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Beatport has announced the recipients of its second annual diversity and parity grants. Awards totaling $150,000 will be given to the organizations Change the Beat, Last Night a DJ Saved My Life, ONE OFF TRAKS, Other Village People, Saffron and We Are Moving the Needle.
Last Night a DJ Saved My Life works to empower young people from around the world via fundraising initiatives for grassroots projects. The organization will use the money to teach DJing and production to 32 young women over eight weeks in Leeds, U.K.
ONE OFF TRAKS, an Australian writing camp collaboration and platform for women, trans and non-binary artists, will use its grant to host and expand the writing camp in 2024.
Based in South Africa, Other Village People powers three queer-centered platforms. The organization will use its grant for its newest initiative Queertopia, a three-day festival celebrating South African contemporary queer nightlife culture and movements.
The U.K.’s Saffron works to foster equality in music tech by creating safe and inclusive spaces for people underrepresented in the space. The organization will use its grant to work with 20 Black creatives in the U.K. in endeavors such as community building, knowledge sharing and other educational opportunities.
We Are Moving the Need, based in the States, works to evolve the recording industry with the focus of gender equity and inclusivity. The platform will use its grant on its touring CTRL symposium, which aims to build community and evolve the recording industry via events in Los Angeles, Nashville and New York.
The fund, now in its second year, is awarding two kinds of grants: one that awards amounts between $3,000 to $15,000 to smaller organizations consisting of one to three staff members, and one awarding amounts between $15,001 and $30,000 to organizations with more than four staff members.
“The electronic music community is filled with vibrant groups of creative people who want to make our industry and world better,” Sofia Ilyas, Chief Community Officer of The Beatport Group, says in a statement. “The recipients of our second annual Diversity + Parity Fund exemplify the spirit of positive change, and it is our hope that their endeavors will resonate in powerful ways across our industry.”
Two groups of artist managers have come together to form The Circuit Group, a new entity that will create business opportunities around artists’ intellectual property. Founded by Dean and Jessica Wilson of Seven20 — whose clients include deadmau5 — along with Brett Fischer, David Gray and Harvey Tadman of AYITA — clients include Chris Lake […]
Multimedia Music has acquired the entire film and TV music catalog of composer Christopher Lennertz, known for his work on films including Horrible Bosses, Alvin and the Chipmunks, Sausage Party, Bad Moms and Baywatch and TV shows including The Boys, Lost in Space and Supernatural.
Lennertz is a multiple Emmy nominee and 20-time BMI Awards honoree who was recently named a BMI Icon at the organization’s 2023 Film, TV & Visual Media Awards in May.
“We are huge fans of Chris Lennertz’s work, he has created fantastic scores for so many successful films and TV series,” said Multimedia Music partner James Gibb in a statement. “We’re delighted to add his body of work to our catalog of wonderful film music by some of the best composers in the business.”
“When looking for the ideal place to entrust Christopher’s catalogue, we turned to Multimedia Music based on their great reputation and their great people,” added Lennertz’s agent, Richard Kraft of Kraft-Engel Management.
The deal is just the latest for Multimedia Music, led by Gibb and Phil Hope, which claims it’s spent a total of $150 million on acquisitions since it launched in late 2021. Previous deals include purchasing a 50% stake in a catalog of music publishing and master rights from the film music library of Amblin partners; the STX music library of master and publishing rights; the catalog of composer James Newton Howard; and the master and publishing rights to a 48-title film score catalog from Atlantic Screen Music.
Canada-based audio group Lenbrook acquired the assets of U.K. music technology company MQA nearly six months after MQA lost its founding financial backer and filed for administration. The purchase adds several patents as well as two audio codecs — MQA and SCL6 — to Lenbrook’s intellectual property portfolio. “We view this acquisition as an opportunity to ensure the technologies developed by the scientists and engineers at MQA continue to serve the industry’s interests rather than be confined to any single brand or company,” said Lenbrook CEO Gordon Simmonds in a statement. Lenbrook has retained a core group of MQA engineers and developers as well as sales and marketing staff including Andy Dowell, formerly the head of licensing at MQA, who will continue leading business development activities. A press release states that “MQA had amassed over 120 licensees [including Lenbrook] and several content partnerships, so Lenbrook’s primary objective in this acquisition was to provide certainty for business and technical developments that were underway prior to MQA’s administration.”
