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With the Music Business Association getting ready to hold its annual conference for the first time in Atlanta after nearly 10 years in Nashville, some longtime attendees thought the move might diminish turnout. But the organization’s president, Portia Sabin, says the event (May 12-15) is on track to match last year’s total attendance of 2,200 industry executives. More importantly, she adds that sponsorships for the convention are outpacing last year’s numbers.
That’s a crucial factor, because this conference — and others the organization hosts throughout the year — provides about 60% of Music Biz’s revenue, according to its most recently available 990 form, which nonprofit organizations are required to file annually with the IRS. For the year ended Sept. 30, 2023, $1.85 million of Music Biz’s $3.07 million in revenue came from its programs, while another $1.214 million came from membership fees, contributions, and grants. That revenue supports the organization’s staff, which consists of 10 employees, as well as covers the expenses of its operations, including its Nashville office and events.
Since taking the helm in 2019, Sabin has led the organization’s evolution from a trade group focused on music merchandisers into one that serves the broader music business. As part of that mission, she has helped the organization grow into an international force, with executives from 168 overseas music companies coming to Atlanta for this year’s conference. She has also worked to diversify the organization, increasing the presence of women and minorities on its board of directors, which has been expanded to 25 members to ensure Music Biz represents all sectors of the industry. “We’re always trying to be inclusive here,” she says.
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In preparation for this year’s event, Billboard caught up with Sabin to discuss what attendees can expect.
So are you and the Music Biz Assn. staff ready to rock and roll?
We are so ready to rock and roll!
How is the conference shaping up so far?
It’s shaping up amazingly. Our sponsorships are off the charts—way over what we budgeted for. Our hotel has been sold out for months, and all the overflow hotels are sold out too. So it’s shaping up great.
Where does attendance stand compared to last year?
We’re on track — about the same as last year [when 2,200 attended]. Attendance at this conference is always a little unpredictable because people book their hotels really early, but many wait until after South by Southwest to register. It’s just how it is.
Why did you decide to move the conference to Atlanta after nearly a decade in Nashville?
Multiple reasons. One was that I wanted to return to the older model where we moved around to great music cities, like Atlanta. The music industry is in many great cities in America, it’s not all just Los Angeles, New York and Nashville. Another reason was financial. Nashville has become increasingly expensive, and we didn’t want to raise conference fees or see hotel room prices skyrocket. So, we really wanted to keep costs down for our members and for our attendees and keep make sure the conference is reasonably priced.
What’s the makeup of this year’s attendees?
When I was hired in 2019, the board expressed that they wanted Music Biz to become a global organization that reflects the fact that the music industry is global. I think we’re really achieving that. A lot of people from overseas have gotten excited about the conference—they’ve seen it as a value add to their business. This year we’ve got 256 attendees from 168 companies coming from overseas.
Is the Trump-era tariff chaos affecting attendance?
There may be a person here or there who feels like they are not willing to travel at this time. But, we saw a similar thing the first year back after the pandemic, right? Then some people said, ‘Listen, I just can’t travel, and just I don’t feel safe.’ I feel like there’s always something going on where some people won’t attend for one reason or another.
Beyond the international presence, how else has the conference evolved over the last five years?
Our fastest-growing membership sector is tech, which I think reflects what’s going on in the industry as a whole. And it’s different now. Ten or 15 years ago, tech companies entered music with no real understanding — they were like, ‘I’ve got a cool idea for an app.’ And it was just dumb stuff that was not needed. Now, they’re more informed, trying to solve real problems. We’re seeing real solutions with real benefits. But now [the tech] people got more with the program, and they are like ‘let’s learn about the music industry and then figure out what problems need to be solved.’ So we’re seeing people coming into the industry with real solutions that give benefits to various players in the industry. Our tech sector has grown a lot.
What other changes have you seen?
Since I’ve been here, we have really worked hard to be more inclusive. So we have more publishing members now. We have people from the live sector—ticketing and touring. It’s become abundantly clear that the music industry has to work together here. We can’t just silo ourselves like maybe once we thought we could, 25 or 30 years ago.
From a publishing perspective, the CMOs (collective management organizations) seem to be getting a lot of attention this year.
Our programming is totally crowd-sourced, so we open the call for proposals, and then we just work through the proposals. The interest in publishing at the conference is huge, and we got a lot of proposals for CMOs programming this year, and a lot of it was coming from European members. So we have some really great, high level attendance from those folks. People were very excited about publishing and we even have a dedicated publishing track this year that’s sponsored by EMPIRE.
You mentioned a growing tech presence. Does that have its own track too?
One of the new themes is “new tech trends” and its programming that focuses on the new stuff that is happening in tech that people can learn from. For instance, one panel I’m really excited about is “From Piracy to Profit: What Adult Entertainment’s Digital Revolution Can Teach Us About the Future of Music.” This panel sounds really futuristic but it’s also about learning from other sectors in digital entertainment.
Will there be programming for DIY artists?
Yes, absolutely. We offer a special ticket price of $49 for artist and we give them a full day of programming on Monday (May 12) where they can get information on making and running a business and it’s topped off with the Spotify party at night.We also do the Roadshow were we visit 3-7 cities a year. We just did one last month in Toronto, as our first international show.
What other programming highlights can you share?
