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In a banner week for music stocks, record labels and music publishers posted gains after Universal Music Group (UMG) signed a new licensing deal with Spotify and Amazon announced further price increases for its music streaming service.
UMG gained 11.2% to 26.94 euros ($27.91) after the company announced it renewed its licensing deal with Spotify for its record labels and music publishing. According to the company, the agreement will allow for “new paid subscription tiers,” such as Spotify’s anticipated high-priced superfan offering, and bundling of music and non-music content. UMG also got a boost from news that Amazon is raising prices on its Amazon Music Unlimited on-demand service in the U.S., U.K. and Canada. After the week’s gain, UMG had recovered nearly all of the 24% decline it suffered after its second-quarter earnings results showed lower-than-expected streaming growth.
Morgan Stanley analysts called it “an important and positive week” for investors in companies that operate in the music streaming space. Warner Music Group (WMG) rose 6.7% to $31.80 as investors likely assumed the company will follow UMG and negotiate a mutually beneficial licensing deal with Spotify later this year. Both Believe and Reservoir Media rose 2%.
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Spotify rose another 7.5% to a new record closing price of $548.55 after multiple analysts raised their price targets and the streaming giant emerged victorious in a U.S. court case over a tactic employed to lower its royalty obligations. The streaming company’s stock reached as high as $560.36 on Friday (Jan. 31), valuing the company’s market capitalization at approximately $111 billion. More analysts hiked their price targets ahead of Spotify’s earnings call on Tuesday (Feb. 4). Deutsche Bank increased its Spotify price target on Monday to $550 from $535, while Citi raised it to $540 from $500.
Music stocks have produced strong gains just one month into the new year. This week, the 20-company Billboard Global Music Index (BGMI) rose 6.4% to a record 2,447.97. Just two of the index’s 20 stocks lost ground while one was unchanged and 17 posted gains. The index’s third-straight weekly gain was the best of the year and the best single-week performance since the BGMI gained 6.8% in the week ended July 21, 2023. Just 31 days into 2025, the index is up 15.2% and is outpacing major indexes such as the Nasdaq composite (up 1.6%), S&P 500 (up 2.7%) and FTSE 100 (up 6.1%).
Aside from Spotify, other streaming companies posted large gains. LiveOne, the week’s greatest gainer, jumped 20.8% to $1.45 after CEO Robert Ellin announced — from President Trump’s The Mar-a-Lago Club — that LiveOne had surpassed 700,000 Tesla users, half of which are free, ad-supported users. Chinese music streaming company Cloud Music also improved, with its stock up 8.4% to 112.20 HKD ($14.40), after the company announced it had reached a “preliminary” agreement with K-pop company SM Entertainment to keep the K-pop company’s catalog at the platform. Paris-based Deezer rose 9.6% to 1.26 euros ($1.31). Abu Dhabi-based Anghami improved 4.2% to $0.75.
SiriusXM rose 9.3% to $24.01 after the company’s fourth-quarter earnings on Thursday (Jan. 30) showed a drop in revenue and subscribers but gross margins and earnings before interest, taxes, depreciation and amortization (EDITDA) that were in line with guidance. For full-year 2025, SiriusXM expects slight declines in both revenue and adjusted EBITDA but an increase in free cash flow to $1.15 billion from $1.02 billion in 2024. Ahead of the company’s earnings, Deutsche Bank lowered its price target to $25 from $28.
Sphere Entertainment Co. shares rose 8.5% to $46.60, with Guggenheim raising the company’s price target to $69 from $64 and maintaining its “buy” rating. Sister company MSG Entertainment, which will announce earnings on Thursday (Feb. 6), rose just 0.1% to $36.34.
iHeartMedia had the week’s largest decline, dropping 8.3% to $2.22, after posting gains in previous weeks. iHeartMedia shares are up 12.1% year to date.
About a year and a half into Gimme Gimme Records’ existence in New York City’s East Village, a leak erupted from an upstairs tenant and landed directly on the only section of CDs. Shop owner and founder Dan Cook says he took the leak – supposedly caused by an upstairs tenant falling asleep while filling the bathtub – “as a sign from God.”
Cook admits that the CD section was quite paltry despite it being the mid-1990s, but he still decided to stick strictly with vinyl going forward.
Plus, he could stick with the tried and tested format since the small space he rented on East 5th Street was incredibly cheap. It was a small storefront, painted forest green with an overhang informing passersby that they both bought and sold records, that Cook shared with “an eccentric dude” who sold items he found on the street and taught piano lessons in the mornings.
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“The building was kind of crummy, honestly,” says Cook of the space he rented out a little over 30 years ago. “We were right next to the 9th Precinct, the police station, so kind of odd vibes for a record store. But for cheap rent, you put up with a lot.”
Despite the eccentric neighbors in the “old East Village,” as Cook puts it, the store was a legitimizing step up from the flea market where he was used to selling his collection. Growing up in Massachusetts, Cook was obsessed with vinyl and would buy records from yard sales and flip them at local record stores for albums he actually wanted. “Then, I moved to New York City and tried doing the same thing, and the stores were not as generous. It was just like, ‘here is 11 cents credit.’” he says, “So, I started saving them up and selling at the Chelsea flea market.”
