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Colombian record executive Adriana Restrepo has been appointed IFPI’s regional director for Latin America and the Caribbean. Restrepo will now head the global record music organization’s regional operations in Latin American and the Caribbean, based out of the organization’s offices in Miami and reporting directly to IFPI chief executive Frances Moore.
Restrepo takes over the post vacated by Javier Asensio, who served as regional director of the IFPI since 2011. Asensio, who’s been on Billboard’s Latin Power Player list on multiple occasions, stepped down from his role at the end of 2022 to return to his native Spain.
“Having worked directly with Adriana for a number of years as she served on our boards, I know first-hand the level of passion, commitment and knowledge of the Latin American music sector that she brings to the role,” said Moore in a statement. “I would also like to thank Javier who has been outstanding in overseeing our work in the region for over a decade and achieved so much during a period of rapid change and evolution in the market.”
Restrepo comes from a business and recording industry background and is one of the very few women who have headed record labels, including multinationals, in Latin America. She was most recently president of Sony Music Andes, based in Bogotá, Colombia, and overseeing Sony’s operation in the Andean region, which includes Colombia, Ecuador, Peru and Venezuela. Prior to that, Restrepo was president of powerful Colombian indie Codiscos, one of the region’s oldest and most respected labels and publishers, with a vast catalogue of tropical and popular music.
Restrepo comes to the post at a time when the Latin American music industry is on a path of massive growth. Recorded music revenues in Latin America grew 31% in 2021, exceeding $1 billion in revenues for the first time, and making it the 12th year of consecutive growth for the region.
Restrepo, who served on the IFPI’s main board between 2018 and 2020 is familiar with the organization.
“The region is experiencing a stellar moment due to the massive production of new talent for the entire world,” she said in a statement. “I will continue the good work developed by Javier with the National Groups and the collective management organisations seeking to reach new goals for the benefit of IFPI members.”
At Sony Andes, Maria Mercedes “Mechas” Montejo has been appointed to lead the company.
“We will miss Adriana here at Sony Music Latin Iberia, but we are thrilled to know that her professionalism and experience will be of service to the entire Latin music industry in her new role. We wish her all the best,” said Afo Verde, chairman & CEO Latin America, Spain and Portugal for Sony Music Entertainment.
Verde, and the other regional label heads will be working closely with Restrepo, as they do traditionally with IFPI leadership, and support for Restrepo has been unanimous.
“Adriana brings experience, knowledge and a great capacity for work, at a time when the challenges we face in Latin America continue to be enormous. There is nobody better than her to continue the great job done by Javier Asensio during the last decade,” said Jesús López, chairman & CEO, Universal Music Latin America & Iberian Peninsula, Universal Music Group.
Added Alejandro Duque, president, Warner Music Latin America: “I’ve known Adriana for many years and believe she has the right qualities and commitment to lead and execute our industry’s agenda in the region for years to come.”
BMG has announced a long-term succession plan for Hartwig Masuch, the record label and publisher’s only CEO since launching in 2008. Parent company Bertelsmann said Monday (Jan. 30) that Masuch will be replaced by Thomas Coesfeld, BMG’s CFO, effective Jan. 1, 2024.
Thomas Coesfeld
Bertelsmann Printing/Group_Kai-Uwe Oesterhelweg
When he takes over as chief executive, Coesfeld will also receive a seat on the Bertelsmann Group Management Committee (GMC), which advises the Group Executive Board. Masuch will remain in an advisory role after the transition, which will be “finalized at the end of the year,” said Bertelsmann chairman and CEO Thomas Rabe.
Under Masuch’s leadership, BMG has grown to be the fourth-biggest recorded music and publishing company in terms of revenue, trailing only the three majors. At a gathering of senior Bertelsmann execs in early October, Masuch announced BMG would be generating one billion euros in revenue starting in 2024. In the first half of 2022, the most recent final figures available, the company reported revenues grew 25% to 371 million euros ($405.7 million), compared to 2021’s first half.
In recent years, BMG has acquired music rights from Peter Frampton, Harry Nilsson, Simple Minds, Tina Turner and Mötley Crüe, among others, and through a partnership with KKR the company has acquired catalogs from John Legend and ZZ Top. On the label side, BMG has signed Duran Duran, Santana, Bryan Adams, Maxwell and Louis Tomlinson.
“Since 2008, [Masuch] has built the new BMG from scratch with a completely new business model that focuses on the needs of artists and songwriters, based on its core values of service, fairness, and transparency,” said Rabe.