We have a new track called Human of Music, focused on workforce well-being. Another favorite is Workflow Workshop, which focuses on what we do and how we can do it better. And we are still doing the “Let’s Talk Physical” track, which we also do quarterly through online webinars. At the conference it will be on Monday. And there is always the Record Store Day Town Hall [on Wednesday, May 14]. We love the retail sector; it is very near and dear to my heart. We try to support that sector as much as possible.
Is there an AI track this year? What about metadata?
Last year we did a track on AI because it is just so ubiquitous. This year we said, let’s just intersperse it through the programming. So in every track there is at least one panel that’s got something to do with AI, because that was just what was submitted when we made the call out for programming. As for the Metadata summit, because there are so many other pieces, it’s become like the Metadata Technology and Rights Summit; and that’s on Wednesday morning.
You crowd-source your panel programming, but how do you evaluate the success of sessions afterward?
One thing I want to say about the surveys is people would sometimes say the panelists were great but the moderator was boring. So over the last two years, we have been offering moderator training pre-conference, just to improve their skills. We did it in April with a professional moderator trainer, and it’s free for a moderator on the program.
Having attended for years, I know the hotel layout really matters. How does this year’s venue stack up?
This year’s hotel, in my opinion, is more conducive for the conference than the JW Marriott in Nashville — because it’s just really straightforward. You walk in and there’s a big lobby, then you go up the escalator, and there’s a big atrium, and that’s the central hub of where everything will be, with the programming panel rooms branching off from there. That central hub, sponsored by Downtown, will have seating and tables; it’s the sort of place where everyone can hang out. Downtown will have a DJ there at different times of the day, which is awesome.
Will there be live music?
Yes! Every evening event features music. The Spotify-sponsored welcome bash on Monday night will have live performances. The Wednesday night Bizzy Awards, sponsored by Warner Music Group, will also feature live artists. Performing artists include Kayla Park and Yami Sadie.
Will there be a trade show floor?
No, but there will be companies displaying what they do in spaces around the central hub. We call that “activations” and they are all filled.
How are you handling the private meetings that are a big part of the conference?
The private meetings will be happening. All the meeting rooms sell out quickly. We know that is a big thing for people so we structure our programming and try to build it so there is a block open for lunch and other meetings. And while we love the panels, there are other ways for people to interact. So this year, we have a bunch of round tables. We have sync round tables. We have women’s leadership round tables. We’ve got the Startup Lab, where startups can meet with [potential] investors and with people who have been in the industry for a while who can act as advisors for startups.
Now the big question: where’s the bar?
There are two bars in the lobby—one is a standard hotel bar, and the other is a sunken bar sponsored by TuneCore.
Last question. Last year, you said the Atlanta conference would feel like summer camp. Is that happening?
Well, I bought some footie pajamas so I can walk around the hotel in them. And yes, it will feel really summer campy because every floor is going to be filled with just our people so it will be a lot of fun.
Blue Note Jazz Club has confirmed that plans to open a new venue in London, England will proceed following the granting of a late license by the local council. The 350-capacity venue will be the first Blue Note Jazz Club to be established in the U.K. and is slated for an early 2026 opening.
The news follows reports of opposition by the Metropolitan Police Service and local residents. In February a Licensing Sub-Committee Report from the City of Westminster outlined a number of objections from the local police enforcement, who objected to the venue’s opening on the grounds it would undermine the licensing objective of “prevention of crime and disorder”.
The move was criticised by a number of local musicians and industry figures, with claims that the council was stifling the capital’s nightlife scene. The venue was initially granted a license that would see the club close at 11:30 p.m., but Steven Bensusan – president of Blue Note Entertainment Group and son of the original Blue Note Cafe founder Danny Bensusan – told Sky News that the opening of its planned European flagship venue may not be viable without a late license. “If they’re not giving us a late license, I can’t imagine how they would be supportive of other smaller venues, which are important for the ecosystem in general.”
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However the Westminster City Council has since reversed its opposition and said that the “venue management have engaged extensively with local people to improve their application and address the concerns that were raised by the police.”
The venue will be based in the basement of the St Martins Lane hotel in Covent Garden in central London. The license will allow the club to open until 1 a.m. on Monday to Saturday, to midnight on Sundays.
The Blue Note Jazz Club will host two performance spaces: a main room with 250 person capacity, alongside a secondary 100 person capacity space. The venue will host a full-service kitchen and beverage menu and will be open for dinner throughout the week.
The new venue will continue the expansion of Blue Note Jazz Clubs internationally. The original club in New York City was opened in 1981, and new venues have since opened in Milan, Beijing, Shanghai, Tokyo, Rio de Janeiro and São Paulo. Stevie Wonder, Tony Bennett, Ezra Collective and more have all performed at the club and its sister institutions.
Steven Bensusan, president of Blue Note Entertainment Group said in a statement, “We’re excited to be coming to London and grateful to Westminster Council for recognising what Blue Note can bring to the city’s nightlife. As we prepare to open in early 2026, we’re looking forward to bringing world-class jazz and a deep cultural legacy to one of the greatest music cities in the world.”
Andrea Bocelli signed an exclusive, five-year worldwide agreement with AEG Presents for the creation and management of his live performances, in collaboration with his management team (Veronica Berti and Francesco Pasquero), agency WME and record label Universal Music Group. The deal, which begins on Jan. 1, 2026, covers all of Bocelli’s ticketed live events globally.
Mark Ambor, who scored his first Billboard Hot 100 entry with the smash 2024 track “Belong Together,” signed to Capitol Records. The singer-songwriter is currently touring in Europe and set to play festivals including Governors Ball, Lollapalooza (in both Chicago and Berlin) and Outside Lands. He concluded his North American tour last year.