Dan Cook
Jennifer Black
The store was only open Thursday through Sunday and served as a side business for Cook, who also worked at a bookstore and was the lead vocalist for the Matador Records-signed Lynnfield Pioneers, which formed in 1996 and disbanded by 2000. The band was self-described as “hip-hop-no-wave,” which seems fitting for Cook who calls himself and his store “generalist.”
“That’s something that used to set me apart in New York, being a generalist. I like all types of music. If I go through a box of country records or a box of hip-hop records, I know the good ones,” says Cook. “It broadens my opportunities to bring in stuff.”
The pre-streaming era was ripe with genre purists, but besides some questioning glances, Cook’s love for all kinds of music set him up for success whether it is purchasing new vinyl or sifting through used collections. A genre-agnostic store is more of the norm today and suits the pedestrian traffic of Gimme Gimme’s new location in Highland Park, a retro-leaning neighborhood in Los Angeles.
After 18 years in the New York location (and a rent increase of only $50 from 1994 to 2012), the owner of the East Village location sold the building and Cook decided to move the collection to Highland Park where he and his wife had moved in 2010. For two years, Cook had been assessing vinyl inventory over Skype with friends who were running the shop in New York. But once the building had a new owner, Cook found a 1,200 sq. ft. location on Highland Park’s York Boulevard. The street is full of vintage clothing and furniture shops, small cafes, a 100-year-old bowling alley and plenty of popular restaurants that keep the foot traffic steady in front of the new Gimme Gimme Records.
Gimme Gimme Records
Dan Cook
But the high concentration of vintage lovers also means there’s lots of competition in the area. There are six record stores within a half mile of Gimme Gimme Records, which Cook says both helps and hurts.
“Getting record collections is super competitive,” Cook explains. “I am not just competing with other record stores. There are people with Discogs or eBay and that’s their side hustle.”
On the bright side, having that many record stores in one area makes it a destination for folks visiting. The vinyl enthusiasts and foot traffic are especially valuable since Gimme no longer hosts live shows (they weren’t worth the effort) or sell much outside of its roughly 10,000-15,000 vinyl collection (Cook also collects and sells photography and art books that make up about 2% of Gimme sales).
With about 60% new and 40% used records and a hearty selection of all genres, Gimme is seeing Cook’s generalist tendencies paying off. When the store opened more than 30 years ago, Cook says the clientele was almost exclusively male, but now it’s not uncommon for him to look up from his back counter and see all genders and generations.
“When I first opened the store, it was just sweaty dudes. That’s a cliche, not everyone was, but now its teenagers coming in and grandma/granddaughter duos coming in,” says Cook. “It’s really amazing to see.”
More in this series:
Twist & Shout in Denver, Colo.
Grimey’s in Nashville, Tenn.
Home Rule in Washington, D.C.
Sweat Records in Miami, Fla.
A new report by the Canadian Live Music Association (CLMA) reveals that live music contributes billions to the Canadian economy.
That’s over $10 billion in GDP during 2023 alone to be precise. Hear and Now: Understanding the economic power and potential of Canada’s live music industry is the first-ever economic impact assessment of Canada’s live music industry, identifying the significance of live music in Canada at the same time as it emphasizes major challenges.
The study, which is led by research firm Nordicity and commissioned by the CLMA, notes that these numbers have been achieved largely without a dedicated fiscal policy framework incentivizing live music. “$10.92B in combined impact from live music and tourism spending… without trying.”
Erin Benjamin, CLMA president & CEO, emphasizes that these numbers show the importance of supporting music venues.
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“More live music activity — an increase in live music activity at every rung of the venue ladder — will mean more folks spending their income in that space. It generates the tax revenue, it generates the labour income,” she told Billboard Canada at a press launch for the study at Allied Music Centre in Toronto this week (Jan. 30). “Live music is the vehicle that stimulates that kind of economic activity.”
Though the Canadian live industry is a big part of the country’s economy, it faces serious challenges.
In Canada, venues are closing down. Toronto saw roughly 15% of venues close permanently during 2020-2021 alone. A venue shortage especially impacts emerging artists, who need a venue ladder — a scale of increasingly-large venues they can work up to — as they grow their career. “The critical shortage of small and mid-sized venues restricts access to local live music,” the report states.
Benjamin tells Billboard Canada that on a policy level, she would love to see more support for the sustainability and growth of small venues. “The first few rungs on the venue ladder are the most vulnerable. We want to make sure we’re not losing our incubator spaces and our discovery spaces.” She mentions CLMA’s pilot initiative with FACTOR Canada, the Promoters Program, which supports companies presenting live music in Canada. She hopes to see the program made permanent.
Musicians and industry members are also facing increasingly tough conditions when it comes to making a living. The report estimates that in 2023, the average salary for a full-time employee in the Canadian live music industry was around $31,000 — putting music industry workers below the poverty line.
