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As the summer break comes to an end, the Spanish recorded music industry is celebrating a remarkable first half of 2023. PROMUSICAE (Productores de Música de España), representing over 95% of the Spanish recording industry, has just unveiled the numbers — and they are looking positive. The recorded music industry has generated a total revenue of 214.3 million euros ($229.2 million) during this period, reflecting an impressive growth rate of 11.53% compared to the same period in 2022 when the income stood at 192.1 million euros ($205.4 million).
Antonio Guisasola, president of PROMUSICAE, expressed his optimism regarding the industry’s performance in 2023. “To keep presenting growth figures over the world average is a satisfaction to us and encourages the Spanish recording companies to continue investing in Spanish talent, so that our artists succeed within and out our borders,” said Guisasola in a press release.
The digital market continues to be a driving force behind this growth, with a substantial increase of 12.82% compared to the same period last year. Digital formats now account for 88% of the industry’s turnover, totaling 188.6 million euros ($201.7 million). That’s nearly all streaming, which captured 87.8% of the total market and generated revenues of 188.2 million euros ($201.4 million) — up 13.26% compared to the first half of 2022.
Audio streaming represented 84.32% of all consumption and contributed 156.9 million euros ($167.9 million) to the industry. Video streaming, while representing over a third of total music consumption time, accounted for 29.1 million euros ($31.1 million).
Guisasola adds, “Numbers are not deceptive and consumption of recorded music is via streaming, though Spanish fans still want to have a bond with their favorite artists through vinyl, a format that follows the path of sales growth, offering very well cared for products that provide an added value to consumers.”
The physical market has also shown resilience in the first half of 2023, maintaining its share of the total market at 12% and experiencing a growth rate of 2.91% compared to the same period in 2022.
Sales of vinyl, in particular, have outperformed CDs, constituting 56.2% of physical sales and generating revenues of 14.4 million euros ($15.4 million) — up 6.32%. CD sales, meanwhile, declined 1.32%, contributing 11 million euros ($11.8 million), making up 42.9% of the physical market revenues.
Guisasola concludes in the press release, “Support the Spanish recording industry so that it does not lose its own boost and can seize the great momentum experienced by Latin music to consolidate its growth in our country and abroad.”
Courtesy Photo
Since the end of August, there have been reports that BMI is in advanced talks to sell itself to the private equity firm New Mountain Capital. A deal has yet to be signed but the possibility has raised concerns among songwriters about what it will mean for the collective management sector if one of its largest organizations becomes a business owned by private equity.
Such a move would take BMI in a new direction, away from the traditional model – based on non-profit and transparent operations—of the CISAC community. For CISAC and our global network of 227 Collective Management Organisations (CMOs, or societies), however, it also highlights the strength and value to creators of the global collective rights management system. The collective management model has been successful for over a century, remaining faithful to its core principles, while transforming and adapting to keep pace with the rapidly changing business environment.
BMI will stay connected to this community. In anticipation of the new direction it has taken in the last year, it has moved from being a full CISAC member to a CISAC “client,” a new category that was established in 2020 to accommodate the new types of rights management entities — including SESAC, Soundreef and Nextone – which have emerged.
Clients make up a very small group of “for-profit” entities that differ from the overwhelming majority of CISAC members, which operate on a non-profit basis. Clients are not subject to all of the traditional transparency and business rules that full CISAC members abide by, but still have access to CISAC’s systems and data exchanges that help the global music market function
By accepting for-profit entities as clients, CISAC maintains its inclusiveness and diversity, while not compromising on the core conditions of membership.
It is those core membership conditions which provide the unique value of the global network. Full members, such as ASCAP in the US, PRS for Music in the UK or GEMA in Germany, are required to meet key fundamental rules:
to operate on a non-profit basis or be controlled by their affiliates
to respect CISAC’s global standards of governance and professional rules
to be fully transparent in their financial reporting and share information with the rest of the CISAC members
As a global confederation, CISAC respects individual creators’ decisions on whom they entrust their rights to. It equally respects members and clients’ decisions on how they manage creators’ rights. The global song rights market is changing rapidly, with growing competition between different types of royalty collection bodies at a time when the cost pressures of managing digital collections and distributions has never been greater.
These changes are inevitable and they are good, if they have the end of result of better serving the creators who are at the center of our business.
