on Aug. 29. Maria BC is represented for booking by Maxwell Cann at Anniversary Group in the United States and Guillaume Brevers at Hometown Talent in the United Kingdom and Europe. They were formerly signed to Father/Daughter Records.
Comedy/music duo Austin & Colin signed to BMG/BBR Music Group, which released the duo’s new track, “Guilt Tippin’,” on Sept. 1. Austin & Colin is managed by Peter Strickland and Craig Campbell at Marathon Talent.
Country-folk artist Colby T. Helms, who hails from the Blue Ridge/Appalachian Mountains region, signed with Photo Finish Records. The label will release Helms’ debut single, “Higher Ground,” on Wednesday (Sept. 13). He is represented by Ramseur for management and New Frontier Touring for booking.
The Digital Media Association (DiMA), the trade group representing digital music streaming services, has tapped Graham Davies, CEO of U.K. songwriters advocacy group The Ivors Academy, to become its next president and CEO beginning this fall. “Graham has long championed initiatives that bring the music industry together through collaborative discussion and action,” DiMA’s board of directors said […]
Greatest hits albums were once a key facet of the record business — a way for labels to repackage existing copyrights, for artists to make a statement about a body of commercial success and for consumers to get all their favorite hits by an artist in one collection.
The development of streaming hobbled that format. If a fan can create a playlist of all their favorite songs, why would they need to buy an album of those hits?
Best-of albums, though, are quietly hitting back — especially in the country format. MCA Nashville released Josh Turner’s Greatest Hits on Sept. 8, and Valory has Thomas Rhett’s 20 Number Ones scheduled for Sept. 29. Encore Music Group likewise issued Ricochet’s Then & Now on Aug. 18, with rerecordings of its four top 20 singles from the 1990s among the package’s 16 tracks.
“It’s kind of a milestone moment for me,” Turner says.
Indeed, in the old-school music business, hits albums carried a certain status. In their original, purest form, they signified that an artist had accrued enough successful individual titles that they could fill both sides of a vinyl release with familiar music. They sometimes expanded a fan base, too, as consumers who hadn’t necessarily kept tabs on a specific act suddenly recognized their accomplishments more fully.
“The greatest-hits aggregate, whether it’s physical or even just a digital collection, is kind of a marketing banner for the body of work,” says Fisher Entertainment Consulting founder Pete Fisher.
If the hits package has a throwback vibe, that’s appropriate since nostalgic vinyl is the format that’s most likely driving its return. Fans who want to hear the hits from the turntable at home can’t mix and match the songs for a 12-inch disc as they could on Spotify. The disc needs to be manufactured in a fixed order, and the best-of package offers real value.
“We’ve been selling a lot of vinyl on the road at my shows, so that’s a good sign to show that people really want the physical product,” Turner says. “Everybody’s familiar with the digital stuff now. Sometimes it’s kind of cool to just unplug and go to the record.”
There’s an irony to the development. Producers have been known to add programmed needle scratches to digital music to give it a ’60s or ’70s atmosphere. Avoiding those pops and crackles were one of the supposed benefits of shifting to CDs. The digital disc’s rise pretty much ended a 30-year reign for 12-inch pressings around the early 1990s. Now the sonic imperfections add a new dimension to several generations of music.
“Vinyls are making a comeback, and [they’re] making a comeback among the younger generation,” says Ricochet founder Heath Wright. “It’s the thing now.”
That shift is opening up new possibilities for most of the music from the last three decades as it appears on a warmer, less brittle configuration.
“It’ll be the first time I’ve heard Ricochet music on vinyl,” Wright says, anticipating the release of the band’s material on black and yellow plastic.
Plenty of recent hits projects marked the first time the songs were available in the format. Among the best-of collections unveiled in the last two years are Heads Carolina, Tails California: The Best of Jo Dee Messina, Luke Bryan’s #1’s Vol. 1 and Vol. 2 and a Justin Moore Greatest Hits originally offered in translucent red vinyl at Walmart. Much of Dolly Parton’s Diamonds & Rhinestones: The Greatest Hits Collection — including “Jolene,” “9 to 5” and “Coat of Many Colors” — was initially issued on vinyl back in the day.
But vinyl isn’t the only point. Digital service providers have created their own playlists dedicated to specific artists. However, that same act may prefer a different set of songs as a career overview, and the makeup of those titles on a hits compilation aren’t subject to revisions by DSP managers.
“It’s a nice way to roll up an era and curate the hits from a label-centric perspective for all time,” 615 Leverage + Strategy partner John Zarling says. “Apple constantly updates their Essentials playlists and prominently features those for every artist of note. But if you think about 10, 20 years removed, are those playlists going to properly document a specific era for an artist?”
