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Etsy has agreed to sell Reverb, an online marketplace for musical instruments and equipment, to Creator Partners, an investment firm founded by a former SoundCloud CEO, and Fender-owner Servco, the companies said on Tuesday.
Terms of the deal were not disclosed. Bought by Etsy in 2019 for $275 million, Reverb is used by fans to purchase collectibles like the recording console used to track the Beatles’ Abbey Road and Travis Barker’s drums, as well as regular guitars, pedals, keyboards and other music-related products.
The deal, which is expected to close in the coming weeks, will see U.S.-based music gear selling site return to its roots as an independently operated company backed by Creator Partners and Servco.
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Creator Partners is the investment company of former SoundCloud CEO Kerry Trainor, and it stakes in BMI, Colors+Studios, Mogul, as well as SoundCloud. Servco is the majority owner of guitar company Fender, which Creator Partners is also invested in. Reverb previously raised $25 million from a group of investors led by Summit Partners.
The deal for Reverb comes at a time when the threat of global tariffs has sparked fears of rising prices for music product imports, merchandise and other goods. In a blog post announcing the new ownership, Reverb CEO David Mandelbrot said the company plans to roll out a new option for sellers “that allows you to get paid faster and drop off your gear locally, without needing to create a listing or ship.” Reverb has other plans to expand its offerings of music-making software and to improve search, ship and help services on the website.
“Over the past five years, we’ve learned a lot from Etsy as we’ve expanded our community,” Mandelbrot wrote in the blog post. “As we look ahead, with a focus on growing the entire industry by helping more people buy and sell used music gear, we’re excited to align ourselves with two new partners who share our passion and focus.”
According to Mandlebrot, buyers and sellers using the website should not notice any disruption as the companies work toward closing this deal in the coming weeks, and Creator and Servco sought to assure Reverb users that Fender will not get preferential treatment on Reverb. Reverb’s partnership with Fender will stay the same, including Fender’s certified pre-owned program, which is one of 20 such offerings available on Reverb, the companies said.
Creator Partners’ Trainor said they are keen to invest in Reverb and its goal of growing “the entire industry through seamless secondhand commerce.”
Mark Fukunaga, executive chair of Servco, said his company has been invested in musical instruments and education for over 90 years. “We remain committed to being good stewards of leading musical instrument companies, like Reverb, and supporting players everywhere in pursuing their passion to create music.”
Chris Janson has returned to his former label home of Warner Music via a partnership with the country singer-songwriter’s Harpeth 60 Records imprint. Clay Hunnicutt leads Harpeth 60 Records’ radio promotion staff, with team members including Ray Vaughn and Lauren Bartlett. Janson previously released his first three albums through Warner, earning hits including “Buy Me a Boat” and “Good Vibes.” — Jessica Nicholson
Emerging singer-songwriter Esaú Ortiz signed with Sony Music Latin. The música mexicana artist from Monterrey, Nuevo León, Mexico, first gained traction on social media with songs like “Triple Lavada,” which was featured on playlists such as Apple Music’s Hits 2025 and Spotify’s Éxitos México. His first official project under Sony Music Latin is said to feature “an explosive remix and heavyweight collaborations,” according to a press release. “I know I have the best team to take my music to the next level and to the ears of everyone,” Ortiz said in a statement. ” I believe we will do great things together, which makes me very happy.” — Griselda Flores
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Big Wild, a project of producer, singer, songwriter and engineer Jackson Stell, signed a label deal with Giant Music and a management deal with Ceremony Music Group. His first release under Giant was the single “You Belong Here,” which dropped April 11.
Jasmine Amy Rogers, the singer and actor who plays Betty Boop in Boop! The Musical on Broadway, signed a record deal with Nashville-based label Melody Place for the release of new original music at the end of 2025. According to a press release, the music will be “somewhere in the mainstream pop/urban world.” Rogers is also featured on the Boop! The Musical cast album set for release later this spring.
Metalcore band Wind Walkers signed with Fearless Records, which released the group’s new single and video “The End Aesthetic.” Wind Walkers just kicked off its Shapeshifter Tour on April 16 in Little Rock, Ark.
Indie-rock/dream-pop band Yumi Zouma signed with Nettwerk, which released its new single, “Bashville on the Sugar,” on Friday (April 18). Yumi Zouma is managed by Phil Jones at Tuesday’s Artists Management and booked by Alisa Preisler at Ground Control, Beckie Sugden at CAA and Sam Wald at WME. The band was previously signed with Polyvinyl Record Co.
Nettwerk also signed Los Angeles-based singer-songwriter BEL and will release her forthcoming single, “Fresh Start,” on Friday (April 25). BEL is managed by Justin Little and Chad Heimann at Brilliant Corners.