In this transforming landscape, the vast majority of CISAC’s member societies remain non-profit entities which abide by all CISAC rules. Full CISAC members work only for creators and rightsholders, not shareholders. Their transparency obligations ensure high levels of integrity and best practice across the network. Creators and rightsholders, not financiers and investors, are assured a controlling role in their decision-making. Creators sit on our societies’ Boards of Directors. You’d be hard pressed to find other entities in the music industry which have music creators as their Board members.
The global collective management system gives creators a strong, united voice to lobby for creator-friendly legislation, develop modern systems for data exchange, adopt best practices and maximize collections and distributions. From turning around failing markets such as Greece, Turkey and India, this community continues to play an indispensable role for creators and publishers worldwide.
Our sector remains the only part of the music industry that puts the creator front and centre of everything it does. While more commercial ventures may be tested in our fast-evolving market, the fact remains that the collective management system is the most robust, reliable and fit-for-purpose model in serving creators.
Gadi Oron is the director general of the International Confederation of Societies of Authors and Composers (CISAC), a Paris-based rights organization.
The management division of Kygo‘s Palm Tree Crew has partnered with Live Nation. The new partnership is intended to expand opportunities for Palm Tree Crew Management’s dance/electronic-focused roster, which currently includes Kygo, Dean Lewis, Gryffin, Sam Feldt, Frank Walker, Forester, Thomas Jack and Petey Martin. Palm Tree Crew Management was founded in 2018 by Kygo (born Kyrre […]
Exceleration Music formed a strategic partnership with Azadi Records, an India-based independent label co-founded in 2017 by Mo Joshi and Uday Kapur. Under the deal, which marks Exceleration’s first in Asia, Exceleration has made a financial investment in the label to help fuel its growth. Azadi will also benefit from access to Exceleration’s worldwide team and infrastructure, with Exceleration partner Charles Caldas joining Azadi’s board to help guide the label’s strategy, performance and development. Azadi Records artists include Indian hip-hop duo Seedhe Maut, producer Sez on the Beat and rapper Prabh Deep, who won a Toto Funds the Arts (TFA) award — a major independent music prize in India. Forthcoming releases on the label include Seedhe Maut’s mixtape Lunch Break, an EP from Ranj & Clifr and a collaborative album from United Kingdom-based rappers Sonnyjim and PAVAN.
Encore Luxury Coach Leasing acquired Nitetrain Coach Company in Whites Creek, Tenn., making it the largest entertainer coach leasing company in North America. The acquisition brings Encore Luxury’s fleet to more than 145 coaches. Under the deal, Encore’s leasing operations will have offices in Phoenix and Nashville, with over 25 maintenance technicians. Touring clients of the combined companies include Nickelback, Thomas Rhett, Bailey Zimmerman, Lauren Daigle, Ben Harper, Barry Manilow, Beck, Phish and Blink-182.
Virgin Hotels partnered with Sofar Sounds for Hear This!, a new monthly concert series that will showcase emerging Sofar artists. The series will be open to the public, with Virgin Hotels’ Know members receiving premier access to reserve tickets ahead of the public onsale. Attendees of the concerts will also have access to exclusive Spotify and Apple Music playlists featuring highlights and recommendations from Hear This! artists. Members of Virgin’s rewards program, Virgin Red, will also be able to redeem Virgin Points to join Sofar Sounds events at Virgin Hotels, including Hear This! Virgin Hotels will also offer preferred room rates to all Sofar Sounds artists to help alleviate the impact of the pandemic on touring artists. Hear This! kicks off on Sunday (Sept. 10) at Virgin Hotel Dallas, with future iterations in Chicago, Dallas, Nashville, New York City, Edinburgh and the recently opened Glasgow location. Get more details here.
One Media iP acquired the licensor’s income share — or the income that is generated from digital exploitation — of the “Entertain Me” catalog of rights, which includes more than 15,000 tracks performed by artists including Dean Martin, Gloria Gaynor, Judy Garland, Ray Charles and Louis Armstrong. The acquisition was undertaken by One Media’s Harmony IP asset release program, “which allows music rights holders advanced access to the future earnings of their intellectual property by purchasing a portion of their rights up front,” according to a press release.
Also at One Media iP, the company renewed its partnership with music distributor The Orchard; the deal includes a $1 million recoupable advance to One Media “to be used to enhance catalogue enrichment,” according to a press release. The advance is recoupable against future sales by One Media.
