Business News
Page: 4
The Recording Academy has let its members know, via email, of some changes, one of which will likely be unwelcome news to many: It will no longer provide complimentary tickets to its official Grammy afterparty to all current year nominees. This yearâs Grammy Celebration, the afterpartyâs official name, will be hosted by the Grammy Museum […]
Greg Phillinganes, a keyboardist from Detroit, was in Stevie Wonderâs Wonderlove band in the early â70s when prolific producer and composer Quincy Jones invited him to play on a session with jazzman Billy Eckstine. The collaboration led to a nearly 50-year relationship, in which Phillinganes appeared on âQâ-produced classics such as Michael Jacksonâs Off the Wall and Thriller, plus albums by Patti Austin, George Benson, James Ingram and Jones himself. By phone from New York, where he is working with Pink Floydâs David Gilmour on his Luck and Strange tour, Phillinganes remembers Jones, his friend and mentor, who died Sunday at 91.
The first time I met him, I was still in high school. I was 18, living in Detroit. Quincy was in town for a signing of his new album Youâve Got It Bad Girl [in 1973]. I left school early and I went downtown to Hudsonâs [department store] to meet him. I bought an album and stood in line. I remember shaking hands with him, we talked for a couple minutes and I told him I was a musician. I remember him asking me what I play, and I said keyboards, and he asked me if I had a Fender Rhodes. I told him, âNo, but I get to use one in the band I play in.â He was supportive and wonderful and encouraging.
Trending on Billboard
It led to another meeting, which happened after I joined Stevieâs band. He had me come down to A&M Studios to play on a little ditty that he was producing on Herb Alpert. The name of the song was âThe Best Thing,â which was a single for this little artist named Billy Eckstine [the great jazz singer]. Not too long after that, I ended up on most everything [Jones] did. The thing about Quincy is, if he invites you in, itâs assumed you are worthy of being there.
He has a gentle way. If heâs sweating, he never lets you see it. Heâs always able to bring out not only the best in you, but qualities in you that you didnât even know you had. Itâs only after the fact that you realize youâre a better musician than before you went in.
That was a wonderful surprise, to be called to participate in Michael Jacksonâs first solo record [Off the Wall]. [Jones] asked me to arrange the song âI Canât Help Itâ that was written by Stevie. We got the demo, weâre in the studio, we heard it. It was an up-tempo Latin feeling. Quincy gave me the responsibility of handling it. I thought, âGreat, Iâm going to do the same kind of thing Stevie did, and really amp it up and make it jazzy.â I did a demo. I had Sheila E. playing on it and Michael sang on it. I played it for Quincy and he said, âNo.â Quincy said, âNo, we have to slow it down and make it sexy.â Quincy was trying to establish Michael as an adult. When I understood that assignment, I jumped all over it and put a beautiful Rhodes on it and sexy synth bass and these gorgeous lush synths and overdubs. That is the version thatâs on the record.
I had a nickname that was not from Quincy. It originated from junior high school in Detroit. This guy started doling out nicknames to people, and I happened to be there. He got to me and said, âWeâre going to call you Mouse.â From that day on, everybody called me that. When I got older, it got less cute to me. âHang on, Iâm an adult, and Iâm already small in stature, I donât need to be reminded of it.â I grew in popularity quite heavily in Detroit, and I was playing in bands around town, everybody knew me by that name and it just stuck. I moved to L.A. in June â75 and I felt this sense of freedom: âIâm starting a new life and nobody knows who I am â and more importantly, no one knows me by that dreaded nickname.â But guess what? There was a buddy of mine, another musician who also played keyboards, who started working with Quincy before I did. He told Quincy about me, but he told him that name. So the second time I met Quincy, the first thing he said to me was, âHow you doinâ, Mouse?â I went, âAAAAIEEEE! AAAAAGGGGHH!â Not just him. He would introduce me to friends of his, like Arthur Ashe, Colin Powell â he would say the nickname. Itâs like, really, Quincy? Really?