Don McLean (“American Pie”) signed with Day After Day Productions for exclusive global touring representation. The singer-songwriter currently has more than a dozen tour dates lined up in the U.S.
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Country singer-songwriter Ink signed with Big Loud Records and Electric Feel Records. She is managed by SALXCO. Ink co-wrote three tracks for Beyoncé’s Cowboy Carter, including “16 Carriages,” “Texas Hold ‘Em” and “American Requiem,” as well as Kendrick Lamar and SZA’s smash single “Luther,” among many other credits.
Management firm Shelter Music Group announced the signings of five artists: Cheap Trick, Boys Like Girls, Chiodos, American Hi-Fi and Dead Poet Society. Cheap Trick is gearing up for its 2025 tour and a new album; Boys Like Girls will support the Jonas Brothers on its 20th anniversary stadium and arena tour; Chiodos is currently touring to promote the 20th anniversary of All’s Well That Ends Well and will embark on another tour in the fall, with a new studio album and more touring to come next year; American Hi-Fi are gearing up to celebrate the 25th anniversary of the band’s self-titled debut album; and Dead Poet Society are set to tour across Europe and the U.K. this summer, and later across the U.S. in support of Chevelle.
New Found Glory signed to Pure Noise Records, which released the band’s latest single, “100%.” The band is set to perform at Slam Dunk Music Festival before touring with The Offspring and Jimmy Eat World on the SUPERCHARGED: Worldwide in ’25 Tour in North America, followed by several U.K. headline dates.
Country singer-songwriter Mark Chesnutt signed with Conway Entertainment Group/Ontourage Management for management and Absolutely Publicity for PR. Chesnutt is represented by Risha Rodgers at WME’s Nashville division for live bookings.
RaeLynn signed with The Valory Music Co., which will release her latest track, “Heaven Is a Honky Tonk,” on Friday (May 9) in partnership with Red Van Records/Jonas Group Entertainment. The country singer-songwriter is touring with Jason Aldean on his Full Throttle Tour this summer.
British Columbia-based singer-songwriter Luca Fogale signed to Nettwerk, which released “Begin,” his first single of 2025, with more music set for release in the coming months. Fogale just wrapped a headline tour of North America and is currently touring in Europe. He’s managed by Colin McTaggart and Piers Henwood at Amelia Artists and booked by Grant Paley at Midnight Agency for Canada.
R&B artist RAAHiiM (“Peak (Fed Up)”) signed with MNRK Music Group, which released his single “Just Like Me” on Friday (May 2). He’s set to support Jessie Reyez on her North American tour beginning on June 10. RAAHiiM is managed by Joven Haye and booked by Olivia Mirabella, Yves Pierre and Jacqueline Reynolds-Drumm at CAA.
Capitol Christian Music Group signed singer-songwriter Eli Gable, whose debut single, “Holy Ghost Town,” releases May 16. The Ohio native moved to Nashville in 2020 and creates music that blends worship, folk and rock styles. Gable will join Rend Collective on the Folk! 2025 Fall Tour starting Oct. 17 in Portland, Maine. The CCMG roster also includes Chris Tomlin, Blessing Offor, Crowder and Franni Cash. – Jessica Nicholson
Universal Music Korea signed hip-hop artists Okasian and Bryan Chase. Both rose to prominence in Korea as part of The Cohort’s hip-hop crew. Both recently featured on “LOV3,” a track off Sik-k and Lil Moshpit’s [K-FLIP+] EP released in March.
Though economic uncertainty lingers, some music companies’ stocks got boosts following their first quarter earnings releases this week, while a better-than-expected jobs report on Friday (May 2) lifted stocks across the board.
K-pop companies were among the top performers of the week. Led by HYBE’s 13.8% gain following its first quarter earnings report on Tuesday (April 29), the four South Korean companies had an average share price gain of 10.3%. JYP Entertainment rose 11.7% and SM Entertainment, which announces earnings on Wednesday (May 7), improved 9.0%. YG Entertainment gained 6.6%.
The 20-company Billboard Global Music Index (BGMI) rose 3.6% to 2,690.13, its fourth consecutive weekly improvement. At 2,690.13, the BGMI has improved 19.1% since a two-week slide and stands just 2.4% below its all-time high of 2,755.53 set during the week ended Feb. 14.
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Music stocks slightly outperformed the Nasdaq and S&P 500, which rose 3.4% and 3.1%, respectively. Foreign markets were mostly positive but more subdued. The U.K.’s FTSE 100 rose 2.2%. South Korea’s KOSPI composite index gained 0.5%. China’s SSE Composite Index lost 0.5%.
Universal Music Group (UMG) gained 4.3% to 25.86 euros ($29.23) following a quarterly earnings report showing that recorded music subscription revenue grew 11.5% and overall revenue improved 11.8%. JP Morgan analysts’ conviction on UMG “remains very high,” and the strong quarter “should help rebuild confidence and share price momentum” dented by Pershing Square’s sale of $1.5 billion in UMG shares, analysts wrote in an investor note on Tuesday.
Spotify finished the week up 3.7% to $643.73 despite its shares dropping 3.4% on Tuesday after the company’s first-quarter earnings report included guidance on second-quarter subscription additions that seemed to underwhelm investors. Gross margin of 31.6% beat Spotify’s 31.5% guidance. Loop Capital raised Spotify to $550 from $435, while Barclays lowered it to $650 from $710. UBS maintained its $680 price target and “buy” rating. Guggenheim maintained its “buy” rating and $675 price target.