Hits projects also give the act’s team a chance to elevate a song that was overlooked publicly. “Desperado,” for example, was never a charting single for The Eagles or Linda Ronstadt, but it rose in significance after being featured on both acts’ best-of compilations.
“Think about the songs that might have been important,” says Zarling, “but were never big chart successes, that because they were placed on greatest-hits records, it became a part of that artist’s repertoire.”
Plenty of artists who would have qualified for best-of albums in a previous era have never issued one during the last 20 years. That includes Brad Paisley, Cole Swindell, Taylor Swift, Chris Stapleton and Miranda Lambert. As the hits album hits back, a template has been established that makes a best-of compilation a good bet again.
In addition to making a statement about the act, it’s also a good way to enhance the experience with fans. Turner and Rhett are both offering special packages that combine hits albums with other merchandise. Rhett’s 20 Number Ones can be purchased in two different collectible versions, including one with an autographed box set with a booklet for $125. Turner’s Greatest Hits is available in several configurations, including signed copies and/or Turner-branded clothing for up to $185.
“That’s a trend that’s not going to go away,” Fisher suggests. “The entertainment industry as a whole is just continuing to try and find very high-touch experiences and high-quality products for that premium consumer. There’s profit opportunities with the superfan, and I don’t think they’re disappointed to pay that way. It’s a way they vote in support of their favorite artists.”
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News that Concord plans to buy Round Hill Music Royalty Fund for $1.15 per share sent Round Hill shares soaring 64.4% on Friday (Sept. 8), from $0.6875 to $1.13 per share. They finished the week up 62.6%, leading all music stocks by a wide margin.
The deal, which must be approved by at least 75% of Round Hill’s shareholders at the company’s Oct. 18 general meeting, values the rights in the fund at nearly $469 million. On March 6, an independent valuation from Citron Cooperman put Round Hill’s economic net asset value at $519.6 million, according to the company’s 2022 annual report. That puts Concord’s bid at a 9.7% discount to economic NAV — a vast improvement from the 46% discount the stock had been trading at before the deal was announced.
Round Hill competitor Hipgnosis Songs Fund was also a beneficiary of Concord’s announcement. Shares of Hipgnosis rose 15.7% to 0.923 pounds ($1.15) on Friday, bringing the stock’s one-week gain to 16.8%. Hipgnosis shares have been trading at a steep discount to the company’s net asset value — a measure of the company’s catalog, less liabilities — and hadn’t closed above 0.923 pounds since Sept. 27, 2022. The fact that Concord found a buyer at a price close to its NAV could have signaled to Hipgnosis investors that its shares should be trading closer to its NAV. Some Hipgnosis investors may have also believed that, like the Concord deal, Hipgnosis could also find a suitor that would bid close to the NAV.
Round Hill and Hipgnosis were — by far — the biggest gainers of the week. Overall, the 21-stock Billboard Global Music Index dropped 0.8% to 1,348.41. Year-to-date, the index has gained 15.5%.
No other music stocks had a double-digit gain, and just six others finished the week in positive territory. Twelve stocks lost ground this week and one stock, music streamer Anghami, was unchanged. French music streamer Deezer gained 6.8% and was probably helped by its announcement of a partnership with Universal Music Group to adopt a new system for calculating streaming royalties. Universal Music Group shares improved 3.8% to 23.52 euros ($25.20).
Stocks were down around the world this week. In the United States, the S&P 500 fell 1.3% and the Nasdaq composite dropped 1.9%. South Korea’s KOSPI composite index lost 0.6%. In the United Kingdom, the FTSE 100 was a bright spot with a slight 0.2% gain.
With the help of Round Hill and Hipgnosis, the eight stocks in the record labels and publishing category on the Billboard Global Music Index had an average gain of 10.3%. The other categories saw losses; four live music stocks had a 0.9% average decline, six streaming stocks dropped an average of 3.9% and three radio stocks had a 4.7% average decline.
LiveOne shares fell 10.4% on Friday following the company’s spin-off of its PodcastOne segment on the Nasdaq exchange. That brought its shares’ one-week loss to 21.8%. LiveOne distributed about 19% of PodcastOne shares to LiveOne shareholders of record as of Sept. 5, but the podcast company’s trading debut got off to a rocky start on Friday. Trading under the ticker PODC, shares of PodcastOne owner and operater Courtside Group fell 45.1% to $4.39 from a starting price of $8 per share.
The Recording Academy has promoted Todd Dupler to chief advocacy & public policy officer, effective immediately. In his role, Dupler oversees the advocacy division focused on championing creators’ rights and elevating policy issues that stand to affect the music community. He also orchestrates cross-departmental efforts to advance the overall advocacy goals of the Recording Academy […]
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.