Universal Music Middle East & North Africa (MENA) partnered with Cairo-based Harb Talent Management on a deal that will see the two companies work together on talent discovery, development, music production, marketing and promo, live events and brand partnerships in Egypt. Under the agreement, Universal Music MENA announced three signings to its roster: Egyptian hip-hop artists Ahmed Santa, Slyver and Abu El Anwar. All three are expected to release music later this year and next.
Vassal Benford, CEO/chairman of the B.B. King estate, the B.B. King music company and the family trust, announced the launch of the B.B. King Life Legacy Initiative, which will encompass several new partnerships, retail products and brand concepts. The first project announced is a partnership with Heritage Distilling for an exclusive line of King-branded spirits. Also forthcoming are a new music project that will feature artists including Quavo, Jason Derulo and Swae Lee; a King theatrical biopic; a King documentary featuring a new single from Quavo; and a 24-hour B.B. King blues network.
Create Music Group struck a partnership with Black Lion, a music technology company behind a valuation engine that analyzes the performance and value of song catalogs to reduce the amount of time music companies spend evaluating potential acquisitions and signings. “This strategic partnership will significantly expand our ability to identify, research and make deals with rights holders all around the world,” said Create Music Group co-founder/chief business operator Wayne Hampton in a statement. “Black Lion’s cutting-edge technology will streamline our deal making process and enable us to generate increased revenue for Create and for all of our partners.”
India-based record label Saregama India acquired a 51.8% stake in youth-focused Indian digital content creator and publisher Pocket Aces, “with a clear path” to acquire an additional 41% in the next 15 months, according to a press release. “This acquisition will further strengthen Saregama’s strategic ambition to take [a] leadership position in New Music across all Indian languages,” the release continues. Pocket Aces boasts an intellectual property catalog of more than 3,000 pieces of content including web series and music videos on its channels — FilterCopy, Nutshell and Gobble — as well as a talent management arm with a roster of more than 100 digital influencers and a long-form studio called Dice Media. The release claims Pocket Aces has more than 95 million followers, “which Saregama will leverage to further popularize its music library among the 18-35 audience segment. It will also create synergies across the artiste & influencer management and long-format video creation businesses of the two companies.”
Every Thursday, labels deliver all their new releases to TikTok. This is typically a mundane process, but an essential one. Just as record companies want their new tracks playable on all the streaming services at midnight, they want them on TikTok — a crucial promotional venue and driver of music discovery, especially for younger listeners.
But on Sept. 22, things began to go wrong with what’s ordinarily a relatively seamless operation. Five executives — all affiliated with Sony Music or managers with artists in the Sony Music ecosystem — told Billboard that they encountered problems getting their music on TikTok. The issues varied, as did their duration: Some songs’ delivery was temporarily delayed; some never made it; some temporarily faced copyright takedowns even though they were legitimate major-label releases that didn’t infringe on the works of others.
Two sources were told by Sony Music that even Bad Bunny‘s new single “Un Preview” — distributed by The Orchard, which Sony owns — was initially available on all streaming services when it came out Sept. 25, but not on TikTok. (A rep for Bad Bunny did not respond to a request for comment.) It does not appear that the other major label groups experienced similar problems.
While TikTok is renowned for its technical abilities, especially its algorithm, no platform is impervious to mistakes; perhaps someone accidentally pressed the wrong button at headquarters. Funny as that sounds, a version of it has happened before: Back in 2019, major labels suddenly encountered problems delivering songs containing swear words to TikTok. When asked about the platform’s unexpected turn towards the puritanical, a representative said that “due to an internal error, we inadvertently restricted explicit tracks from TikTok globally.”
But last week’s hiccups on TikTok arose against a different backdrop. Sony Music was in the process of negotiating a new deal with the ByteDance-owned company, according to multiple sources. And Sony Music executives told at least two people that they believed sudden problems with getting music onto TikTok were linked to the ongoing negotiations.
Reps for both Sony Music and TikTok declined to comment.
This bizarre episode served as a discomfiting reminder of both TikTok’s power and the music industry’s uneasy relationship with the platform. TikTok often seems like it’s the only service capable of jumpstarting a hit — “the biggest game in town,” as one manager told Billboard last year. That means a label’s music has to be on there if it hopes for commercial success.
But TikTok is also notorious for its low payouts to rights holders. And this has created tension, leading some of music’s most powerful figures to demand better rates from the platform in public remarks.