Live Nation, which reported first quarter earnings on Thursday (May 1) and predicted a “historic” 2025, gained 2.3% on Friday and finished the week up 0.7%. A slew of analysts updated their price targets on Friday. Two were upward revisions: Jefferies (from $150 to $160) and Wolfe Research (from $158 to $160). Two were downward revisions: Rosenblatt (from $174 to $170) and JP Morgan (from $165 to $170).
Nearly all streaming stocks posted gains. LiveOne was the week’s top performer, jumping 18.0% to $0.72. Chinese music streaming companies Cloud Music and Tencent Music Entertainment gained 11.6% and 7.1%, respectively. French music streamer Deezer gained 1.4% to 1.44 euros ($1.63) after the company’s first-quarter earnings on Tuesday. Abu Dhabi-based Anghami fell 3.1% to $0.62.
Cumulus Media fell 33.% to $0.14. Most of the decline came on Friday as the stock ceased trading on the Nasdaq and began trading over the counter.
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Billboard Canada is getting ready to spotlight some of the most vital players in the music industry: music managers.
Managers to Watch — Billboard’s spotlight on the teams behind music’s biggest breakout artists — will expand to Canada for the first time at this year’s NXNE festival.
A special invite-only Managers to Watch reception will take place on June 11, directly before Billboard Canada Power Players. The event will build on Billboard Canada’s new partnership with Music Managers Forum, which is moving its Honour Roll celebration of the most legendary managers in the business to NXNE this year.
Both recognitions will be given out at the Managers to Watch reception, after which all invited managers will be invited to stay and mingle with the most influential members of the industry at Billboard Canada Power Players.
The event will foster community and opportunity for self-managed artists and managers, who play a critical role in the success of Canadian artists on the international stage.
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“We’re proud to partner with MMF Canada to spotlight the managers powering the next wave of talent,” says Mo Ghoneim, president of Billboard UK and Billboard Canada. “They’re key players behind many of the industry’s biggest breakthroughs, and we’re excited to recognize their contributions on a global stage through Billboard.”
The Music Managers to Watch list will feature a hand-selected list of artists and self-managed artists making waves in the industry. It will be chosen by the editorial team at Billboard Canada. Managers can submit for consideration using this form.
Find more info here. – Richard Trapunski
CIMA Makes an Appeal to Prime Minister Mark Carney
The votes were still being tallied in the Canadian federal election on Monday morning (April 29) when the Canadian Independent Music Association (CIMA) sprang into action. The trade org issued a press release congratulating Mark Carney and the Liberal Party of Canada on their electoral victory while urging Carney to, in its words, “make the investment in and promotion of Canadian-owned cultural businesses a top priority.”
The statement stressed that “the global cultural economy is changing rapidly, and with it come significant risks to Canada’s cultural and economic sovereignty. Recent developments — including TikTok’s decision to walk away from licensing negotiations with Merlin, a key representative of independent music worldwide; Universal Music Group’s acquisition of Downtown Music’s assets; and the legal challenge by global tech platforms, in partnership with foreign-owned multinational record companies, to avoid regulation under Bill C-11 — starkly illustrate the growing concentration of global corporate power in Canada’s cultural sector. If left unchecked, these trends threaten to erode Canadian ownership of intellectual property, diminish our global competitiveness, and compromise the future of Canadian cultural exports.”CIMA emphasizes four priorities for the most industry and suggests the government act quickly:
Prioritize Canadian ownership in cultural policy and investment frameworks;
Strengthen competition, trade, and copyright policies to protect Canadian IP holders;
Champion independent Canadian businesses in international markets;
Defend Canada’s right to regulate its cultural industries against multinational corporate resistance.
CIMA concluded by noting, “We are eager to work with your government to secure a strong future for Canadian culture — Canadian culture remains Canadian-owned, Canadian-created, and world-renowned.”
Read more here. – Kerry Doole
Black Eyed Peas’ Apl.de.Ap and Other Lapu Lapu Day Festival Performers Speak After Van Attack in Vancouver
Artists are sharing their heartbreak after a deadly attack at Vancouver’s Lapu Lapu Day festival.
The attack killed 11 people, leaving dozens more injured, when an SUV drove through the block party on Saturday (April 26.) A 30-year-old man has been charged with eight counts of second-degree murder.
Organized by Filipino BC, the festival is a celebration of Filipino hero Datu Lapu-Lapu and an annual occasion for the Filipino-Canadian community to celebrate resilience and cultural heritage.
The attack took place in the evening, following a day of performances from artists like The Black Eyed Peas‘ apl.de.ap (the Filipino-American artist also known as Allan Pineda Lindo), multi-disciplinary artist Kaya Ko and R&B singer Sade Awele. Festival performers are sharing messages and calling for support for the B.C. Filipino community following the attack.
Apl.de.ap and Filipino singer J. Rey Soul had recently left the stage after finishing their headlining set when the attack took place.
“It’s hard to describe the shock and heaviness we feel,” they shared in a joint statement on social media. “Please keep the victims, their families, and the organizers in your prayers.”
“The one thing I have noticed, from the audience to the messages sent around, is the sense of community that wraps its loving arms around us.”
Festival chair RJ Aquino spoke about the support that’s been pouring in from around the world.