Read more on the report here.
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Canadian Airplay Charts Find a Home on Billboard Canada
Seven charts are debuting on Billboard Canada.
The Canadian Airplay Charts, all of which track Canadian radio airplay, have found a new exclusive home at Billboard Canada’s charts hub.
They’ll be updated every Thursday and live alongside the Billboard Canadian Hot 100 and Billboard Canadian Albums chart.
The charts cover seven different types of radio airplay, diving into what’s performing well in adult contemporary, country and rock across Canadian radio.
“Billboard Canada is the official home for Canadian music charts,” says Mo Ghoneim, President of Billboard Canada. “Making these airplay rankings available on our platform is part of our commitment to providing deeper insight into what’s shaping radio and music across the country.”
Together, the new charts provide a snapshot of the radio landscape, which provides a new angle on music distinct from the Canadian Hot 100.
While Lady Gaga and Bruno Mars hold the top spot on Canadian Hot 100 with “Die With a Smile,” Myles Smith’s “Stargazing” holds the No. 1 spot on the Canadian All Format Airplay chart at launch.
The radio charts regularly feature Canadian artists, thanks in part to Canadian content regulation. In Billboard Canada‘s breakdown of the 2024 year-end charts, radio’s influence on Canadian pop was clear, uplifting rising Canadian artists like LU KALA, Preston Pablo, Josh Ross, Alexander Stewart and Jamie Fine.
Weekly analysis of the radio charts will now accompany Billboard Canada’s regular chart beat stories tracking the Canadian Albums and Canadian Hot 100 charts.
The seven charts include: All Format Airplay, AC Airplay, CHR Airplay, Hot AC Airplay, Country Airplay, Mainstream Rock Airplay, and Modern Rock Airplay.
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AI-Generated Album Appears On Nova Scotia Musician Ian Janes’ Spotify Profile Without His Permission
Nova Scotia musician Ian Janes is speaking out against music by Ian Janes.
Janes, a Music Nova Scotia Award winner, says an AI-generated album was falsely added to his Spotify profile, under his name.
He tells CTV that he found out when Spotify sent him a notification urging him to promote his new release — but he hadn’t released anything new.
When he went to his Spotify profile, he says, there was indeed a new album, but not one he had recorded.
“It’s AI-generated music that you would listen to when you’re on hold,” he describes to Global. The album was removed from his profile but remains on Spotify under a separate profile, also using the name ‘Ian Janes.’ Janes’ lawyer says that it’s not technically a copyright violation unless the music uses Janes’ likeness or his actual compositions.
The album bears the hallmarks of fraudulent music designed to score streams. It has a title that means nothing but seems poetic, Street Alone, and a large number of tracks (20). Several of the songs are named after popular hits but are not actually covers of those songs, like “Ho Hey,” “Summertime Sadness,” and “Give Your Heart A Break.” The music sounds like it could be made entirely within Ableton or Logic Pro.
Last year, nine Canada-based music streaming sites were taken down for streaming manipulation. IFPI, the worldwide recording industry association, and Music Canada had filed a complaint stating that the sites were selling fake streams to boost play counts.
It’s not clear how the distributor who uploaded Street Alone was able to gain access to Janes’ profile. But Janes’ situation demonstrates a clear risk for independent musicians as these tactics proliferate.
“If a name isn’t proprietary, and titles aren’t proprietary, what’s going to keep an AI music company from using the name of existing musicians and using the names of the songs they’ve released?” Janes says.
Last Week: How Music Companies Are Fighting the ‘Streaming Tax’
Welcome to Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
Earlier this week, we released our annual rankings of the music industry’s top executives, however, Thursday brought the shocking news of the passing of one those honorees. Ben Vaughn, president and CEO of Warner Chappell Nashville, died Thursday of undisclosed causes at only 49. “The music community has lost a truly extraordinary executive and human being,” said Troy Tomlinson, chairman and CEO of rival UMPG Nashville.
Read on for this week’s updates.
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Alison Smith, longtime executive vp and chief distribution and publisher relations officer at BMI, announced her retirement after nearly 40 years with the company. Starting in 1985 on a temporary assignment in Nashville, Smith’s career at BMI has evolved through multiple departments, ultimately overseeing all domestic and international royalty distribution and administration services for over 1.3 million affiliated songwriters, composers and music publishers. She’s been based in New York since 1987 and will officially step down at the end of March. In her announcement to colleagues, Smith expressed her deep affection for the PRO and said her decision leaned heavily on wanting to spend more time with family and friends. She pointed out the fact she spent her entire career at BMI “says everything about our company, the people, and our mission to support, guide and protect our songwriters, composers and publishers,” adding, “music has always been my passion and will continue to be, and I know BMI will always be a shining star in this business.” Among her numerous industry accolades, Smith was recognized as one of Billboard’s Women in Music for two consecutive years in 2018 and 2019, and again in 2023.