In September 2022, Universal Music Group CEO Lucian Grainge warned of a value gap “forming fast in the new iterations of short-form video.” “We will fight and determine how our artists get paid and when they get paid in the same way that we have done throughout the industry for many, many, many years,” Grainge added during a call with investors the following month.
Sony Music Group Chairman Rob Stringer echoed this sentiment during a call with investors in May. “Some of the short-form video providers are relatively new, but we are clearly monitoring their progress, and it doesn’t take a scientist to realize that we are being underpaid by some of those content providers,” he said. “As [our] negotiations go on, that will be our position until we are satisfied that we have been paid properly.”
Warner Music Group CEO Robert Kyncl has been more measured in his public comments about TikTok. Warner announced a new multi-year licensing deal with TikTok this summer.
Nearly four years ago, when TikTok said it “inadvertently restricted explicit tracks,” the problem took a number of weeks to resolve. Labels first noticed that songs containing swears were having trouble at the end of August. It was October before a TikTok rep said the company was “finally able to notify labels of the full restoration of affected tracks.”
The various issues experienced by Sony Music affiliates in September were fixed far more quickly. No one was TikTok-less for even a full week.
Still, an executive says, the experience was unnerving — a reminder that his artists’ access to a platform with more than a billion monthly active users “can be cut off overnight.”
The UCLA Herb Alpert School of Music launched a new Bachelor of Arts (B.A.) music industry degree this fall, it was announced Tuesday (Oct. 3).
Dubbed as the lone program of its kind in the University of California system, the new degree will prepare graduates for careers in artist and label management, publicity, finance, live-music promotion, digital marketing, music supervision, music publishing and licensing and more. The degree will also offer creative instruction in audio technology, musicianship, songwriting and production. Courses will be taught by new and longtime UCLA faculty as well as working industry professionals.
The B.A. program “builds on the success of the School of Music’s popular undergraduate minor,” according to a press release, which states that more than a quarter of the U.S.’s music industry job postings are in California while seven of the top 10 U.S. cities employing music professionals are located within 50 miles of the school’s Westwood campus. In addition to the fundamentals, the school will focus on such burgeoning topics as new global markets, streaming algorithms, generative artificial intelligence and musical activism.
“Our goal and responsibility is to empower a diverse community of exceptional students as nextgeneration transformational thinkers in the music industry,” said Eileen Strempel, inaugural dean of the Herb Alpert School of Music, in a statement. “The success of our previous programs built our credibility and infrastructure, while providing us the time to assemble a powerful 12-member advisoryboard chaired by Warner Records visionary Tom Corson to guide us in building this new major’s curriculum.”
“What sets UCLA’s offering apart from other music industry degree programs is the integration of direct skills engagement such as internships, apprenticeships, and student-led projects with the liberal arts curriculum of a major research institution,” added Robert Fink, founding chair of the school’s music industry degree program. He continued that students will be “challenged to take a critical view of the formative effects music industry and technology has had on musical practices around the world.”
Warner Records co-chairman/COO Tom Corson will serve as the inaugural chair of the dean’s board of advisors at the school.
“UCLA’s School of Music is closely affiliated with our industry and knows it well,” said Corson in a statement. “Every business needs people who have the passion and the training that this program will provide. We need future professionals who’ve seriously considered many aspects of the music industry — cultural impact, creative innovation, and operational reality — and bring a fresh, informed point of view to the business.”
Permanent faculty members at The Herb Alpert School of Music will include Thomas Hodgson, who specializes in data science, algorithmic justice and the global music business; Catherine Provenzano, who focuses on new technologies; and David MacFayden, a Soviet popular music authority who will bring his expertise to bear in instructing students on how to understand new models of music distribution and economic value. Students will also receive instruction from working professionals such as songwriter Amy Kuney (Kelly Clarkson, Adam Lambert, Akon), who also performs as gender-complex artist AMES; and Lauren Spalding, co-founder of Femme House, a nonprofit collective dedicated to forging new opportunities for women, gender-expansive, BIPOC and LGBTQIA+ creatives.
Since its founding in 2018, The Herb Alpert School of Music has regularly appeared on Billboard‘s Top Music Business Schools list.
In 2020, amidst the pandemic, Nick Maiale started thinking about the music industry beyond titles and company affiliations. Having spent over a decade working in music, including at the Music Business Association and Music Biz Conference, he felt inspired to promote more than professional development — he wanted to advocate for personal growth, too.