“It’s not lost on us … that the spirit of the festival was about that resistance, resilience, that courage, that strength,” he told reporters, per CBC.
“And you know, we’re going to have to call that up in ourselves.”
Awele shared her prayers for the B.C. Filipino community on Instagram. “I was barely able to sleep thinking about the tragic incident that occurred after the festival,” she said. “We can’t keep living like this — treating each other with hate and violence. We have to do better.”
Read more here. – Rosie Long Decter
According to Live Nation CEO Michael Rapino during the company’s earnings call on Thursday (May 1), every chief executive is being asked the same question this earnings season: Are you feeling a consumer pullback?
It’s a reasonable query given the worsening state of the economy. U.S. gross domestic product decreased at an annual rate of 0.3%, the U.S. Bureau of Economic Analysis announced on Tuesday (April 30). And on Thursday, news broke that U.S. joblessness claims for the week ended April 26 surged beyond expectations. Earlier in April, the University of Michigan reported that its consumer sentiment score fell to 57.0 in March, down from 71.8 in November. That puts the closely watched measure on par with scores during the 2009 fallout of the U.S. housing crisis and in August 2011, as consumers feared a stalled recovery.
But on Friday (May 2), a reprieve from the bad news arrived in the form of a better-than-expected jobs report. And judging from comments during this week’s earnings calls, many music companies remain confident that their businesses will weather whatever storms develop in 2025.
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“We haven’t felt [a pullback] at all yet,” Rapino said. Whether it’s a festival on-sale, a new tour or a standalone concert, Live Nation has seen “complete sell-through” and “strong demand” that surpasses 2024’s record numbers, he added: “So, we haven’t seen a consumer pullback in any genre, club, theater, stadium [or] amphitheater.”
To see how Live Nation fared during the last recession, you’d have to go back to 2009. The U.S. housing crisis had shaken the economy and GDP shrank 2.0% that year, but Live Nation’s revenue increased 2.3%. Then, as the economy rebounded in 2010, the company’s revenue jumped 21.1% in 2011.
Of course, live music took a nosedive during the pandemic, but the drop-off in 2020 and 2021 was caused by a decrease in the supply of concerts, not a dip in demand for live music. When artists returned to touring, fans showed up in record numbers.
Some parts of the economy can be trusted to stumble during a downturn. Case in point: U.S. advertising revenue fell 14.6% in 2009 and dipped 5.4% in 2020. Brands are quick to cut their ad spending when they anticipate a pending sales decline. For example, car dealerships frequently advertise on TV and radio, but cut back as auto sales fell 17.6% in 2009 and 20.3% in 2020.
A decline in advertising is harmful to some parts of the music business. Radio companies have struggled with weak ad revenues in recent years, and their stock prices have taken a beating. Through Friday, iHeartMedia’s stock price is down 50% year to date, and Cumulus Media, which de-listed from the Nasdaq today, has lost 82%.
But music is a “counter-cyclical” business, meaning it doesn’t follow larger economic trends, and the popularity of subscriptions has helped insulate the music industry from economic woes. It’s widely believed that consumers simply won’t part with their favorite music service. In fact, $11.99 for a month from Spotify or Apple Music, although a few dollars higher than two years ago, is considered by top music executives to be underpriced.
During Spotify’s earnings call on Tuesday, CEO Daniel Ek said “engagement remains high, retention is strong” and the ad-supported free tier gives users a way to remain at Spotify “even when things feel more uncertain” — not that Ek is uncertain about the company’s future. “I don’t see anything in our business right now that gives me any pause for concern,” he said flatly.
Universal Music Group (UMG) is on the same page as Ek. CEO Lucian Grainge attempted to ease investors’ concerns by explaining that he has witnessed music weather numerous recessions. “Music has always proven to be incredibly resilient,” he said during an earnings call on Tuesday. “It’s low cost, high engagement and obviously a unique form of entertainment.” In addition, added chief digital officer Michael Nash, UMG’s licensing agreements include minimum guarantees that provide “very significant protection against digital revenue downside risk this year.”
There’s always a chance that unforeseen events or a particular confluence of factors will ruin music’s winning streak. With subscription prices rising, a possible “superfan” subscription tier on the horizon, ticketing prices not getting any cheaper and tariffs increasing the costs of music merchandise, consumers may reach a breaking point. MIDiA Research’s Mark Mulligan argued this week that superfans are being “pushed to the limit” and concertgoers don’t have an unlimited ability to absorb higher ticket prices.
So far, however, the evidence suggests music fans’ spending is continuing unabated. Live Nation says its various metrics — ticket sales, deferred revenue for future concerts — point to another “historic” year in 2025. Rapino added that the company’s clubs and theaters haven’t reported a decrease in on-site spending. Part of that could be that Live Nation carefully curates an array of food and beverage options that maximize per-head revenue. But a more likely explanation is that people need entertainment now more than ever.
As part of the ongoing Jazz & Heritage Festival in New Orleans, a jubilant event took place at music venue Tipitina’s on Monday (April 28): the annual Shorty Fest, which took over the block outside the legendary club to showcase the talented teens and young adults involved with the Trombone Shorty Foundation.
This marked the 13th year the Foundation hosted Shorty Fest, which gives kids a chance to show off their skills outside Tipitina’s before heading inside for a student-assisted performance by “Trombone Shorty” (born Troy Andrews). The annual event serves as a fundraiser for the foundation, started by New Orleans native Shorty, that provides a free after-school program for kids aged 12-18 (Trombone Shorty Academy); a music industry apprenticeship program; a free program on the music business (Fredman Music Business Institute); and masterclasses and cultural experiences including trips to Cuba.
