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Toronto is preparing for a new era.
Taylor Swift will bring her behemoth Eras Tour to the biggest city in Canada for six sold-out shows in November. But Torontonians know all too well that major concerts can lead to bad traffic downtown. The city has announced that to help those shows run more smoothly, there will be a ‘Limited Activity Zone’ around the Rogers Centre stadium during the two weeks of Swift-mania.
Planned work in the zone — like construction or filming — will be limited to off-peak hours and will require express permission from the City of Toronto, though emergency work will be allowed.
The zone covers a sizeable area of Toronto’s downtown and will aim to keep traffic flowing as roughly 240,000 fans attend Taylor Swift’s performances. The affected industries shouldn’t be too worried though — the zone will only be in place for a fortnight, from Nov. 11 to 25.
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The ‘Limited Activity Zone’ isn’t the only infrastructural adjustment needed to account for Swift’s superstardom. Rogers revealed last week that it just completed an $8 million upgrade to its 5G network at the Rogers Centre, so fans can livestream the enchanting spectacle in real-time — or just text their friends, which can be tough during service overloads at major events.
The route from Rogers Centre north to Toronto’s Nathan Phillips Square, where City Hall sits, will also be renamed Taylor Swift Way for the month. Signs will designate the new name, guiding fans into the ‘Limited Activity Zone’ where Swift will take the stage.
The city is anticipating a major financial boost from Swift’s visit, with over $250 million in economic impact projected.
Taylor Swift performs in Toronto from Nov. 14-16 and again from Nov. 21-23. –Rosie Long Decter
Slipstream Acquires Anthem Entertainment’s Extensive Production Music Portfolio
Music licensing platform Slipstream has announced that it has acquired the production music portfolio of Toronto-based music rights company Anthem Entertainment.
The acquisition of Anthem Production Music Group includes three major brands: Anthem’s production music agency Jingle Punks, independent production music library 5 Alarm Music, and U.K.-based independent production music publisher Cavendish Music. The net result is the addition of over 650,000 tracks to Slipstream’s catalog.
Slipstream says the acquisition positions it as “the largest global independent music licensing platform.”
There are long and close connections between the principal players involved. Slipstream was founded in 2021 by CEO Dan Demole and chief revenue officer Jesse Korwin. Demole was the co-founder of Jingle Punks and former president of Anthem Production Music Group, while Korwin served as managing director of Jingle Punks.
“This acquisition is a homecoming for us,” says Demole. “Jesse and I built both Jingle Punks and Slipstream on the foundation of making great music accessible to every type of creator. We now have an unprecedented opportunity to build on the success of both brands while leading the next wave of innovation in music licensing. With this vast catalog and our tech-enabled platform, we’re not only the largest independent player in the space, but also the most innovative.”
The expanded platform will serve a diverse client base, from individual content creators and small businesses to global brands and enterprises. Slipstream said the acquisition is in line with its goal to streamline music licensing across TV, film, advertising, gaming, social media and brands.
Anthem Entertainment will make an investment in Slipstream as part of the transaction. Anthem Entertainment CEO, Jason Klein, who is one of Billboard Canada’s 2024 Power Players in the Publishing category, commented: “Anthem’s focus since my appointment in January 2023 has been on building its core music publishing and recorded music divisions, while considering the best path forward for our production music businesses.”
“This sale to Slipstream has placed Jingle Punks, 5 Alarm and Cavendish Music back in the familiar and capable hands of proven leaders in the production music and technology space. Dan and Jesse already know these businesses and have a unique vision for their future as part of Slipstream. Our belief in them as leaders and their vision is the reason we have also chosen to invest in Slipstream going forward.”
The New York City-headquartered Jingle Punks has long maintained an office in Toronto, alongside branches in Santa Monica, London, Sydney and Melbourne. – Kerry Doole
Billboard Canada Parent Company AMG Acquires Major Stake in Music Festival NXNE
Artshouse Media Group (AMG) has acquired a major stake in Toronto music festival North By Northeast (NXNE).