Through his work, Maiale was consistently meeting impressive and driven young professionals, but a throughline started to emerge. “After listening to [so many] stories of working in the industry and feeling the limitations [of it], I asked myself ‘How can I help add value to these people’s lives?’…Our business is so fast-paced and revenue driven that we don’t always get the opportunity to step back and get to know people for who they are — and this leaves us placing strong emphasis on job titles, company affiliation and status,” he says. “The answer was clear: build a company that helps my community navigate the industry.”
By the end of 2020, Maiale had launched jump.global, a “community-first” company that manages music business executives. And come November, it will host its first annual summit in Los Angeles. “I started to think about this around the same time I thought about starting the company as a whole,” says Maiale, who serves as founder/CEO. “ I thought it would take place somewhere like Wyoming with 30 people in a cabin — but here we are, about to welcome a much larger number than that to Los Angeles in just a month.”
Held Nov. 12-14 at The LINE Hotel, conversations will largely avoid hot topics like AI and streaming and instead center on stress management, burnout prevention, resilience in the music business and more. Speakers include J Erving (founder of Human Re Sources and executive vp at Sony Music), Moody Jones (GM of dance at EMPIRE), Fadia Kader (executive vp/GM at Venice Music) and Gwen Bethel Riley (senior vp of music/head of content partnerships at Peloton).
“The topics we are covering at the summit are necessary to work in any industry or simply just to exist: leadership, effective communication, stress management, pivoting, financial literacy,” says Maiale. “Imagine a music industry where more people are trained on different personality types, emotional intelligence, how to deal with conflict in the workplace, how to manage their money and how to really address and support mental health.”
Perhaps the best evidence of the need for such a summit is also the biggest challenge in launching it: “Getting people to focus on themselves, as opposed to their work,” says Maiale. “It’s going to take a lot of work, but we believe that as a community, we can all make the music business more human.”
Fittingly, attendee badges will solely list their first and last names, with no companies or titles to be found.
Registration and more information on the jump.global annual summit can be found here. The event kicks off Nov. 12 with a NO EGO Welcome Party.
Latin music consumption is growing almost twice as fast as the overall music consumption in the U.S., driven largely by Latin music super fans and by the growth of regional Mexican music, according to Luminate’s most recent research on Latin music.
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Unveiled at a Monday morning (Oct. 2) session during Latin Music Week 2023 presented by Luminate CEO Rob Jonas, Luminate’s research also found an unlikely discovery platform for Latin music: WhatsApp. A whooping 73% of Hispanic listeners use WhatsApp, 265% more than the general population.
Luminate’s numbers once again underscored the impressive growth of Latin music consumption. For example, in the first 34 weeks of 2022, there were 47.4 billion on demand audio streams. For the first 34 weeks of 2023, that number had jumped to 57.9 billion streams, a 22.2% upward change that far surpasses the 13.3% growth registered for the industry overall. All told, Latin is now the 5th largest major music genre in the U.S., behind only the big four core genres: R&B and Hip-Hop, pop, rock and country.
Latin music is also seeing consumption growth outside Latin pockets. A stunning 40% of all U.S. listeners report listening to music in languages other than English; and among those languages, the most listened to — after English — is Spanish. While 93% listen to music in English, roughly 23% of listeners will listen to music in Spanish.
Likewise, while the English language share of streaming in the U.S. –- as measured by the top 10,000 most streamed tracks of the past 12 months — has dipped slightly by 4% in the past year, streaming of Spanish language tracks has increased by 3.5%.
A key driver to the growth are Latin super fans. According to Luminate’s data, they spend 120% more per month on music related activities than other fans, and 30% more than U.S. super fans.
“The trends we saw starting in 2022 have accelerated and developed the growth of Latin music,” says Jonas. “We initially saw a lot of growth in streaming, but now, that growth translated to revenue. In 2023, it’s definitely been exceeding expectations.”
You can access Luminate’s full report here.
The Japanese entertainment company that has acknowledged its founder sexually assaulted hundreds of boys over the span of half a century, took a new name on Monday: Smile-Up. It also vowed to focus on compensation for victims of the abuse.
Tokyo-based Johnny & Associates, founded in 1975, will eventually fold, but its performers can join an independent company that is being set up, said Noriyuki Higashiyama, the company’s new leader and a former star at Johnny’s, as the company is known.