The young students not only perform at Shorty Fest, but use the skills learned through the foundation’s business-oriented programs to help produce the event, which features marching bands, alumni bands and a battle of the bands contest.
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“People can see on display the full beauty of New Orleans music culture, but through the eyes of the younger generation,” says Trombone Shorty Foundation co-founder/executive director Bill Taylor. “Then throughout the evening, our young people sit in with the various bands that are performing, and then they all come out with [Trombone Shorty] during his set, and it creates this magical moment that it’s hard not to be emotionally moved seeing that on stage playing out in front of your eyes. It’s like watching the passing on of culture in real time.”
The Trombone Shorty Foundation launched in 2012 as a way to pass on and preserve the various musical cultures that have made New Orleans such a vibrant city. Taylor tells Billboard that the foundation was created in the aftermath of Hurricane Katrina in 2006. With so many families displaced by the tragedy, historically Black neighborhoods became gentrified, especially the Treme neighborhood where Shorty grew up.
Trombone Shorty Foundation at Shorty Fest in New Orleans.
Jafar M. Pierre
“One of the things that New Orleans has always been known for is its ability to regenerate that culture and pass it down to the next generation. And the way Troy was able to absorb a lot of it early on was through his neighborhood,” says Taylor. “We recognized the need to protect the culture and to give young people the same opportunities that a young musician like Troy had when he was their age.”
The foundation’s flagship program, the Trombone Shorty Academy, provides students a chance to learn how to play instruments, perform on stage and be immersed in the musical traditions of New Orleans. While the city is best known for brass bands and jazz, students are also taught about soul music, funk and other less well-known influences on the Louisiana sound.
Shortly after the foundation launched in 2012, the leadership decided they needed to also educate students on the business side of the music industry and launched the Fredman Music Business Institute. The free program gives students insight into how to financially support themselves as musicians, but also how to get involved in event production, touring, licensing, management, finance and marketing. The foundation takes the students — roughly 200 per year — to other U.S. music hubs to see how the business of music is run outside New Orleans, giving them the chance to visit studios, agencies, management companies and more in Nashville, New York, San Francisco and other locations.
“That infrastructure that exists in Nashville, and obviously New York and L.A., is pretty lacking in New Orleans,” says Taylor. “It is going to be the young people who are going to change that.”
The foundation’s apprenticeship program allows kids ages 12-24 to learn from industry experts and then apply those skills to paid positions with hands-on work throughout the city, with apprentices selecting the industry partners that best align with their interests.
Taylor offers an example of a talented young trumpet player who performed and traveled with the Academy but whose real passion was graphic design. “He is out of college now and opened up his own graphic design company,” Taylor says. “He now designs some of the artwork for our events. He connected with his real passion and it’s connected to music, but he’s not trying to be a professional musician, necessarily.”
Trombone Shorty
Jafar M. Pierre
Along with a trip to Nashville, the foundation also recently took a group of 250 students, staff and musicians to Havana, Cuba — where Shorty found a lot of inspiration while visiting a relative — for an annual trip that started in 2020. The most recent visit to the country included appearances by George Clinton, Valerie June, Yola, Robert Randolph and more.
“New Orleans is your superpower, because if you’re from New Orleans and you’re in music, you naturally get respect,” says Taylor. “Then the question is, what can we do to connect some of these young people to a bigger world, so that the possibilities of what they can do with their career, with their life, with their music, starts to expand?”
President Donald Trump signed an executive order late Thursday aimed at ending federal funding for NPR and PBS, accusing the organizations in a social media post of spreading “radical, woke propaganda.” The official order, found on the White House website, directs the Corporation for Public Broadcasting (CPB) and other agencies to halt both direct and indirect public financing to the public broadcasters.
“Today the media landscape is filled with abundant, diverse, and innovative news options,” the order states. “Government funding of news media in this environment is not only outdated and unnecessary but corrosive to the appearance of journalistic independence.”
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This move follows a pattern of Trump leveraging executive powers to defund or dismantle institutions he deems oppositional, including cultural and educational organizations like the Kennedy Center and National Endowment for the Humanities.
The legality of Trump’s order is in question, however, as CPB is a private nonprofit entity and not a federal agency.
CPB CEO Patricia Harrison emphasized its independence from presidential authority, stating the executive order is not legally binding. “Congress directly authorized and funded CPB to be a private nonprofit corporation wholly independent of the federal government,” she said.
PBS president Paula Kerger condemned the executive order as “blatantly unlawful,” adding that it jeopardizes the broadcaster’s long-standing public service mission. She highlighted PBS’s bipartisan congressional support and its role in delivering educational and cultural programming.
NPR also pushed back at the order, vowing to defend itself through all legal avenues. The organization asserted that Trump’s action is not about fiscal responsibility, as public broadcasting receives less than 0.0001% of the federal budget, but rather an attack on First Amendment rights and press freedom. “We will vigorously defend our right to provide essential news, information and life-saving services to the American public,” the organization said. “We will challenge this Executive Order using all means available.”
Each year, CPB allocates about $535 million in taxpayer funds to public broadcasters and content producers. Although NPR and PBS have anticipated funding threats since Trump’s 2016 election, the administration’s latest action escalates those concerns. The Trump administration has also proposed a $9.1 billion budget cut package that includes rescinding CPB funding, though the proposal has yet to reach Congress.
