State Champ Radio Business News
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HYBE and JYP Entertainment were among the few music stocks to make gains this week as markets stumbled globally. HYBE, home to BTS and its members’ solo projects, rose 7.2% to 215,500 won ($146.19), its best closing price since Nov. 20, thanks to Friday’s news that BTS member J-Hope willsoon release new music and commence a world tour starting in Seoul on Feb. 28. JYP Entertainment, which has had global success with Stray Kids and ITZY, rose 5.6% to 71,600 won ($48.57) after the company announced it will launch a new boy band, Kickflip, on Jan. 20.
The 20-company Billboard Global Music Index (BGMI) slipped 1.4% to 2,126.33, marketing the fourth time in five weeks the index has lost value. Only five of the 20 stocks finished the week in positive territory. Other than HYBE and JYP Entertainment, only CTS Eventim (up 3.4%), Believe (up 3.2%) and Universal Music Group (up 1.1%) posted gains. Three stocks (Cumulus Media, Deezer and Anghami) were unchanged while 12 stocks had losing weeks.
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Music stocks were dragged down by numerous market forces this week. Stocks fell sharply on Friday (Jan. 10) following healthy employment numbers that investors likely interpreted to mean the U.S. Federal Reserve would not seek to lower interest rates at its meetings in January or March. Also, data from the University of Michigan released Friday showed consumers’ expectations for future inflation rose to 3.3% from 2.8%. In the United States, the Nasdaq composite fell 2.3% to 19,161.63 and the S&P 500 dropped 1.9% to 5,827.04. In the United Kingdom, the FTSE 100 rose 0.3% to 8,248.49. China’s Shanghai Composite Index dipped 1.3% to 3,168.52. South Korea was an outlier as the KOSPI composite index rose 3.0%.
Warner Music Group (WMG) shares dropped 5.4% to $29.33 after three analysts lowered their price targets ahead of WMG’s quarterly earnings release on Feb. 6. Guggenheim lowered its WMG price target to $40 from $44 after taking into account an expected 1.5% foreign exchange impact on the latest quarter’s revenue and a 1.7% impact on revenue for the full fiscal year ended Sept. 30, 2025. Guggenheim also dropped its recorded music licensing estimate while maintaining its recorded music subscription revenue growth forecast in the “high single-digit” range. Evercore lowered WMG shares to $35 from $36. UBS lowered WMG to $41 from $43 and maintained its “neutral” rating.
Spotify, which announces fourth-quarter earnings on Feb. 4, fell 1.5% to $459.53. Goldman Sachs raised its Spotify price target this week to $550 from $490. Spotify shares have fallen in five of the last six weeks and are 9.3% below the all-time high of $506.47 set on Dec. 4.
Music streaming company LiveOne had the index’s biggest decline, dropping 12.4% to $1.20. Radio broadcaster iHeartMedia fell 11.7% to $1.88. SiriusXM continued its losing streak, sinking 6.8% to $20.83. SiriusXM shares fell 58.3% in 2024 and have dropped 16.4% in the last three months. K-pop company SM Entertainment sank 5.1% to 68,900 won ($46.74).
According to Morning Consult, 57% of people born roughly between 1995 to 2010 aspire to become influencers and earn a living publishing their lives — or a fictional semblance of their real lives — on platforms such as TikTok, Instagram and YouTube. That means there has never been a greater need for simple solutions to license music.
Making synch licensing simple is key to capturing the potential in today’s creator economy, says Wendy Connell, vp of marketing at music synch startup Soundstripe. “How can we guide people through this complicated process and make it as easy as possible, and make sure that they know that they’re covered, it’s legal, and take care of all the complication for them?” she says.
Soundstripe has business customers, too, and its traditional synch (film, TV and movies) rose 87% in 2024. But personal users — influencers, hobbyists, students, etc. — account for 53% of its customers. With evidence growing that content creation is big business, there’s a huge opportunity for companies like Soundstripe that provide them with services — and the need for affordable music licensing could help grow a U.S. synch revenue market that was worth $411 million in 2023 (a number that includes only label revenue tracked by the RIAA) and probably more in 2024.