Masuch joined Bertelsmann in 1991, overseeing Germany, Switzerland and Austria as part of BMG Music Publishing first incarnation. In 2008, he advised Bertelsmann when the company sold its share of Sony BMG Music Entertainment to Sony in 2008, and soon, helped start BMG Rights Management — which later became BMG.
“After 32 years at Bertelsmann and more than 14 years at BMG, now is the right time for me to hand over the reins to a new generation,” Masuch said in the company’s announcement. “I am convinced that the company will be in the best hands with Thomas Coesfeld and BMG’s outstanding, highly motivated global leadership team. As our annual results will show, the company is in excellent shape both creatively and financially. I look forward to a seamless transition by the end of the year. I am sure that under Thomas’ leadership, BMG’s core values of service, fairness and transparency will continue to evolve and flourish, leading the company to even greater success.”
Coesfeld was named deputy chief financial officer at BMG in October 2021 before taking over as CFO in April 2021. He previously served as chief strategy officer on the executive committee of the Bertelsmann Printing Group, a division of BMG’s parent company Bertelsmann. He began his career in 2014 as a management consultant at McKinsey in Munich.
“I am sure that under Thomas’ leadership, BMG’s core values of service, fairness and transparency will continue to evolve and flourish, leading the company to even greater success,” said Masuch.
Added Coesfeld, “Under Hartwig Masuch’s leadership, BMG has delivered an impressive growth story and developed into a modern music company in which data, technology, and services play a key role. My aim is to continue this success story together with the company’s top management and its more than 1,000 employees worldwide, and to leverage the enormous creative and entrepreneurial potential of the music industry for Bertelsmann.”
In retrospect, 2022 will be remembered as the year of Bad Bunny. And while his album Un Verano Sin Ti dominated much of the year after its May 6 release, the boost that it gave to Latin music’s share of the overall market — with the highest growth in percentage year over year of any genre, going from 5.39% in 2021 to 6.33% in 2022, an increase of 28.8% — is not simply a one album, or even one year, phenomenon.
Between 2020 and 2022, Latin music grew 55.29% in album consumption in the U.S., according to Luminate, far outstripping the overall industry’s 21.61%, as well as the growth of the four biggest genres in the U.S. over that time: R&B/hip-hop (12.17%), rock (22.28%), pop (20.64%) and country (19.22%). And Latin isn’t alone: World Music has also made tremendous strides over that time period, growing 47.67% from 2020 through 2022 on the Stateside growth of K-Pop and Afrobeats, among other ex-U.S. genres, and up 25.8% in 2022 over 2021. Both genres have seen over 20% growth in on-demand audio streams dating back to 2019, while the overall industry has grown in that sector in the mid-teens each year during that time.
Those are two of just four genres (of the 15 tracked by Luminate) that grew at a faster rate than the overall music industry in 2022, which increased consumption 9.2% year over year. (The other two were children’s music, at 30.0%, and dance/electronic, at 11.7%; new age grew essentially in line with the business). And it speaks to how significant that growth has been, and could continue to be moving forward as the business becomes increasingly more global.
With 2023 fully underway, here are four more trends to watch this year:
How Big Is a Hit?
Children’s music (1.38%) overtook holiday music (1.26%) as the ninth-biggest genre in the U.S. this year due to the runaway success of Encanto, which helped boost the genre by 30% in consumption year over year (35.5% in on-demand streams). How significant was the effect of that hit? Growth for the genre year over year was 6.7% in 2020, and actually declined -3.7% in 2021, with on-demand streaming dropping 2.8% in each of those years. The growth is almost certainly unsustainable, but it shows the value of a surprise mainstream hit. For a related analog, comedy was the only genre to actually decline year over year, due to the sector coming back down to earth after the huge gains from Bo Burnham’s Inside (The Songs) album in 2021. From 2020 to 2021, overall comedy consumption ballooned 27.3%, with total on-demand streams growing 28.4%; those numbers fell to -11.3% and -5.0% in 2022, as the effect of the album receded.
Major Genres Shrinking in Share
As a statement of fact, year over year the four biggest, most dominant genres in the U.S. all declined in terms of their share of the overall market: R&B/hip-hop (from 27.72% in 2021 to 26.82% in 2022), rock (20.01% in 2021 to 19.95% in 2022), pop (13.05% in 2021 to 12.68% in 2022) and country (8.09% in 2021 to 7.76% in 2022). But there are a few ways of looking at that.