This action mirrors similar efforts by the administration to suppress institutions that provide independent or critical viewpoints. It also coincides with attempts to dismantle the agency in charge of Voice of America and Radio Free Europe/Radio Liberty. Federal courts have previously intervened in cases where the administration withheld congressionally approved funds from media outlets, raising doubts about the legal sustainability of Trump’s latest move targeting public broadcasters.
Critics argue that cutting funding to NPR and PBS could significantly hinder access to trusted educational and cultural programming, especially in underserved communities. Trump’s executive order may also face strong legal and political resistance, as both public broadcasters have traditionally enjoyed bipartisan support in Congress.
“There’s nothing more American than PBS, and our work is only possible because of the bipartisan support we have always received from Congress,” Kerger said last month. “This public-private partnership allows us to help prepare millions of children for success in school and in life and also supports enriching and inspiring programs of the highest quality.”
The CPB has already sued Trump over his attempt to remove three board members, which would have left the board unable to function due to lack of quorum.
The Associated Press contributed to this report.
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 bit of staffing news this week, so let’s hop to it.
Whitaker Elledge stepped into the lead role at Nashville-based label Dualtone, following the passing in December of former president Paul Roper after a battle with cancer. Elledge will remain based in Nashville and will report to MNRK Music Group’s COO Chris Moncada. Since joining Dualtone in 2018, Elledge has held several roles in A&R and artist development, before being promoted to general manager/senior vp in 2023. Dualtone was founded in 2021 and has a current roster that includes The Lumineers, Langhorne Slim, Shovels & Rope, Gregory Alan Isakov and Kathleen Edwards. The Dualtone team also includes Daniel Higbee (vp, synch), Julie Muncy (senior vp, promotion), Joey Luscinsky (senior vp, production & design), Alyssa Austin (senior director, eCommerce + strategy), Dana Murray (director, artist development), Emily Allen (senior manager of operations and marketing), and Sidney Campbell (manager of operations & marketing). —Jessica Nicholson
Kobalt appointed music industry veteran Jason Feinberg as senior vice president and head of KOSIGN, its new platform designed to support the creator middle class. Feinberg brings a strong background in artist-focused technology and marketing, previously serving as managing partner at 138 Strategic, svp of marketing at Universal Music Group, and head of artist marketing at Pandora AMP. KOSIGN also promoted David Waite to operations lead and Jacob Paul to vp of platform growth and brand strategy. Launched earlier this year, KOSIGN enables artists, songwriters and producers to collect publishing royalties with flexibility and transparency. Built on Kobalt’s global infrastructure, KOSIGN offers global royalty collection, real-time transparency and an 80/20 royalty split in favor of writers. “I’m passionate about everything that KOSIGN stands for,” said Feinberg. “The platform empowers artists to collect their publishing revenue around the world, providing them the freedom and support they deserve.”
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Henri Lanz gave Sony the slip and joined Warner Music Nordics as the label’s new senior international A&R and creative advisor. Known artistically as MGI, Lanz previously founded M-Eazy Music and served as CEO of Sony Music Finland and Sony Music Baltics from 2019 to 2024. (Over the past year, he has worked as chief creative advisor at Sony Music Finland.) In his new role, Lanz aims to elevate Warner Music Nordics’ international repertoire by fostering artist partnerships and leveraging the company’s creative and global network. Over the years he has collaborated with 50 Cent, French Montana, Justin Bieber and Sia, and played a pivotal role in the careers of Finnish stars like Cheek and Evelina. Warner execs praised Lanz’s talent-spotting ability and global vision, highlighting his potential to strengthen Warner Music’s creative edge across Nordic and international markets. “With access to our entire Nordic and global A&R network, Henri adds a fresh creative edge and further strengthens our position,” said WMF managing director Ramona Forsström.
Downtown Music’s artist direct distribution and music services platform CD Baby named Sean Hallarman as senior vp of product, and Craig May as senior vp of artist and fan development. Both roles report to CD Baby president, Molly Neuman. Hallarman previously held roles at Sonos, Meta and Amazon Music, and in his new role will lead product vision and execution. May previously served as senior vp of global marketing services at FUGA, and in his new role will oversee artist and fan development initiatives. —J.N.
Avex Music Group promoted Justin Hunter to vice president, where he will support company operations and work closely with CEO Brandon Silverstein to guide leadership across Avex and S10. Hunter began his career in 2018 as an assistant to Endeavor exec Patrick Whitesell before joining S10 Entertainment, where he served in multiple roles, including chief of staff and head of S10 Records. Based in Los Angeles, he will help drive Avex’s U.S. strategy following the Japanese entertainment company’s expanded investment in S10 and appointment of Silverstein as CEO in March. Silverstein praised Hunter’s entrepreneurial mindset and industry relationships, calling him “the perfect candidate to help execute AMG’s strategy in the U.S. and beyond.”
Liz Gateley, a veteran TV producer who created MTV’s Laguna Beach and executive produced its spin-off The Hills, left Spotify in late 2024 to launch Damsel Media, a production company targeting Gen Z women. At Spotify since 2019, Gateley led the creation of original podcasts, including the award-winning Wind of Change. She managed the Warner Bros./DC partnership, collaborated with Kim Kardashian and initiated Spotify Pictures, adapting podcasts into visual media, including RapCaviar Presents for Hulu. Prior to joining Spotify, Gateley was a programming executive at Lifetime, overseeing Unreal and Surviving R. Kelly. Her extensive experience in streaming and network television positions her to produce content for various platforms, including brands and AVOD platforms. Based in Los Angeles, Damsel Media will focus on creating premium content for young adult female audiences, leveraging the culture-defining storytelling that Gateley is known for.