Higashiyama, tapped last month to head the old Johnny’s, will now be president of both Smile-Up and the new company. The new company’s name will be put to public vote by Johnny’s fans.
“All things with the Johnny’s name will have to go,” Higashiyama told reporters at a Tokyo hotel. “A wounded heart isn’t easy to heal. Compensation on its own will never be enough.”
In recent months, dozens of men who were performers and backup dancers as teens and children at Johnny’s have come forward, saying they were sexually assaulted by Johnny Kitagawa.
Kitagawa, who died in 2019, was never charged.
So far, 325 people have applied to the company’s compensation program, and that number may grow. Payments will begin next month, Higashiyama said. How the monetary amount will be decided was not yet clear.
Last month, Kitagawa’s niece Julie Keiko Fujishima resigned as chief executive at Johnny’s and apologized for his past. She still owns 100% of the unlisted company but will not be part of the new unnamed company, whose capital structure is still being worked out.
Fujishima did not appear at Monday’s news conference and had a letter read aloud. The letter said she was “brainwashed” by her mother Mary, who insisted Kitagawa was innocent, even after the Japanese Supreme Court ruled two decades ago that the sexual allegations against him were accurate.
“I want to erase all that remains of Johnny from this world,” she wrote. “I do not forgive what Johnny has done.”
Some victims say they have suffered for decades in silence, unable to confide in family or friends, while experiencing flashbacks.
Most of the attacks took place at Kitagawa’s luxury apartment, where several youngsters were handpicked to spend the night. The following morning, he would thrust 10,000 yen ($100) bills into their hands, according to various testimony.
Rumors about Kitagawa were rampant over the years, with several tell-it-all books published. A recent U.N. investigation has said that the number of victims is at least several hundred, and called on the Japanese government to act. When BBC did a special on Kitagawa earlier this year, the scandal jumped into the spotlight.
Mainstream Japanese media have come under serious scrutiny for having remained mum about Kitagawa, apparently afraid of his influence and ability to deny access to his stars.
Now, some TV broadcasters and programming have done an about-face to shun Johnny’s stars. Major companies have also recently announced they will stop using them in advertising.
In a related development, several victims met with lawyers, feminists and Johnny’s fans to work together in pushing for legal changes so civil damages can be pursued after the current limit of 20 years. The criminal statute of limitations is now 15 years.
Attorney Yoshihito Kawakami said children often don’t understand what happened, and the changes will allow victims to seek damages from Johnny & Associates.
Japan raised the age of sexual consent from 13 to 16 only this year. Japanese media reports say Kitagawa often purposely picked on 13-year-olds, although his victims have been as young as 8.
The company has promised it will compensate victims “beyond the scope of the law. ”
“Some perpetrators are living their lives as though nothing happened. That causes great pain to the victims,” said Junya Hiramoto, who heads a group of Johnny’s victims.
The Associated Press does not usually identify victims of alleged sexual assault, but Hiramoto and others in the case have chosen to identify themselves in the media.
“By coming together, we can grow into a bigger force and move toward hope,” he said.
SiriusXM shares rose 11.1% to $4.52 this week following an offer from Liberty Media on Tuesday (Sept. 26) to combine its tracking stock, The Liberty SiriusXM Group, with SiriusXM’s stock to form a new public company.
Liberty Media, which owns 83% of SiriusXM’s outstanding shares, proposed a complicated transaction that would “provide value to all shareholders with a more flexible and attractive currency” in the newly formed SiriusXM stock, Liberty Media president/CEO Greg Maffei said in a statement. SiriusXM said in a statement that a special committee of its board of directors is evaluating the proposal and provided no assurance a deal would eventually happen.
The effect appeared to be a short squeeze — albeit one smaller than the instance that inflated SiriusXM’s share price by 49% in one week in July. Because SiriusXM shares are heavily shorted and have a small float, sudden demand for the stock can create large price fluctuations. SiriusXM shares rose 15% on Thursday (Sept. 28) alone, while shares of The Liberty SiriusXM Group tracking stock finished the week up 13.4%.
While overall stocks were mixed this week, music stocks performed well. The 21-stock Billboard Global Music Index improved 1.1% to 1,344.99, better than the 0.1% gain eked out by the tech-heavy Nasdaq composite and easily besting the S&P 500’s 1.3% loss. In the United Kingdom, the FTSE 100 fell 1%, while South Korea’s KOSPI composite index dropped 1.7%. Eleven of the Billboard Global Music Index’s 21 stocks finished the week in positive territory, eight lost ground and two were unchanged.