BMI president and CEO Mike O’Neill commended Smith’s significant contributions to both BMI and the wider music community. He also announced that Smith will serve as a strategic advisor for the next two years, with Shouvik Das, svp of distribution, publisher relations & administration services, assuming her responsibilities and reporting directly to him.
“I have known Alison since I began working at BMI 30 years ago, and she has been a colleague, partner, advisor and friend to me every day that I have been here,” O’Neill said. “Alison is part of the fabric of BMI, and she has helped us become the company we are today. She has touched so many lives in an indelible way, not just internally at BMI but also within the larger music community. She will be missed.”
Meanwhile…
Universal Music Publishing Group welcomed Jamie Kinelski as the publisher’s new senior vice president of A&R, reporting to evp and head of U.S. A&R, Jennifer Knoepfle. Based in New York, Kinelski will focus on signing, developing and mentoring songwriters, artists and producers while helping expand UMPG’s U.S. A&R team. Kinelski previously served as senior vp and head of West Coast creative at Kobalt, where she signed and developed artists like Rogét Chahayed, Cuco, and Father John Misty. She also built key partnerships with Heavy Duty Publishing and 88Rising. Before Kobalt, she was creative director at ASCAP, working with artists such as Big Sean and HAIM. Knoepfle praised Kinelski’s leadership and “fierce” advocacy for songwriters, calling her a “tremendous asset to the dynamic and fresh executive team we are building,” adding, “her vast publishing and leadership experience will be extremely valuable to our company’s continued growth.”
Concord promoted Jonathan Eby to executive vp of information systems and technology. Eby will continue to be based in Concord’s Nashville office, and will oversee the company’s global technology, including infrastructure, development and strategy across all of Concord’s business areas. Eby joined Concord in 2017, and previously served as COO of classical music distributor/label Naxos. –Jessica Nicholson
NASHVILLE NOTES: Former CAA music agent Sabrina Butera launched the artist and influencer management company Collide Talent, offering a full-service platform for artists, influencers and entrepreneurs. The company’s initial roster includes country artist Austin Snell, whom she rep’d at CAA, and DIBS Beauty co-founder Courtney Shields … 615 Leverage + Strategy relaunched as Results Global with its existing partners, chief marketing officer John Zarling and COO Jackie Campbell, remaining atop the organization’s structure. The team, which counts Dolly Parton as its largest client, also includes brands account director Alissa Endres, manager of talent projects and music marketing Dawson Simmons, account coordinator Aden Henke, creative director Frashier Baudry and media planner and strategist Lauren Miskella … Business management firm O’Neil Hagaman added principal Rick Myers. He spent the last three years as Big Machine Label Group svp of finance and IT.
Joseph Morrison and Amy Hart, veterans of Eliot Grainge’s 10K Projects, teamed up with tech entrepreneur Scott Lewis to launch prairy (prairy.xyz), a remote-only label focused on speed in closing deals and servicing artist needs. The prairy team is strategically located across the U.S. and Canada, including Los Angeles, Nashville, New York and Atlanta. Operating without a physical office, prairy uses a San Francisco venture-style model that emphasizes speed, iteration and flexibility. The label has already signed a diverse roster of artists, including Dylan Espeseth, .idk., Ri Wavey, Nicole Amoroso, yurms and has partnerships with TRENCH HOUSE and others. Lewis emphasizes prairy’s commitment to operational agility, saying the “system is broken, and we think there’s a better way. The music industry is accustomed to schedules set by the month – we prefer to get things done in days, not weeks.”
BOARD SHORTS: The MLC appointed four new members to its advisory committees. Jennifer Falco of Hipgnosis Songs Group joins the Dispute Resolution Committee, while Iwona Wyrzykowska of Universal Music Publishing Group, Jessica Richling O’Malley of Warner Chappell Music, and Kristina Johnson of Kobalt Music have been named to the Operations Advisory Committee … NAMM elected eight new board members to three-year terms during its 2025 Show. The newly elected board members are Mayumi Allison, Betty Bennett, Jenna Day, Jeremiah Manriquez, Tim Pratt, Thomas Ripsam, Tom Tedesco and Hans Thomann … The Worldwide Independent Network held aboard meeting on Jan. 23, confirming Zena White and Maria Amato for a third term as chair and treasurer, respectively. New members include Felippe Llerena as director, with Cecilia Crespo and Ian Harrison joining as observers. Tony Kiewel transitioned from observer to director. Outgoing members Alejandro Varela, Sandra Rodrigues and Garry West were thanked for their contributions. A full list of WIN board members is here.
ShopKeeper Management, founded by Marion Kraft in 2009, promoted Crystal Dishmon to co-manager of Miranda Lambert alongside Kraft, while continuing to manage Tenille Townes. Dishmon, with extensive industry experience, including senior roles at AEG and Dale Morris, has been with ShopKeeper since 2010. Additionally, Laura Spinelli has been promoted to day-to-day manager for Lambert and continues as digital marketing manager. Spinelli has led innovative marketing campaigns and brand partnerships during her nearly decade-long tenure at ShopKeeper. Based in Nashville, ShopKeeper represents Lambert, Townes and Pistol Annies. The promotions highlight ShopKeeper’s commitment to mentorship and empowering female leaders in the music industry.