European indie labels body IMPALA unveiled a new board for the upcoming two-year term, with Francesca Trainini of Italian national association PMI elected president and Dario Draštata of Balkan regional association RUNDA tapped as new chair. Everlasting Records CEO Mark Kitcatt stepped down as president, but will continue as a board member and chair of IMPALA’s streaming reform group. Standing pat is Geert De Blaere of Belgium’s BIMA as treasurer and Helen Smith as executive chair. At the Vienna WAVES Festival and Conference, the trade body also reviewed its priorities for the new term, including a focus on streaming reform, artificial intelligence and growth in Central Eastern Europe. “The Central and Eastern European region is a huge market with amazing talent and I am excited to be able to chair IMPALA with the huge opportunities we have across streaming and the whole market,” said Draštata, whose RUNDA supports former Yugoslavia nations. For more information on the membership makeup and structure of IMPALA, click here.
Curb/Word Music Publishing promoted and added staff in its country music publishing department. Sarah Schumacher has been promoted to senior creative director, country publishing, while Calista Miller has joined the team as creative coordinator, country publishing. Schumacher previously worked at Disney Music Group and Darkhorse Music Management, before initially joining Curb/Word Music Publishing in 2021 as creative director of country publishing. Schumacher’s responsibilities include managing creative operations of the country songwriter roster and catalog, recently signing writer/producer Alex Kline into the Curb | Word Music Publishing family. Miller is a recent 2022 graduate of Belmont University’s Mike Curb College of Entertainment and Music Business and previously interned for Curb/Word Music Publishing’s country team. Miller’s primary responsibilities include coordinating and facilitating strategic writing sessions for the country writer roster, managing social media strategy for the department, and assisting in pitching/placing writer catalog, in addition to catalog administration duties. –Jessica Nicholson
Music B2B company Revelator hired Luciana Pegorer and Arturo Soler to co-pilot the firm’s expansion into the booming indie Latin American market. Formerly of Warner Music Brazil, Pegorer will lead Revelator’s Brazilian office, while music industry veteran Soler will lead the company’s LATAM office out of Mexico. “Revelator has always operated globally but we saw that to serve the fast-changing Latin American market, we needed highly qualified, creative professionals with deep relationships, who were natives to the local market” notes Revelator founder and CEO Bruno Guez. “We found them in Luciana and Arturo.”
NPR president and CEO John Lansing announced he’ll retire at the end of the year after a four-year tenure that involved navigating the COVID-19 pandemic and a recent budget crunch. He’ll remain in place until NPR’s board of directors identifies his replacement, the public radio giant said. “We are all immensely grateful to John for his principled and tenacious leadership through a turbulent time for NPR, our system and our nation,” said NPR board chair Jeff Sine. Prior to joining NPR, Lansing was the CEO of USAGM, overseeing several global networks including Voice of America.
ICYMI: Timothy Xu is the new chairman and CEO of Universal Music Greater China … Julie Keiko Fujishima announced she was stepping down as president of talent agency Johnny & Associates … Elliot Grainge is joining Warner Music’s global leadership team … and this week saw the passing of Clive Davis’ righthand man at Arista, Elliot Goldman.
Australasian collecting society APRA AMCOS promoted Jonathan Carter from head of legal & corporate services to chief operating officer. Carter is a 15-year veteran of the rights group and scored his current position in 2016. In his spare time, he sits on the Global Legal & Policy Committee of CISAC and was previously president of the Copyright Society of Australia. “Given our growth, size and strategic ambition, we need to look at how we’re going to operationalise and drive our strategic plan across the company, and similarly ensure we’re taking a holistic view in mitigating risk,” said Dean Ormston, Chief Executive APRA AMCOS. “Jonathan will be critical in helping us collectively drive forward on our strategic plan.”
The Massachusetts Institute of Technology not only has a music department, but it just hired its first-ever professor Jazz. Grammy-nominated alto saxophonist, composer, bandleader and MacArthur Fellow Miguel Zenón has joined the MIT faculty. “MIT is an incredible school with top-tier students and a creative and open-minded aesthetic,” says Zenón. “I’m extremely excited and honored to become part of the MIT family.”
Last Week’s Turntable: Former Asylum Co-President Joins Hitmaker
Concord, under the name Alchemy Copyrights, has agreed to acquire the share capital of Round Hill Music Royalty Fund Ltd in a proposed deal jointly announced on Friday that values the rights in the fund at worth nearly $469 million.