The Pennsylvania Convention Center Authority (PCCA) board of directors approved a five-year contract renewal for ASM Global as its venue management company. The new agreement commences on Dec. 1, 2023, and runs through Nov. 30, 2028. ASM Global is “planning to bring many of its most innovative designs to a leading group of convention centers beginning with PCCA,” according to a press release.
Allseated, which offers virtual tour technology and floorplan design tools for venues, raised $20 million in funding, including capital from Level Structured Capital (an affiliate of Level Equity) and existing investors Magma Ventures, Vestech Partners, NYFF and WGG. The money will be used to further scale Allseated’s space visualization and collaboration platform and fuel its global expansion. Along with the new funding, the company is spinning out its Meetaverse division; according to a press release, “this includes a brand-new entity with a dedicated mission: to pioneer immersive experiences, such as virtual events and corporate environments, within an emerging market landscape.”
Full-service artist management company and record label Red Music Rising, which is managed entirely by Indigenous individuals, struck an exclusive global distribution deal with Warner Music Canada/ADA Canada. The Red Music Rising roster includes Wolf Saga, Boogey The Beat, Logan Staats and Nimkish.
Grant Avenue Studio, a legendary recording studio based in Hamilton, Ont., that has hosted artists including Gordon Lightfoot, Johnny Cash, U2 and Sarah McLachlan, was sold to music and film industry executives Mike Bruce and Marco Mondano. Bruce is a musician who owns and operates film studios, including Aeon Bayfront Studios in Hamilton, while Mondano owns D.C. Music, a rehearsal, recording and live production studio in Toronto. Grant Avenue Studio was established in 1976 by Daniel Lanois and his brother Bob, who later teamed up with engineer Amy King to helm the studio until the spring of 2023. Under its new ownership, new offerings at the studio will include an artist lounge, a writers’ studio, film and photography location opportunities and artist development programs.
Deezer expanded its partnership with leading Latin e-commerce platform Mercado Libre, becoming the official music streaming partner for the company’s new retail and entertainment subscription program, Meli+, which has been introduced in Mercado Libre’s main markets, Brazil and Mexico. The program includes a full year of music streaming from Deezer, among other elements. Brazilian artist Ana Castela has been appointed as the official Deezer ambassador on Meli+ and will star in joint campaigns and promotion.
Symphony, an artificial intelligence-powered marketing operating system for artists, creators, managers and independent labels, closed a $1 million pre-seed fundraising round from investors including Spice Capital, GoldHouse Ventures, LVRN Records, Guin Records, former Motown Records CEO Ethiopia Habtermariam and artists including 21 Savage and 24kGoldn. The SymphonyOS platform uses artificial intelligence to analyze millions of data points in order to create music marketing strategies for artists and labels. Since its beta launch in April 2022, SymphonyOS has processed over $750,000 worth of advertising budgets.
Elliot Goldman, the veteran record executive who co-founded Arista Records, led BMG Music as president and CEO, and served in senior roles with Warner and CBS Records across a decorated career in music, has died at the age of 88.
Goldman joined CBS Records in the 1960s, rising to administrative vice president. Later, with Clive Davis, he established Arista Records, serving as executive VP and general manager at the very inception of the storied label.
“Clive and I formed Arista Records in 1973,” he recounted in an interview with Billboard published in 2015. “One of our first releases was from a gentleman you’ve probably heard of: Barry Manilow.”
Later, Goldman took on duties as senior VP at Warner Communications, and, in 1985, was named president and chief executive of RCA/Ariola International. When BMG parent Bertelsmann acquired RCA outright from the General Electric Company, the German media giant restructured the asset into three operating units; BMG Music, BMG Music International and Arista, all part of BMG. Goldman would guide BMG Music as president and CEO, departing in 1987.
”Elliot expertly managed RCA/ Ariola through very difficult corporate transitions and company restructuring,” Michael Dornemann, co-chairman of the Bertelsmann Music Group, remarked on his departure, The New York Times reported.
A graduate of Cornell, where he majored in political science, and of Columbia Law School, Goldman served on the board of directors of the RIAA, and on the board of directors and executive committee of the Rock And Roll Hall of Fame Foundation at its inception.
During his lifetime, he also served on the executive council of the T.J. Martell Foundation; was co-chairman of the Home Entertainment Division of UJA/Federation; founding member and president emeritus of the Music for Youth foundation; and a recipient of the AMC Cancer Research Center’s Humanitarian of the Year Award.