The media company — which publishes Billboard Canada, Billboard UK and Rolling Stone Quebec and also owns Arts Help, Waveland Canada and the Climate Library — will own 50% of the long-running festival. The acquisition begins a long-term partnership, starting with NXNE’s landmark 30th anniversary edition from June 11-June 15, 2025.
“This partnership with NXNE comes at an exciting time for both Billboard Canada and AMG. As NXNE marks its 30th anniversary, we are aligning our shared goals of elevating artists and engaging music lovers,” says Amanda Dorenberg, CEO of Billboard Canada and AMG. “Together, we’ll amplify the festival’s impact, providing artists with a broader platform to reach audiences and creating new ways for fans to discover fresh talent.”
Michael Hollett will continue as NXNE’s president and CEO, while Barbara Hefler serves as managing director.
NXNE launched in 1995 and quickly established itself as the heart of Toronto’s live music scene. Originally formed in partnership with Austin’s SXSW, it evolved its own identity for recognizing and showcasing emerging talent in the early stages of international success. Artists from Lizzo to Daniel Caesar, Feist, Grimes, The Beaches, Mac DeMarco, Haviah Mighty, Sam Roberts and Billy Talent have played critical NXNE showcases at breaking points in their careers.
The festival has also been responsible for some legendary headlining shows from acts including Iggy Pop & The Stooges (one of the biggest free shows ever in downtown Toronto at Yonge-Dundas Square), Vince Staples, the Flaming Lips, The National, Post Malone, Tyler, The Creator and many more.
The collaboration with AMG and Billboard Canada will grow the festival’s reach in its landmark 30th anniversary edition with new co-produced programming and activations to be announced soon.
Artist applications are open now at nxne.com. 2025 venues will include The Garrison, Drake Underground, Collective Arts brewery and more, plus a new official festival headquarters at The Theatre Centre on Queen West.
The 30th anniversary edition will celebrate the festival’s rich history and the big acts who have played over the decades, while staying committed to its “Listen to the Future” tagline and its commitment to always looking for the next big thing in music.
“We want to meet and exceed NXNE’s ‘glory days’ as a citywide, community-engaging discovery festival,” says Hollett.
Time to drop the needle on the latest Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.
Read on for (mostly) good news and also check out Billboard‘s annual list of top executives leading the live sector, plus our weekly interview series spotlighting a single executive, our helpful calendar of notable events, and have you ever wanted to look at tchotchkes inside the office of an executive while reading their in-depth answers to the most important questions facing the biz? From the Desk Of is probably your jam.
Gayle Troberman, iHeartMedia’s chief marketing officer for the past decade, is transitioning to a senior advisory role. In a joint memo to staff, chief executive Bob Pittman and president and COO Richard Bressler praised Troberman’s “major impact” on innovation and brand development efforts at the radio giant, adding, “we fully expect her influence to continue in her new role. We’re grateful for her innovative thinking and insights, and we’re pleased she will continue to contribute to the company.” In her advisory role, Troberman will continue leading thought leadership initiatives, including the “New American Consumer” studies, and remain active at key industry events like CES and Cannes Lions. Prior to iHeart, Troberman was CMO at IPG Mediabrands and spent a high-impact 16 years at Microsoft, where she was chief creative officer during rollouts for the Xbox, Bing and other major brands. A successor has not been announced.
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RADIO, RADIO: Lauren Burrows Coleman is joining Beasley as chief financial officer, effective Nov. 1, succeedinmg retiring CFO Marie Tedesco, who served for 33 years. Burrows Coleman previously led global financial operations at Wayfair and has held leadership roles at WindSail Capital Group, Wind Point Partners, GE Capital and Lehman Brothers … Jim Malito joined Black River Entertainment as director of radio promotion west coast. He continues to be based in Phoenix. Malito’s career includes time at Warner Music Nashville, BBR Music Group, and most recently Stone Country Records, where he served as vp of radio promotion and marketing … and Big Loud senior director of media Jess Anderson wrapped a three-and-a-half-year run with the label on Oct. 17, with plans to take a new position next month. She had just been promoted in August.
