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Elbows up for another Executive Turntable, Billboardâs weekly compendium of promotions, hirings, exits and firings â and all things in between â across the music business. Thereâs a full slate of news this week, so letâs get started.
Universal Music Canada promoted Amanda Kingsland to vp of A&R, co-leading the companyâs A&R efforts with Shawn Marino, the vp of A&R operations. Together, theyâll lead UMCâs A&R teams â located in both Toronto and Montreal â to sign, develop, and break new Canadian artists. Kingsland, who joined UMC in 2021, revitalized the country music roster and multiple projects. Marino, a 30-year industry veteran, oversees 80A Studios, the labelâs multi-room recording space, and The Academy, UMCâs event space. UMCâs artists include Josh Ross, Sofia Camara, Mae Martin, Owen Riegling and thiarajxtt, alongside recent signings AP Dhillon, Lindsay Ell, James Barker Band, Sebastian Gaskin, and TyriqueorDie. Julie Adam, president and CEO, praised Kingsland and Marinoâs leadership, emphasizing their role in investing in artistic voices. âMusic â and the artists who create it â are our driving force,â she said. âWe focus our hustle, passion, care, creativity, and abundance of forward-thinking ideas on helping the artists we work with achieve personal, artistic, and commercial success. And at the centre of our mission to sign, develop, and break artists is our industry-leading A&R team.â
Hopeless Records announced key hires and promotions as it cements its position in the indie music industry. Ian Harrison is promoted to executive vp, focusing on business development and global growth. Erin Choi becomes general manager, overseeing global marketing and promotions after nearly two decades with the label. Christina Johns steps up as vp of operations, while Nonafaye Williams advances to senior director of product management. New additions include Jen Darmafall as director of marketing and Rheanna âCaedanceâ Lauren as program director of the Hopeless Music Academy, which offers music education to under-resourced youth in Los Angeles. Founder Louis Posen praised the leadership team â Harrison, Choi, Johns, CFO Al Person, and evp of A&R Eric Tobin â as a passionate, âcaring and talented executive team.â He also emphasized the labelâs commitment to artist development, highlighting the Academyâs launch as a dream realized.
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Universal Music Greater China appointed Vivian Xu as chief operating officer, effective immediately. Based in Beijing, Xu will report directly to Timothy Xu, chairman and CEO. In her new role, sheâll collaborate with the senior leadership team to oversee daily operations and identify market expansion opportunities. Xu brings extensive experience from her previous roles at Columbia China, Sony Music Entertainment China, Motorola Solutions, Sony Ericsson and Schneider Electric China. Xuâs appointment is expected to enhance UMGCâs capabilities and strengthen its position in the Chinese music market. UMGC represents a diverse artist roster, including Li Nong Chen, Sunnee, Tanya Chua and Guo Ding. It has also partnered with Modern Sky, which features acts like New Pants and Tizzy T. Timothy Xu and Adam Granite, executive vp market development at UMG, praised her strategic insights and operational expertise.
MSG Entertainment and MSG Sports â friends call-em âthe MSG family of companiesâ â appointed Doug Jossem as executive vp, global sports and entertainment partnerships. Reporting to Jamaal Lesane, chief operating officer of MSG Sports, Jossem will lead global partnership initiatives across MSG Sports and MSG Entertainment while supporting sales for MSG Networks. Jossem brings over 20 years of experience in media, advertising, and management, previously leading Walmart Connectâs largest business unit and holding key roles at Twitter, Vice, Comedy Central and CNN. Lesane highlighted MSGâs topline brands, expressing confidence in Jossemâs ability to create âinnovative solutions that leverage the full depth and breadth of our portfolio to create unique platforms and unrivaled exposure for our partners.â
Nathaniel Brown, former PR head at Warner Bros. Discovery, joined TikTok as global head of corporate communications, reporting to Zenia Mucha. Based in New York, Brown previously held roles at 21st Century Fox, MTV Networks and SiriusXM. At Discovery, he managed PR during the 2022 merger and controversial decisions like shelving projects for tax write-offs. Brown left the company in January 2024. Now at TikTok, he faces significant challenges, including a potential U.S. ban on the app, set for April 5, after President Trump delayed the law earlier this year.
Candice Watkins, senior vp of marketing at Big Loud Records and a fixture on various Billboard power lists, confirmed she is leaving the Nashville label after a six-and-a-half year run. Prior to joining BLR, the USC alum clocked a couple years as senior director of marketing and artist development at Universal Music Group. The news was first covered by HITS, which reported âbig plans on the horizonâ for the executive.
Red Street Records hired Jason McArthur as the labelâs vice president of Christian A&R and publishing, to lead in developing and expanding the roster of Christian artists and songwriters at Red Street Records and Red Street Publishing. McArthur will oversee the labelâs Christian roster, including Jason Crabb, Consumed By Fire, Cade Thompson and Iveth Luna, in addition to songwriters Brian White, the Ward Brothers and Crabb. McArthur previously served as vp of A&R at Sony Music Entertainmentâs Provident Entertainment. âJessica Nicholson
ATC Management expanded its U.S. team with new managers Dev Crawford and Jay Saunders. Based in Los Angeles, Crawford represents rapper Earl Sweatshirt and singer-songwriter Fana Hues, bringing extensive experience in hip-hop and R&B, including tour management for Snoh Aalegra and NxWorries. Saunders will lead ATCâs Nashville expansion, specializing in Americana, folk and all things roots. He previously worked with Marty Diamond and Mark Williams at Concord and now represents artists like John Vincent III and Kacy Hill. Both managers will continue signing new clients, joining a roster that includes Nick Cave, PJ Harvey and The Smile. Theyâll work closely with Jackson Perry, head of management in North America, and can be reached at dev@atcmanagement.com and jay@atcmanagement.com.