TAMLA Records and Capitol Christian Music Group (Capitol CMG) signed Peech. to their artist roster. In 2024, Peech. broke through with the single “Snowfall” and the mixtape L.I.V.E. On Friday (April 18), he released his latest single, “Don’t Miss Your Moment.” — Jessica Nicholson
Riser House Records signed indie-pop group The Wldlfe and will release the band’s new single, “Make Me Cry,” on Friday (April 25). The band is composed of Jansen Hogan, Carson Hogan, and Jack Crane.
Scotland-born, Texas-raised country singer Callum Kerr signed with ONErpm and Huff Co. Kerr also works as a model and actor. His new single, “Cold Beer Cold,” is out now.
Sony Classical signed Berlin-based pianist Alexander Malofeev, who will release his debut album for the label in the fall. Malofeev first rose to prominence in 2014 at the age of 13, when he won the International Tchaikovsky Competition for Young Musicians. He has since performed with leading orchestras including the Philadelphia Orchestra, the Boston Symphony Orchestra, the Orchestra of the National Academy of Santa Cecilia, the Lucerne Festival Orchestra and Orchestra Filarmonica della Scala.
Asher White signed to Joyful Noise, which released her latest single, “Kratom Headache Girls Night,” on Tuesday (April 15). White’s most recent album, Home Constellation Study, was released on Ba Da Bing! in 2024.
Oakland-based punk band The Lucky Eejits signed with Southern California indie label HEY!FEVER Records. The group recently won a spot at this year’s San Francisco Punk in the Park Festival on May 3. Lucky Eejits is set to release new music by the end of this year.
In conjunction with today’s global celebration of Earth Day, Merlin and IMPALA have announced the launch of a new fund intended to accelerate the independent music community’s push towards sustainability.
The initiative is named the Weidenmüller Sustainability Fund in honor of late !K7 founder Horst Weidenmüller, who co-founded Merlin and was a board member for both the digital music licensing partner for indies and IMPALA, the European organization that represents 6,000 independent music companies spread across 30 countries.
Before he passed away in February at age 60, Weidenmüller was central to the creation of the sustainability program IMPALA launched in 2021. This included the 2022 launch of a carbon calculator to assist labels in measuring and reducing their environmental impact through practices like tracking the climate impact of their office energy and water use, their commuting, their business travel and their manufacturing and distribution efforts.
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The new fund will provide resources to further develop and enhance this carbon calculator and make it more globally available, support IMPALA in offering advice and training to independent labels and distributors that use the tool and support the work of the IMPALA task force Weidenmüller created in 2020.
IMPALA has an established history of furthering sustainability. Its 2021 Climate Charter created sustainability frameworks in the indie sector, and in 2024 the company released the results of a study looking at the economic benefits of taking sustainability action. This new joint initiative reinforces a commitment by Merlin in equipping rightsholders with tool to address emerging industry challenges.
“Horst was not only a fierce advocate for independent music, but also for our planet,” Merlin CEO Jeremy Sirota says in a statement. “He believed in driving real and sustaining change—through leadership, innovation, and action. We all have a role to play in the preservation of our planet and a more sustainable future. Merlin is proud to launch the Weidenmüller Sustainability Fund and to help meet our commitment through the incredible work of IMPALA.”
“Horst was a true visionary,” continues IMPALA executive chair Helen Smith. “He believed in the power of collective initiatives as well as the business case or individual action. This fund honors Horst’s profound impact across the whole industry.”
Earlier this month Create Music Group announced its acquisition of !K7, the indie electronic label Weidenmüller founded in 1985. Upon the announcement, !K7 CEO Tom Nieuweboer says the partnership will allow the label “to scale our vision while staying true to our core values of independent artistry, innovation, and quality.”
Of the new fund, Nieuweboer adds that “Horst was my companion, mentor, and friend for decades. His passion for music always went hand in hand with a deep sense of responsibility for our planet which was becoming part of the DNA of !K7. Horst was a true role model – for me personally, and for many across the music industry. The launch of the Weidenmüller Sustainability Fund is not only a tribute to his commitment but also a call to the industry to follow in his footsteps. This fund ensures that his vision will not only be remembered but actively carried forward with real impact.”
Australia’s iconic Bluesfest has officially confirmed its return in 2026 following one of its strongest years post-COVID, bolstered in part by emergency support from the New South Wales Government’s Contemporary Music Festival Viability Fund.
Held over the Easter long weekend, Bluesfest 2025 drew more than 109,000 attendees across five days, its highest attendance since 2019, and the third-biggest turnout in the festival’s 35-year history. The milestone comes just months after festival director Peter Noble hinted that the event might be the final edition, citing ongoing economic strain across the live events sector.