Triller Group unveiled Kevin McGurn as its next CEO, effective in November, when “further enhancements” to the TikTok rival’s leadership will be announced. McGurn, with experience at T-Mobile, Vevo and Hulu, has a strong track record in driving innovation and fostering growth, with achievements including leading Vevo’s global expansion and building Hulu’s sales team. Meanwhile, 1-800-Flowers.com founder James McCann joins Triller’s board as chairman of the nominations committee. McCann brings over 40 years of leadership experience, having served in governance roles at Willis Towers Watson and International Game Technology. Finally, former Triller CEO Bobby Sarnevesht will remain on the board, providing strategic guidance to McGurn and other leaders. “Our renewed focus means Triller Group is well positioned to deliver best in class entertainment, when, where and how our fans watch it,” said McGurn. “We will continue to build from our strong roots in vertical video, music and sports, and optimise our expertise in mobile and connected television.”
Isabel Quinteros
Jen, an ethically-trained AI music creation platform, appointed TikTok’s former global head of music partnerships Isabel Quinteros as senior vice president of marketing and industry relations. In her new role, Quinteros will develop a scalable framework to help artists monetize their contributions, fostering a sustainable model for AI-driven music creation. She’ll work closely with cofounder Shara Senderoff. Quinteros, a public relations expert, joined TikTok in 2019 and helped transform it into a key platform for artists, supporting artists in every phase of their careers. She also co-launched TikTok’s first IRL concert and led DEI initiatives, earning industry recognition. Senderoff praised Quinteros as a game-changer who can “bridge the worlds of music and tech, while keeping talent at the center,” while co-founder Mike Caren highlighted her skills in partnership-building and innovation, adding, “I’m confident that under her leadership, Jen will set a new standard for how AI can elevate creativity while ensuring artists remain at the heart of the process.”
Frontiers Label Group, the Italian metal label, appointed Amy Pugh as global digital marketing & social media manager. With over 15 years of industry experience, Pugh is the founder of digital marketing agency 10/13 Media and has held key roles at Sony Music Publishing, EMI, Universal Music Group and Stingray Music. She has managed or worked on global campaigns for a slew of major artists, including Taylor Swift, Metallica, Wu-Tang Clan and Foo Fighters, among others. FLP president Serafino Perugino expressed enthusiasm for Pugh’s “massive expertise and fresh approach,” adding he’s “thrilled at the prospect of the added value that she will bring to the label and our artists.” Pugh, already a fan of several Frontiers acts — the label’s roster includes Blue Öyster Cult, Stryper, Winger and more — looks forward to contributing to the label’s success through innovative campaigns and projects.
The Academy of Country Music revealed its newly-elected board of directors for the 2024-2025 term. Previously announced officers for the ACM’s 2024-2025 term are Randy Bernard (chair), Cris Lacy (vice-chair), Jeff Krones (vice president), Carmen Romano (treasurer), Gayle Holcomb (sergeant-at-arms), Duane Clark (parliamentarian) and Tommy Moore (secretary). Newly elected board of directors members are Adam Weiser, Becky Gardenhire, BJ Hill, Cameo Carlson, Chandra LaPlume, Cyndi Forman, Deana Ivey, George Couri, Jon Loba, Kristie Sloan, Lee Thomas Miller, Marcel Pariseau, Margaret Hart, Martha Earls, Meredith Jones, Scot Calonge, Scott Scovill, Tim Roberts and Ward Guenther. Newly appointed director-at-large members of the board of directors are Aaron Spalding, Andy Moats, Benson Curb, Candice Watkins, Chris Lisle, Cindy Mabe, Curt Motley, Emily Falvey, Howie Edelman, Jeremy Holley, Matt Cottingham, Rod Phillips, Sally Seitz, Shawn McSpadden, Storme Warren and Tim Foisset. –Jessica Nicholson
The Orchard appointed Jeeyoung Lee as head of South Korea, overseeing operations from Seoul and reporting to evp and head of strategy, Prashant Bahadur. Lee, with nearly 20 years of experience at companies like Warner Bros. Discovery and CJ E&M, will manage label relations, release strategies, global distribution and regional support. Additionally, Sungho “Jake” Bae has been named director, Asia Pacific Region, Artist and Label Services. Bae, also based in Seoul, focuses on release strategies and cross-country marketing, drawing on previous experience at Spotify and Big Hit Music, where he played a key role in BTS’s global success. John Park, svp of strategy and corporate development, will now focus on business opportunities in Korea, working closely with Lee on new signings and partnerships. The Orchard’s Korean roster features artists from Starship Entertainment, ABYSS, Eric Nam and more.