When he developed the talk show Vibe [in 1997], he called me in his office and said, âI want you to be the musical director of this show.â I said, âThis is incredible, Iâve always wanted to have a band on a TV talk show.â He paused and said, âThereâs this one thing. I want you to use that name.â I said, âAw, come on, man, youâve got to give me a break on that. People are going to spot me in the mall and go, âHey, thatâs Mouse.â He looked at me and said, âThatâs the idea.â Well, you couldnât fight that. It got to the point where I accepted it from him, because his tone of voice, the way he called me that, it was just so endearing.
The last time I saw him was June 17. It took months of planning. Iâd been desperately trying to contact him and it was so tough because the family were really keeping things tightly monitored, and understandably so. It was finally arranged and we talked and reminisced. He said things like, âLife is amazing, isnât it, Mouse?â He was sitting in a chair and I stood behind him and he held my hand and kissed it. Just so beautiful and intimate, and I will never forget it.
It goes back to the directive that his mentor [French composition and orchestration teacher] Nadia Boulanger told him, and he has since told me, and I have since told every kid I meet: âYou are never more of a musician than you are a human being.â Quincy was one rare, loving, passionate, soulful, funny and generous human being.
â As told to Steve Knopper
Billboardâs peer-voted Power 100 Playersâ Choice Award is back for 2025 and asking music industry members from all sectors to honor the executive they believe had the most impact across the music industry in the past year. Voting is open to all Billboard Pro members, both existing and new, with one vote per member per […]
Billboardâs peer-voted Power 100 Playersâ Choice Award is back for 2025 and asking music industry members from all sectors to honor the executive they believe had the most impact across the music industry in the past year. Voting is open to all Billboard Pro members, both existing and new, with one vote per member per […]
Tributes from industry luminaries and executives are pouring in for legendary producer, arranger and composer Quincy Jones, who died Sunday (Nov. 3) at the age of 91. A jazz sideman who evolved into a bandleader, label executive, film composer, TV and movie producer and, of course, popular music savant as studio maestro to Michael Jackson, Jonesâ considerable artistic wingspan during his seven-decade career â his picture should be in the dictionary under âmulti-hyphenateâ â will rightly be lauded by every nook of the entertainment world.Â
âThrough his music and his boundless love, Quincy Jonesâ heart will beat for eternity,â his family said following his passing.Â
Trending on Billboard
Here is a list of reactions, which weâll update as they come in:Â
Guy Moot and Carianne Marshall (CEO and COO, Warner Chappell Music): âWe join billions of music fans around the world, as we mourn the loss of the great Quincy Jones, and celebrate his immeasurable contributions to culture. Words like titan, genius, GOAT, will be used today and he deserves it all. Quincy was a producer, artist, composer, and activist, but above all, he was a songwriter. He leaves behind an extraordinarily powerful, diverse body of work that will light the way for future generations. Our deepest condolences go out to his family and friends.â
Rock & Roll Hall of Fame (he was inducted in 2013): âQuincy Jones excelled at every role he took on. Producer, arranger, trumpeter, executive, and more, Jones won 28 Grammy Awards and guided historic sessions with such giants as Frank Sinatra, Miles Davis, and Michael Jackson in addition to his groundbreaking work in film and television. Jones established the standard for innovation; accomplished and successful in every facet of the music industry, he set the model for the modern music mogul.â
Michael Huppe (president and CEO, SoundExchange): âHuge loss yesterday to the music world. A seminal force. From Michael Jackson to Count Basie to Frank Sinatra.â
Nile Rodgers (guitarist, producer and co-founder of Hipgnosis Songs Fund):
TIDAL (the streaming service): âRest in peace to Quincy Jones, who, as a producer, film scorer and solo artist, quite simply did it all. He has been sampled by Mobb Deep and the Pharcyde; composed the music for âThe Color Purpleâ; and produced both âWe Are the Worldâ and Michael Jacksonâs âThriller,â the latter being the best-selling album of all time.â
Danyel Smith (former editor of VIBE, which Jones co-founded): âIn addition to being one of the best producers in the history of American music, [Quincy Jones] is the founder of VIBE magazine. [He] launched VIBE because it was the change he wanted to see. He wanted glorious and rigorous storytelling. He wanted depth of design and imagery. He wanted hip hop and the history of American Blackness that informed it to receive the credit it is due. Always surrounded by genius teams, and predecessors, and successors, I was music editor, cover story warrior, and the first Black person and first woman to serve as VIBEâs editor-in-chief â so I am blessed to have known Quincy Jones. As an artist yes, but also as a negotiator, a conversationalist, a charmer. Quincy Jones is a person I often reported to, a person who encouraged me (without sentiment). He was a networker, a knower of his worth, and a valiant enforcer of the true value of Black music and culture. Iâm lost this morning. And at a loss. Rest in everlasting peace, Quincy Jones â from me and your grateful VIBE family.â (Smithâs full post on X can be found here.)