Among this year’s lineup were The Pierce Brothers, the reformation of The Beards, Kim Churchill, Nahko, Fools, Eric Stang, RY X, Sweet Talk, 19-Twenty, Roshani, WILSN, and Clarence Bekker.
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“We’re the top-selling festival in the country, and we’ve worked hard to get here,” Bluesfest Director Peter Noble said.
That sentiment shifted in part due to the NSW Government’s $2.25 million lifeline distributed across five festivals. Bluesfest, along with Listen Out, Field Day, Lost Paradise, and Yours and Owls, each received up to $500,000 in funding through the initiative, designed to help festivals navigate rising costs related to insurance, freight, currency exchange, and shifting ticket-buying habits.
“The post-COVID era has been a financial nightmare for music festivals in NSW,” said Minister for Music and the Night-time Economy John Graham. “The government needed to step in to save the furniture, and the feedback is that this fund has helped some of these festivals survive.”
“From Bluesfest where I’ve been this weekend, through to Listen Out and Lost Paradise – people of all ages love the outdoor music festival experience and the artists they discover. We can’t afford to lose that cultural experience because the festivals can’t afford to pay their rising bills.
“The festival circuit a vital part of the live music industry which employs almost 15,000 people. It’s too important to lose, that’s why we’re backing festivals with emergency funding and reforms that bring down their costs.”
Head of Sound NSW Emily Collins added, “The funding is providing critical support to iconic festivals and helping ease the burden of a rapidly changing landscape. We’re proud to be supporting great festivals to continue delivering world-class music experiences for the people of NSW.”
The second round of funding from the Contemporary Music Festival Viability Fund opens May 1, ahead of the 2025–2026 summer season. Eligible festivals can apply on an as-needs basis.
Music stocks bounced back — and performed better than major U.S. indexes— for a second week after President Trump’s tariff policy sent markets into a tailspin.
The 20-company Billboard Global Music Index (BGMI) rose 3.6% to 2,446.90, its second consecutive gain after falling 8.2% the week ended April 4. Fourteen of the 20 stocks were winners and five had gains exceeding 5%. The largest companies were among the week’s winners, which had an outsized impact on the index’s value, while the four worst performers are the index’s least valuable companies.
The BGMI outperformed the Nasdaq and S&P 500, which lost 2.6% and 1.5%, respectively, but fell short of the FTSE 100’s 3.9% improvement. South Korea’s KOSPI composite index gained 2.1% and China’s SSE Composite Index rose 1.2%.
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Streaming companies, which analysts believe are well-suited to survive the impacts of the U.S. tariff policy, were among the week’s best performers. Cloud Music was the week’s biggest gainer, rising 10.5% to 156.40 HKD ($20.15). Deezer was the third-best performer with a 6.7% gain.
Spotify, the most valuable music company, rose 5.6% to $574.25. UBS lowered its Spotify price target on Tuesday to $680 from $690 but maintained its buy rating. Tencent Music Entertainment improved just 0.4%, giving it a 10.2% gain in 2025.
Multi-sector companies, particularly those from South Korea, also performed well. YG Entertainment rose 10.0% to 66,800 KRW ($47.10). SM Entertainment rose 9.3% to 116,300 KRW ($81.99) and JYP Entertainment improved 6.2% to 63,300 KRW ($44.63). HYBE rose 2.0% to 230,500 KRW ($162.51).
Universal Music Group rose 3.2% to 23.96 euros ($27.25), turning a deficit into a year-to-date gain of 0.2%. Warner Music Group rose 0.3%, bringing its loss in 2025 to 6.1%.
Live entertainment companies had mixed results. German promoter CTS Eventim gained 4.2% to 97.20 euros ($110.54) and MSG Entertainment rose 1.2% to $30.69. Live Nation fell 1.8% to $127.22. Sphere Entertainment Co. dropped 6.3% to $25.38. The company, which owns the Sphere venue in Las Vegas, has fallen 40.2% year to date.
Radio companies continued their decline. iHeartMedia dropped 14.8%, bringing its year-to-date loss to 54%. Cumulus Media’s 19.4% fall took its year-to-date deficit to 67.5%.
Tariffs continued to be a dominant theme in the financial world this week. Apple and other tech companies that import phones, computers and chips from China and other Asian countries gained a reprieve from the most burdensome tariffs. The announcement, which came on April 11, sent Apple’s stock up 2% on Monday (April 14) and pushed its market capitalization back past $3 trillion. On Thursday, the Trump administration announced new fees on Chinese-made ships entering U.S. ports. Some of those fees were quickly walked back, however, by exempting ships that travel between U.S. ports of call, and from domestic ports to Caribbean islands or U.S. territories.
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This Tuesday (April 15), hundreds of people from across the music industry gathered in Hollywood for the second annual Music Sustainability Summit.