The first is that, when a genre is as dominant as R&B/hip-hop, for example, maintaining the same percentage growth gets harder every year. And the growth is still huge: the top four genres accounted for 67.21% of the market in 2022, even if down slightly from the 68.87% they held in 2021, and just shy of 50% of the gains year over year. And rock and R&B/hip-hop saw the two biggest increases in raw consumption numbers over 2021, with the former claiming 19.37% of the growth in 2022 over the year prior and the latter 17.13% of it.
The other way to look at it is that the market is, slowly but steadily, diversifying. Latin, the fifth-biggest genre in the country, was third in percentage of growth in the market, up 16.38% year over year; less than 1 million units separated its increase from R&B/hip-hop’s in 2022. Pop was fourth (8.67% of industry growth), but world music — the seventh-biggest genre overall — claimed the fifth-highest share of the market’s growth, at 5.53% year over year. And country, which claimed 4.17% of the growth, was run a close race by Dance/Electronic, at 4.14%. Just three years ago, in 2020, Latin made up 4.95% of the overall market and World Music 1.88%. That doesn’t seem like regular fluctuation, but a true growth trend.
R&B/Hip-Hop Report
Over the last few years, there has been an accepted fact of the marketplace: In a streaming world that reflects not just what people are buying, but what people are continuing to stream and listen to, R&B/hip-hop dominates. That is still, unquestionably, the case. But lately there has been some hand-wringing about the slowing growth of the genre and what that could mean for the broader marketplace, a fair question for others to answer.
Here are some facts: R&B/hip-hop is now 26.82% of consumption. It’s been growing consistently — up around 6% per year the last few years — though not as much as the marketplace overall for several years now percentage-wise. And its share of total on-demand streams dropped from 30.11% in 2021 to 28.61% in 2022. In raw numbers it’s still growing massively, though, second only to rock in share of the industry’s total unit growth in 2022. And compared to 2017 — the year that Luminate predecessor Nielsen first declared that R&B/hip-hop had become the biggest genre in the industry — it still claims a higher share of the market. So while it displays a higher variance year to year than some other genres, the sky isn’t falling just yet.
R&B/Hip-Hop Share of Consumption By Year:2017: 24.52%2018: 25.94%2019: 28.62%2020: 29.07%2021: 27.72%2022: 26.82%
Country Streaming Sputters, Rock’s Resilience
Country’s streaming growth is slowing down. After big gains in audio on-demand streaming the past two years (22.1% in 2020 and 16.5% in 2021) as more of its audience began to embrace the format, that figure slipped below the audio streaming growth of the overall industry in 2022, 11.1% vs. 12.2%, respectively. And total on-demand Country streaming (audio plus video) grew at 9.8%, compared to 12.2% for the overall industry. (Yes, overall and audio on-demand streaming grew at the same rate.) That isn’t the end of the world — R&B/hip-hop on-demand audio streaming has grown less than the overall market percentage-wise in the past few years, though its raw numbers are still massive — but it’s worth noting that the growth is slowing year over year after outpacing the market recently, and its percentage of the growth in on-demand streaming in 2022 was just 6.01%, by far the lowest of the five biggest genres. In total consumption, country grew just 4.8%, slightly over half the rate of growth of the overall industry (9.2%), with its share of the market slipping from 8.09% in 2021 to 7.76% in 2022.
It’s notable compared to the fortunes of rock music. For all the “Rock Is Dead” talk, the format is essentially keeping pace with industry trends overall (up 9.0% in consumption, 14.3% in on-demand streams) and actually grew its share of overall on-demand streaming year over year, from 16.30% in 2021 to 16.62% in 2022, while continuing to flat-out dominate in sales (43% of the market). Again, rock was the genre that showed the most growth in 2022 over 2021: at 19.37%, it outpaced R&B/hip-hop (17.13%) and Latin (16.38%) for the biggest share of growth year over year.
TV producer and recording industry executive Roey Hershkovitz was named vp of sound & picture at Universal Music Group (UMG), a newly-created position. In the role, Hershkovitz will lead visual content capture across UMG’s studios, develop new programming and build on the company’s immersive audio efforts. Alongside head of video services Joe McCrossan, he will also develop new strategies to build on the company’s multimedia services and capabilities available to record labels, artists and songwriters. In addition to his vp of sound & picture title, Hershkovitz will also serve as head of West Coast studios, where he will continue to oversee Capitol Studios and its ongoing renovation. He was also appointed to UMG’s audio leadership team to drive innovation and audio quality, including Dolby Atmos Music adoption across a broad array of consumer products. Now based out of Santa Monica, Hershkovitz will report to executive vp of digital studios Christopher Jenkins and senior vp of recording studios & archive management Pat Kraus. Prior to his promotion, Hershkovitz was vp of Capitol Studios & Digital Studios.