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The world is awash in content creators — the term for professional, semi-professional and amateur photographers and video makers who flood digital platforms with everything from cooking tips to travel videos to Amazon product recommendations. But making short videos for a living isn’t just an aspiration of the younger generations for whom Mr. Beast is the peak of celebrity and Kim Kardashian is the blueprint for turning fame into wealth. Morning Consult also found that 41% of all adults surveyed would choose the career: Across all age groups, millions of creators already operate at the sub-career level. And a November 2023 report by the Keller Advisory Group found there were 27 million paid creators in the U.S. aged 16 to 54. For a small group of them, being an influencer provides a six-figure annual income, but for most of the 27 million “micro-influencers,” annual income is less than $10,000. Regardless of how much they make, though, influencers are churning out content — much of it requiring music.
This supply of content exists because there is a massive, eager audience for creators’ videos and photos. Young consumers are spending their time on smartphones, not TVs: 60% of American teens spend four or more hours each day on social media on average, and nearly 30% are on social platforms for more than six hours per day. Older age groups also spend time on social media — the 55-64 age group logs two hours per day on average, according to eMarketer — but younger people skew toward short-form videos on TikTok while older consumers bank most of their social time on Facebook.
In the past, TV shows and movies provided a constant source for synch royalties for the use of a sound recording and its underlying musical work. Today, those traditional synch opportunities still exist, but influencers and other content creators are eroding legacy media’s viewing time. In July, YouTube accounted for more than 10% of TV viewing, according to Nielsen, becoming the first streaming platform to surpass the 10% threshold. That was more than Netflix, a TV juggernaut that commanded an 8.4% share, and Amazon Prime, a distant third amongst streaming platforms at 3.4%. All streaming platforms accounted for 41.4% of TV viewing, well ahead of cable (26.7%) and broadcast (20.3%).
But influencers need easy-to-use, affordable licensing options to stay out of legal trouble. Last year, companies such as Marriott, Bang Energy and OFRA Cosmetics were sued by music rights holders for using unlicensed music in influencer marketing. (Sony Music and Marriott ended their lawsuit while Bang Energy lost separate court cases against Sony and UMG in 2022.) While TikTok’s licensing deals allow users to incorporate music into their videos, they stop short of allowing corporations and the influencers they — or third-party firms — hire to use music for commercial purposes. Outside of influencer marketing, there are numerous other instances of companies using music without permission when simple, legal and affordable licensing options exist.
Aside from Soundstripe, platforms such as Epidemic Sound, PremiumBeat, Artlist and, most recently, The Rights provide royalty-free music, typically through a subscription model, that provide a wide range of mostly anonymous production music, though professional musicians and songwriters working under their stage names are largely absent from these platforms. While Soundstripe currently has in-house musicians to build its catalog, Connell says the company is working on bringing in record labels’ catalogs to offer to their customers. That would benefit artists and songwriters whose music isn’t available at Soundstripe and similar platforms and who would otherwise miss out on the rise of influencer culture — and the financial benefits that can come from tapping into it.
First, the elephant in the room. Justin Trudeau resigned as Prime Minister after a decade as leader of the country. He’ll stay on until a leadership race elects the new head of his Liberal Party on March 9. What could this period of transition mean for Canada’s music industry and arts funding? Read more:
Meanwhile…
Warner Music Group has formed another strategic partnership to elevate and develop Punjabi music in Canada.
ADA, the company’s independent label and artist services arm, announced a worldwide distribution deal with EYP Creations INC. EYP is a major management and content company in Punjabi music and is based in both Canada and India.
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Canada has emerged as a global hub for Punjabi music, which is one of the fastest growing global genres. Artists including Karan Aujla, Shubh and Diljit Dosanjh have achieved chart success and set records in the country.
Warner has been on the forefront of the Punjabi Wave, uniting Warner Music Canada and Warner Music India to launch 91 North Records in 2023. But this partnership with EYP also aims to foster the next wave of talent so that they can eventually achieve the same heights.
The new deal includes EYP’s record label, UrDebut Canada, which has helped launch new artists like Kushagra and Tanishqa, who have had songs with millions of streams in the last year. The goal, they say, is to open emerging artists to a similarly broad and growing audience of hungry international fans.
“This partnership with EYP Creations marks a strategic step in expanding WMG’s presence within the Punjabi music landscape,” says Warner Music Canada president Kristen Burke in a statement. “This alliance not only supports the growth of Punjabi music in Canada, but also opens doors for discovering and nurturing emerging talent in this vibrant community.”