Warner Music France launched Adore Music, a dance label led by Romain Pasquier, a 17-year WMG veteran. The label aims to showcase both emerging and established dance artists, leveraging Warner Musicâs global resources to support talent in France and beyond. Pasquier, the managing director whoâll keep his senior role at label and artist services division WEA, is committed to honoring Franceâs electronic music legacy while nurturing the next generation. He is joined by Adrien Morin-Guardia, A&R and head of marketing, and Nicolas Klersky, A&R. Adore Musicâs first release, âNeed You the Mostâ by house duo Ofenbach, debuted on March 21. Parlez-vous français? Check out Billboard Franceâs story on the launch.
Infamous promoted Jelani Wright to vp of festivals & events for North America. In his new role, Wright will oversee creator and publicity campaigns for North American music festivals, including CRSSD Festival, Lightning in a Bottle and its producer Do Lab, HARD Summer, Hangout Festival, Sand In My Boots, ARC Festival, Splash House, M3F Festival, and Electric Forest. Wright will also handle campaigns for international festivals including Barcelonaâs Primavera Sound, Montrealâs Igloofest and Turinâs KappaFutur Festival. Wright started at Infamous as a publicist in the festival division in 2020 after graduating from the agencyâs Fellowship program, an initiative that helps BIPOC candidates break into the music industry. Wright will report to Infamous COO Maxfield Frieser, who says that âJelaniâs passion, leadership, and innovative approach to earned media have been instrumental in evolving our festival campaigns and helping grow the division.â âKatie Bain
âSingle White Femaleâ singer-songwriter Chely Wright announced her new role as senior vp of corporate social responsibility and new market growth at facilities management firm ISS. Sheâll drive impact by fostering client and community partnerships and empowering ISSâ 320,000+ employees. Wrightâs initiatives will strengthen client relationships and celebrate internal culture, focusing on partnerships that unite corporate entities and community organizations. Wright was the first country artist to come out as gay in 2010 â read about her career transition in Stephen Dawâs new profile.
NASHVILLE NOTES: Matthew Miller, a veteran country music manager, joined talent agency The Familie, bringing artists William Beckmann and LEW. With 20-plus years of experience at WME, Red Light and more, Miller praised The Familieâs collaborative culture, while evp Royce Risser highlighted his expertise and artist-focused management approach ⌠Monti Smith joined King Pen Music as creative coordinator after interning at the publishing company. He will work closely with CEO Kelly King and Amanda Roach, creative manager.
Brandon Holman joined Amber Health to lead industry relations. Previously, he was vp of marketing and wellness at Guin Records and co-founded The Lazuli Collective, an experiential wellness agency. Earlier in his career, Holman made stops at UnitedMasters and TikTok in various marketing and label partnerships roles. Amber Health, established in 2020, styles itself as the only full-service mental health and wellness solution for the music industry, focusing on supporting artists, tours, events and music companies. In 2023, Holman penned a guest column on how Guin prioritizes artistsâ well-being, empowering them to create and share their music in a sustainable way.
The Circuit Group formed a joint venture with James Ahearn, founder of Buena Artists & Projects, to expand its global artist management team. Ahearn brings his roster, including Sparrow & Barbossa, Two Friends and Stevie Appleton/Collect 200. Ahearn praised The Circuit Groupâs innovative approach and expressed excitement about launching his own division within the company. Dean Wilson, CEO of The Circuit Group, highlighted Ahearnâs impressive track record in artist management, adding, âhis ability to identify and develop artists, foster impactful partnerships and navigate both the major label system and independent space makes him a perfect fit.â
Viamedia, the independent digital and linear advertising rep firm, acquired digital advertising company LocalFactor. LocalFactorâs founder and CEO, Evan Rutchik, will become Viamediaâs president and chief strategy officer, reporting to CEO David Solomon. Rutchik will drive Viamediaâs strategic vision, oversee LocalFactorâs operations, and join Viamediaâs board.
ALL IN THE FAMILY: Billboard welcomed Delisa Shannon as its new shortform content director. She joined from Rolling Stone and started this week in the New York office. Also, new staff writer Mackenzie Cummings-Grady will officially join the team on April 1, based in NYC ⌠The Hollywood Reporter made three key editorial changes: Beatrice Verhoeven dropped the âdeputyâ from her title and is now âjustâ awards editor, longtime contributor Brande Victorian joined as the deputy awards editor, and senior awards editor Steven Zeitchik is now senior editor of technology and politics.
ICYMI:
Fernando Cabral
Fernando Cabral de Mello was appointed CEO of Sony Music Entertainment Brazil as part of a new organizational structure ⌠Avex appointed S10 founder Brandon Silverstein as CEO of its new Avex Music Group to enhance its U.S. presence and promote Avex artists globally ⌠and longtime music manager Andrew Goldstone joined the team at Milk & Honey as head of electronic music. [Keep Reading]
Last Weekâs Turntable: Dizzying Changes Made at Spinninâ Records
LONDON â Abbey Road has announced the reopening of Studio One following an extensive restoration to the iconic recording studio space. The room closed in late 2024 for the first time in its history to allow for the work to take place.
On Thursday night (March 27), the studio celebrated the reopening with an event Synergy In Motion, which combined contemporary dance and music in a unique event. The choreography was helmed by Royal Ballet choreographer Joseph Toonga and set to the film scores of composer Daniel Pemberton (Spider-Man: Into the Spider-Verse), remixed and arranged by Jordan Rakei, Abbey Roadâs Artist in Residence.
The studio has now reopened and is in operation for recording sessions.
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Studio One is described by the north-west London studio as âworldâs largest purpose-built recording studio,â and can comfortably host 100-piece orchestras. The room is primarily used for the recording of classical and movie scores, with the soundtracks to a number of blockbusters having been recorded in in the space, including much of John Williamsâ oeuvre, such as Raiders of The Lost Ark, Star Wars: The Return of The Jedi, as well as the Harry Potter movies. Earlier this month, on March 18, the studio hosted a one-off concert to celebrate the film scores recorded in the space over the past 45 years, including The Last Emperor, The Lord of The Rings and The Hobbit trilogies, Skyfall, The Shape of Water, Barbie, Black Panther and more.