Goldman leveraged his considerable major label experience into consultancy work with a string independent and major record company clients throughout the 1990s.
Before entering the music industry, Goldman enjoyed various roles in government, including the position as head of the New York office for the 1964 election campaign of Senator Robert F. Kennedy.
Arista and J Records founder Clive Davis leads tributes to the late executive.
“Elliot Goldman played a substantial role in the history of Arista Records and strongly contributed to its success,” comments Davis in a statement. “He was also a great family man and Jill, Ben and the Goldman children have my deepest sympathy for this irreplaceable loss.”
He is survived by his wife of 56 years, Jill, his son Ben (Allysa Lawson Goldman), daughters Elizabeth and Cathy and his four grandchildren, Justin Goldman, Dylan Goldman, Sophie Gibbons and Olivia Gibbons.Ben and Justin have both carved out successful careers in music.
WeVerse, the social media platform owned by K-pop company HYBE, will add 13 artists from SM Entertainment on Sept. 12, the companies announced Tuesday (Sept. 5). That opens the platform to such artists as NCT 127, Red Velvet, Girls’ Generation, Super Junior, RIIZE and aespa. The partnership was announced in April. “With this momentous occasion, […]
Timothy Xu is the new chairman and CEO of Universal Music Greater China (UMGC).
With effect from Monday, Sept. 4, the veteran executive takes the reins of Universal Music Group’s Greater China division, which covers Mainland China, Hong Kong and Taiwan.
As head of the biggest music company’s business in the world’s most populous market, Xu wields a resume stacked with major label and indie experience.
He joins UMGC from Taihe Music Group, the leading independent music company in China, where he served for the past five years as president and CEO.
Before that, he led Sony Music’ Greater China activities as chairman and CEO, from 2012-16. And earlier, he had roles with EMI Music, EMI Music Publishing China, and Warner Music China, having kicked off his career in 1992 with China National Publications Import & Export Corporation (CNPIEC).
Xu’s appointment follows the retirement of longstanding chairman Sunny Chang earlier in 2023.
“I am thrilled to welcome Timothy to lead our operations in Greater China,” comments Lucian Grainge, chairman and CEO of Universal Music Group in a statement.
“He’s a real music exec, given his deep experience generating creative and commercial success in the region. I’m confident Timothy be instrumental as we continue to drive growth in the exciting and vibrant Chinese music market.”
Adds Adam Granite, UMG’s executive VP, market development, “Having worked together in the past, Timothy’s unique and versatile experience across the sector will bring new opportunities to expand all areas of our business operations within Greater China, whilst also accelerating our focus on introducing Chinese music, culture, and artist talent to new markets and audiences around the world.”
In 2021, UMGC became the first major music company to establish multiple frontline label operations across China with the launch of Republic Records China, and re-launch of historical Chinese labels Polygram Records China and EMI China alongside Universal Music China.
Those moves would reinforce Universal Music’s “commitment to accelerating and introducing the next wave of Chinese music talent to the world across a variety of genres,” the company said in a press release at the time.
Thursday’s announcement that AMC Theatres is partnering with Taylor Swift to present Taylor Swift / The Eras Tour Concert Film in thousands of North American cinemas starting Oct. 13 was a blockbuster — both in terms of cultural impact and ticket sales, which broke AMC’s record for single-day advance revenue with $26 million in the first 24 hours.
And according to a new report at Puck, the unorthodox deal that bypasses traditional studios and instead release the film directly in cinemas with AMC Theatres acting as distributor came about only after discussions with traditional distributors, including Universal Pictures, broke down.
The story claims that talks with AMC Theatres began more than three months ago — while Swift was already in the midst of her smash Eras Tour in the United States and before the concert film was shot at some of the Los Angeles shows in August — after AMC CEO Adam Aron received “a call from a friend who also happened to know [Swift’s father] Scott Swift” that Team Swift was interested in talking.
Citing sources, the report states that Aron personally negotiated the deal directly with Swift’s parents, Scott and Andrea Swift, over several weeks. Among the agreed-upon terms is that 43% of the gross will remain with theaters, while the remaining 57% will be shared (in an undetermined split) by the Swifts and AMC. (Variance Films, a small sub-distributor, was reportedly hired to book the film in Regal, Cinemark and other theaters on a fee-for-service basis.) Notably, standard tickets for the film will be priced at $19.89 (plus tax) for adults and $13.13 for children and seniors (plus tax).