If approved, Concord would acquire the music rights that sit in the publicly-listed Round Hill Music Royalty Fund, which includes 51 catalogs and roughly 150,000 songs by artists like Alice In Chains, Bonnie Tyler, Bush, Bruno Mars, Céline Dion, Lady A, Louis Armstrong, The Offspring, Carrie Underwood, The Supremes, Wilson Pickett and Whitesnake.
Launched in 2010, Round Hill Music was among the first catalog funds to raise money from instititutional investors to acquire and administer song catalogs. But since its November 2022 listing on the London Stock Exchange in November 2020, Round Hill Music Royalty Fund Ltd. has, like its peers Hipgnosis Songs Fund Ltd., struggled with a declining stock price this year as high inflation and interest rates have pressured alternative investments.
News of the Round Hill-Concord deal,reported earlier by Reuters, sent the fund’s stock up nearly 65% on Friday to $1.13 a share from its previous close of $0.69.
Under the proposed deal terms, Round Hill shareholders would receive $1.15 in cash per share, which values the ordinary share capital of the company at roughly $468.8 million.
While Concord’s proposed cash offer represents a premium price, it still represents a discount of approximately 11.5% to Round Hill Music Fund’s economic net asset value per share of $1.30.
In 2022, Round Hill reported its overall group revenues rose 32% year over year to $32.4 million and its portfolio’s fair value rose 13% $602.6 million.
The deal will be put to a shareholder vote at Round HIll’s nex general meeting on Oct. 18 and needs 75% of votes to pass. A group of shareholders led by Josh Gruss, Round Hill Music co-founder and CEO, who own roughly 33% of the fund’s shares have already signaled they will vote in favor of the deal.
“The Board is pleased to present this opportunity for liquidity at a premium to both the share price and the IPO price, as well as at a narrow discount to economic net asset value per share,” commented Robert Naylor, chairman of RHM. “The recommended offer represents excellent value for shareholders.”
Concord CEO Bob Valentine said that since its 2020 IPO, RHM has built an “impressive portfolio” of songs that “stand the test of time” and asserted that his company is “well positioned to maximise the value of this portfolio for all of the songwriters and artists within it.”
He added, “This offer enables RHM shareholders to realise their investment in the business at an attractive premium to the undisturbed share price, while the transaction provides an opportunity to create value for all stakeholders.”
Creative Artists Agency (CAA) has a new majority shareholder, Artémis.
The Pinault family’s investment company, Artémis has agreed to acquire the stake in CAA previously held by global investment firm TPG.
Through the arrangement, announced Thursday (Sept. 7), CAA’s Bryan Lourd, Kevin Huvane, and Richard Lovett have each made long-term commitments to continue leading the agency and will remain as co-chairmen of CAA. Lourd is expected to be named CEO following the completion of the purchase, while Jim Burtson, who led the CAA deal team, will remain president of CAA.
Financial terms were not disclosed.
“As a leader in its field with an outstanding management team, a crystal-clear focus on providing world-class service to world-class clients and a tremendous track record of growth, CAA has all the relevant characteristics to be part of the Artémis family, adding increased diversity, both in terms of geographical footprint and business activities, to our other assets,” comments Francois-Henri Pinault, Artémis CEO in a joint statement.
Artémis, whose assets include many of the most prestigious brands on the market, will now become a major player in the worlds of entertainment and sports, through its investment with CAA.
Founded in France in 1992, Artémis’ consolidated assets top $40 billion, including Kering, the luxury goods group that is home to Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, and other luxury brands; the Christie’s auction house; Pinault Collection, the world’s largest private collection of contemporary art; and more.
CAA’s “exceptional insight, relationships, and access across key sectors,” Pinault continued, along with its reputation for collaboration and innovation, gives “the company a formidable role in driving global opportunities for its diverse and culture-defining clients. We look forward to supporting the agency’s very bright path ahead.”
Singapore-headquartered global investment firm Temasek will remain a minority investor in CAA. CMC Capital remains a CAA strategic partner.
Allen & Company LLC served as financial advisor to CAA, and Wachtell, Lipton, Rosen & Katz served as legal counsel. Rothschild & Co was financial advisor to Artémis, and Cleary Gottlieb Steen & Hamilton LLP served as legal counsel. Ropes & Gray LLP was legal counsel to TPG. Sullivan & Cromwell LLP served as legal counsel to Temasek.
The transaction is expected to be completed later this year, subject to the satisfaction of closing conditions.
Ingram Entertainment, the second largest U.S. music wholesaler, has begun telling its accounts that it will begin shutting down its music operation, with plans to close by the end of this year, sources tell Billboard. Sources suggest that Ingram’s music operation generates about $200 million a year in revenue. Beyond music, there are indications that the […]