Ross Anderson, a former Warner Music communications executive, has launched Dept. of Connection, a New York-based PR agency focused on helping next-gen artists and brands build lasting cultural connections. The agency’s celestial roster includes Deafheaven and Superheaven, no relation, with more projects t/b/a soon. Anderson previously served as vp of public relations at Elektra Entertainment, leading campaigns for Turnstile, Slipknot, Gojira, Twenty One Pilots and more, until his departure in September of last year. He began his career at Atlantic Records in 2007, working his way up to vp. You can reach Ross here.
Rough Bones, a boutique label based in London, launched a new office in Lagos, Nigeria, to expand into the Afrobeat genre. Leading the office is senior A&R exec Jeffrey Onuoha, operations manager Daisy Ogunlana, digital strategist Eskor Umo, and A&R rep Samuel Mark.
Indie distributor IDOL appointed Camille Floch as international marketing and label services coordinator. Floch, previously a label manager at [PIAS], will work under Constance de Bosredon, promoted to head of international, marketing and label services in 2024. In comments, De Bosredon welcomed Floch and highlighted IDOL’s commitment to labels and artists. IDOL also announced this week that it has partnered with Mexican Summer and Dom Recs for global digital distribution, marketing and audience development.
ALL IN THE FAMILY: Former Billboard-er Andrew Hampp is now managing director of music and consumer partnerships at Variety. Since joining the PMC publication in 2022, he has created partnership opportunities with brands like TikTok, Sony Audio and Cash App. Hampp’s priors in the branding space include founding 1803 LLC, where he consulted for clients across media, advertising and music, and a two-and-a-half year tenure as vp at MAC Presents. In a past life, Hampp was Billboard’s senior correspondent, covering branding, sponsorships and tech during much of the 2010s.
ICYMI:
David Field
Warner Records upped Mike Chester to general manager … Arwen Hunt will lead Various Artists Management‘s new office in Australia … AEG promoted Adam Wilkes to president/CEO of AEG Presents, Europe and Asia-Pacific and elevated Alex Hill to president/CEO of AEG International … Wasserman Music hired five key executives … David Field stepped down as president/CEO of Audacy … Katie Welle is now head of U.S. A&R at SMP … Eve Konstan is out as Spotify‘s general counsel … and the longtime president of the Kennedy Center is passing the torch. [Cont.]
Last Week’s Turntable: WMG Changes Things Up in Hong Kong
Soundstripe, the Nashville-based music licensing company for creatives, agencies and brands, acquired tech startup The Rights, which helps streamline the synch licensing process for labels, publishers and music supervisors. According to a press release, the deal will help Soundstripe “accelerate its development of the music industry’s most robust click-to-license platform,” which is slated to launch in the first half of this year.
Warner Music Group’s indie distributor and artist services arm ADA extended its partnership with Sonny Fodera‘s label Solotoko, which has also released music by Dom Dolla, John Summit and Tita Lau, among others.
Nashville-based Walk Off Entertainment inked a global distribution deal with Virgin Music Group. Walk Off Entertainment was founded by Chris Ruediger, who also founded the creative community/promotional outlet The 615 House. The first releases under the new deal are expected in the first quarter of 2025; the company’s client roster includes Gareth and Abby Anderson. – Jessica Nicholson
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Record label LASAL announced a strategic distribution and joint venture partnership with Capitol CMG, marking “a new era in the faith-based music industry and a significant milestone for both companies,” according to a press release. Capitol will act as a partner in signing and developing artists alongside LASAL. “In Spanish, LASAL translates to ‘The Salt,’ which adds flavor and restores balance within the body,” Samuel Ash, founder of LASAL, said in a statement. “That is our purpose: to restore balance in the music industry while allowing artists to freely express their creativity and faith without limits. Capitol CMG shares this vision, and together, we believe we can inspire and impact the world.” – Griselda Flores
Independent distributor IDOL signed global partnerships with two labels: Brooklyn-based Mexican Summer (Cate Le Bon, Hayden Pedigo) and Dom Recs, a new imprint launched by Dan Petruzzi and Roxy Summers that is gearing up for its first album release, Twin Shadow’s Georgie. Both labels will receive global digital distribution, marketing and audience development services under their respective deals.
Tuned Global, a leading cloud platform for the music industry, partnered with AudioShake in a deal that will give Tuned Global clients access to AudioShake’s AI-based tools, including stem separation and lyric transcriptions. AudioShake technology is now available to Tuned Global’s white-label streaming applications and via Tuned Global’s advanced APIs.
Ticketing and live event marketplace Tixr partnered with full-scale event production company Social House Entertainment. Through the pact, Social House will integrate Tixr technology to optimize ticket sales and allow it to better manage merch, VIP experiences and other event services while streamlining the ticketing process. Social House is behind the popular multi-city Tacos and Tequila Festival and other events.