EYP Creations CEO Nikhil Dwivedi says he’s excited about the potential of working with ADA and talks about the quality distribution and marketing it can open to South Asian artists in Canada.
“We are focused on nurturing young South Asian talent together through launching them at UrDebut Canada label and building them through distribution, management, live events and collaborations around the globe,” he says.
ADA has also partnered with other Punjabi music companies in recent years, including Punjabi music content aggregator, Sky Digital, and Punjabi record label, Geet MP3.
“We’re excited to bring this Punjabi music leader into the Warner Music Group family,” says Cat Kreidich, President of ADA. “Our team is looking forward to partnering closely with Nikhil and everyone at EYP Creations to mine new opportunities in the market and bring new voices into the mix.” -Richard Trapunski
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East Coast Music Association Parts Ways With CEO
On Monday (Jan. 6), the East Coast Music Association (ECMA) issued a press release stating that “the board has conducted a thorough review of our leadership and operations, leading to the decision to part ways with CEO Blanche Israël.” The change has been made ahead of the East Coast Music Awards show in St. John’s, Newfoundland this spring.
The Canadian Press reports on the “clash over the future of the East Coast Music Awards” that led to the decision. In an online petition launched late 2024, some members called for “transparency and stability” amid changes that affected the awards and its associated festival, citing a lack of clarity and consultation around applications and other “significant modifications.” Former ECMA CEO Andy McLean has been installed as interim managing director as the search for a new CEO begins.
ECMA’s stated mission is “to develop, advance and celebrate East Coast Canadian music, its artists and its industry professionals throughout the region and around the world. We advocate for our members to ensure they can sustain music careers while based in Canada’s Atlantic region.”
This year’s ECMA awards honoured folk-rockers The East Pointers with the most awards, followed by Jenn Grant, Morgan Toney, and Tim Baker. –Kerry Doole
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Lady Gaga And Bruno Mars Score The First Post-Holiday No. 1 On The Canadian Hot 100 in 2025
Lady Gaga and Bruno Mars have plenty to smile about this week.
The superstar duo have landed the first post-holiday No. 1 song of 2025, topping the Billboard Canadian Hot 100 “Die With a Smile.” The sentimental ballad has had a slow burn to the top, hitting No. 1 in its 20th week on the chart, though it’s been a mainstay on the Global 200. The song also climbed to the top of the U.S. Billboard Hot 100 for the first time this week.
Bruno Mars holds both the No. 1 and No. 2 spot this week on the Canadian Hot 100, with his Rosé collab “Apt.” at No. 2. Shaboozey’s record-breaker “A Bar Song (Tipsy)” is also back in the top 3, holding the third spot.
There’s also a pair of first-timers making their chart debuts. U.K. singer Chrystal arrives with “The Days” at No. 95. The minimalist dance track got a boost from a high-energy remix by rising Bristol producer Notion, as well as a feature on the popular TikTok account Jaxon’s Journey.
American psych-pop singer Chezile lands on the chart at No. 98 with the melancholic “Beanie,” a psych-pop song with hints of Mac DeMarco that has become a popular cover choice on TikTok. Chezile also had a bump from popular content creator Mr. Beast using the song to soundtrack his proposal announcement.
Claiming the final spot on the chart is Imogen Heap’s “Headlock.” She’s not a first-timer but the acclaimed singer-songwriter is getting some love for her 2005 track, which is also seeing a lot of traction on TikTok.
None of those songs are on the U.S. Hot 100 this week, in keeping with a trend of viral TikTok tracks showing up on the Canadian charts first. Heading into 2025, it looks like the app is still one of the leading career-boosters out there, though it is facing potential existential threats on both sides of the border. –Rosie Long Decter
Dust off that old Pioneer or Thorens — there’s a guy below who can set it up for you — and check out the year’s first edition of Executive Turntable, Billboard’s compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
There’s a full slate of personnel news this week, which of course has been dominated by the devastating fires across Los Angeles. We have a running list of organizations offering relief for musicians and music industry professionals, plus a tally of affected industry events. More coverage on the wildfires can be found here.