All theaters playing the Sam Wrench-directed film will reportedly also take all concession revenue, including any commemorative Eras Tour items. The story claims that AMC and Cinemark have also ordered four million posters to give away to fans for free, while a “small offering” of paid merchandise is planned.
Other details in the report include that theaters playing the film (which reportedly came in at a budget of between $10 and $20 million) must agree to carry it for a minimum of four weeks and can play it for as many as 26 weeks without worrying that the terms of the deal will change. Additionally, after 13 weeks, the Swifts are free to put the film on streaming services (the streaming rights are still up for grabs).
At least one traditional film studio that had discussed distributing the film with the Swifts was reportedly under the impression that the film would be a 2025 release — after the completion of the tour’s global run — but according to the story, the Swifts decided to strike while fan demand for all things Taylor was at an all-time high.
Speculation that the unusual deal could lead to similar plays by AMC and other exhibitors to act as distributors for other major concert films has been rampant, and indeed, the Puck report notes that “AMC is already talking about what other major artists might want a Taylorstyle deal” — suggesting there may be more of these to come.
Representatives for Taylor Swift and AMC Theatres did not immediately return Billboard‘s requests for comment on this story.
Spotify led a group of high-flying streaming stocks this week by gaining 14.8% to $157.54 per share, increasing its market capitalization by nearly $4 billion to $30.7 billion. The world’s largest streaming company, which boasted 220 million subscribers as of June 30, has clawed back nearly all its losses since its share price dropped 14% […]
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.
Gabrielle Peluso joined Hitmaker Distro / Hitmaker Music Group as general manager, overseeing distribution, artist development strategy and day-to-day operations for the Tony Bucher-founded music company. The 2017 and 2022 Billboard Women in Music honoree previously served as co-president of the re-launched Asylum Records, where she built up a roster that included Seddy Hendrinx, Ken the Man, Jay Loud and Detroit rapper Sada Baby. Prior to that she was vp of urban music at eOne Music, and before that a senior partner at the Kevin Liles-led KWL Enterprises. But for the first 15 years of her industry career, the NYC-based Peluso worked at Def Jam, where she rose to general manager and guided campaigns for a superstar roster that included Rihanna, Mariah Carey, Jennifer Lopez and Frank Ocean, among others. “Her years of experience inside the major label system, to her most recent years navigating the indie space, has made her a perfect fit for this role,” said Bucher. You can reach her at Gabrielle.peluso@hitmakerdistro.com.
Virgin Music Group hired Olukorede “Kay” Ikazoboh to lead the Universal-owned artist and label services company’s expansion into Nigeria. Ikazoboh will oversee Virgin’s operations in the region from the company’s new office in Lagos. As an artist manager, Kay has worked with such artists as Odunsi the Engine and Mowalola, and she previously held several roles working in emerging markets for Warner Music Group. “Kay is known throughout Nigeria as a champion of independent labels and artist development, said Michael Roe, managing director of Virgin Music International. “Her relationships, expertise and insight into the local market make her the perfect executive to lead our operations in this very important music market.” Virgin has had a presence on the continent since the 2021 acquisition of South African indie distributor Electromde, and last year the company launched a dedicated label services division there with more than 50 label partners.
Joel Klaiman
Music industry mainstay Joel Klaiman officially cut the ribbon on ASCEND4M, his new multi-discipline agency focusing on music, media, marketing and management, in addition to a record label. ASCEND4M’s roster already includes pop band North Star Boys, singing sisters Sorelle and singer-songwriter Casey Baer. Klaiman most recently served as president of HitCo Entertainment, the label launched by Antonio “L.A.” Reid and Charles Goldstuck in 2018 and sold to Concord last year. During its short life, HitCo was home to Big Boi, Dinah Jane, Saint JHN and Yella Beezy, among other artists. Prior to HitCo, Klaiman was a repeat Power 100 list honoree during a six-year run as executive vp and general manager at Columbia Records, where he was responsible for overseeing the label’s marketing, digital marketing, promotion, publicity, branding, sync licensing, video production and content development departments. Prior to Columbia, Klaiman was evp of promotion and artist development at Republic Records for six years, working with such unknowns as Taylor Swift, Nicki Minaj, Drake and Amy Winehouse.