OpenPlay Inc. hired Chris McMurtry as senior solutions architect to enhance the platform’s features for label and publisher clients. McMurtry brings over 20 years of music tech expertise, having led product development at companies like Artist Growth, PEX and Exactuals, where he launched RAI, a machine learning tool designed to enhance song metadata. Earlier in his career, McMurtry founded Dart Music, an automated digital distribution platform specializing in complex metadata. His industry impact earned him recognition on Billboard’s 2019 Digital Power Players list.
Berklee made it official with Michael Shinn as executive director of Boston Conservatory at Berklee, effective Oct. 28. Shinn, who has served as interim executive director since August 2023, will lead new initiatives, programs and collaborations while contributing to Berklee’s strategic planning. During his interim tenure, he expanded the dance division, raised over $4.2 million, hired more than 30 faculty members and recruited a new dean of theater. Previously, Shinn was the Conservatory’s dean of music for six years. Before Berklee, he chaired keyboard studies at Juilliard, his alma mater, and also co-founded the pianoSonoma Music Festival. “Michael brings a wealth of leadership experience to the executive director role, as well as a passion for the development of the arts, arts education, and performing artists in a contemporary context,” said David Bogen, Berklee’s interim president. “He is incredibly collaborative and supportive of faculty, staff, and students.”
mtheory appointed Jared Losow as senior director of tour marketing and Dirk Lemmenes as vp of client relations. Losow, co-founder of Barley MGMT, will be based in NYC, while Lemmenes, former COO and management lead for Zac Brown Band, will work from Atlanta. Losow brings nearly 15 years of industry expertise, having worked at various indie labels and venues, plus he held leadership roles at In de Goot Entertainment, Relapse Records and the San Francisco Symphony. Lemmenes clocked over 20 years in artist management and operations. He has managed teams across marketing, finance and touring for Zac Brown Band and previously worked as a MTV music supervisor, a booking agent, record store owner and touring musician.
EastCoast Entertainment appointed Erin Collums as director of marketing. With over 12 years of experience in marketing and entertainment, Collums has managed campaigns for major sports organizations like the Carolina Panthers (NFL) and Charlotte FC (MLS). At ECE, Collums will focus on enhancing the brand’s national presence through developing digital strategies to engage audiences and foster growth across corporate events, performing arts, comedy tours and various private entertainment programming. ECE president John Wolfslayer called it a “significant milestone in the company’s evolution” that Collums is joining the team, seeing her appointment as a key step as the company approaches its 50th anniversary. Passionate about live events, Collums believes in the transformative power of music and performance and looks forward to helping ECE create memorable experiences for clients.
ICYMI:
Michael Rapino
New York City nightclub complex Avant Gardner hired Josh Wyatt as its new CEO … Jeff Jones is stepping down as the CEO of The Beatles’ Apple Corps Ltd after 17 years in the role … and Live Nation CEO Michael Rapino has been deposed in the ongoing litigation over the 2021 disaster at the Astroworld music festival. [KEEP READING]
Last Week’s Turntable: Capitol Hires Breaker of Artists
The Music Sustainability Summit (MSS) has announced programming for its next event, which is set to take place on Feb. 3, 2025, at Solotech Studios in Los Angeles. Produced by the Music Sustainability Alliance (MSA), the second edition of the conference will focus on solutions to climate change’s effects on the music industry, with special […]
From Taylor Swift T-shirts to Fleetwood Mac Rumours vinyl LPs, the global music merchandise business will grow to a retail value of $16.3 billion by 2030, according to a new report by MIDiA Research.
Merch become a priority for many artists in 2020 when the COVID-19 pandemic shut down the concert business. And as touring resumed and fans opened their wallets, the global merch business rose to $13.4 billion in 2023. But merch sales are expected to cool considerably, as MIDiA forecasts merch sales will grow at a compound annual growth rate (CAGR) of just 2.8% through the end of the decade. There’s still plenty of opportunity, though — if artists and merch companies don’t treat merch like a cash grab.