Rapper Papoose was named head of hip-hop at TuneCore, where he will lead the Believe-owned company’s artist ambassador program for hip-hop and rap, scouting emerging talents, overseeing artist education and career advice workshops and acting as a brand advisor for new programs and technology launches. He’ll report to CEO Andreea Gleeson. In addition to his new executive role, Papoose also announced the release of his new single, “Making Plays” featuring Jim Jones and Jaquae, which drops Feb. 10. He can be reached at papoose@tunecore.com.
Colton McGee was named senior vp of business and legal affairs at Concord Label Group. Based at the company’s Nashville headquarters, McGee will work with executive vp of business and legal affairs Gregg Goldman as a key member of the business and legal affairs team for Concord’s recorded music division. McGee previously spent 13 years at BBR Music Group in Nashville, handling business and legal affairs for both BBR and BMG (the latter since 2017). He can be reached at colton.mcgee@concord.com.
Warner Chappell Production Music (WCPM) will expand into Brazil with a new team based in São Paulo, headed by Renato Moraes. In his role, Moraes will lead a team focused on building out a local repertoire and work to expand the company’s footprint by servicing the region’s film, TV, radio and advertising clients with WCPM’s catalog. The team will also provide custom music services and work to broaden creative partnerships. Moraes will report to vp of licensing & music creative Sinéad Hartmann and work closely with director of strategic, commercial, film, synch and licensing Flávia Cesar. He joins the company from Music Branding Brazil, where he was head of recordings and publishing. Moraes can be reached at Renato.Moraes@warnerchappellpm.com.
Adam Gardiner was named senior vp of international synch at Concord Music Publishing; he joins the company from Universal Music Group’s creative division, Globe, where he served as head of film & TV. In his new role, Gardiner’s purview will include all music publishing synch activity outside the U.S., with the U.K., Germany and Australia synch teams reporting directly to him. He will also coordinate all of the company’s third-party synch activity. Based in London, he reports to president of international publishing John Minch.
Music scholar and musician Jason King was named dean of the USC Thornton School of Music, effective July 1. He currently serves as chair of the Clive Davis Institute of Recorded Music at Tisch School of the Arts, New York University and also serves on the editorial board of the Journal of Popular Music Studies.
Joe Conyers III was named senior advisor to global growth investor Warburg Pincus in their technology group, specifically focusing his efforts on new investment opportunities in music and entertainment companies. Conyers was formerly executive vp and global head of NFT at Crypto.com and chief strategy officer of Downtown Music Holdings; he also co-founded Downtown subsidiary Songtrust. Conyers can be reached at jc@joeconyers.com and his website is joeconyers.com.
Erika Montes was named president at Rostrum Records, where she will lead the company’s growth strategy and oversee frontline label operations. Montes most recently led artist and label relations at SoundCloud, where she served as global vp. She reports to Rostrum founder Benjy Grinberg and can be reached at em@rostrumrecords.com.
Artist manager Andy Robinson and cross asset speculator Sean Stockdale launched Interstellar Music Services, a rights management company that “will primarily be made available to those qualifying artists and songwriters who wish to retain full control of their recordings and compositions,” according to a press release. The company will work to maximize the collection of royalties via a suite of services that includes digital distribution, sync and brand partnerships, metadata cleaning, neighboring rights, publishing administration, DSP repitching and detailed analysis and reporting. Joining Interstellar at launch are David Wille and Sarah Bargiela, who join as global head of sync and brand partnerships and head of copyright and royalties, respectively. Robinson formerly launched Interstellar Music and Interstellar Publishing, which informed the establishment of Interstellar Music Services; Stockdale has 13 years of experience in asset management, with a particular expertise in saber metrics. Wille most recently served as senior vp at Kobalt Music Publishing, while Bargiela was senior income tracking manager at BMG Rights Management.
Ru Ping Gan was named vp of digital, Asia Pacific at Warner Chappell Music, where she will oversee Warner Chappell Music Asia Pacific’s digital strategy and commercial operations while working closely with the global digital and WCM Asia leadership team to help shape international policies that support local songwriters. She will also be tasked with driving digital strategic planning initiatives. Gan, who was most recently vp of revenue and deal strategy, joined WCM Asia Pacific in 2013.
Butch Spyridon, longtime head of the Nashville Convention & Visitors Corp (NCVC) who has served as president and CEO since 2003, will retire from the organization on June 30, 2023, following 32 years as its top executive. He’ll be succeeded by current president Deana Ivey, who will be promoted to president and CEO effective July 1, 2023. On that date, Spyridon will transition into a role as a strategic consultant to the NCVC under a two-year contract that will see him recruiting major global events to the city, including the Rugby World Cup and, if an enclosed stadium is approved, the Super Bowl.