The room has also been used by a variety of contemporary musicians in recent years, including Harry Styles, U2, Noel Gallagher, Little Simz, Sam Smith and Celeste.
In a statement, Abbey Roadâs managing director Sally Davies said, âThe reopening of Studio One sees Abbey Road embrace a renewed energy that not only honours our legacy but also looks forward to the future. Last nightâs multidisciplinary Synergy In Motion celebration was the perfect way to usher in this new era, with an evening that championed innovation and creativity at every turn.â
The refurbishment includes the replacing of the 20-year old 72-channel AMS Neve 88RS SP2 recording console with an 84-channel AMS Neve 88RS SP3D recording console, and extensive acoustic treatment and the installation of new fabric. The live room â where the musicians play â has seen the introduction of 10 rows of wool serge, as well as the integration of 3 rows of 9 LED pendants to increase visibility.Â
The premises was first built as a residential townhouse in 1831, and was converted into a recording studio a century later, reopening as EMI Studios in 1931. A number of classical greats including Edward Elgar and Sergei Prokofiev recorded there; in 1958, Studio Two was opened, with a number of influential acts like The Beatles recording in the space. The studio is currently owned by Universal Music imprint Virgin Records.
MSG Networks, a subsidiary of Sphere Entertainment Co. and part of the business empire run by James Dolan, has another week to repay more than $800 million of debt without facing consequences from its lenders, the company announced Thursday (March 27) in an SEC filing. The company first announced in October 2024 that it was […]
BEAT Music Fund, the dance music investment company from Armada Music Group, acquired the rights to âa large portionâ of masters from DJ, producer and Turbo Recordings founder Tiga. The deal includes Tigaâs âSunglasses at Night,â âBugatti,â âYou Gonna Want Me,â âLetâs Go Dancingâ and âHALâ featuring KĂślsch. BEAT previously signed catalog deals with Kevin Saunderson, Markus Schulz, Robbie Rivera, Jax Jones, Amba Shepherd, VIVa MUSiC, Sola Records, King Street Sounds, Chocolate Puma and others.
Hook, the AI-powered platform that allows users to legally remix songs by top artists while earning income from those remixes, closed an additional $3 million in funding, bringing the startupâs total funding to $6 million. This round includes new investments from Khosla Ventures, Kygoâs Palm Tree Crew, and The Raine Group. Continued support came from existing investors including Imaginary Ventures, Steve Cohenâs Point72 Ventures, KSHMR and Edgar Bronfman, Jr.âs Waverley Capital. The investment will help accelerate Hookâs marketing efforts and hiring, with a focus on user acquisition.
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Japanese record label Teichiku Entertainment signed a distribution partnership with Believe for Japan and the rest of the world. Through the deal, the companies aim to expand Teichikuâs digital footprint by leveraging Believeâs global DSP network, technology and digital-first expertise to bring Japanese enka, kayĹkyoku and pop music to a wider audience globally.
Indian record label and music publisher Times Music acquired Indian regional record labels Symphony Recording Co. and ARC Musicq. These are Times Musicâs first acquisitions since Primary Wave Music invested in the company to speed up its growth worldwide. Symphony, described in a press release as âthe undisputed leader of Tamil spiritual and devotional music,â has a catalog of more than 350 audio and 100 video albums and boasts YouTube views of nearly 2 billion, with revenue on the platform doubling in the past four years, according to the release. ARC Musicq, which has been distributed by Times Music since 2017, is a label specializing in Indian folk music and film soundtracks within the Kannada music market. ARC also boasts more than 2 billion views on YouTube, with revenue quadrupling in the last three years, according to the release.
Independent U.S.-based K-pop label hello82 struck a partnership with One Hundred Label, the Korean entertainment company behind THE BOYZ. Under the deal, hello82 is serving as the exclusive physical distributor for the groupâs album Unexpected, which was released on March 17. To support the release, hello82 is erecting immersive fan experiences at its brick and mortar fan spaces in Los Angeles and Atlanta, and at pop-up shops in major markets including New York, Chicago and San Diego throughout March. Hello82 previously signed similar deals with KQ Entertainment (ATEEZ, hikers) and FNC Entertainment (P1Harmony).
Ninja Tune struck a licensing partnership with Reactional Music, the music personalization platform allowing real-time interactive music integration in gaming, automotive and digital environments. With the deal, Ninja Tuneâs labels and publishing division, Just Isnât Music, have licensed the rights to tracks from its catalog for use in Reactionalâs music personalization engine and music delivery platform. Ninja Tuneâs labels include Brainfeeder, Counter Records, Technicolor, Big Dada and Foreign Family Collective, which have collectively released music by Thundercat, Bonobo, Little Dragon, Run the Jewels, ODESZA, Peggy Gou and others. Reactionalâs platform is now live on Unity and Unreal Engine. It is being used by developers and creators in Europe, the United States, China and Southeast Asia.
ADA, the independent music distribution and artist services arm of Warner Music Group (WMG), acquired music tech startup RSDL.io, which provides automated accounting and a simplified view of multiple revenue streams for artists and labels. Founded by tech executives Mike Holmes, Jim Sella and Bill Sella and music industry players Alex Brahl (S7 Management) and songwriter-producer Shep Goodman, RSDL.io lets users facilitate payments and manage splits and recoupments and âallows for multi-level artist and contributor payout functionality and insights,â according to a press release.
EMPIRE struck a multi-year partnership with sound separation and lyric transcription technology company AudioShake under which the San Francisco-based label will use AudioShakeâs stem and lyric separation technologies to create stems and lyrics for its catalog. EMPIRE will use AudioShakeâs AI to produce stems for use in synch licensing, immersive formats and new music licensing models.