Sphere Entertainment appointed Robert Langer as executive vice president, chief financial officer and treasurer, effective Jan. 13. Langer, with over 30 years of experience, will work closely with the management team to support the company’s long-term direction, providing strategic financial insights and overseeing financial matters, strategy and business development. He will be based in Burbank and report to CEO James L. Dolan. Langer arrives from The Walt Disney Company, where he most recently served as head of corporate strategy and financial planning. During his 25-year tenure at Disney, he held various financial leadership roles, including CFO of Disney ABC Television Group and Disney Consumer Products. He also has significant global experience, having served as country manager for Germany, Switzerland and Austria. Dolan expressed confidence in Langer, saying the UCLA grad’s “multifaceted finance and strategy experience across the media and entertainment industry, both domestic and international, will be an asset as we continue to pursue our long-term goals and advance key initiatives.”
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Live Nation appointed Milly Olykan as senior vp of artist development and global touring, starting in January. Reporting to Omar Al-Joulani, president of touring, Olykan will spearhead the global expansion of Live Nation’s Country and Americana strategy. In this capacity, she’ll work with promoters worldwide to identify new touring opportunities, strengthen artist relationships and drive growth in the international country music market. Olykan arrives from the Country Music Association (CMA), where since 2018 she served as vp of international relations and development, and also as interim festival director. At CMA, she expanded the international strategy, built industry networks and increased global awareness of country music. Previously, Olykan was Vice President of Live Music and Major Arena Events at AEG Presents in the UK, co-founding the Country to Country (C2C) festival and establishing country touring for AEG Presents. Al-Joulani praised Olykan’s experience and connections across the wide worlds of country and Americana, saying they “make her a great asset to support our efforts in continuing to expand touring of those genres worldwide.”
Patrick Donnelly, longtime executive vp, general counsel and secretary of SiriusXM, has telegraphed a slow-burn retirement after 27 years. According to a filing with the SEC, Donnelly’s employment agreement was allowed to expire earlier this month, however, he will remain a full-time employee until April 4. Afterward, he’ll transition to a part-time role through the last day of the year, assisting with the handover of his responsibilities. During the full-time period, Donnelly will maintain his current salary of $1,025,000 while continuing in his existing roles until a successor is appointed. Afterward, he’ll transition to an advisory role for the new GC. In the part-time stretch, he’ll provide continued support, with compensation including a pro-rated 2025 bonus and part-time salary of $615,000 through years-end. He joined the company in May 1998 following stints at ITT Corporation and Simpson Thacher & Bartlett.
Warner Music Belgium hired Youssef Chellak as the label’s new general manager, effective immediately. Based in Brussels, Chellak will report to Niels Walboomers, president of recorded music and publishing for WMG Benelux. His role focuses on expanding Warner Music Belgium’s domestic roster, fostering innovative collaborations and driving cultural curiosity within the team. Chellak brings over 20 years of experience in the music industry, having started around 2000 as a producer, executive producer and publisher, collaborating with artists across Belgium, France, and Germany. In 2018, he became GM of Top Notch Belgium, where he developed artists like Dikke and Stikstof. Most recently, he served as A&R director at Universal Music Belgium, nurturing talents such as Aaron Blommaert and Berre. Chellak expressed enthusiasm for Warner Music’s entrepreneurial culture and commitment to supporting Belgian artists. Walboomers praised Chellak’s “proven track record, culturally curious approach and inspiring vision for the local music industry” for making him ideal for the role. “I’m confident that he’ll create an inspiring environment where local artists, emerging as the voices of their generation, can collaborate, excel and reach their full creative potential,” he said.
iHeartMedia elevated Nicky Sparrow to executive vp of multicultural sales and Dee Dee Faison to vp of multicultural partnerships and alliances, effective immediately. Both report to Tony Coles, president of multicultural business and development. Sparrow will use iHeart’s radio, podcast and events assets to drive results for advertising partners while focusing on The Black Effect and My Cultura Podcast Networks. With a 25-year tenure at iHeartMedia, she previously served as svp of multicultural sales and is active in philanthropy. Faison, with 24 years in media and entertainment, will expand iHeartMedia’s multicultural initiatives, having joined the radio giant in 2020 as director of client success and has worked with major clients such as Toyota and McDonald’s. “These talented leaders bring a wealth of experience and a fresh perspective that will be instrumental in driving our mission forward of connecting our clients and partners with iHeartMedia’s multicultural audiences,” said Coles.