“As the market has become more sophisticated, fan expectations for quality have risen,” MIDiA’s Tatiana Cirisano said in a statement. “But record labels focusing on monetising fandom risk ‘overharvesting’ — exploiting this resource to the point of diminishing returns.”
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Music companies, Cirisano added, “must nurture deep, long-lasting fandom to sustain this growth.”
Physical music, which MIDiA considers to be merch because many consumers treat vinyl LPs and CDs as collectible items, is forecasted to peak in 2025 and decrease through 2030. Physical merchandise such as artist-branded apparel and digital merchandise such as virtual goods and NFTs are expected to make up for physical music’s decline and lift total merch revenues.
Merch isn’t the most financially appealing part of the music business. That would be digital music, which enjoys both higher margins and higher growth rates. In the first half of 2024, Universal Music Group’s recorded music business had earnings before interest, taxes, depreciation and amortization (EBITDA) margin of 25.4%, nearly five times its merch division’s 5.3% EBITDA margin. And while MIDiA expects merch to grow at a 2.8% CAGR through 2030, Goldman Sachs forecasts the global music streaming market will grow at a 9.9% CAGR over that time frame.
But merch has always been an important part of the music business because of music fans’ unending desire for T-shirts and keepsakes of their favorite artists. Consolidation in the merch business began about six years ago as major labels and some indies invested in merchandising companies to diversify their revenues and expand the services they offer to artist clients.
Warner Music Group, for example, acquired German merch specialist EMP in 2018. Universal Music Group acquired boutique merch company Epic Rights in 2019. Sony Music Entertainment made a strategic investment in merchandise company Ceremony of Roses in 2022, and its Thread Shop merch agency purchased the merch division of The Araca Group in 2019. Also in 2019, Indie company EMPIRE took a majority stake in merch/ecommerce company Top Drawer Merch / Electric Family.
Collaborative Fund and Imaginary Ventures, with additional investment from BMG parent company Bertelsmann and superstar manager Guy Oseary, have led a multimillion fundraising round for [cafeteria], a new market research app that pays teens to opine on what they want from top U.S. brands.
Co-founded and led by Rishi Malhotra — known for creating India’s top streaming platform JioSaavn — Malhotra says [cafeteria] gleans marketing insights from a critical mass of teenagers through open-ended, one-on-one conversations that could start with questions like, “What do you wish McDonald’s had on its menu?” or “What do you think of this Billie Eilish song?”
Major brands can use the conversations with teens to glean insights — for example, teens on average say they are willing to pay $314 to see their favorite artist live — or identify trends before they’re trendy — like Canadian singer songwriter Tate McCrae, which teens were talking about in February, says Malhotra, whose co-founders on the app are former Luminary execs Mark Silverstein and Leeann Sheely.
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“Once something is already a trend, it might be a little late. But when something is pre-trend it’s very actionable,” says Malhotra, who came up with the idea for [cafeteria] by observing his own teenage children. “There is also future testing (applications), like, what do you think about this record?”
[cafeteria] soft-launched three months ago and now has a few thousand users in 39 U.S. states and 60 cities. On average they spend five minutes at [cafeteria]’s virtual “tables” — chat rooms where they answer artificial intelligence-generated questions either by text or voice note. While teens do earn money for providing feedback, Malhotra said they do not expect this to be a major money-making endeavor for its participants.
The seed funding round was led by Collaborative Fund, investors in Beyond Meat, Lyft and Sweetgreen, and Imaginary Ventures, investors in Skims, Glossier and Daily Harvest, followed by Oseary, an early investor in Peloton who leads the venture capital firm Sound Ventures with Ashton Kutcher, which has stakes in Uber, Airbnb, Spotify, Pinterest, Robinhood, and others.
The [cafeteria] app
[cafeteria]
Global royalty collections for song rightsholders grew 7.6% last year, to a new high of 11.75 billion Euros ($10.9 billion, based on the average exchange rate for 2023), according to CISAC (the Confédération Internationale des Sociétés d´Auteurs et Compositeurs), the Paris-based collecting societies trade organization. Much of the growth was driven by two categories: Digital collections rose 9.6% to 4.52 billion Euros ($4.18 billion), while live and background music royalties grew 21.8% — fueled largely by the concert business — to overtake the pre-pandemic total from 2019.