Organized by the Music Sustainability Alliance (MSA), the event again brought together thought-leaders and innovators from the live music, labels, waste management, merch, food, design and production sectors. Panels and breakout sessions — curated around the event’s “progress through collaboration” theme — focused on the challenges and, more crucially, the many solutions that currently exist and can be implemented at scale as the industry takes on the ongoing climate crisis that’s affecting touring, events, the supply chain and the health and wellness of artists, teams, fans and the Earth itself.
“Sustainability is good for the planet and it’s good for business, and it’s being led by the people in this room,” MSA CEO/co-founder Amy Morrison said at the start of the day, “but we’re not done. There’s still more to learn, more to share and more to do. And let’s be honest, this work is only getting more important as some political forces pull back from climate commitments and even try to undermine environmental progress. It’s falling on industries like ours to step up and lead.”
The day began with a stirring performance from singer and environmental activist Antonique Smith and a rousing conversation with activist Reverend Lennox Yearwood Jr., who emphasized the importance of artists and not just engaging in performative activism, but truly engaging with the people who are feeling the very real effects of the climate crisis. “You have to be amongst the people,” Yearwood Jr. told the rapt crowd. “Not only will it make you a better artist, but you will transform yourself by being with the people and feeling the crisis. It will allow you to create art that is divine, that is otherworldly. You will begin to create something that isn’t just pain and depression, but something that could actually change and save this world.
The day of conversations went on to provide huge insights on the many ways the music industry can transition to greater sustainability and do its part in humanity’s greatest challenge, via panel topics that included live music emissions in the U.S. and U.K., why paying attention to menus at venues at events is important, the evolving clean energy sector, strategies that are being used in film, sports and live theater, sustainability in contracts and more.
Here are five things we learned from the conference.
The Music Industry Could Be Greener Through More Strategic Planning
Investors seeking shelter from the chaos unleashed by President Trump’s often incoherent tariff policy can find safety in companies without direct exposure to tariffs or the teetering advertising market. And music, especially digital music, will be able to weather the storm, say many analysts — with one major exception.
To understand what people are thinking about tariffs’ impact on the business world, look no further than stock prices. The performance of various music-related stocks reveals how investors are betting that economic uncertainty will affect various companies.
Many stocks — especially those of companies traded on U.S. exchanges — have taken a hit as investors fled for safer alternatives. The Nasdaq and S&P 500, U.S. indexes, are down 6.2% and 6.7%, respectively, since April 1, the day before President Trump announced his tariff plans. Elsewhere in the world, indexes have generally performed better. South Korea’s KOSPI is down just 2.0%. Japan’s Nikkei 225 is off 3.5%. The U.K.’s FTSE 100 is down 4.2%. Germany’s DAX has lost 5.9%.
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Within music, companies that get most of their revenue from streaming are faring relatively well. Since April 1, Spotify and Deezer have each gained 4.0%, two of the better showings for music stocks. Cloud Music improved 3.9%. Tencent Music Entertainment, on the other hand, has fallen 15.1%, although its share price remains up 8.1% year to date.
Record labels and publishers have also been holding up well, in relative terms, particularly outside the U.S. Since April 1, shares of Universal Music Group (UMG) — which is headquartered in the U.S. but trades in Amsterdam — and Warner Music Group (WMG) are down 8.0% and 7.1%, respectively. Reservoir Media lost 3.0%. K-pop companies — much like South Korean companies in general — have fared well. Since April 1, SM Entertainment has gained 7.9%, YG Entertainment is up 1.1% and JYP Entertainment has gained 0.7%. HYBE fell 3.4%.
UMG and WMG’s post-tariff declines are slightly greater than the drops in the Nasdaq and S&P 500 of 6.7% and 6.2%, respectively. But both UMG and WMG had strong starts to 2025, and their year-to-date losses of 4.5% and 6.1% are far better than the S&P 500’s 10.2% drop and the Nasdaq’s 15.7% year-to-date decline.
Some live music companies’ stocks have been resilient, too. Live Nation shares are down 3.7% since April 1, while German concert promoter CTS Eventim is up 3.2%. Sphere Entertainment Co., owner of the Sphere venue in Las Vegas, is an exception. Sphere Entertainment shares have plummeted 23.1% since President Trump’s tariff announcement, a far more significant drop than the stocks of other companies — Caesars Entertainment, Wynn Resorts, MGM Resorts — that rely on consumers’ willingness to part with their money in Las Vegas.
For many U.S. media stocks, the direct impact of tariffs is “relatively muted,” wrote Citi analysts in an April 7 report, as many of the companies rely on discretionary spending, not ad revenue. Apple and other tech companies, for example, got an exemption from the 145% tariffs on Chinese imports but must still pay the blanket 20% tariff. Companies that get much of their revenues from subscriptions — Netflix, Spotify, UMG and WMG — will be less impacted.