Jody Gerson // John Michael Fulton
BOARD SHORTS: Project Healthy Minds, a mental health tech non-profit, named UMPG chairman and CEO Jody Gerson to its board of directors. As the first woman to lead a global music company, Gerson aims to forge pacts within the music and entertainment industries to enhance access to mental health resources. “Anxiety and other mental health issues often walk hand-in-hand with artistry, and it’s my responsibility to let the creative people I work with know that they don’t have to deal with these issues on their own,” Gerson said. “In turn, artists can help to publicly dispel the notion that surviving in an often lonely and isolating world is just a matter of toughening up. Life is not easy, and seeking care for good mental health needs to be both destigmatized and encouraged.” Gerson joins a board that includes Carson Daly, Lisa Licht, Kalen Jackson and Sally Yates, among others … The Copyright Alliance added two new board members on Jan. 1: Alicia Calzada from the National Press Photographers Association and Jessica Richard from the Recording Industry Association of America. Both will serve two-year terms … Brian Magerkurth has been appointed chairman of the board for SongwritingWith:Soldiers. A board member for the past four years, Magerkurth succeeds Gary Leopold, who has served as chairman since 2018. Leopold will remain actively involved with the organization as a director.
Ben Sharman is the new director of booking at Co-op Live, Oak View Group’s much-hyped arena in Manchester, England. Sharman brings over a decade of experience in the live events industry, having managed British Athletics’ commercial partners for the London 2012 Olympics and secured major sponsorships for Aston Villa Football Club. He joined the NEC Group in 2014, transitioned to arena programming in 2017, and was promoted to head of programming for Utilita Arena Birmingham and bp pulse LIVE in 2022. Gary Hutchinson, executive vp of Oak View Group International, praised Sharman’s expertise and industry relationships, expressing confidence in his ability to elevate the venue as a premier destination. In 2025, Co-op Live will host global talents such as Sabrina Carpenter, Tyler, the Creator, Bruce Springsteen, Lionel Richie and Hans Zimmer. OVG also announced that Katie Musham, Co-op Live’s director of strategic programming, will be moving to its international unit to aid their expansion efforts across Europe and beyond.
TuneCore, the Believe-owned digital music distributor, named Mike Ceglio as vp of operations strategy. Reporting to CEO Andreea Gleeson, Ceglio will oversee a wide swath of business operations, including the content review, trust/safety and copyright teams, while collaborating with the product team to enhance operational processes. Ceglio brings over a decade of experience in digital operations and rights management. Before joining TuneCore, he served as vp of creator operations at SoundCloud, where he managed creator services, among other duties. He has also held leadership roles at UnitedMasters and Vydia. Gleeson praised Ceglio’s industry insight and ability to build high-performing teams. “His leadership will enable us to be even more proactive in working alongside DSPs, tackling new industry challenges and streamlining workflows to create a smoother, more efficient experience for both DSPs and artists,” she said. “By deepening these partnerships, Mike will further enhance TuneCore’s position as a trusted partner that continuously delivers operational excellence in the evolving digital music landscape.”
AEG Presents named Weston Hebert as vp of global touring, reporting to Rich Schaefer, the president of global touring. Based in Nashville, Hebert will lead global touring strategies and initiatives. Hebert previously worked as a talent buyer at Live Nation, managing bookings for venues in the Great Lakes region and promoting tours for emerging artists like The Red Clay Strays and Gavin Adcock. He began his career at WME Nashville, where he focused on expanding the country touring business internationally. Hebert praised the global team’s “exceptional sense of collaboration & community with the artists, managers & agents they work with,” while Schaefer highlighted Hebert’s “strong relationships with artists, managers, and agents, as well as his exceptional taste in music.”
Across the pond, Emma Bownes was promoted to senior vp of venue programming at AEG Europe, where she’ll lead programming strategy for prominent venues, including The O2 in London, Barclays Arena in Hamburg and Berlin’s Uber Arena. Bownes, a 25-year veteran of the live business, joined AEG in 2010 and has played a pivotal role in building successful event calendars. “At AEG, our vision is to be the best-in-class live entertainment business and Emma’s work is fundamental to this,” said John Langford, chief operating officer at the AEG subsidiary. The live giant also announced other team promotions: Jo Peplow-Revell as director of corporate and special events and Marc Saunders as head of programming at The O2, both reporting to senior programming director Christian D’Acuna.