Musical AI, the AI rights management platform for music and audio, is partnering with Nashville-based artist-model platform and VST plugin First Rule to build fully-licensed AI agents and models designed to support music makers. Through the deal, Musical AI will provide licensed training data to First Rule, which will use the data to train musical agents and models aimed at assisting artists and producers. Musical AI will also provide attribution technology and payment processing âto ensure First Rule can prioritize rightsholder consent, credit, and compensation,â according to a press release. Using this data, First Rule will train its proprietary models to ensure they are able to produce high-quality results. This will allow artists and producers to train their own âMusical Essence or M.E Models on their distinctive style and approach,â then license those models to others to use in First Ruleâs Co-Writer, a generative AI-powered VST plugin the company is currently building that will work in any digital audio workstation.
Sony Music Entertainment India and Tiger Baby â the Indian production company formed by filmmakers Zoya Akhtar and Reema Kagti â formed Tiger Baby Records, a joint-venture music label dedicated to fostering emerging talent. For one of its first projects, the new label has partnered with jewelry brand Tanishq for a wedding song composed by Abhishek-Ananya and performed by Poorvi Koutish. It also recently released the soundtrack for Superboys of Malegaon, a film based on the life of filmmaker Nasir Shaikh, that was composed by Sachin-Jigar and written by Javed Akhtar. Tiger Baby Records will additionally release original music curated by Ankur Tewari that will spotlight emerging artists and launch a âCity Sessionsâ initiative with Mumbaiâs Island City Studios in which singer-songwriters will be offered the opportunity to refine their craft, collaborate with established artists and more.
Universal Music Group (UMG) and HEAT â a new marketplace connecting animators, game developers and 3D artists with a trove of motion data and music â formed a collaborative initiative involving Lil Wayne and CG5 that will make licensed tracks from both artists available to game developers for the first time. Beginning May 1, Lilâ Wayne tracks âUproarâ and âGO DJâ and CG5 tracks âI See A Dreamer,â âSleep Well,â âLet Me Inâ and âDancinââ will be available through the HEAT platform, allowing game creators to integrate those tracks into their projects.
Secretly Distribution struck a global distribution deal with Invada Records, a U.K.-based independent label co-owned by musician, producer and composer Geoff Barrow (Portishead, BEAK >) and his longtime business partner Redg Weeks. Invada has released music by artists including DROKK, The KVB, Jeremy Gara (Arcade Fire), BEAK >, Divide And Dissolve, Anika, Billy Nomates, Gazelle Twin, Colin Stetson, Sleafords Mods, TVAM, Benefits and Julian Cope. It has additionally released scores for films, TV shows and video games including Stranger Things, Drive, Ex Machina, Solaris, Red Dead Redemption 2, Hannibal, Dark, Annihilation and Black Mirror.
Sweet Relief Musicians Fund and Sweetwater launched The Hearing Health Fund at Sweet Relief Musicians Fund, which will provide support for the growing number of music professionals who face hearing-related challenges, including hearing loss and tinnitus. According to research cited in a press release, seven in 10 music venue staff are exposed to noise levels above the daily recommended limit, while only 15% reported using hearing protection on a regular basis. Through the fund, professionals can receive a free, three-part hearing screening with a certified audiologist and free Etymotic Research ER-20XS High Fidelity Earplugs. Music pros can navigate here to apply for the Hearing Health Fund.
Music technology company Audoo partnered with German performing rights society GEMA on GEMAâs music impact study, which aimed to quantify the commercial value of background music in gastronomy and retail spaces. The study used Audooâs audio meters â or music recognition hardware â that the company had installed in hundreds of venues. Overall, it found that the use of background music increased retail sales by an average of 8% and gastronomic sales by an average of 5.4%. More information on the research can be found here.
Rhino Staging, which provides stagecraft and rigging crews across the U.S., acquired ROC Rigging, a provider of special event rigging services for entertainment, corporate and private events in the Palm Springs, Calif., area. Matt Talley, the founder/CEO of ROC Rigging, along with the companyâs management team, will remain in place as the company integrates with Rhino.
UnitedMasters partnered with The Coca-Cola Company for an event to be held this month in SĂŁo Paulo celebrating Brazilâs independent music scene. The two companies have also selected independent artist Alee to perform at Coke Studio at Lollapalooza Brasil, in addition to Zudizilla, who will perform on the main stage.
LONDON â Following the arrival of the U.K. governmentâs Spring Statement â an overview of the upcoming budgetary and spending plans â on Wednesday (Mar. 26), the U.K. creative industries are expressing concern over what the new budget could mean for artists, grassroots music venues and music education this year.
Since coming into power after winning an overwhelming majority with 412 elected MPs in last Julyâs General Election, Sir Keir Starmerâs Labour Party and Lisa Nandy â the U.K.âs culture, media and sport secretary â have run their campaign on promises of economic growth and a greater respect for the British arts. Last summer, they pledged a new National Music Education Network in their manifesto that would deliver increased resources for parents, teachers, and children. The creative industries were also named as a growth-driving pillar in the U.K.âs modern industrial strategy, with an aim to grow the sector by ÂŁ50 billion by 2030.In November, Chancellor Rachel Reeves delivered the first Labour budget in 15 years, which raised some taxes â notably national insurance contributions for employers â that will allow the government to invest in the National Health Service (NHS), education and infrastructure. She also committed ÂŁ6.7 billion ($8.6 billion) for education investment in 2025.
In the Spring Statement, however, which was delivered by Reeves from London this afternoon, a fresh set of cuts to government spending and public investment were outlined. She also told MPs that âthe world has changedâ since her first budget just under five months ago, and that those changes were to blame for the string of downgrades she put forward.
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When discussing departmental budgets, which dictate how much different parts of government can spend until 2030, Reeves said she aims to make the state âleaner and more agile.â Early reports suggested that day-to-day department spending was set to increase by an average of 1.3% per year above inflation; Reeves said it will rise by 1.2%. Furthermore, she confirmed that cuts will fall on departments outside of health, defense and education, whose departmental spending is not âprotected,â she said.