YG Entertainment shares gained 4.3% this week as âAPTâ by ROSĂ and Bruno Mars continued its hot streak. A week after YGâs stock gained 6.1% following the trackâs blockbuster start on streaming services, the track topped both the Billboard Global 200 and Billboard Global Excl. U.S. charts. ROSĂ, a member of YG recording artist BLACKPINK, released âAPTâ through Atlantic Records in partnership with THEBLACKLABEL, a YG sub-label co-founded in 2015 by BLACKPINK producer Teddy Park. While YG continues to manage BLACKPINK, ROSĂ signed with THEBLACKLABEL for the management of her solo career.
Universal Music Group (UMG) shares fell 0.7% over the week but gained 1.6% to 23.45 euros ($25.52) on Friday (Nov. 1) following the companyâs third-quarter earnings the prior day. Morgan Stanley raised its price target to 35 euros ($38) from 33 euros ($35.90). âOur conviction on UMG is as high as itâs ever been,â Morgan Stanley analysts wrote in an investor note. Guggenheim called UMGâs third-quarter results âencouragingâ and maintained a 25.50 euros ($27.74) price target and its âneutralâ rating on UMG shares.
Trending on Billboard
SiriusXM gained 4.7% to $27.65 after the companyâs third-quarter earnings release on Thursday (Oct. 31) showed a net gain of 14,000 self-pay subscribers in the quarter. Despite the uptick, average revenue per user fell due to a âhigher proportion of subscribers on self-pay promotional and streaming-only plans,â the company said.
Deezer shares gained 2.1% to 1.43 euros ($1.56) after the companyâs third-quarter earnings showed 11% revenue growth and a 9% uptick in subscribers. New CEO Alexis Lanternier sounded upbeat about partnerships with MeLi+ and Mercado Libre, which has converted free trials at a rate âhigher than our expectations,â in his words. Still, Deezerâs share price is down 32.9% year to date. Â
Reservoir Media fell 3.5% to $8.25 following its earnings release on Wednesday (Oct. 30) which showed solid 6% revenue growth. The stock did not get a bump from Reservoirâs slightly upgraded full-year guidance nor B. Rileyâs increase of its price target to $12.50 from $11.50.
The 20-company Billboard Global Music Index (BGMI) was essentially flat for the week, rising 0.3% to 1,995.67 despite having just seven gainers as opposed to 13 stocks that lost ground. The small increase brought the indexâs year-to-date gain to 30.1% and reversed the BGMI to the win category after it dropped 0.6% the prior week, breaking a streak of six consecutive weeks of gains.Â
Even a small gain outperformed many major stock indexes. In the United States, the Nasdaq composite fell 1.5% to 18,329.92 and the S&P 500 fell 1.4% to 5,728.80. Both indexes rose on Friday, however, as investors paid little attention to a weak jobs report and both Amazon and Intel jumped after reporting quarterly earnings. On Thursday (Oct. 31), Meta and Microsoft shares fell following their respective earnings reports, with Meta dropping 3% and Microsoft falling more than 5%.Â
Music streamer LiveOne was the greatest gainer of the week after jumping 32.8% to $0.77. The company announced on Thursday that it has engaged MZ Group to increase the visibility of PodcastOne in the investment community. LiveOne spun off PodcastOne in 2023 and retained an 81% stake. Investors may have taken note of MZ Groupâs Chris Donovanâs statement that PodcastOne âowns intellectual property that can be sold for a significant return on investment.âÂ
Outside of YG Entertainment, the other four K-pop stocks lost ground. HYBE fell 3.1% and increased its year-to-date loss to 20.0%. JYP Entertainment fell 4.2%. SM Entertainment slipped 0.7%. Collectively, the four K-pop companiesâ share prices are down 28.6% in 2024.