Helped by Deezer’s double-digit improvement, streaming stocks had an average gain of 3.1%. Chinese music streamers Cloud Music and Tencent Music Entertainment gained 6.5% and 1.3%, respectively. Spotify shares dropped 2.1% to $154.63 but have gained 95.9% year to date. LiveOne shares fell 8.6% to $0.96, marking its third successive weekly loss since spinning off its PodcastOne division. This week, Billboard reported that LiveOne took out a high-interest loan to lure UFC fighter-turned-podcaster Brendan Schaub after Kast Media failed to pay him advertising money. LiveOne agreed to acquire Kast Media in May and offered Schaub and other podcasters settlements that included a mix of cash, promissory notes and PodcastOne stock.
Music’s greatest gainer this week was French streaming company Deezer. Despite there being no news — neither a press release nor a regulatory filing — that normally leads to such a substantial change, Deezer shares rose 21.8% to 2.735 euros ($2.90), including a 14.8% gain on Thursday with one of the highest trading volumes since the company went public in September 2022. Nothing indicated the company has substantially improved its earnings outlook in recent days, but Deezer had been in the news prior to this week. Three weeks ago, Deezer announced a partnership with Universal Music Group to create a new system for calculating artist royalties; and last week, the company revealed plans to increase subscription prices for new individual and family plans in the United Kingdom, Spain, Italy, the Netherlands and its largest market, France.
Live Nation shares rose 4.1% to $83.05 following news the company will help developing artists by providing a financial stipend and eliminating fees charged on merchandise sales at a number of its owned and operated clubs in the United States. Although the move will cost Live Nation money, it also comes with some strategic advantages, according to LightShed Partners analyst Brandon Ross. The decision is “great for Live Nation because it actually throws up another barrier to entry,” Ross said in the Friday (Sept. 29) episode of the LightShed podcast. “Artists are going to want to play your venue where the economics for them are better rather than somebody else’s venue.”
This content was created in partnership with Kara Major. Kara Major is an ambassador of GLOW Beverages.
Emerging from the dazzle of neon lights and the infectious rhythm of electronic beats in Miami, EDM sensation Kara Major is taking 2023 by storm. Her recent track “Everything Works Out,” fuses soulful lyrics with pulsating melodies. Featured in publications like SweetnSour Magazine and Earmilk, its success spoke volumes to her core fanbase’s zeal and the weight of the message she bore.
Major’s previous professional settings— a mix of offices, board rooms and sports teams— plays a pivotal role in her approach to music. Writing songs and constructing beats has been second nature to her for as long as she can remember. Major used music as an outlet to combat the day’s monotony and satisfy her urge to release her pent-up emotions. Drawing on both celebratory moments and heart-wrenching experiences, Major’s music offers not just entertainment but comfort and hope for her fans. With a sizzling new music video that dips in the abstract, Kara’s larger than life message is reaching listeners across the country.
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Kara Major’s latest single “Glow”
Her latest track, “Glow,” is the third in her homage to mantric principles and has garnered significant attention from both media and brands. The single piqued the interest of GLOW Beverages, an electrolyte beverage company that is quickly gaining popularity. Partly owned by Kylie Jenner and Dallas Cowboys quarterback Dak Prescott, the drink is a cult favorite for clubgoers and a guilty pleasure for techies. Now, Major is a member of a group of key influencers who are partnering with GLOW to connect with consumers, hooking onto both Kara’s song and the drink’s radiating personality.
Challenges and adversities have been part and parcel of Major’s journey. Every artist faces hurdles, but it’s these challenges that give music an edge and a rawness that listeners connect with deeply. Major’s ethos, which she shared with POP CULTUR, is clear: “Believe it to see it. Knowledge is the precursor to experience. Keep reaching for new information; new inspiration and new futures will find you.”
Kara Major in her music video for “Glow”
Łukasz Rucinski, Black Parrot Media
Beyond her music, Major has a greater vision. She is eager to collaborate with giants in the self-care and motivational speaking communities like Esther Hicks and Tony Robbins. What stands out is her belief that everyone has their own “inner music.” Major’s message to her fans and the world at large is rooted in the philosophy of finding one’s inner light and letting it “glow.”
With her unique blend of musical talent, introspective lyrics and a vision that transcends the boundaries of EDM, Kara Major is making her place in the industry and setting her Major message in motion.