Patra Sinner was named general counsel at Symphonic Distribution, where she will advise the company’s senior management team on both internal and external legal needs and manage and negotiate partner contracts including DSPs, industry organizations and contractors, as well as record labels, ambassadors and artists. Based in Charlotte, North Carolina, Sinner has been in private practice for nearly 20 years and is also the co-founder of Nashville-based artist management, distribution and label services company Vista 22. She can be reached at patra@symdistro.com.
Meike Nolte was appointed business development manager for b:electronic, the dance & electronic division of Believe. Reporting to b:electronic global director Leigh Morgan, Nolte will be tasked with defining and executing the sourcing and acquisitions strategy for labels and artists within the electronic division. She most recently led Beatport’s artist services department.
Dave Felipe was named director of publicity at Zach Farnum‘s 117 Entertainment, where he will oversee all publicity initiatives for 117’s roster. He was most recently public relations manager for the Mechanical Licensing Collective (the MLC). Felipe can be reached at Dave@117group.com.
Ra-Fael Blanco was promoted to senior vp of media relations & communications for Universal/Virgin Music’s SRG-ILS Group; he was previously vp of media relations. Blanco will continue overseeing PR and media efforts for SRG-ILS clients including Chaka Khan, Brian McKnight and Erica Campbell, among others. He reports to general manager Michael Cusanelli and founder/CEO Claude Villani. Blanco can be reached at Ra-Fael@2rsentandmediapr.com.
Austin-based publicist Trey Hicks launched his own PR agency, Painting Pictures. Joining Hicks in the new venture is Allison Winkler. Hicks previously worked as an account director at Giant Noise and founded Trey Hicks PR. He can be reached at trey@paintingpictures.co.
Lauren Branson joined River House Artists as vp of publicity, where she will develop and execute PR strategies for the company’s roster. She reports to founder and CEO Lynn Oliver-Cline and vp and gm Zebb Luster. Branson joins from BMI, where she served as senior director of media relations for eight years. She can be reached at lauren@riverhouseartists.com.
Amber Morris was hired as global account director – TikTok at Songtradr. In the role, Morris will build and maintain the company’s relationship with TikTok, working with their team to expand the video-sharing platform’s partnership with Songtradr.
Spain’s PROMUSICAE (Productores de Música de España), which represents 90% of the national and international activity of the Spanish recorded music industry, released its 2022 year-end report Thursday (Jan. 26), unveiling Bad Bunny as the “absolute leader” last year thanks to his record-breaking album Un Verano Sin Ti.
According to the report by PROMUSICAE, which represents more than 100 member companies, the Puerto Rican star was the No. 1-selling artist in the albums category for 23 consecutive weeks in the country.
Meanwhile, Spanish artist Rosalía crowned the list of top 100 vinyl releases of 2022 with her genre-bending Motomami, which won album of the year at the Latin Grammys. The “Despechá” singer came in second place after Bad Bunny on the overall album sales list.
Furthermore, the top 100 songs list was led by Bizarrap and Quevedo‘s global smash hit “QUEVEDO || BZRP Music Sessions #52,” also known as “Quédate,” which scored both artists their first entry on the Billboard Hot 100. Currently, the song has more than 400 million views on YouTube.
The report also notes that vinyl sales increased by 6% in 2022, CD sales decreased by 13% and streaming represented 85% of music consumption in the country. Sebastián Yatra‘s “Tacones Rojos” had the most radio airplay, while the most popular international artists in the country last year were Harry Styles, Rauw Alejandro, Taylor Swift, Camilo and Feid, among others.
“Throughout very difficult years, our music continues to show its ability to accompany us in more moments of our lives than ever,” said Antonio Guisasola, PROMUSICAE’s president. “This allows our market to return to the spotlight, while incorporating new styles and new ways of creating music that penetrates inside and outside our borders.”
See all of PROMUSICAE’s 2022 year-end reports here.
Grouplove signed with Glassnote Records ahead of their sixth album, which is due out this year. “We just made the best album of our career and on our first call with Daniel, we could immediately tell that he agreed,” said the band in a statement. “Glassnote has so many amazing artists we respect and admire and we are so proud to call it our new home.”
B2B distributor FUGA, a division of Downtown Music, struck a distribution deal with Marathon Music Group that will see Marathon utilizing FUGA’s global digital and physical distribution offering for its own roster and all labels under the group’s umbrella, including Moves Recordings, New Soil, Mahogany and DMY. Marathon will also have access to other FUGA services including marketing, enhanced trends and analytics, synch and brand partnerships, YouTube services and audience strategy.