Music streaming, most notably subscription services, is considered by equity analysts to be safe from whatever tariff-induced economic chaos awaits the global market. “Digital goods are unaffected by tariffs,” wrote TD Cowen analysts in an April 14 investor report. Subscription services, they argued, provide enough bang for the buck, and customers have such an emotional attachment to music that subscribers are unlikely to leave in “meaningful” numbers if the economy goes south.
Streaming and subscription growth slowed in 2024, but many analysts expect improvements to come from a regular drumbeat of price increases, renewed licensing deals and super-premium tiers. That said, analysts believe that Spotify’s latest licensing deals with UMG and WMG, and upcoming deals with other rights holders, better reward labels and publishers for price increases. As a result, TD Cowen slightly lowered its estimates for Spotify’s revenue, gross profit margin and operating income in 2025. Likewise, in an April 4 note to investors, Guggenheim analysts lowered their estimate for Spotify’s gross margin in the second half of 2025.
Companies reliant on advertising revenue will also take an indirect hit. Citi estimates that $4 trillion of imports could generate $700 billion in tariffs and reduce personal consumer and ad spending by 1.9%. Tariffs have ripple effects, too. Because household net worth and personal spending are highly correlated, says Citi, the recent declines in stock prices could reduce personal and advertising spending by 3.0%.
Consumer spending is at the heart of the concert business, but analysts agree that fans’ affection for their favorite artists protects live music from economic downturns. As a result, Live Nation has “less risk than the average business that depends on discretionary spending,” according to TD Cowen analysts.
Advertising-related businesses aren’t so lucky, though. As tariffs raise prices and household wealth declines, personal spending also declines, and, in turn, brands pull back on their advertising spending. Investors’ expectations for advertising-dependent businesses were apparent before April but have become clearer since President Trump’s April 2 tariff announcement. iHeartMedia, which closed on Thursday (April 17) below $1.00 per share for the first time since June 4, 2024, has dropped 35.3% since April 1 and fallen 50.3% year to date. Cumulus Media has fared even worse, dropping 47.5% since April 1 and 62.7% year to date. Townsquare Media has fallen 12.8% in the tariff era and 23.8% year to date.
J.P. Morgan analysts believe iHeartMedia’s full-year guidance of $770 million is “somewhat optimistic” given economic uncertainties and ongoing pressures in the radio business. It forecasts full-year EBITDA of $725 million — nearly 6% lower than iHeartMedia’s guidance. If things wind up going more the way J.P. Morgan predicts than iHeart, it would be a big blow to the company and an unfortunate bellwether for the already struggling radio business. While other music industry sectors look to ride out the tariffs at least in the shorter term, the economic uncertainty introduced by the Trump administration may only hasten radio’s ongoing decline.
As Billboard has noted numerous times in recent weeks, investors are attracted to music assets because they are counter-cyclical, meaning they don’t follow the typical ups and downs of the economy. Consumers will, by and large, stick with their music subscription services and continue going to concerts. But by introducing the tariffs, the Trump regime exposed one of radio’s greatest weaknesses as a business: a greater exposure, due to its reliance on advertising, to the state of the wider economy.
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Canadian musicians and music organizations are speaking out ahead of the federal election on April 28.
Indie folk artist The Weather Station took to Instagram on April 15 to make an impassioned plea to Canadians not to check out of this election. She had just returned from a tour in the U.S., supporting her new album Humanhood, and told followers that now is the time to prevent Canada from following in America’s footsteps.
“I cannot articulate the level of relief I felt this time crossing the border back into Canada,” she says. “I think we have no lived understanding of how bad things could get.”
The Weather Station, whose name is Tamara Lindeman, has previously spoken out about the U.S. administration, citing authoritarianism, threats to free speech and the right to protest, and dismantling of public services serving climate, education, health care and social security.
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In her new video, she highlights the people fighting for those issues and to build community amidst the crisis south of the border.
“Loved the shows, loved all the people we met, but it’s so incredibly painful to see what people are going through,” she says. “People feel exhausted, they feel afraid and at risk, they feel powerless…a lot of people increasingly feel kind of silenced, which is really scary.”
Speaking to Billboard Canada about why she felt compelled to share the video, Lindeman adds that when it comes to this election, the stakes couldn’t be higher. “For an avalanche of reasons — from Trump’s threats of annexation, to how misinformation and MAGA-style politics are moving across the border, to the immensity of the climate crisis, to the affordability crisis across this country,” she elaborates.
She also points out Conservative leader Pierre Poilievre‘s desire to defund the CBC as particularly concerning for musicians, given how the public broadcaster supports Canadian music through radio airplay and events.