âThe Spring Statement makes it clear that most government departments, including the Department for Culture, Media and Sport, face real-terms cuts,â Roberto Neri, CEO of The Ivors Academy, tells Billboard U.K. âThis will put further pressure on already stretched budgets at the BBC and Arts Council England, two of the most significant commissioners of new music.â
Years of underfunding from previous governments, tough financial conditions for artists and grassroots venues and complex issues surrounding generative artificial intelligence (AI) are all significant challenges for the sector. A hearing at The Houses of Parliament in October 2023, for example, found that 1,000 music teachers have been lost in the past decade, while a 2025 report by Music Mark found that Labour had inherited a shortfall in its music education budget over the next five years.A briefing published by U.K. Music in Sept. 2024, meanwhile, suggested that the international appetite for British music remains strong â with overall exports growing by 15% to ÂŁ4.6 billion ($5.9 billion) last year â but that the health of the countryâs music ecosystem must be looked at more closely, Neri posits.âSince the pandemic, the U.K.âs music industry has grown almost twice as fast as the wider economy â and weâre fighting to ensure songwriters and composers see more of the benefits,â Neri says. âAs the government prioritises economic growth, it should back our world-leading songwriters and composers, the source of all value in music, and invest in the infrastructure they depend on.â
The lack of new policy around music and culture in the Spring Statement is also of concern to Ben Selway, managing director at Access Creative College (ACC), the U.K.âs largest independent training provider across creative fields. Former pupils at Access Creativeâs seven national campuses include Ed Sheeran (now a patron of the ACC), Rita Ora and Jorja Douglas of BRIT-nominated girl group FLO.The future of music education in the U.K., Selway says, depends on âhow effectively we are able to reverse the negative trends weâve seen over the past decades, from the closure of grassroots music venues to a reduction in funding in real terms, and mitigate the risks that threaten the music industry, such as AI and copyright.âSelway also highlights the recent statement made by the Ed Sheeran Foundation, whose namesake made headlines earlier this week with the release of an open letter â signed by other A-listers including Sir Elton John and Harry Styles â calling upon the government to ensure music education remains high on the agenda. âThis creative industry brings so much to our culture, our communities, our economy, our personal wellbeing, but music education has fallen through the gaps. Thatâs why Iâm asking the government, collectively, to correct the mistakes of its past and to protect and grow this for generations to come,â Sheeran wrote.
Sophie Brownlee, external affairs manager at the Music Venue Trust (an organisation that supports the grassroots music scene) told Billboard U.K. that âthe chancellor, treasury and DCMS have all the facts and data they need to know how to reverse the decline in access to live music and culture in our communities.â She added: âFor the chancellor to choose, once again, not to act on this opportunity will not generate growth or meet the Governmentâs wider ambitions for the creative industries. Instead, it will see more grassroots music venues close, many in already deprived communities, further jobs lost, and the continuation of undervaluing local culture in the U.K.âThough Reeves announced plans to invest more in AI technologies across the civil service and defense sectors, her statement didnât broach the governmentâs 10-week consultation, which took place in late 2024, on whether copyrighted content, including music, can lawfully be used by developers to train generative AI models.In recent months, the AI question has become a highly debated talking point among the industry, proving controversial among creatives and copyright holders. The governmentâs resulting report said an âopt outâ approach would give rights holders a greater ability to license the use of their content, but those plans are yet to be confirmed.Tom Kiehl of U.K. Music argues this is not a time to become complacent. âThe chancellor has talked again about her strategy for economic growth and some of the potential benefits of AI,â he says. âHowever, there was nothing in her statement about the huge damage that would be caused to the music industry by government plans to give AI firms unfettered access to music under sweeping changes to copyright law. The proposals would be a disaster for the U.K.âs ÂŁ7.6 billion music industry.Â
âWe need an urgent rethink from the Government and the Chancellor over those plans,â Kiehl continued, âwhich would allow firms to train their AI models on British music without having to pay or seek permission from the people who created the work or own the rights.â
âWeâve been trying to spread our music from Japan to the world,â Lilas Ikuta, singer for the Tokyo-based duo YOASOBI, told the audience at a sold-out Peacock Theater show in Los Angeles during a break in the groupâs frenetic, synth-driven pop show. Already stars in their home country, Ikuta, who goes by the stage name Ikura, and her bandmate, Ayase, are beginning to get serious help finding fans beyond their home turf.
YOASOBIâs appearance that night was part of a concerted effort to push Japanese pop music â J-pop â far beyond the island nation. The March 16 showcase â matsuri â25: Japanese Music Experience LOS ANGELES, which also featured Ado and ATARASHII GAKKO! â is the creation of The Japan Culture and Entertainment Industry Promotion Association (CEIPA), an organization created by the five Japanese music industry organizations, along with Los Angeles-based promoter Goldenvoice. CEIPA was founded in 2023 by the Recording Industry of Japan (RIAJ), the Music Publishers Association of Japan (MPAJ), the Federation of Music Producers Japan (FMPJ), Japan Association of Music Enterprises (JAME) and All Japan Concert and Live Entertainment Promoters Conference (A.C.P.C.) An industry mixer and panel discussion before the concert was hosted by the Japan External Trade Organization (JETRO) and the Consulate-General of Japan in L.A.