The big collecting societies all had good years, but the CISAC report offers unparalleled insight into a complicated but important part of the music publishing business. (CISAC includes other collecting societies from outside the music business, but publishing accounts for most of these royalties, which are, in turn, more important to music than to other businesses. CISAC breaks out music royalties, but its figures only include those that go through CISAC member societies rather than direct deals.) There are no big surprises here: Digital has been the main driver of growth recently, more than doubling in five years from 2.06 billion Euros ($1.90 billion) in 2019 to 4.52 billion Euros ($4.18 billion) last year — although last year’s growth of 9.6% was lower than in any of the preceding four. Digital now accounts for 38.5% of collections, more than any other category.
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Collections for broadcast and live concerts and background music represent the two other major sources of revenue, accounting for 28.7% and 26.1%, respectively. (Background music refers to compositions played in public, at restaurants, stores or bars, for example.) Royalties from TV and radio declined 5.3% to 3.37 billion Euros ($3.11 billion) after a significant jump the previous year. They have stayed fairly steady over the past half-decade.
The live and background music figures are more complicated because of the disruption from the pandemic. Last year those categories grew to 3.06 billion euros ($2.82 billion), fueled mostly by the return of live music revenue, which in some regions may lag live music events. More significantly, that represents a 12.7% jump from 2019.
Collecting societies take in most of their business in Europe and the U.S.; CISAC has one category for Western Europe and another for the U.S. and Canada. Western Europe collections rose 8.2%, while those in the U.S. and Canada rose 7.8%. Taken as a whole, Europe accounts for more than half of total collecting society revenue, and the U.S. and Canada together account for another 27.1%. Asia-Pacific royalties shrank by .3%, largely due to currency fluctuations in Japan, without which the region would have seen 6.8% growth. The fastest growing region is Latin America, up by 26.2% — and by 108.2% over the past two years – although it only accounts for 5.9% of the overall market. Africa, where executives have seen massive potential for years, is still growing very slowly – up 3.2% to .6% of the overall market.
General CISAC collections are also up 7.6%, to 13.09 billion Euros ($12.1 billion), also an all-time high, with digital up 9.6% to 4.62 billion Euros ($4.3 billion). (This includes collecting societies for other media, such as writing and visual art, which many countries in Europe have.)
Billboard will follow this news story with a more extensive analysis of growth sectors, the future of various markets, and how this business might grow in the years ahead.
Music stars Snoop Dogg, SZA, Latto, Charlie Wilson, Metro Boomin and Tyler, the Creator are among this year’s slate of EBONY Power 100 honorees. The awards ceremony — which will also commemorate the legendary magazine’s 79th anniversary — will take place Nov. 17 at Nya Studios West in Los Angeles.
The 100 honorees are divided among 10 categories: Artists in Residence, Business Disruptors, Community Crusaders, Entertainment Powerhouses, Generation Next, Influential Creators, Leaders in Sport, Media Mavens, Music Innovators and STEM Trailblazers. Representing a diverse array of talent, business entrepreneurs, leaders and pioneers, the list’s additional 2024 honorees include Kevin Hart, Congressman Hakeem Jeffries, Jennifer Hudson, Maya Rudolph, Doechii, Jaylen Brown, Keke Palmer and Shannon Sharpe. For a complete list of EBONY Power 100 honorees and updates, visit here.
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In a release announcing the 2024 honorees, EBONY CEO Eden Bridgeman said, “We have been gearing up for the most anticipated EBONY Power 100 yet. This iconic list is not just a celebration; it’s a vital recognition of those who are shaping culture and driving real change in our communities. At a time when honoring Black excellence is more important than ever, the excitement is building, and we are excited to unveil the transformative leaders who will define this year’s EBONY Power 100!”
Over the last several years, prior music industry honorees have included Usher, Tems, H.E.R., Travis Scott and Jimmy Jam & Terry Lewis. The 2024 EBONY Power 100 Gala is supported in sponsorship by Nationwide, Prime’s new original series Cross, United Airlines and Baccarat.