Spotify added over 10,000 Arabic songs to its platform via a new licensing deal with Rotana Music for the label’s full catalog. The songs will be available to Spotify users in Algeria, Armenia, Azerbaijan, Bahrain, Chad, Comoros, Cyprus, Djibouti, Egypt, Georgia, Iraq, Jordan, Kuwait, Lebanon, Mali, Mauritania, Morocco, Niger, Oman, Pakistan Palestine, Qatar, Saudi Arabia, Tunisia, Turkey and the United Arab Emirates. Spotify will provide on-platform support by introducing “This is Rotana,” a destination that will serve as the home for some of the label’s most popular songs.
Music strategy and supervision agency Premier Music Group closed its second round of financing led by MEP Capital, which will join Premier’s board of directors. The investment will power Premier’s ongoing acquisitions, including, most recently, sonic identity and sound design firm We Are Listen. Premier, which did not disclose the dollar amount of the current round, was advised by Arnaud Levy at Qualia Legacy Advisors.
ASM Global‘s Tech Port Center + Arena in San Antonio has been renamed Boeing Center at Tech Port. Additionally, Boeing entered a seven-year partnership with the Kelly Heritage Foundation — an educational nonprofit affiliated with Port San Antonio, on whose behalf ASM Global manages the arena — to expand STEM learning and workforce development in South Texas via a $2.3 million investment from the aerospace company.
Music technology platform Orfium — which provides software, data and licensing solutions to the entertainment industry — acquired music cue sheet reporting and audio recognition company Soundmouse. “Over the past 20 years, Soundmouse has been building and setting the standard in cue sheet management and monitoring for the broadcast and entertainment production space,” said Soundmouse co-CEO Charles Hodgkinson in a statement. “Combine that with Orfium’s expertise in UGC tracking and claiming for publishers, labels and production music companies and we bring the worlds of digital and broadcast together in an integrated way.”
RECORDS Nashville, Barry Weiss‘ joint venture with Sony Music Entertainment, signed the James Barker Band. The group’s first single under the label, “Meet Your Mama,” drops Friday (Jan. 27). Comprised of James Barker, Taylor Abram, Connor Stephen and Bobby Martin, the band is signed with BOOM Music Group for publishing and Starseed Entertainment for management.
Live entertainment and concert production company Décibels Productions has acquired a majority stake in Olivier Gluzman‘s French talent agency Les Visiteurs du Soir (Rufus Wainwright, Angélique Kidjo, Pink Martini). The deal will allow Les Visiteurs du Soir artists to “tap into [Décibels’] production skills and global network,” said Gluzman in a statement. Morgan Production, the audiovisual company and festival organizer that first invested in Les Visiteurs du Soir in 2011, will remain a key stakeholder in the agency.
Sony Music and Todd Moscowitz‘s new artist and label services company Santa Anna signed a distribution agreement with indie label Listen to the Kids (Yeat, Alexander 23, Ericdo, Sally Bossa). Under the deal, Listen to the Kids’ roster will have access to Santa Anna’s marketing, distribution, legal and promotional support, among other services.
Big Loud Records artist Mackenzie Porter (“Thinking ‘Bout You,” “Pickup”) signed with CAA. She will be represented by the agency’s Bennett Beckner and Jeff Krones.
Riser House Records artist Meghan Patrick signed with WME for global representation and Make Wake Artists — where she will work with Chris Kappy and Randi McFadden — for management. Patrick released her new song “She’s No Good For Me” on Friday (Jan. 20).
Compass Records Group signed alt-country artist Robbie Fulks, who will release a new studio project on the label this spring. Fulks is ramping up for a U.S. tour that kicks off in April.
Kelsey Hart signed with Curb Records; he previously signed to Curb | Word Music Publishing as a songwriter for artists including Jake Owen, Dylan Scott and Trace Adkins. The label recently released two songs from Hart: “Forget to Remember You” and “My Daddy’s Fault.”
Nettwerk signed producer Donovan’s Playground, a new project from Fallen Roses member Donovan Ferra; Smile High, the solo project of Ben “Smiley” Silverstein of The Main Squeeze; and Malaysian alt-pop artist A Kid Named Rufus. The label will soon release Donovan’s Playground’s debut album To My Past Self, Smile High’s EP Snack Pack and Rufus’ single “Eighteen” featuring Cole Bauer.