Her post received positive comments from fellow Canadian musicians like Jill Barber and Bells Larsen. Larsen, a folk singer-songwriter, last week shared that he cannot tour in the U.S. due to changes in Visa application policy that target trans musicians, requiring legal ID to match sex assigned at birth.
Canadian music organizations have also been emphasizing the importance of this election across party affiliations, against the backdrop of American politics.
Allistair Elliott, AFM vice president from Canada, sent out a message today to American Federation of Musicians members in Canada titled “Make Your Vote Count.”
“The upcoming election is critical for Canadians — no matter your political leanings, your vote matters,” Elliott writes. “Look south of the border to understand what can happen. In the last U.S. election, 32% of votes went to Republicans and 31% to Democrats. That means 68% of U.S. voters did not vote for the current president. True democracy is achieved when everyone votes. Plan, do your research, and most importantly, vote. It really matters, can, and will make a difference.”
The message stops short of endorsing particular parties or candidates, but highlights policy areas that affect musicians and arts workers, such as generative artificial intelligence, diversity equity and inclusion, trade tariffs, and strengthening public health care.
The Canadian Live Music Association published a note last week from President Erin Benjamin, emphasizing the importance of the live music industry in Canada to both the country’s economy and its cultural identity.
Benjamin called on supporters to send a letter to federal election candidates of all parties, calling on them to leverage Canadian music for the future.
The Canadian federal election is Monday, April 28. –Rosie Long Decter
Hamilton Indie Label Sonic Unyon Launches SUM Artist Management, Headed By Wayne Pett
Hamilton-based independent label and music company Sonic Unyon Records has unveiled its latest initiative, SUM Artist Management. It’s a new arm of the company dedicated to representing and developing artists, identifying and opening opportunities to them.
Taking the helm as both director of artist management at SUM Artist Management and label operations for Sonic Unyon Records is Wayne Petti, a well-known figure on the Canadian music scene as frontman for highly-regarded roots-rockers Cuff the Duke. At SUM, Petti will work in league with Sonic Unyon owner/CEO Tim Potocic, representing a musically diverse and notable roster of clients.
That includes roots-rock singer-songwriter Terra Lightfoot, Polaris Prize-winning auteur Owen Pallett, Hamilton shoegaze combo Basement Revolver, American feminist performance artist and electro-rocker JD Samson (Le Tigre), retro cover band Born in the Eighties, multi-instrumentalist and composer Michael Peter Olsen, and three bands at the forefront of an Indigenous wave in Canadian rock, Zoon, OMBIIGIZI and Status/Non-Status.
“We’re about constant evolution,” says Potocic. “As a label, we’ve signed newcomers and longtime favourites as well as bigger bands like Danko Jones and Big Wreck. All of that is super exciting and some of the best music we’ve ever released. At the same time, this is not an industry that rewards sitting still. It’s a challenging time and a tough landscape, but opportunities still abound. We’ve always believed in the value of our artists, and artists more generally, so artist management is the natural outgrowth of that.”
In an interview with Billboard Canada, Petti notes that, “I’ve been involved in artist management for close to 10 years now. I have a unique perspective on the music business having both experienced what it’s like to be a recording artist and everything that goes along with that, plus experiencing working with artists and helping to guide them through their own careers. I’m very much an ‘artist first’ type of manager. I don’t chase things just for the money. I want the artists I work for to feel supported. I want them to focus on being creative and unique artists and I’m just there to help facilitate their vision and goals artistically.”
“Our main goal at SUM is to work with unique artists regardless of whether they are Canadian, American or from somewhere else around the world,” he continues. “I think we’re off to a great start.”
Petti previously made a major mark in artist management during eight years with Hamilton-based Straight & Narrow Management, which handles major international stars The National, as well as Broken Social Scene, Hannah Georgas, Kevin Drew and Georgia Harmer.
The creation of SUM Artist Management aligns with Sonic Unyon’s expansion into industry sectors beyond the traditional duties of a record label. Sonic Unyon Distribution was founded in 1998 to distribute Sonic Unyon and other labels in Canada, going on to build a roster that included dozens of domestic imprints and the exclusive representation of over 200 international independent labels in Canada. –Kerry Doole
It’s time to drop the needle on another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been a fair share of news this week, so let’s get cracking.