iHeartMedia jumped 16.1% to $2.09 a week before the company reports third-quarter earnings on Thursday (Nov. 7). Another radio company, Cumulus Media, dropped 19.0% to $0.94 following its release of third-quarter earnings on Friday. The companyâs revenue fell 1.8% to $204 million and it saw a net loss of $10.3 million, down from a net profit of $2.7 million in the prior-year period. âLooking forward, the advertising environment remains uncertain,â warned Cumulus CEO Mary Berner.Â
Billboard
Billboard
Billboard
When Lee Greenwood released âGod Bless The USAâ in the spring of 1984, âit was not a massive hit,â the 82-year-old country music icon tells Billboard.
The song peaked at No. 7 in July 1984 on Billboardâs Hot Country Songs chart, but it has returned to the charts several times over the decades, including over Fourth of July weekend 2020, the first year of the pandemic â when it hit No. 1 on the Digital Song Sales chart.
The anthemâs enduring appeal has led to it being played in the wake of the Sept. 11th terrorist attacks and the assassination attempt on former President Donald Trump. It has been covered by BeyoncĂ©, Dolly Parton, and on Friday (Nov. 1), Drew Jacobs released a rock version. And, of course, it is consistently played at political events, including every Republican National Convention since 1988 â Greenwood sang it live at the last one in July â and now as the walk-on music for former President Trump.
Trending on Billboard
âTo be honest, having President Trump use âUSAâ as the song he walks out to every single place he goes is a dream come true for any artist,â says Greenwood, who adds he wrote the song for all Americans.⯠âMillions of people hear my song on a weekly basis all because President Trump uses it.â
So what is that worth? Billboard spoke with Greenwood and ran the numbers to estimate how much he stands to gain from the Trump bump.
STREAMING
Greenwood says he owns the writerâs and publishing rights to âGod Bless The USA,â and that peermusic administers the publishing and synch licensing for it and other songs in his catalog.
Greenwood says he has never charged for the use âUSAâ at rallies by the former president, whom he knows from his wife Kim Greenwoodâs work with the Miss Universe Organization. He says that he did charge the Ronald Reagan campaign $1 to use the song in 1988, but âjust because they wanted to have âpaper on the deal.â
âI donât look at money as the driver for my music,â he adds.
That said, âGod Bless The USAâ has earned Greenwood a nice bit of coin this year. The song enjoyed a noticeable increase in consumption, especially in the immediate weeks following Greenwoodâs performance at the Republican National Convention.
In the 16 weeks since the RNC, âUSAâ has averaged over 4,100 song equivalents in the United States, according to Luminate. Thatâs an increase over the roughly 3,000 U.S. song equivalents it averaged in the 27 weeks of 2024 that preceded the convention.
That post-convention total includes an average of 568,000 U.S. primarily on-demand audio streams compared to 468,000 in the weeks leading up to the convention.
Compared to Greenwoodâs âUSAâ, Sam & Daveâs âHold On Iâm Comingâ has seen a smaller average bump. That song is currently the subject of a copyright infringement lawsuit filed in August by the estate of Isaac Hayes, who co-wrote the song. The complaint alleges that the song has been used multiple times during rallies without authorization.
âHold On Iâm Comingâ averaged over 5,200 song equivalents in the U.S. since the RNC, just a smidge over the 5,000 U.S. song equivalents it averaged in the 27 weeks before the convention.
Looking at U.S. streaming and download revenue for the songs, the master recording rights for âHold Onâ generated more revenue overall than âUSAâ after the convention â an average of $4,613.81 per week, compared to an equivalent $3,337.24.
However, the bump the songsâ master recording rights netted was bigger for âUSAâ than âHold On.â Greenwoodâs signature songâs master recording rights generated $744 more per week on average since the convention, compared to $148 for âHold On.â
That adds up to an estimated Trump bump of an additional nearly $12,000 from the songâs master recordings over the past 16 weeks. These calculations are for label revenue, and Greenwoodâs share of that figure would depend on his contract, details of which are not known.