Matador Records signed Brooklyn duo Water From Your Eyes and will release their new album in the first half of the year. Water From Your Eyes will host a weekly live residency in New York throughout the month of March leading up to the release.
Scooter Braun has taken the title of CEO, HYBE America, the U.S. division of South Korean music company HYBE.
A HYBE representative confirmed to Billboard that Braun is now the sole CEO of HYBE America. Until recently, Braun shared the co-CEO title with veteran HYBE executive Lenzo Yoon. (Braun and Yoon appeared at No. 18 on Billboard’s 2022 Power List along with HYBE chairman Bang Si-yuk.) The HYBE representative declined to comment on Yoon’s current title or any changes to either executive’s role.
Braun joined the company through HYBE’s $1.05 billion acquisition of his Ithaca Holdings in 2021. Ithaca encompasses SB Projects, the management firm behind Justin Bieber and Ariana Grande, as well as the country music-focused Big Machine Music Group. HYBE already had a U.S. presence — the acquisition was made by its state-side subsidiary, HYBE America — but Ithaca gave it the infrastructure and the executive, Braun, to build its presence in the U.S. Today, HYBE America has offices in Los Angeles, New York and Nashville. Braun’s team includes Allison Kaye, president of music, HYBE America and SB Projects; Jennifer McDaniels, president of management, HYBE America and SB Projects; and Jules Ferree, president of brands & ventures, HYBE America and SB Projects.
Yoon has spearheaded HYBE’s efforts to showcase K-pop artists based in the U.S. In a 2021 interview, he told Billboard that the U.S. provided an opportunity to implement the company’s “winning formula” that helped turn BTS into global superstars. HYBE has a joint venture with Universal Music Group’s Geffen Records to search for talent, assemble a girl group and release music. “We will find the most effective way to be successful in this project based on the know-how of the two companies,” said Yoon at the time.
Yoon also said Ithica and HYBE would help one another, but suggested Braun would carve out a distinct role in the organization. “We intend to cooperate in the most efficient way without overlapping in terms of structure,” he said.
Penske Media Eldridge — a Penske Media Corporation (PMC) subsidiary and joint venture between PMC and Eldrige — has acquired Dick Clark Productions (dcp), it was announced Wednesday (Jan. 25). PMC is the parent company of Billboard.
The acquisition of the live events and alternative media producer was made as part of a broader strategic alliance between PMC and Eldridge, expanding the latter’s existing partnership with PMC’s entertainment media brands and SXSW, including the SXSW festival, Life is Beautiful, ATX TV festival and LA3C.
Founded in 1957, dcp owns and produces a number of TV’s most enduring awards shows, including the Golden Globe Awards, the American Music Awards, the Academy of Country Music Awards and the Billboard Music Awards. It also produces shows including Dick Clark’s New Year’s Rockin’ Eve and So You Think You Can Dance (in partnership with 19 Entertainment).
Penske Media Eldridge will assume full control of dcp’s operations in the coming weeks. As part of the deal, Adam Stotsky will step down as dcp president following a transition period.
“I am thrilled to expand our partnership with Eldridge and Todd,” said Jay Penske, CEO and founder of Penske Media. “I have long admired dcp’s portfolio of iconic and prominent live entertainment brands and look forward to growing and evolving dcp’s footprint and legacy for future audiences across all platforms.”
“At Eldridge, we seek to grow businesses that stand the test of time,” added Eldridge chairman and CEO Todd Boehly. “Our decision to build upon our partnership with Penske Media, with whom we already have a deep alliance around media and publishing, is in service to that goal – so dcp may continue to flourish for many decades to come.”
Penske Media Corporation (PMC) has hired Hannah Woodard as senior director of communications, the company announced Wednesday (Jan. 25). Based in Los Angeles, Woodard will report to PMC’s vp of public affairs and strategy Brooke Jaffe.
In her new role, Woodard will direct communications for PMC’s roster of entertainment and music brands, including Billboard, Rolling Stone, The Hollywood Reporter and Vibe. She will advise on and implement brand strategies, collaborate with leadership teams on partnerships and events and execute ideas for development and growth.
Prior to joining PMC, Woodard owned and operated her own public relations firm, WDRDPR, which she launched in May 2021. Before that, she worked at R&CPMK (formerly PMK*BNC) for five years, during which she straddled the brand and talent departments and worked with clients including Audi of America, American Express Platinum, Anheuser-Busch, AT&T DirecTV, Pepsi, Vice Media Group and Quibi. Prior to relocating to Los Angeles, she worked at IMPACT (formerly Pfeiffer Consulting), Scott Rudin Productions and Sunshine Sachs Morgan & Lylis (formerly Sunshine Sachs) in New York City.