Payday Music Publishing expanded its Los Angeles-based sync team with the hires of Jamey Sussman and Desiree Autobee, both reporting to founder & CEO Patrick Moxey. Sussman, formerly with Score A Score, joins as synch director of trailers and ads, while Autobee, previously at MNRK Music Group, will serve as synch director, TV and film. Based in Santa Monica, they’ll focus on securing media placements for Payday’s roster across film, television and advertising. Sussman brings experience from projects like Babylon and season two of The White Lotus, while Autobee has contributed to major syncs for Hulu, ESPN and Netflix. Payday has also expanded its L.A. studio presence and recently landed placements with brands such as Range Rover and Nissan, as well as TV shows including Grey’s Anatomy and Abbott Elementary. Recent signings include Reo Cragun and Gaidaa, who have worked with artists like David Guetta and Marshmello.
Crypto.com Arena promoted Michael Becker to the position of vp of event services and production. In his new role, Becker will oversee Crypto.com Arena’s events team and act as a liaison between the Los Angeles Lakers, LA Kings and Los Angeles Sparks and facilitate the dozens of concerts and other special events taking place inside the iconic Downtown Los Angeles arena each year. Becker came to the arena in 2010 as a guest services supervisor, rapidly learning the ropes before transitioning to the event services department as an event manager. –Dave Brooks
A cyclist passes Crypto.com Arena on March 20, 2024 in Los Angeles.
Mario Tama/Getty Images
Reed Smith welcomed David Long-Daniels as a partner in its labor and employment group, based in the firm’s Atlanta office. Previously with Squire Patton Boggs, Long-Daniels is known for handling high-profile litigation and has represented a wide range of artists including Steven Tyler, Greg Allman and Cissy Houston. He has tried over 90 jury trials and 20 bench trials, representing clients in industries like entertainment, hospitality, and food and beverage. Long-Daniels cited Reed Smith’s strong trial reputation and global platform as key reasons for joining. His addition supports the firm’s growth in Atlanta, where the office has expanded to nearly 40 lawyers since its January opening. Cindy Schmitt Minniti, chair of the firm’s labor & employment group, marveled at how Long-Daniels is “often asked to parachute into bet-the-company litigation just weeks before a case is set for trial” and that “he joins a group of Reed Smith lawyers well-known for that same skill set.”
Symphonic Distribution expanded its presence in Asia by appointing a new team of A&R client development leads across key territories. The team includes Christine Su for Greater China and Taiwan, Eleanor Phan for Vietnam, Twinky Lagdameo for Southeast Asia and Jay Choe for South Korea and Japan. Fiona Comendador joins as client manager for the APAC region. Reporting to territory manager Guji Lorenzana, the team will work with local artists and labels, providing market-specific strategies and support. The new hires bring plenty of experience: Su has led international music projects like the Golden Melody Awards; Phan managed label partnerships at The Orchard and MMUSIC; Choe has experience in K-pop group debuts (PIXY, from20) and songwriting (for EVO and Uki Satake); and Lagdameo has over two decades in artist development, marketing and publishing at companies like MTV and EMI. Comendador, formerly with Virgin Music and Kumu, will oversee client relations and project execution across APAC. This expansion follows recent signings, including DYNA Music Entertainment and Kafka By The Sea, aiming to support artist development across Asia.
Berklee has appointed Edward J. Lewis III as its new senior vice president of institutional advancement, effective May 15. With over 20 years of experience in higher education and the performing arts, Lewis will work with senior leadership to enhance Berklee’s global fundraising and engagement strategies. Previously, he was president and CEO of the Caramoor Center for Music and the Arts, where he launched the center’s first major gifts program and led a strategic plan through the COVID-19 pandemic. “Berklee’s mission to educate and empower the next generation of artists and creative leaders deeply resonates with me, both personally and professionally,” said Lewis, who like many Berklee staffers is also a musician. “I look forward to working with this entire community to build support for Berklee.”
ALL IN THE FAMILY: The Hollywood Reporter announced the addition of Ada Guerin as creative director and Tony Maglio as television editor to its editorial team. Guerin, who previously served as creative director at Los Angeles Magazine and TheWrap, will manage the visual aspects of THR’s editorial properties, including the print mag and website, from Los Angeles. Maglio, most recently executive editor of news and business at IndieWire, will oversee THR’s television coverage from New York City.
ICYMI:
Mike Van
Apple Music named Ole Obermann and Rachel Newman as the company’s new co-heads … Penske Media executive Jenny Connelly was appointed director in charge of SXSW … Leslie Fram, former svp of music and talent for CMT, launched FEMco, a Nashville-based consulting company … and Mike Van was elevated to the role of CEO of Billboard — the first time anyone has held the role. [Keep Reading]
Last Week’s Turntable: UCLA’s Herb Alpert School Hires New Brass
While many public companies are struggling amid the backdrop of macroeconomic uncertainty and the looming threat of global tariffs, music company executives are beating the drum for music as a stable place to invest. Despite a plateauing of the growth curve, revenue from streaming subscriptions continues to drive relative stability at Spotify, Unversal Music Group […]