On the publishing side, Greenwood songâs earned an average of about $675 a week from U.S. streams and downloads in the 27 weeks leading up to the convention and $845 a week after.âŻThat means the song produced an average of $3,267 a week â master recordings and publishing combined â leading up to the convention and $4,182 a week after the convention.
Billboard estimates Greenwoodâs U.S. master recording catalog revenues, not including publishing, brought in $219,000 for his label so far this year compared to almost $184,000 in 2023 â a Trump bump of approximately $35,000 year to date.
THE TRUMP⊠SLUMP?
Not all songs used at Trump events enjoyed the same post-rally glow. The Foo Fightersâ âMy Heroâ was played to introduce Robert Kennedy Jr. at an August rally for the former president in Arizona without permission, according to the band. At the time, a spokesperson for the Foo Fighters said any royalties gained from post-rally plays of the song would be donated to Trumpâs challenger, Vice President Kamala Harrisâ campaign. (A spokesperson for the band did not respond to a request for comment for this story.)
Since âMy Heroâ was played at the rally, it has declined in popularity, according to data from Luminate. Prior to the convention, the songâs U.S. streams and downloads averaged almost $10,100 in master recording revenue a week. But after the band denounced the songâs use by the Trump campaign, the audio stream counts average weekly plays fell by almost 200,000âŻfrom 1.668 million to 1.488 million. Consequently, revenue that had averaged nearly $10,100 a week fell to just below $9,200 a week, a weekly decline of approximately $900.
Strategy, communications, integrated marketing and social impact consulting firm The Lede Company has launched a music division in Nashville, the company tells Billboard. It also has offices in New York, Los Angeles, London and Paris.
Cara Hutchison has been named head of Ledeâs music division, which represents artists including Sabrina Carpenter, Post Malone, Rihanna, Pharrell Williams, RosalĂa, Shakira and A$AP Rocky. Joining the division is veteran music publicist Jess Anderson, who will report to Hutchison and company co-founder/co-CEO Amanda Silverman.
Most recently, Anderson served as senior director of media at Big Loud Records, founding and building the labelâs in-house publicity department and working with artists including Morgan Wallen, HARDY, ERNEST, Charles Wesley Godwin, Stephen Wilson Jr., Ashley Cooke, Dylan Gossett and Kashus Culpepper. Andersonâs prior career stops include Sweet Talk Publicity, The Press House and Big Machine Label Group. She also serves on public relations task forces for the Academy of Country Music and the Country Music Association.
Trending on Billboard
âWith Nashville at the heart of the music industry, we are incredibly excited to be launching this division,â Hutchison said in a statement. âWeâre thrilled to have Jess, a savvy music publicist with deep roots in Nashville, join us for this next chapter. We look forward to leveraging Ledeâs relationships, storytelling, and communications expertise to help amplify the careers of such outstanding artists in this community.â
âNashville has earned its place at the center of the conversation across entertainment because of the quality of talent and authentic sense of community thatâs rooted here,â Anderson added. âThe opportunity to help introduce a powerhouse agency like Lede to our town is a true thrill. Storytelling is the heartbeat of Nashville, and Lede crafts campaigns that elevate and highlight artistry in all of its forms. Thereâs no limit to what weâll be able to accomplish with this partnership, and Iâm honored to step into this role.â
Nile Rodgers was unanimously re-elected to serve a third term as chairman of the Songwriters Hall of Fame at its annual board of directors meeting held in New York City on Oct. 15. In a key change, the chairman, officers and board of directors will all serve terms of five years, up from the original three-year terms.
Rodgers, a four-time Grammy winner, was inducted into the Songwriters Hall of Fame in 2016 and the Rock and Roll Hall of Fame in 2017 (in the musical excellence category) and received a lifetime achievement award from the Recording Academy in 2023.