Jose Nova // Complex
Jose Nova is the new head of Latin at Complex, where he will oversee music, content strategy and artist collaborations to help the brand drive growth in the Latin music space. Previously, Nova was global Latin industry relations lead at Amazon Music, spearheading campaigns for top Latin artists like Bad Bunny and Karol G. His work, which scaled major tours, live-streaming events and marketing campaigns, got Nova recognized on Billboard’s 2023 Latin Power Players list. Nova’s career also includes roles at Spotify and Interscope, where he curated strategies for U.S. Hispanic and Latin American audiences. “I’ve always regarded Complex as a brand that pushes boundaries and redefines culture, creativity, and storytelling,” he said. “After discussing our shared vision with (Complex CEO) Aaron Levant and the team, it became clear how aligned we are in driving meaningful impact for Latin audiences, artists, and creators.”
NASHVILLE NOTES: Brown Sellers Brown, which includes Quartz Hill Records, Stone Country Records and BSB Management, hired Ash Bowers as director of artist management and A&R support, where he will also lead management strategy for BSB artists including Ben Gallaher and Spencer Hatcher. Wendy Buckner joins as day-to-day manager for artists including Gallaher and Hatcher, while Abby Driscoll joins as day-to-day manager for artist Annie Bosko. Angela Wheeler has been promoted to director of content and creative … Universal Attractions Agency added booking agent Ryan Slone to its rock & pop division, led by Matt Rafal. Slone brings to UAA artists including Danielle Nicole, dada, 7Horse, LOVE with Johnny Echols, Talking Dreads, Scott Mulvahill, Black Circle, and Monkeys on a String. Slone’s previous career stops include Bonfire Touring, Ovation Artist Group and New Frontier Touring. —Jessica Nicholson
EastCoast Entertainment promoted Brad Strouse to managing partner, recognizing his contributions since joining the full-service agency in 2016. Strouse, who began his career in Nashville specializing in artist booking, touring and live event production, previously served as location managing director for ECE’s Richmond and DC offices. He has played pivotal role in expanding the company’s National division, overseeing large-scale productions and booking acts like Darius Rucker, Trace Adkins and Sister Hazel at venues including Levi’s Stadium and the Rock & Roll Hall of Fame. ECE President John Wolfslayer commended Strouse’s leadership, integrity and dedication to artists, adding he has “qualities of a true role model for the next generation, with his unwavering integrity, tireless work ethic, and deep commitment to our community of artists.”
Music finance firm Sound Royalties promoted Allison Portlock to executive vp of marketing and Bryan Field to director of royalty analysis. Portlock, who has been with Sound Royalties since 2018, most recently as vp of marketing, is based in West Palm Beach, Fla. and reports to Michael Bizenov and Alex Heiche. As a key executive team member, she oversees marketing, business development and customer experience, while also guiding company strategies and expanding the brand into new markets. She focuses on long-term customer relationships and leads the marketing team’s growth. Fried joined SR in 2014 and was most recently the senior royalty analyst. Based in WPB and reporting to Barbara Ocasio, he manages the royalty analyst team, performs in-depth analysis of royalty earnings, identifies risks and produces projections.
Believe beefed up its UK team with the appointments of Paul Trueman as director of artist services and Joe Edwards as head of marketing. Trueman, formerly COO at un:hurd music and GM at AWAL, brings extensive expertise in marketing, promotions and audience development. At Believe, he’ll lead A&R, new business, commercial strategy and global marketing campaigns, reporting to UK managing director Alex Kennedy. Edwards, previously senior director of marketing at AWAL, has worked marketing strategies and award-winning campaigns for artists such as Jungle, Djo and Bombay Bicycle Club, and will now report to Trueman.
Brad Parscale, the digital director for Donald Trump’s winning 2016 campaign who later had a lengthy stint as campaign manager in 2020, is the new chief strategy officer of Christian conservative media company Salem Media Group. SMG recently stuck a fork in its music ambitions by selling off its seven remaining Contemporary Christian-formatted radio stations to the Educational Media Foundation (EMF) for $80 million.