Tickets for Good, which offers affordable event tickets to healthcare workers, teachers, charity staff and others facing economic barriers, expanded into the Netherlands following launches in the U.S. and the U.K. The launch is being supported by Greenhouse Talent, ID&T, Mojo Concerts and This is Live, as well as ambassadors Robbie Williams and MassiveMusic founder Hans Brouwer. Led by Simone van Hövell and Linda Holleman, Tickets For Good Netherlands encompasses more than 30 healthcare institutions, reaching over 150,000 healthcare workers.
Live Nation Urban partnered with Black on the Block, a monthly vendor festival that highlights Black-owned businesses. Through the deal, Black on the Block will expand to seven cities in 2025, kicking off March 23 at Global Life Field in Arlington, Tex. Other new stops made possible by the pact include Houston, Atlanta, Detroit and Charlotte, N.C.
Ben Vaughn, president/CEO of Warner Chappell Nashville, died on Thursday (Jan. 30). A cause of death was not disclosed. He was 49.
The much-beloved Vaughn, who was Billboard‘s Country Power Players executive of the year in 2020, joined Warner Chappell Nashville (WCN) in 2012 and was promoted to president in 2017, adding the role of CEO in 2019. The Belmont University alumnus was honored with Belmont’s Music City Milestone Award in 2015.
Warner Chappell Music co-chairs Guy Moot and Carianne Marshall released the following memo to Warner Chappell Music staffers that read in part, “It is with broken hearts that we share the unthinkable news that Ben Vaughn, President & CEO of Warner Chappell Nashville, passed away this morning. Our deepest condolences are with his family and many friends.”
Under Vaughn, WCN had consistently dominated the country music publishing market. In 2024, they were crowned ASCAP Country Music and BMI Publisher of the Year (for the fifth time) and marked their third consecutive quarter at No. 1 on Billboard’s Country Airplay publisher rankings. Apart from Q3 of 2022 to Q3 of 2023, Warner Chappell Nashville had held the quarterly top spot, dating back to the first quarter of 2017. In November 2019, ASCAP, BMI and SESAC all named WCN their country publisher of the year — only the third time a publishing company has been honored as such, and a first for WCN.
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Among the singer/songwriters Vaughn worked with were Thomas Rhett, Zach Bryan, Chris Stapleton, Riley Green, Warren Zeiders, Hunter Phelps, Bailey Zimmerman, Jessi Alexander, Liz Rose, Josh Phillips, Thomas Rhett, Nicolle Galyon and Randy Montana.
The father of three was extraordinarily passionate about songwriters, especially developing ones, and relished helping young singer/songwriters find their voice and their first record deal. “There’s so many people that want that record deal, so helping someone get to that spot is one of the hardest things in the music business,” Vaughn told Billboard in 2020. “So the job is to take away the nos and help that person get to a place where you get a yes.”
Tributes poured in quickly. Jon Platt, chairman/CEO of Sony Music Publishing, who worked with Vaughn at EMI and then brought him over to Warner Chappell in 2012, said in a statement, “I am deeply saddened by the passing of my friend Ben Vaughn, and united in grief with the entire songwriting community. Ben dedicated his life to songwriters. As an exceptional leader and mentor, he leaves an indelible mark on the music business. I extend my deepest condolences to his loved ones and all who were touched by his spirit. I feel privileged to have known Ben and shared a close relationship with him. He was the best of the best and I will miss him greatly.”
“Ben was warm, welcoming, and always someone that supported and elevated the American songwriter,” says Lucas Keller, president/founder of Milk & Honey. “The world will not be the same without him – this is a loss most cannot process today. We met 15 years ago on my first trip to Nashville when he was at EMI, and I’ll never forget him.”
“Our hearts are heavy today in learning about the passing of longtime ACM Board Member and former ACM Board Chair, and good friend to all of us, Ben Vaughn,” added Damon Whiteside, CEO of the Academy of Country Music. “Ben was a champion of the country music genre and strong advocate for songwriters and good songs. He served as board chair of the Academy in 2018 and was the first music publisher to serve as chairman in the Academy’s history, in addition to serving on the ACM Lifting Lives board. On behalf of the ACM Board, ACM Lifting Lives Board, and the ACM staff, we send our condolences to Ben’s family, friends, coworkers, and all of those who crossed his path and were lifted up by his passion. His memory will live on forever through the great music he made happen.”
Vaughn grew up in the tiny community of Sullivan, Ky., and comes from “a proud tradition of coal miners, teachers and mechanics,” he told Billboard. As a high school student, he got a job as a weekend DJ at country radio station WMSK-FM, which set him on a path to Nashville. “I would devour the vinyl and read all the publishing and writer credits,” he told Billboard. “I thought, ‘I want to go where these people are.’ ”
That led him to Nashville’s Belmont University and an internship at WCN in 1994 under then-executive vp Tim Wipperman, who taught Vaughn the intricacies of publishing. While there, he got to know producer Scott Hendricks, whose Big Tractor publishing company had a partnership with WCN. Hendricks was so impressed with Vaughn that he eventually asked him to run Big Tractor — while Vaughn was still a college student. “He said, ‘I’m going to give you six months to see how it goes, but if you quit school, I’ll fire you,’ ” recalls Vaughn.