âHaving Nile as a partner has been a very special and rewarding experience for me personally and professionally,â Linda Moran, SHOF president/CEO, said in a statement. âNile is one of the rare ones who is respected and admired by his peers and his fans of all generations for being a musical pioneer with his multi-cross-genre music. With an ever-expanding list of credits and accomplishments and, more importantly, his eloquence in talking about and especially his love of songwriting and its process makes Nile the ideal voice for the songwriting community to the world at large as Chairman of the SHOF.â
Trending on Billboard
âServing as the Chair of The Songwriters Hall of Fame has been one of the highest points of my career,â Rodgers said in a statement. âTo be re-elected to serve another term makes me prouder than I could have ever imagined. This distinguished organization is one of the most brilliantly responsible groups Iâve ever had the pleasure to just sit amongst. Songwriters are the pillar of the music industry, and we recognize and celebrate these great creators. For this honor Iâm beyond elated.â
Re-elected officers with Moran include CFO and treasurer Tom Kelly and senior vps David Israelite, Elizabeth Matthews and Mike OâNeill, secretary Mary Jo Mennella and deputy secretary Linda Buckley.
Elected members to the board of directors are SHOF inductees Desmond Child, Steve Dorff and Paul Williams, 2012 Hal David Starlight Award recipient Schaffer âNe-Yoâ Smith, Martin N. Bandier, Donna Caseine, Samantha Cox, Charlie Feldman, Fletcher Foster, Pete Ganbarg, Randy Grimmett, John H. Josephson, Jody H. Klein, Evan Lamberg, Carianne Marshall, Nancy Munoz, Jon Platt, Irwin Z. Robinson, Harold Stephan, Bob Valentine and John Titta. Barry Slotnick will continue as counsel.Â
Time to drop the needle on the latest Executive Turntable, Billboardâs comprehensive(ish) compendium of promotions, hirings, exits and firings â and all things in between â across music.
Read on for (mostly) good news and also check out Billboardâs annual list of top executives leading the live sector, plus our weekly interview series spotlighting a single c-suiter, 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.
Daniel Lang was elevated to senior vp of global society relations and digital rights at Warner Chappell Music, reporting to CEO Guy Moot. Based in London, Lang will manage relations with U.S. and international collection societies, focusing on optimizing digital income flow and ensuring timely payments to songwriters. Heâll also represent Warner Chappell in negotiations with DSPs including Spotify and YouTube, among others. Since joining Warner Chappell in 2017, Lang has held key digital licensing roles, strengthening relationships with partners and modernizing practices with collection societies. Promoted to vp in 2021, his efforts have improved payment processes for songwriters. WCM CEO Guy Moot praised Langâs management of both digital licensing and society relations, adding, âIt was an experiment to combine these remits and it paid off handsomely. Iâm delighted that heâs agreed to take on this expanded global role as I know our writers will continue to benefit from his proactive, collaborative and inventive approach.âÂ
Trending on Billboard
Mavin Global chief operating officer Tega Oghenejobo has added president to his title at the Nigerian record label, effective immediately. Oghenejobo, who joined Mavin in 2012, has been instrumental in Mavinâs rise as an African music powerhouse, fostering talent development â the labelâs roster includes Rema, Tyra Starr and others â and securing strategic alliances, such as with Universal Music Group, which purchased a majority stake in the compny earlier this year. Under Oghenejoboâs guidance, Mavinâs international wins include Remaâs âCalm Downâ remix with Selena Gomez, which became the first Afrobeats track to reach over a billion Spotify streams, while Ayra Starrâs album âThe Year I Turned 21â made her the first Nigerian female artist to chart on the Billboard 200. As president and COO, Tega aims to elevate Mavinâs global reach and boost its roster. Mavin CEO Don Jazzy praised Tegaâs leadership and is confident in his vision to propel the company further. âTega has been a cornerstone of Mavinâs success since day one,â said Jazzy. âHis leadership, vision, and deep industry insights have been vital in shaping the labelâs growth. His promotion to President and COO is a testament to his remarkable achievements, and I am confident he will continue to lead Mavin to even greater heights.â