EMPIRE president Tina Davis took part in a keynote conversation during ADE 2024, speaking before a crowded audience at the annual dance music industry conference in Amsterdam.
The Saturday (Oct. 19 )talk spanned many facets of Davis’ career, starting when she was a 25-year-old running the A&R department at Def Jam and taking the bus to work.
“I didn’t have a car. I was sitting in a bus going to work every day, running Def Jam on the West Coast, making pennies,” Davis said while talking about pursuing her career despite feelings of self-doubt. “I think it’s just all about how much you want it, how much drive [you have] and how much you believe in yourself. Even though you might doubt yourself, just try anyway.”
The conversation, moderated by journalist Pay Komüs, focused largely on Davis’ work as president of EMPIRE, a position she ascended to in the summer of 2023 after five years at the independent Bay Area-based label, publisher and distributor. The executive spoke about working on EMPIRE’S global business, the importance of authenticity for artists and how such authenticity helped Shaboozey become one of the breakout artists of 2024. The hip-hop/country artist signed to EMPIRE IN 2021, and three years later his hit single, “A Bar Song (Tipsy),” made him famous. The song is currently in its 15th week at No. 1 on the Hot 100.
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Davis was one of the thousands of industry executives who traveled to Amsterdam for ADE, which has already announced dates for next year’s event: Oct. 22-26, 2025. These are five key takeaways from her keynote.
Working Globally Means Working Collaboratively
With teams in the U.S., Europe, Africa and the Middle East, Davis stressed that it’s crucial that each territory takes the lead in its own decision-making. “We’re not in San Francisco telling the people in Africa, ‘This is how you need to do it,’ or telling [our team] here in Amsterdam, ‘You need to do it this way,’” she said. “We can’t tell you how it needs to be done. We have a structure in mind. We know how we like it. We know it’s about authenticity. We know it’s about being culturally significant. But for the most part, we make sure we work with the people we have in our company and take their advice, listen to them; they listen to us, and we work together as a strategy in everything that we do.”
Every Artist Is a Partner
“We don’t sign artists, we sign partners,” Davis said of bringing new acts onto the roster. “We look at them as partners. We look at their business and figure out how we can help them scale up, just as we’re doing for ourselves.” For this type of structure to work, Davis stressed that trust is essential to “make sure that relationship is strong. We want to make sure that our artists feel our presence, and they understand how much we care about their future.”
Artist Authenticity Is Crucial
EMPIRE, Davis said, “is a company that leans heavily on authenticity and culture. If you’re not true to yourself, you can’t be true to us, and you can’t be true to your consumer.” The company “isn’t against” artists who consistently change styles, she continued, “but at the same time, it’s sort of like, ‘Okay, is that really who you are?’ Let’s figure out how we can get a middle ground, or figure out how you can present yourself in a different way, but still not lose the fan base you have.’”
On The Success of Shaboozey — And the Patience Required to Get Him to This Point
Expanding on her thoughts on authenticity, Davis said that EMPIRE is “intricate when it comes to making sure the direction fits the talent.” She recalled that when Shaboozey was presented to the company, “he had wicks in his head, he’s a tall African American, and he came in doing country and hip-hop. Nothing really was working at that time. It had happened before, but nothing at that time was really at the top of the charts that sounded like him.”
But Davis says that when the team met him, they felt his authenticity. “So you can’t tell somebody that looks like that, ‘Hey, you’re not country. You can’t do country,’” she said. During the three years Shaboozey was signed to EMPIRE before blowing up, “we honed in and allowed him to just continue on his journey and keep growing. He was putting out music, and the first records and project did okay, but it took a minute for it to get to this point, and we had the patience for that.”
Artists Don’t Need a Major Label to Succeed
Davis questioned the need for artists to be on a major label to be successful, suggesting they shift their mindset about major label deals being essential — particularly when it comes to artists maintaining control of their masters by staying independent. “I cannot tell you why someone like Justin Timberlake still has a record deal at a major,” Davis observed. “It makes no sense. Mind you, his deal probably is a little bit better than most of the newer artists that are coming up, but it still makes no sense; he should be distributing himself. He could go on TuneCore and make a lot more money than he’d make with that major from that big check that they give him.