Through the decades, Vaughn remained in wonderment of songwriters and the new worlds they created. “It is awe-inspiring how much talent it takes to create something out of nothing that literally can make the whole world sing,” he said. “The most sacred responsibility is to help connect writers’ dreams to their goals. The fact that as publishers we are trusted to hold that space for them is everything.”
Moot and Marshall’s full memo to WMG:
To everyone at WMG,
It is with broken hearts that we share the unthinkable news that Ben Vaughn, President & CEO of Warner Chappell Nashville, passed away this morning. Our deepest condolences are with his family and many friends.
Ben has led our Nashville team since 2012, and we know that many of you around the world got to know him over the years. Anyone who had the pleasure of working with him will be as shocked and saddened as we are.
First and foremost, Ben was an extraordinary human being. He met everyone with enthusiasm, warmth, and generosity. His smile was huge, and his sense of humor was infectious.
He was always a passionate advocate of songwriters and a topflight music publisher. The Nashville community has lost one of its greatest champions, and he will be profoundly missed by so many across our company and the entire industry.
We are planning to visit the Nashville team very soon and thank you all for helping support them through this awful tragedy.
With love,
Guy & Carianne
This is a developing story.
While the Los Angeles wildfires have all but silenced the many parties and performances that were slated to precede the Feb. 2 Grammy Awards ceremony, legendary record man Clive Davis says his annual pre-Grammy gala — which he is calling his 50th — will still take place on Feb. 1, this time for a cause greater than celebrating the music industry.
“Seeing the ongoing devastation that has been caused by the wildfires in Los Angeles, we feel strongly that the pre-Grammy gala should be a fundraising event to provide needed funds for all those affected, including many in the music community,” Davis says. “We are working closely with our longtime partners at the Recording Academy and will help support their MusiCares Los Angeles Fire Relief effort through fundraising at our event. We want to ensure that the evening will not only be a memorable night of music but will also provide impactful support for those very much in need.”
A week before Davis, 93, made the decision to convert the gala into a philanthropic event, he spoke to Billboard about its origins in 1976 and some of the more memorable experiences he’s had at his soiree — which he calls “one of the most exciting aspects of my life” — over the last five decades. One of Grammy Week’s most coveted invitations, the gathering attracts a cross-section of celebrity that in previous years has included former Speaker of the House Nancy Pelosi, Kim Kardashian, Caitlyn Jenner, Beck, Serena Williams, Tom Hanks, Meryl Streep, Dave Grohl, St. Vincent, Quincy Jones, Clarence Avant, Dua Lipa, Kareem Abdul-Jabbar and “Weird Al” Yankovic. They come to mingle and watch musical performances by an unannounced lineup of acts that have included Whitney Houston, Dionne Warwick, Lainey Wilson, Jelly Roll, Gladys Knight and Green Day, to name just a few.
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Clive Davis and Whitney Houston onstage at the 2011 event
Lester Cohen/WireImage
Davis says a documentary about the gala’s history by producers Jesse Collins and Rob Ford is in the works and will include never-before-seen footage from the event over the years.
Now that invitations have gone out, what kind of response are you getting in light of the fires?
The response is the strongest ever. But beyond that, the paramount concern is safety, health and getting out of this disaster.
Your first gala was in 1976. What led to your decision to throw a party?
I started Arista. Obviously, you can only hope that your first record goes straight to the top of the charts, and that’s what happened [with Barry Manilow’s “Mandy”]. Barry then gets two Grammy nominations. He comes to me and says, “Where’s our party? Every label has a party the night of the Grammys.” I said, “You’re right, but Barry, we just formed. At best we’ll have one table at Chasen’s.”
I thought, “I’ve got to come up with a different idea.” I decided to have our party the day before the Grammys. I invited everybody, and Stevie Wonder showed up, Elton John showed up and John Denver showed up. I said to myself, “My God, I think I’ve landed on a really compelling idea to celebrate the night before.” And that began the tradition.
Barry Manilow (left) and Clive Davis at the 2016 Pre-Grammy Gala and Salute to Industry Icons.
Lester Cohen/WireImage
The evening always includes a budding star and at least one classic performer who blows the audience away. Where did that idea come from?
In 2001, for the first time, I was going to introduce a best new artist category, and I told Alicia Keys, “I’ve got good news and bad news. I’m going to invite you to sing ‘Fallin’ ’ at my party.” This was before she broke. She said, “What could be the bad news?” I said, “Well, right before I introduce you, Angie Stone and Gladys Knight [are] singing ‘Neither One of Us,’ and I can’t let Gladys leave the stage without singing ‘Midnight Train to Georgia.’ ” I love that one of the great old-time performances will be followed by the introduction of a brand-new artist.