Warner Chappell Music Korea appointed Sophia Hong as managing director, effective immediately. Reporting to WCM APAC president Arica Ng, the Seoul-based Hong will lead the companyâs South Korean music publishing operations, focusing on market presence and business growth. Her role includes developing strategic initiatives, leading teams and identifying growth opps. Hong brings experience from roles at companies like Kakao Corp, MTV, Nickelodeon and Sesame Workshop in both the U.S. and Asia. âHer unique insights, fresh perspective and curiosity about new approaches will enrich our work,â praised Ng. âWe are committed to empowering songwriters and fostering collaboration, and with Sophia on board, we are well-positioned to create deeper connections with fans. We will collaborate closely to ensure that their voices are heard and their stories leave a lasting impact globally.â
Jayce Varden joined SongVest as chief strategy officer to spearhead the development of Songshares, a platform that enables fans to purchase fractional royalty shares in songs. Varden, who co-founded PledgeMusic and raised over $100 million through its crowdfunding campaigns, brings experience in fan engagement and artist support to the royalty investment platform. Additionally, Varden co-founded channl, a platform focused on audience engagement, and contributes as an advisor at Berklee Online. SongVest CEO Sean Peace praised Vardenâs expertise in fan experiences and his alignment with the companyâs mission to democratize music ownership. âJayceâs pioneering work with PledgeMusic set a new standard for fan engagement, and his expertise in building unique fan experiences aligns perfectly with SongVestâs vision,â said Peace. âTogether, we are taking the next step in democratizing music ownership for fans while empowering artists.â
TuneCore appointed Atticus Shelley as vice president of finance, reporting to chief financial and strategy officer Matt Barrington. Shelley will lead the companyâs financial strategies, manage the finance team, boost efficiencies and will also provide financial insights to guide expansion efforts and other top-level decisions. Shelley brings extensive experience from roles at Hulu, Spotify, and Investi Financial Inc., where he recently served as executive director of finance. At Spotify, he was the founding director of the companyâs financial planning and analysis team and was instrumental in the DSPâs rapid global expansion. In announcing the appointment, Barrington highlighted TuneCoreâs focus on scaling its offerings and supporting independent artists, expressing confidence in Shelleyâs leadership to drive financial operations and âact as a key partner to the business around our artist development and growth strategies.â
The Country Music Associationâs senior director of integrated marketing Michelle Kirk will transition to the CMA Foundation as senior director, effective Dec. 1. In the new role, Kirk will be instrumental in the strategic planning, program development, operational oversight and directing of the foundationâs inititatives. Kirk first joined the CMA in 2012 as strategic partnerships coordinator, and moving into a senior manager role before transitioning to WME as a brand partnerships agent in 2015. Kirk rejoined CMA in 2019 and was promoted to the senior director, integrated marketing role earlier this year. âJessica Nicholson
Music industry veteran Latoya Lee joined Berklee as the director of industry and employer engagement. In the role, sheâll support studentsâ talent development and help them establish connections within the industry, promoting both creative and professional growth. Lee launched her industry career at Konvict Muzik/BuVision ENT, advancing from an assistant to an A&R executive. During a six-year run at Warner Music Group, where she rose to senior director of A&R, Lee contributed to Trey Songz albums, Flo Ridaâs âGDFRâ and the Furious 7 and Suicide Squad soundtracks. She also collaborated with Berklee grad Charlie Puth on his hit âSee You Againâ and signed Xenia Manasseh to a publishing deal. Later, as vp of creative at Atlas Music Publishing, Lee supported Grammy-winning projects, including Nasâs Kingâs Disease III.Â
Downtown Musicâs direct-to-creator division, CD Baby, promoted Nicholas Salomone to senior vp of business development and revenue, overseeing strategic partnerships and revenue growth across CD Baby and its services. He began his tenure at CD Baby in 2017 as senior content ID analyst, rising through the ranks to his more recent role as vice president of business developments and partnerships. Based in Seattle, Salomone reports to CD Baby president Molly Neuman, who said his âdeep understanding of independent artists and their needs, along with his ability to foster strong relationships with our key revenue partners, make him the perfect leader for this role.â âJ.N.