Sony Music Entertainment named Kevin Foo as managing director for Southeast Asia, overseeing operations in the Philippines, Indonesia and Thailand, effective immediately. Based in Singapore, Foo will lead efforts to expand SME’s presence in these rapidly growing music markets, focusing on artist development and audience engagement. He will report to Shridhar Subramaniam, president of Asia and Middle East, and manage a squad including general managers and a vp of international marketing for Southeast Asia. Foo brings a strong track record, having previously served as MD of RCA Records Greater China and GM of SME Taiwan. During the Covid-19 pandemic, he led a cross-border collaboration supporting Taiwanese artist Eric Chou’s charity initiative. Prior to joining the Sony family in 2022, Foo co-founded Umami Records, ran Beep Studios, managed artists through Foundation Music, and did some consulting for UMG. His appointment signals SME’s commitment to growth of local genres like P-pop and T-pop. “Kevin has a unique ability to connect artists, markets, and audiences in ways that drive both commercial and cultural impact,” said Subramaniam. “His deep understanding of the region, coupled with his passion for artist development, makes him an ideal leader to shape the next phase of our Southeast Asia strategy.”
Island Records elevated Matt Palazzolo from vp to senior vp and head of analytics at the UMG imprint. Based in New York, he’ll report directly to co-chairmen and CEOs Imran Majid and Justin Eshak. In his new role, Palazzolo will continue to enhance the label’s data capabilities and provide action-oriented insights to the organization, management partners and artists. Since joining Island in 2022 after a lengthy stint at Sony Music Publishing, Palazzolo and his team have excelled in using insights to support artist development. Eshak praised Palazzolo as “key to our culture of learning” at the label, adding, “he also has a real understanding of music and culture that’s indispensable to the delicate process of combining art and analytics.” Majid emphasized Palazzolo’s skill in integrating analytics into the label’s “DNA… He has an incredible ability to attune to what each department is doing and add value by way of his intensive and comprehensive research.”
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Big Machine Label Group hired Chris Koon as executive vice president of finance. Koon will report directly to BMLG president Andrew Kautz and HYBE America CFO Eric Holden. Koon has over three decades of financial experience across recorded music, distribution and publishing operations, holding financial leadership positions at Universal Music Group/Capitol CMG, managing business acquisitions and integrations. –Jessica Nicholson
Marc Eckō
Complex founder Marc Eckō is returning as chief creative and innovation officer, overseeing creative strategy and integrating technologies like artificial intelligence to boost audience engagement. Eckō founded Complex magazine in 2002, transforming how youth culture and streetwear are covered in media. Before Complex, he pioneered Eckō UNLTD., blending music and design. Complex, acquired by NTWRK in 2024 with strategic investment from UMG, Jimmy Iovine, Goldman Sachs and Main Street advisors, has expanded into e-commerce, revived its print magazine, and globally expanded ComplexCon. Additionally, Ray Elias joined as chief marketing officer, leading brand, growth and communications. Elias, with over 25 years of experience, has held pivotal roles at high-growth startups and market-leading brands, including CMO at HotelTonight and StubHub, driving significant business growth and industry disruption.
Smith Entertainment Law Group (SELG), known for its expertise in production counsel for awards shows, series, films, documentaries, and live events, named Lynn Elliot, Esq. as senior counsel. Based in NYC, Elliot brings extensive experience in film, television, music, live events, and new media, having worked on projects like Precious, Alive Inside, and The Rachel Zoe Project. Her clients include producers, writers, directors, musicians, and event promoters. Previously, she served as Associate General Counsel at Dayglo Presents, handling legal matters for ventures like Brooklyn Bowl and Relix Magazine. At SELG, Elliot will lead deal structuring, risk assessment, employment transactions, and business operations support. With a background in film, TV writing, and clinical psychology, she offers a unique blend of creative and legal insight. Kerry Smith, founder and managing partner of SELG, praised Elliot’s breadth of experience and noted “her passion for supporting creative visionaries will further elevate the comprehensive services we offer to our clients.”
Warner Music Nashville promoted Katherine Firsching to director of commercial partnerships and Blair Poirier to manager of commercial partnerships. Both will report to Kristen Williams, svp of radio and commercial partnerships. Firsching, who joined WMG in 2020 as an interactive marketing coordinator, later became manager of video strategy. Poirier joined WMG in 2022 as commercial partnerships coordinator after working at Pierce Public Relations. Williams praised Firsching’s ability to build relationships with partners and artists, highlighting her “driving spirit to learn and win,” while commending Poirier’s skills in DSP account management and her ability to manage workloads “while also building fantastic relationships with our premiere DSP accounts.” They can be reached at katherine.firsching@wmg.com and/or blair.poirier@wmg.com.
Berklee appointed Edward J. Lewis III as senior vp of institutional advancement, effective May 15, a role in which he’ll work with Berklee’s top leadership to drive global fundraising and engagement initiatives. Lewis brings over 20 years of experience in higher education and the performing arts, with expertise in fundraising and strategic planning. Previously, Lewis was president and CEO of the Caramoor Center for music and the arts, where he launched its first major gifts program and advanced diversity and inclusion efforts. As vice chancellor for advancement at the University of North Carolina School of the Arts, he led a $75 million fundraising campaign and doubled the school’s endowment. A professional violist, Lewis also held development roles at the University of Maryland. “[Lewis’] extensive leadership and fundraising expertise, coupled with his community-focused approach, will help us realize our ambitious institutional advancement priorities across our campuses,” said president Jim Lucchese.