Will the 50th anniversary be reflected in the party?
There will be elements. We have some great performers who will show why over the 50-year period this evening is so unique.
You will present Universal Music Publishing Group chairman/CEO Jody Gerson with the Industry Icon Award. Does she choose any of the performers?
Yes, she’ll have one performer sing in her honor.
If you could only pick one favorite memory from the gala, what would it be?
At the height of Arista Records, there was a short-lived attempt to stop my earning capacity, which had been very considerable. I had to leave Arista and form J Records, which would mean I would no longer be working with Whitney Houston or Santana 30 years after signing him initially. That was the only year [2000] I had only two artists perform: Santana on the birth of Supernatural [the massive hit album Arista released in 1999] and Whitney Houston. The emotion I felt with her singing “I Believe in You and Me” and “I Will Always Love You” to me can never be duplicated.
Have you thought that 50 years is a good number to step away from the party on a high note?
We’ll deal with the future afterward. This evening is my paramount consideration.
Carlos Santana and Alicia Keys onstage at the 2005 gala.
Kevin Mazur/WireImage
Esha Tewari is taking the next big step in her career. The rising singer-songwriter has officially signed with Warner Music in collaboration with Atlantic Records, setting the stage for a massive year ahead.
The deal, announced today (Jan. 30), marks a pivotal moment for Tewari, who built an impressive following through TikTok and streaming platforms.
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“I am super excited to welcome Esha Tewari to the Warner Music family and to be working with Atlantic Records to take her music to a global audience,” Rosen said. “Esha is an incredible talent with a unique ability to connect with her fans through her songs, and I can’t wait to work with her to amplify her music and her authentic storytelling to every corner of the world.”
For Tewari, the decision to sign with Warner wasn’t just about major-label backing—it was about finding a team that aligned with her fiercely independent vision.
“I’m so excited to be a part of the Warner Music family,” Tewari comments in a statement. “From LA to New York, we met with executives who spoke about an evolving label system that now gives artists more ownership and control. Warner stood out as their actions matched their words.”
She continues, “Especially this early in my career, the deal I have done with Warner Music gives me the ability to remain hands-on with the whole creative vision, and allows me to remain the leader of my now expanded team.”
Tewari first started making waves in February 2024 by posting covers and original songs on TikTok, quickly amassing a loyal fanbase she calls “Tewarians.”
Her independently released single “Beautiful Boy” went viral, catapulting her to over 601,000 monthly Spotify listeners, 217,000 Instagram followers, and 172,000 TikTok followers.
Her success continued with the release of two EPs—i can and Better Off—which helped establish her indie-folk sound. Now, she’s gearing up for her third EP, led by the heartfelt new single “You Were Mine,” which has already racked up 17,000 TikTok creations using the original sound.
With her career gaining momentum, Tewari is preparing for a North American tour in mid-2025, but first, she’s returning to Australian stages this April and May for her second national headline tour.
If the demand is anything to go by, she’s becoming a serious live force—Sydney, Brisbane, Melbourne, and Perth have already sold out, prompting a second show in Perth, while Adelaide is nearing capacity. It follows her completely sold-out Australian tour in November 2024.
In December, Influence Media Partners, the music investing company backed by BlackRock and the Warner Music Group, joined the growing music industry trend of using asset-backed securitization to finance acquisitions and operations by raising about $360 million through a private placement in a deal lead by Goldman Sachs, sources say.
Besides the Influence Media deal, the waning months of 2024 also saw Concord raising $850 million through its third asset-backed bond offering run by Apollo Global Management in October; while Blackstone led a $1.47 billion securitization for its Hipgnosis Song Asset company. In each deal, the bonds and notes are collateralized by the music assets and income streams of the respective companies. The offerings from Concord and Hipgnosis have public filings with the appropriate regulatory agencies, but the Influence Media offering, as a private placement, does not have to file with the U.S. Securities and Exchange Commission.
As interest rates rise, asset-backed securities (ABS) are expected to become increasingly popular funding vehicles for music companies because they have fixed, five-year interest rates. In the past, Concord CEO Bob Valentine has compared these securitizations to fixed, low-interest-rate loans.
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Influence Media co-managing partner Lynn Hazan, the former CFO for Epic Records, worked with BlackRock executives on the deal, according to sources.
Influence Media, which was founded in 2019, has since bought stakes in some 30 music catalogs, and in early 2022 received additional funding to the tune of $750 million provided by BlackRock and the Warner Music Group. The acquired catalogs include music by Enrique Iglesias, Future, Logic, Julia Michaels, Ali Tamposi, Tainy and Harry Styles collaborator Tyler Johnson. The new funding is expected to be deployed in buying more music catalog assets.
Initially, it looked like the Influence Media Partners asset-backed securities offering was slow in coming together as bond investors looked at the Concord and Hipgnosis offerings, but in the end, the Influence offering — which also had Truist as the co-structuring and co-placement agent — came together nicely for the New York-based music investment company, attracting funding from about a half-dozen investors, sources say.
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