Leif Janzen joined Red Bull Records as vp of digital marketing, reporting to chief marketing officer Nikki Cox. In this role, Janzen will lead fan engagement and music discovery, focusing on platform development, partner management, paid media strategy and content creation for the label, home to Blxst, Strokes guitarist Albert Hammond Jr. and others. With over a decade of digital marketing experience, Janzen previously served as senior director of digital marketing at Capitol Music Group, working with artists like Aidan Bissett and Young Miko. He also held roles at Warner Music Groupâs ADA, Victory Records, and worked as a talent buyer/media manager in Chicago.
Killphonic Rights strengthened its leadership team after securing funding from Stilwell Creative Capital. Industry veterans Syd Butler and Michelle Fantus join as co-heads of A&R. Butler, founder of Frenchkiss Records, has experience developing artists like Passion Pit, while Fantus brings over 18 years in senior A&R roles at Sony/ATV, Razor & Tie, Concord, and OneRPM, with recent work in creative partnerships at Spotify. Chelsea DâAmico becomes head of sync and creative licensing, adding a decade of experience from Mad Decent and Concord, where she worked with artists like Diplo. Michael Grubbs, previously head of A&R, shifts to head of creative, utilizing his background as an artist, producer, and composer. Jill Pedone, former head of sync, is now head of operations, leveraging her expertise from Lava Publishing and Sumerian Records and her longstanding collaboration with CEO Caleb Shreve.
Prodigy Artists promoted Eric Bindman to director of operations, supporting the LA-based music management firmâs growth and expansion. Previously a senior manager at Prodigy, Bindman has managed artists such as Audien, Elephante, Niiko x Swae, and Mattilo. With over 15 years of industry experience, he brings a multi-disciplinary background in artist management, touring, publishing, marketing and logistics. His prior work includes tour-managing acts like Deorro, Two Friends and Gareth Emery. Founded by Steven Haddad and Will Runzel, Prodigy Artistsâ roster includes SLANDER, NGHTMRE, HEKLER, Wolfgang Gartner, and Bekon. Haddad and Runzel praised Bindmanâs dedication and expertise since joining the company, calling him a âmeticulous and skilled artist managerâ whoâll âbring invaluable expertise to this next stage of growth.â
Better Noise Music unveiled key promotions and hires to enhance its artist development efforts. Jackie Kajzer has been promoted to senior vice president of radio promotion and artist development, recognized for discovering artists like Five Finger Death Punch. April Ginns is now tour marketing manager, responsible for strategic tour marketing plans. Victor Lang, promoted to managing director of Europe, will oversee BNMâs European initiatives. Finally, Frank Ehlers joined as senior label manager for Germany, Austria, and Switzerland (GSA), bringing 20 years of industry experience to support artist growth in the region. BNM president/COO Steve Kline and GM Paul Cormack highlighted the positive impact of these changes, emphasizing the value of Frankâs expertise and the expanded roles of Victor, Jackie, and April. This restructuring reflects BNMâs commitment to a growing roster, which includes From Ashes to Ashes, Bad Wolves and The Hu.
SeatGeek appointed Mike Shane as executive vp of enterprise partnerships to enhance its growth and innovation strategy. Shane brings over ten years of experience from roles with the Washington Nationals, Philadelphia Flyers, and Wells Fargo Center. Reporting to co-founder and president of supply Russ DâSouza, Shane will focus on expanding enterprise partnerships and advancing ticketing technology. DâSouza praised Shaneâs industry insight and growth-driven innovation, highlighting his strong track record. âMike has sat in the chair that our current and future clients are in, and knows the challenges they face as well as their ambitions,â he said.
ICYMI:
Boyd Muir
Universal Music Groupâs CFO, Boyd Muir, shifted over to the newly created role of COO ⊠EMPIRE hired Jeffrey Yoo as senior vp of East Asia ⊠Over in Australia, Simone Schinkel stepped down as CEO of Music Victoria ⊠UTA appointed Kirk Taboada, a veteran in the live Latin music scene, as an agent within its music division ⊠Goldenvoice unleashed a new round of promotions within its talent buying group ⊠and Dick Clark Productions appointed Diana Miller as evp of talent. [KEEP READING]
Last Weekâs Turntable: TikTok Star Hooks Up With Jen