She continued that changing artists’ mentality around major label deals has been “a process. It’s been an old rule for years that only majors can break you, but Shaboozey shows you right now that you really don’t need a major.”
Not Paying Attention To What Other People Are Doing Can Be a Key to Success
Davis observed that you’ve “got to kind of have blinders on when you’re working on your own thing, when you’re focused on your own vision, when you’re trying to accomplish something. You can’t look to the side, because you’re going to lose a race. You have to stay focused and look at what you’re working on because you have to figure out how you make your lane in the highway where everybody is still driving in the same direction.”
She also emphasized EMPIRE’S position as an innovator and leader, continuing that other companies “look at us. They follow us. They’re all turning toward where we have always been. When they started hiring DEI departments, we didn’t need it. We were already diverse. When they were like, ‘We need more women.’ We were 51% women. We were like, ‘We don’t need to worry about that.’ We’re purveyors of taste. We’re leaders; we don’t like to follow.”
Global superstars like Adele, Harry Styles and Ed Sheeran helped British music exports climb to a record high of £775 million ($974 million) last year, though increasing competition from other international markets such as Latin America and South Korea is putting the U.K.’s long-held status as a “music superpower” at risk, according to labels trade body BPI.
BPI, which represents over 500 independent labels, as well as the U.K. arms of Universal Music Group, Sony Music Entertainment and Warner Music Group, says 2023’s export tally is the highest annual total since the organization began analyzing labels’ overseas income in 2000 and more than three times the amount recorded a decade ago.
However, last year’s 7.6% rise in export sales — comprising all physical music sales and streams of U.K. artists overseas — was less than half of the 20% increase reported in 2022, with BPI estimating that artists from the U.K. now account for less than 10% of global music streams, according to figures released Monday (Oct. 21).
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In comparison, as recently as 2015, U.K. artists were estimated to collectively account for 17% of music consumption worldwide, reports BPI, which bases its numbers upon label trade revenue.
“It is encouraging to see British recorded music continuing to perform strongly on the world stage, but we can and must do even better in the face of fierce global competition as rival markets grow at pace,” said BPI CEO Jo Twist in a statement.
BPI said the U.K. was no longer just competing against traditional “heavyweights” such as the U.S. and Canada but also with fast-growing music markets in Latin America and countries like South Korea where artists can receive significant government backing.
To maintain the U.K.’s “proud record as a music superpower,” said Twist, the British music businesses must receive government backing to create “a supportive policy environment” that encourages record label investment in talent. Future legislation around the use of artificial intelligence (AI) in the U.K. must keep “human artistry at the heart of the creative process,” added the BPI boss.
Adele, Dua Lipa, Sheeran, Styles, The Beatles, Queen and Elton John all ranked among the most streamed U.K. artists globally last year, said the London-based trade organization, citing Luminate data.
Breakthrough acts Glass Animals, PinkPantheress, Raye and rapper Central Cee all received more than 1 billion streams worldwide in 2023, while around 500 U.K. artists accumulated more than 100 million global streams last year, up from almost 450 in 2022, reports BPI.
Worldwide, consumption of British music increased in every region last year, with export revenues rising by 8.2% in North America and 4.8% in Europe — the two biggest regions for U.K. music exports, accounting for almost 80% of the global total combined. There were also double-digit increases in Latin America (up 17%) and Africa (up 11%), although equivalent monetary values were not provided.
In terms of countries, the U.S. remains the biggest market for U.K. music sales, accounting for £321 million ($417 million) in trade revenue, a rise of 8.3% on the previous year. Germany stays in second place with revenue climbing 6.7% to £63 million ($82 million), followed by France (up 2.4% to $57 million). China overtook Sweden to claim tenth position, with British acts’ earnings rising by 11% to £14 million ($18 million) in the country.
The U.K. is the world’s third-biggest recorded music market behind the U.S. and Japan with sales of $1.9 billion in 2023, according to IFPI. It is also the second-largest exporter of recorded music worldwide behind the U.S.
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