The quest to take J-pop global also has the financial heft of Japanâs largest corporation. In February, CEIPA announced a partnership with Toyota and the launch The Music Way Project, an effort to bring Japanese music to a global audience. The Music Way Project will have overseas bases in L.A., London and Thailand to organize showcases in those regions. It will also help develop artists through a three-pronged approach that includes student seminars, in collaboration with Japanese universities; seminars for young music professionals; and a songwriting camp. Toyotaâs âinnovation and adventurous spirit,â said CEIPA executive director Taro Kumabe at the press conference, âaligns perfectly with our mission to take Japanese music further into the world.â
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The global success of South Korean music â K-pop â and the resulting growth of companies such as HYBE and SM Entertainment have people in Japan wondering why J-pop canât be the next great music export. âThere is a chance for Japan as well,â Tatsuya Nomura, board member of CEIPA and president of FMPJ, told Billboard through an interpreter. âYou have to understand, K-pop music is based on â80s Japanese pop. So, as long as we strive forward, we can do it.â
Japan already has a presence in the U.S. mainstream through video games (Final Fantasy, PokĂŠmon), anime (Spirited Away), fashion (Uniqlo), food (sushi) and martial arts (karate). But while K-pop songs and albums regularly appear at the top of Billboardâs U.S. charts, J-pop remains a niche. A few Japanese artists have made some headway. In 2019, pop trio Perfume became the first J-pop act to perform at Coachella. Babymetal, a heavy metal band fronted by three females, tours the U.S. regularly and has appeared at festivals such as Sick New World and Rock on the Range. YAOSOBI performed at Lollapalooza and Coachella in 2024 but didnât build a U.S. tour around those appearances.
Successfully breaking J-pop in the U.S. and other foreign markets would provide a financial windfall for the Japanese music industry. While Japan was the second-largest recorded music market in 2024, according to the IFPI, it was just 23% the size of the U.S. And because streaming dominates in the U.S. â it accounted for 84% of 2024 revenue, according to the RIAA â there is a huge, internet-connected audience ready to push play on emerging trends. Last year, the global music market reached $29.6 billion, with $20.4 billion coming just from streaming.
South Koreaâs early embrace of streaming helped K-pop find fans in the U.S. and elsewhere. With streaming starting to take off in Japan, Nomura believes the time is right for J-pop to look beyond its borders. âUp until now, the Japanese market was mainly focused on CD sales,â he says. âBut after COVID happened, people started listening to music on a streaming service. That opened a new page for Japanese music outside of Japan.â
Japanâs government wants to give J-pop a push, too. Faced with decades of deflation and stagnant wages, itâs looking to its content industries to help lift wages and commodity prices. These grand ambitions were laid out in a 2024 report by Japanâs Ministry of Economy, Trade and Industry (METI) titled, âGrand Design and Action Plan for a New Form of Capitalism 2024,â which described the governmentâs dedication to increase exports of the countryâs content â including music â to a world audience thatâs easily reachable by digital distribution. The plan includes, among other things, education, assisting business development and using global platforms âto encourage the formation of local, dedicated fan communities.â Nomura said CEIPA does not receive any government funding.
Michael Africk, a former recording artist with songwriting and production credits on numerous hits in Japan, also believes that J-pop is ready for a bigger stage. Africkâs Handcraft Entertainment recently raised $1 million to help build a multi-faceted company that Africk says will encompass music, fashion, merchandise and cosmetics. The relatively small sum is just âa start,â he says, and the next funding round is already underway.
Africk sees South Koreaâs success as a blueprint for how Japan can work in foreign markets and tailor its music to Westerners. K-pop âWesternized really well,â he says. âThey understand the economics and the way business works over here. The Japanese struggle with that a bit.â After decades spent working on both sides of the Pacific, Africk believes his experience will help Handcraft bridge the business culture divide between the worldâs two largest music markets.
For J-pop to cross over in the West, the artists and music will need to fit the tastes of listeners. Africk explains that J-pop thatâs popular in Japan tends to have vocal sounds and chord changes that Western audiences arenât used to hearing. He seeks out artists who cross cultures seamlessly, speak both Japanese and English perfectly, and have appeal in both Japan and English-speaking countries. While K-pop leans heavily toward ensembles, Handcraft, which is distributed by Virgin Music Group outside of Japan and B ZONE within Japan, has signed two individual artists, Anna Aya and Hana Kuro.
There were two other signs of Japanâs expansion this month. First, blackx, an Asian-focused music investment firm, and ASOBISYSTEM, a management and production company that represents more than 100 artists, formed a strategic partnership to build J-pop outside of Japan. The pairing is meant to provide artists with resources, help them connect with fans globally and create cross-industry collaborations. Then on Tuesday (March 25), Japanese music company Avex made a major move into the U.S. market by naming Brandon Silverstein, founder of S10 Entertainment, the CEO of its newly formed U.S. arm, Avex Music Group. As part of the deal, Avex acquired 100% of S10âs publishing division and added to its existing stake in the management business. The hiring and investment will help Avex break Japanese artists in global markets and position Avex âas a potent force in the international music landscape,â Avex CEO Katsumi Kuroiwa said in a statement.
The Japanese industry will make another push in May with the inaugural Music Awards Japan, an ambitious, two-day event that will name winners of 62 categories based on votes from more than 5,000 members of the Japanese music industry. Set for May 21 and 22 in Kyoto, the awards show will be broadcast in Japan by NHK and will be streamed globally by YouTube. Toyota is a top sponsor of the event.
âBeginning with matsuri â25 and the Music Awards Japan, we hope that these events will become the sort of conception or beginning to a lot of different Japanese music artists being able to create more, expand their expression and creativity, to share their love for music with different fans around the world,â CEIPAâs Nomura said during the press conference. âThis is going to define the future of the Japanese music industry.â
SoundExchange has partnered with Music Nation Copyrights Management, a leading music rights organization in the United Arab Emirates, as part of new efforts to ensure fair compensation for sound recording owners, producers and artists when their music is publicly performed across the UAEâs music industry.
This collaboration, announced Wednesday (March 26), will enable Music Nation to leverage SoundExchangeâs technology and data in order to collect and distribute neighboring rights royalties in the UAE. The UAEâs first comprehensive rights management system will streamline the collection of performance, mechanical and neighboring rights royalties, providing a single solution for music rightsholders, the companies said in a joint announcement.
Music Nation plays a key role in the UAEâs evolving copyright landscape by licensing the rights of authors, publishers, performers and sound recording owners. With partnerships like those with BMI and SoundExchange, Music Nation is advancing the countryâs efforts to protect musical copyrights through a comprehensive licensing and royalty distribution infrastructure.