5B Artist Management announced internal promotions and the launch of its new creative and marketing agency, Pink Motel. Brad Fuhrman has been promoted to senior vp, managing artists like Lamb of God, BABYMETAL and Stone Sour. Lindsey Medina joins as senior manager of business development, bringing experience from Danny Wimmer Presents and Live Nation. In the UK, Adam Foster has been promoted to general manager, working with acts such as Behemoth and Slaughter to Prevail. Pink Motel, led by Stephen Reeder and Audrey Flynn, will focus on music marketing, brand campaigns and digital strategy. The agency already partners with top clients including Sony, BMG and Live Nation, while Reeder and Flynn continue their roles at 5B.
Jay Ahmed has been promoted to head of promotions at London-based promo agency Your Army, where he’ll lead the DJ, UK Radio, international radio and third party playlist departments. Having joined the company seven years ago as a national radio plugger, Ahmed has played a key role in successful campaigns for artists like BICEP, Barry Can’t Swim, Sub Focus, A Little Sound, salute, LF SYSTEM and KILIMANJARO. In his new position, he will oversee all promotional operations, develop global strategies and strengthen ties with media, artist management and label partners. Ahmed expressed gratitude for the opportunity and praised the Your Army team and artist roster, stating his excitement for what lies ahead in his expanded role.
ICYMI:
Armin Zerza
EMPIRE Publishing appointed producer !llmind as senior vp of A&R. Additionally, Al “Butter” McLean was elevated to executive vp of global creative, continuing to co-lead EP with Vinny Kumar … Opry Entertainment Group named Tim Jorgensen as vp of operations for its Austin team, overseeing ACL Live, 3TEN and W Austin … Warner Music Group hired Armin Zerza as evp and chief financial officer, effective May 5, bringing extensive leadership experience from his previous role as CFO of Activision Blizzard. [Keep Reading]
Last Week’s Turntable: Orchard Veteran Breaks Out on His Own
GoldState Music has raised $500 million in financing, the private investment firm announced on Thursday. Although specific details of the funding breakdown were not disclosed, the capital infusion consists of both equity and debt, and is described in a press release as a “structured capital facility… as well as separately raised leverage,” with Northleaf Capital Partners and Ares Management leading the deal.
“Our new relationship with Northleaf and Ares marks the next step in the evolution of our music investing strategy,” GoldState founder and managing partner Charles Goldstuck, said in a statement. “This additional capital will enable us to further accelerate our ability to capitalize on increasing demand for music and build a diversified portfolio of music assets across artists and genres. As leading institutional investors, Northleaf and Ares bring critical experience that will support GoldState’s continued growth and differentiation to the benefit of our artists, investors and other stakeholders.”
Northleaf is a well-known investor in the music industry, having previously financed $500 million through Lyric Capital Group for Spirit Music Group in 2021 and $75 million for Duetti last year.
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“Led by Charles, GoldState is well-positioned to execute on a disciplined music acquisition strategy, and Northleaf is pleased to support the Company and its exceptional team,” said CJ Wei, managing director, Private Credit at Northleaf. “Northleaf’s investment in GoldState directly aligns with our asset-based specialty finance strategy, which is designed to provide our investors with diversified and low correlation exposure while delivering strong cash yield.”
On the other hand, this appears to be the first music asset investment for Ares, or at least the first one they’ve publicly disclosed.
“Charles and GoldState Music bring a bold, visionary approach to music rights investment that seeks to empower artists,” Ares Management managing director Jeevan Sagoo said in a statement. “We are excited to collaborate with them and provide Ares’ deep sector and investment experience as they advance their long-term growth and value creation strategy.”
GoldState Music has acquired catalogs from two boutique music asset investors, Catchpoint Partners and AMR Songs. These catalogs feature notable tracks such as Kanye West’s “Flashing Lights,” Sheryl Crow’s “If It Makes You Happy” and Panic! At The Disco’s “I Write Sins Not Tragedies.” Additionally, they include portions of songs and recordings by artists like Brantley Gilbert, Smash Mouth, and Avril Lavigne. The acquisition also encompasses John Sebastian’s writer share of all his compositions with the Lovin’ Spoonful, including “Summer In The City,” “Daydream” and “Do You Believe In Magic,” as well as rights from his solo career, including “Welcome Back.”
The GoldState website also lists other financial backers, including Flexpoint Ford, Pinnacle Financial Partners and Regions. Prior to founding GoldState, Goldstuck has had a long career in the music industry, having held senior executive positions at various major labels before becoming president and COO of the Bertelsmann Music Group.