“We are thrilled to have Hannah join our team,” said Jaffe in a statement. “Hannah brings a unique combination of experience, creativity and enthusiasm to the role. I look forward to watching her amplify these world class brands.”
“With a roster of such incredible, celebrated brands, the possibilities are endless,” Woodard added. “I’m thrilled to jump in and work alongside such talented writers, editors, and respected institutions that have shaped — and continue to shape — the wide world of entertainment and music.”
Hipgnosis Songs Capital has closed its deal to buy 100% of Justin Bieber‘s publishing, as well as his artist royalties from his master recordings and neighboring rights, Hipgnosis has confirmed. The deal was priced at just north of $200 million, according to a source familiar with the situation, making this the largest rights sale for any artist of Bieber’s generation. It’s also Hipgnosis’ biggest acquisition to date, covering all 290 titles in Bieber’s catalog released prior to Dec. 31, 2021, including his most recent album Justice (2021).
Billboard originally reported in December that a Bieber deal valued at over $200 million was in the works amid founder and chief executive Merck Mercuriadis‘ efforts to “close about $500 million in deals” between mid-November and mid-December. Although Mercuriadis did not say what the deals were at the time, the Bieber acquisition appears to be part of that disclosure.
Following a hot 2021 for catalog sales, with deals like Bruce Springsteen and Paul Simon making headlines and some of the world’s biggest private equity players including Blackstone, KKR and Apollo Global Management all taking stakes in the market, rising interest rates and changes in currency exchanges cooled the sector in 2022. Still, deals have been getting done. Last year, Justin Timberlake, Leonard Cohen, Nile Rodgers, Kenny Chesney, Neil Young and Nelly Furtado all sold some of their rights to Hipgnosis. Sting, David Bowie‘s estate, Phil Collins and his Genesis bandmates, Future, Frank Zappa and Neil Diamond also sold certain assets to investors in 2022.
Typically, newer catalogs like Bieber’s are considered riskier investments since they don’t have as much history behind them to prove staying power. That means they often sell for lower multiples than those of classic acts. Bieber’s success, however, has been undeniable since his 2009 debut album, My World, and the 2010 follow-up My World 2.0, the latter of which topped the Billboard 200 albums chart and included the hit single “Baby.” In all, Bieber has charted eight No. 1 albums on the Billboard 200 chart, including his most recent full-length studio release, 2021’s Justice.
On the Billboard Hot 100 songs chart, Bieber has collected 26 top 10s, including eight No. 1s. His albums have generated 28 million equivalent album units in the U.S., of which 13.2 million are in traditional album sales, according to Luminate. His collected songs billed primarily to him, per Luminate, have generated 16.6 billion on-demand official streams in the U.S.
“The impact of Justin Bieber on global culture over the last 14 years has truly been remarkable,” said Mercuriadis in a statement. “At only 28 years of age, he is one of a handful of defining artists of the streaming era that has revitalized the entire music industry, taking a loyal and worldwide audience with him on a journey from teen phenomenon to culturally important artist. This acquisition ranks among the biggest deals ever made for an artist under the age of 70, such is the power of this incredible catalog that has almost 82 million monthly listeners and over 30 billion streams on Spotify alone. Scooter Braun has helped him build a magnificent catalogue, and it’s a pleasure to welcome Justin and his incredible songs and recordings to the Hipgnosis family.”
“I want to thank Merck and his entire Hipgnosis team and all of our partners involved for working so hard to make this historic deal happen,” says Scooter Braun, Bieber’s manager for 15 years, founder of SB Projects and CEO of HYBE America. “When Justin made the decision to make a catalog deal we quickly found the best partner to preserve and grow this amazing legacy was Merck and Hipgnosis. For over a decade now Justin Bieber has entertained us and moved us with some of the biggest songs in the world. I’m so proud of him and all those involved over the years in helping amass this incredible body of work. Justin is truly a once in a generation artist and that is reflected and acknowledged by the magnitude of this deal. For 15 years I have been grateful to witness this journey and today I am happy for all those involved. Justin’s greatness is just beginning.”
Justin Bieber was represented by Braun, David Bolno of NKSFB, Aaron Rosenberg and Audrey Benoualid of Myman Greenspan Fox Rosenberg Mobasser Younger & Light LLP, and Michael Rhodes of Cooley.
Hipgnosis Songs Capital was represented by William Leibowitz of William R. Leibowitz Law Group, Seth Traxler and Rory Wellever of Kirkland & Ellis LLP, and Robert Fowler and Lisa Ong of H.W. Fisher.