UMG Nashville promoted Vipin Reddy to vp of streaming. Reddy, who has been part of the label group’s streaming team since 2018, will now lead the department, overseeing DSP relationships, as well as global audio and video streaming strategy for all UMGN artists. Prior to joining UMGN, Reddy was part of the UMG global streaming marketing team; most recently, he was point on UMGN artist strategy with Apple Music and Pandora. “From the day he joined the company, Vipin has been an integral part of the streaming team,” UMGN evp/COO Mike Harris said. “His deep knowledge of the streaming business has been vital to UMG Nashville’s success.” –Jessica Nicholson
Following the news that Anya Grundmann will step down as senior vp of programming by year’s end, NPR announced this week the unification of its content divisions under one roof. At the top of this structure will be a chief content officer, who’ll oversee all of NPR’s editorial and content operations. Edith Chapin, the public radio giant’s svp of news, will be interim CCO until an executive search can be wrapped. Reporting to the CCO will be vp of visuals and music Keith Jenkins, vp of content (cultural programming) Yolanda Sangweni and vp of content operations Sharahn Thomas, among others. NPR CEO John Lansing said in a staff memo that there will be “no addition or subtraction to headcount” with the implementation of the new structure.
Gibson promoted Mat Koehler to vice president of product — an expansion of his previous duties as head of product development that adds instruments and sound to his remit. That means he’ll be leading research, design and product development for amplifiers and effects across all Gibson family brands, including, Mesa Boogie, Maestro and KRK. Gibson Brands president and CEO Cesar Gueikian called Koehler, who hails from Les Paul’s hometown of Waukesha, Wisconsin, an “extraordinary custodian of our iconic past” and a “steward of our future.”
Danny Wimmer Presents, the leading independent promoter behind Bourbon & Beyond, Aftershock and other festivals, added a crop of new hires as it looks to build on 12 years of growth. Elizabeth Harsh is DWP’s new evp of brand and experience, following more than 17 years working at brands like Ticketmaster, MySpace and Disney. Johnny Firecloud, formerly of Crave and StackCommerce, assumes the role of director of digital communications. Anson Li joined DWP as the director of insights after a successful new customer campaign at Chicken Soup for the Soul Entertainment. Britten Stephenson, with a dozen years of industry experience, is the guest services manager. “These new additions will undoubtedly enrich DWP’s journey,” the company said, “furthering its dedication to curating exceptional live event experiences and building even deeper connections with fans everywhere.”
ICYMI: UK Music chief executive Jamie Njoku-Goodwin is stepping down after three years at the helm of the British music industry trade body to become director of strategy for Prime Minister Rishi Sunak … Jenn Yacoubian and Stacy Vee were appointed executive vps at Goldenvoice … Venue Coalition has hired veteran entertainment executive Steve Kirsner as vp of booking … and WMG employees have been summoned back to the office.
Range Media Partners‘ music division hired Nashville-based execs William Lowery and Shawn McSpadden. In his new role as svp, Lowery will focus on business development ventures and content opportunities. McSpadden, who joins as managing partner, will focus on growing the music division, talent roster and shared services department. Range Media works with country artists including Midland, Hailey Whitters, Stephen Wilson Jr., Ryan Bingham, Drayton Farley and Brent Cobb. McSpadden was a founding manager at Red Light Management Nashville, where for 17 years he oversaw music publishing, outside business ventures, and managed artists across multiple genres. Lowery previously launched the venture advisory firm Brigade Media Capital. Prior to forming Brigade, Lowery was a senior executive at Endeavor Content, where he ran its faith-based division and identified music and content crossover opportunities. –JR
German live promoter DEAG added a co-CEO to its leadership structure. Going forward, founder and CEO Peter L. H. Schwenkow will share duties with Detlef Kornett, who’ll continue to oversee international business affairs at the firm. Additionally, David Reinecke will take over as chief financial officer from Roman Velke, how is departing after five years in the role.
Nashville Notes: Former Billboard editor and writer Phyllis Stark joined country radio trade Country Aircheck in the newly created role of executive radio editor. She was most recently Nashville bureau chief at the now-defunct All Access, and her byline has been seen on Rare Country, Close Up, Radio-Info.com and MSN.com, among others. She’s at phyllis@countryaircheck.com … Amanda Cates left her position as head of artist services at Maverick Nashville, an artist management and artist services firm … Megan Youngblood is MCA Nashville‘s new director of promotion for the west coast. Staying in the UMG fam, she was most recently the west coast regional rep for Capitol Records Nashville.
Last Week’s Turntable: BMG’s New Legal Affairs Chief and a UMG Nashville Twofer