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The partnership builds on Music Nationâs existing collaboration with BMI, the U.S. performing rights organization, further ensuring that local and international artists, songwriters, publishers, and record labels are compensated for the use of their work in the UAE. The timing aligns with the regionâs rapid music industry growth, as IFPI recently reported a 22.8% increase in recorded music revenue in MENA in 2024, marking it as the fastest-growing music market globally.
Rasha Khalifa Al Mubarak, chairwoman of Music Nation, expressed excitement about the partnership, saying âby comprehensively and accurately collecting and distributing neighboring rights royalties, Music Nation will help ensure the continued growth of the regionâs vibrant music ecosystem.âÂ
Michael Huppe, president and CEO of SoundExchange, added: âOur in-depth administration expertise, proven record on rate settings, and premiere distribution processes for international creators will provide capabilities to propel the emerging UAE market. SoundExchange is proud to partner with Music Nation on this exciting project, and to help the Emirati creator community realize the true power and value of their music.â
Penske Media Corporation (PMC) is in talks to open a Rolling Stone Hotel and Casino in downtown Las Vegas, sources tell Billboard.
The potential property would open on the site of the Downtown Grand Hotel & Casino, which PMC (owner of Rolling Stone as well as brands including Billboard) is currently in talks to acquire from CIM Group, the sources say. As reported by Vital Vegas, which first reported the news of PMCâs possible acquisition, PMC is just one of several potential buyers for the property; suitors have also included John Unwinâs Corvus Collective, which dropped out after failing to come up with the $30 million in cash needed to complete the purchase. Downtown Grand is currently managed by Fifth Street Gaming.
If talks are successful, the Rolling Stone Hotel and Casino could well be the future site of the Life Is Beautiful Music & Art Festival, which PMC acquired through Rolling Stone in 2022. As a PMC spokesperson told the Las Vegas Review-Journal in February, the festival âis in the process of making a long-term investment in Las Vegas real estate for the festivalâs new home downtown.â A version of Life Is Beautiful, A Big Beautiful Block Party, was staged for two days and nights last September at the Plaza Hotel and Casino in downtown Vegas with headliners Peggy Gou, Justice, LCD Soundsystem, Jamie xx and Jungle.
While nothing is confirmed â sources say the due diligence process for PMCâs potential acquisition of the Downtown Hotel & Casino is underway â Rolling Stone and its sister brands have been looking to strategically invest in opportunities that create brand extensions. Indeed, licensing and experiential opportunities have been a major part of the brand strategy for PMC and Rolling Stone. On March 12, Rolling Stone opened Rolling Stone Presents: Amplified, The Immersive Rock Experience, a first-of-its-kind 360-degree immersive music history experience at Illuminarium Las Vegas at AREA15 that included more than 1,000 photographs, 200 videos and 1,300 Rolling Stone covers and featured more than 300 iconic artists.
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âWhile we do not comment on specific investment or acquisition details, Penske Media is always looking for strategic opportunities that meet the long-term goals of our brands,â said a spokesperson for Penske Media. âWe are committed to growing our international and domestic footprints in both experiential and hospitality for Rolling Stone. As producers of over three hundred events annually across the portfolio, Las Vegas, like other entertainment centers, remains an important market for us.â
Rolling Stone is looking into several additional real estate opportunities around the world and will consider those that meet strategic long-term goals for the brand, sources say, with the Rolling Stone name being licensed for casinos and hotels, similar to Peter Mortonâs Hard Rock Cafe playbook.
PMC and its brands produce more than 300 live events per year and have several events planned in Las Vegas, including the 51st American Music Awards â part of PMC-owned Dick Clark Productions â which will return to the city on Monday, May 26. There is also talk of the 61st annual Academy of Country Music Awards moving to Vegas next year, sources say.
Lynyrd Skynyrd signed a label deal with Frontiers Music Srl, which will release the iconic rock bandâs live album and DVD, Celebrating 50 Years â Live At The Ryman, taped at its 50th anniversary concert at Nashvilleâs Ryman Auditorium in 2022. The show featured the final performance of founding member Gary Rossington. The band is managed by Vector Management.
Downtown Neighboring Rights will manage and represent Jason Mrazâs neighboring rights. Mrazâs catalog includes such hits as âIâm Yours,â âLuckyâ featuring Colbie Caillat, âI Wonât Give Upâ and âI Feel Like Dancing,â the lead single from his latest album, Mystical Magical Rhythmical Radical Ride.
Nashville-based singer-songwriter Sydney Rose (âTurning Page,â âWe Hug Nowâ) signed to Mercury Records and will release her new EP, I Know What I Want, on the label on April 4. âWe Hug Nowâ went viral on TikTok earlier this year. Rose is booked by CAA.
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Thelma & James (âHappy Ever After Youâ), a duo composed of married Nashville-based singer-songwriters MacKenzie Porter and Jake Etheridge, signed with Big Loud Records. The label released the duoâs new song, âFirst Love,â on March 14. Thelma & James is currently in the studio working on new music.
R&B singer JayDon signed a label deal with Usher and L.A. Reidâs mega. The label released his single âIâll Be Goodâ â which samples Usherâs âHow Do I Sayâ â on March 14 ahead of his forthcoming EP Me, My Songs and I, which is set for release this spring. Under the name JD McCrary, JayDon is known for voicing Young Simba in 2019âs The Lion King and starring in films and TV shows including The Paynes and Little. He also appeared on BeyoncĂŠâs The Lion King: The Gift soundtrack.
Country singer-songwriter Cole Phillips signed with WME for global representation. The Oklahoma native will release his EP Steel Toes and Texacos on April 11 on RECORDS Nashville. The EP will feature five songs he co-wrote, including âWest Tx.â Phillips is repped by WHY&HOW for management. â Jessica Nicolson
Singer-songwriter Alexandra Savior signed with RCA Records and released a new single, âUnforgivable.â Savior previously released two albums, Belladonna of Sadness and The Archer, on Columbia and 30th Century Records, respectively.
Concord and Pulse Music Groupâs Pulse Records signed Nashville-based singer-songwriter Elizabeth Nichols, who released her debut single, âI Got a New One,â on Dec. 6. Pulse released her latest single, âBad Taste,â on Friday (March 21). Nichols is managed by Dylan Bourne and James Martin at Bourne Creatives and booked by Meredith Jones Long and Cheryl Paglierani at CAA.
Third Man Records signed Austin, Texas, rock band Die Spitz. The quartet, which has previously supported Amyl and the Sniffers, Sleater-Kinney and OFF! on the road, is slated to embark on a world headlining tour starting May 28, including slots at The Governors Ball and Bonnaroo.
Mexican pop group ALMAS â composed of AlegrĂa, Dae, Dany and Steph â has signed to Universal Music Latino. âBeing welcomed to the Universal Music Latino family is more than just a milestone for us â itâs a celebration of our journey, our voices, and the strength of women in music,â the band said in a statement. âWe are excited to share our story with the world and continue to push innovative boundaries while staying true to who we are.â â Griselda Flores
Also signing with Universal Music Latino was emerging Colombian artist Annasofia. Based out of Miami, Annasofia is also a musician and producer, and the signing marks âthe next stepâ in her career, according to a press release. The 24-year-old is a graduate of Art House Academy under the mentorship of renowned producer Julio Reyes Copello. â Griselda Flores
Billy Ray Cyrus and Scott Adkins (who manages Cyrus) signed Native American guitarist, songwriter and producer Micki Free as the flagship client of the duoâs newly-formed Roam Man Management. Free, who recently released an EP, Dreamcatcher, won a Grammy for his contribution to the Beverly Hills Cop soundtrack.
Americana artist Connor Daly signed with Burning Ground Entertainment for management. Daly released his debut album, Colors Fade, in July. Daly, who counts Jason Isbell, Zach Bryan and Ed Sheeran as inspirations, recently released a new single, âCurtains Never Close.â Burning Ground Entertainment also represents artists including Mic Drop, The Pretty Wild, and Tayiha. â Jessica Nicholson
Wolfgang Spahr, whose tenure as a Billboard correspondent covering the German music business lasted from 1973 to 2020, died Friday (March 21). He was in his mid-80s.
Spahr was well known in the German music industry for running a newsletter, in addition to writing for Billboard, and perhaps even better known for being a true character, a gregarious figure who seemed to know, and joke around with, most of the people he covered. Besides his work as an industry journalist and communications consultant, he oversaw public relations for a theater festival dedicated to the works of the German author Karl May, who wrote Westerns without ever visiting the U.S., and wrote the lyrics for the Udo JĂźrgens schlager song âAber bitte mit Sahneâ (Translation: âBut please with cream),â a No. 5 hit in 1976 that is regarded as a classic of the genre.
âWolfgang was a very keen and passionate observer of our industry,â said Frank Briegmann, chairman/CEO of Universal Music Group Central Europe, in a statement. âI was always happy to welcome him to our events and I enjoyed his often-humorous comments on our business. He leaves a gap in the music business, and he will be missed deeply.â
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Spahr âwas full of energy and he was very friendly to everyone,â remembers Hille Hillekamp, a music publisher and close friend of Spahrâs for decades. Many of his professional relationships were measured in decades, and he became a trusted advisor for many industry executives, both formally and informally.
âHe was a great character and knew absolutely everyone in the German music business,â says Adam White, a former Billboard international editor and then the magazineâs top editor. âYet he was a modest man with considerable charm and a warm sense of humor.â
Spahr may have been the longest-serving writer at Billboard. Although it is hard to determine exactly when he started, he is listed on the masthead as early as 1973 â as the correspondent for West Germany â and he kept contributing until 2020. During that time, he covered the rise of the country as one of the top global recorded music markets, the entry of Bertelsmann into the U.S. recording business and the industryâs digital transition. His access to sources was unparalleled. âYou could call him and ask him about anything regarding the German industry and he would know it, and when he did not, he would always quickly get back to you,â remembers former Billboard international editor Emmanuel Legrand.
Legrand remembers seeing Spahr twice a year. âFirst at MIDEM, where we would share a few drinks, most of the time with his lovely wife Gabriele [Schulze-Spahr, a longtime lawyer at Warner Chappell], and then at the German Echo awards. At the afterparty, he would navigate between the various labels, and it was like seeing royalty. Everybody knew Wolfgang and he knew everybody.â
Over the years, whenever I met Spahr at a restaurant, he always seemed to know one of the owners, one of the chefs and at least a couple of other people â whether they had anything to do with the music business or not. More than a decade ago, at the Reeperbahn Festival in Hamburg, I spent about 20 minutes with him walking the length of a city block, because he knew so many people and stopped to greet all of them.
His success as a songwriter, which he never mentioned, was no small thing. âAber Bitte mit Sahneâ was a defining hit for JĂźrgens, a German superstar from the 1960s to the end of the 1990s and beyond. Spahr is said to have written the words with the lyricist Eckart Hachfeld, but it is not entirely clear what exactly his role was. The song was an instant hit, and it aged into a classic â covered by numerous artists, used in a commercial with the name of the cream substitute Rama and remembered by millions of German music fans.
Spahrâs role in the annual Karl May theater festival in Bad Segeberg was substantial, too. Mayâs stories about a cowboy and an Apache chief became part of German pop culture, made into movies and TV shows â think Little House on the Prairie with the popularity of the X-Men comics â and the festival attracts hundreds of thousands of fans a year. Every year, it produces a new play, based on one of Mayâs stories, and Spahr would help recruit talent, plus work on marketing and communications.
Over the course of the last decade, especially as he reached his 80s, Spahr contributed fewer articles. (He died at 84 or 85, but even his close friends arenât sure what year he was born.) As his health worsened, he withdrew from the industry. He died at home, in his sleep, of a lung infection. He is survived by his wife, Schulze-Spahr.