Acoustic Sounds reappointed turntable specialist Chad Stelly to their team. Stelly, who initially joined Acoustic Sounds in 2005, is feted for his expertise in HiFi equipment sales and turntable setup. After leaving in 2019, he worked at Musical Surroundings, providing dealer training and supporting phono cartridges, preamps and turntables, as well as contributing to product development. Later, he joined Bluebird Music, focusing on SME support and repair. Acoustic Sounds, founded by Chad Kassem and based in Salina, Kansas, is home to Quality Record Pressings, its in-house record pressing plant, and Analogue Productions, its vinyl reissue label. The company also operates an original production label, APO Records, along with Acoustic Sounds Printing, its dedicated print shop. Additionally, Acoustic Sounds boasts Blue Heaven Studios and The Mastering Lab, specializing in recordings and LP mastering.
Emerald City Music, a Seattle-based chamber music series, appointed Sean Campbell as its new executive director, effective Feb. 3. Campbell, formerly the artistic planning manager at the Chamber Music Society of Lincoln Center, will work alongside ECM’s founding artistic director, Kristin Lee. His responsibilities include providing administrative leadership, supporting the board of directors, developing engagement events and educational programs, fostering partnerships with community organizations and local businesses, serving as a community ambassador, and creating a strategic plan for ECM. Campbell aims to enhance ECM’s innovative programming for audiences in the Pacific Northwest and beyond.
ICYMI:
Derek Chang
Lyndsay Cruz left her post as executive director of ACM’s philanthropic arm … Liberty Media named Derek Chang as its new president and CEO … Kobalt tapped Rani Hancock to be its new executive vp and head of U.S. creative … Wasserman Music scooped up Kevin Shivers, James Rubin and Cristina Baxter — plus the artists they represent — from rival agency WME … Lauren Davis was promoted at NYU’s Clive Davis Institute … SALXCO named a new CEO and co-presidents.
Last Week’s Turntable: Warner Records’ New Head of International Marketing
As the devastation from the wildfires in Los Angeles continues to unfold, the Recording Academy and MusiCares have launched the Los Angeles Fire Relief Effort to support music professionals impacted by the crisis, making a combined pledge of $1 million to kick off the efforts. “The entire Grammy family is shocked and deeply saddened by […]
Since Tuesday (Jan. 7), ferocious wildfires have been blazing through the greater Los Angeles region, causing extensive damage to life and property, including those of many individuals working in the music business. With nearly 180,000 residents impacted by evacuation orders, at least five dead and thousands of structures damaged or destroyed, music industry organizations are finding ways to provide relief for impacted music workers.
Below, find a list of some of the music organizations offering relief for L.A. industry owrkers. We will continue to update this list as more announcements are made.
(For health alerts, evacuation updates and shelter information, check out L.A. County’s emergency website here.)
MusiCares
The Recording Academy’s philanthropic arm MusiCares say it “can consider emergency funds related to evacuation and relocation costs, instrument replacement/repair, home damage, medical care, mental health services, & other essential living needs,” according to a statement released to social media. Further details have yet to be announced.
Reach out to: musicaresrelief@musicares.org or call 1-800-687-4227
Backline
Mental health non-profit Backline is sharing resources for musicians in Los Angeles via social media and offering its own services. “Know that Backline is here for you and that you are not alone,” the organization wrote on Instagram. “You can reach out to us via our case submission form and a Case Manager will contact you to help you get the long-term support you need. If you need immediate assistance, please reach out to the Disaster Distress Hotline for free 24/7 support by calling 1-800-985-5990.”
Sweet Relief Musicians Fund
Sweet Relief Musicians Fund, the non-profit helping musicians and music industry workers in need, has launched a natural disaster relief fund for those in Los Angeles County and the surrounding areas. Applications are also open for those seeking relief, with funds raised going toward loss of music-related equipment, medical bills related to the fires and other vital living expenses.
Head here to donate or fill out an application.
As Billboard publishes its 137th volume throughout 2025, stay in the know on the magazine’s print schedule for the year, along with each issue’s corresponding theme. This is an updating post, so be sure to check back for any changes.
Issue Date: Jan. 11, 2025Theme: Managers to Watch/Quarter-Century Charts
Issue Date: Jan. 25, 2025Theme: The Billboard Power 100
Issue Date: Feb. 8, 2025Theme: Sports*This issue will include Top Music Venues
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Issue Date: March 8, 2025Theme: SXSW/Branding Power Players
Issue Date: March 22, 2025Theme: Women in Music
Issue Date: April 19, 2025Theme: TBD*This issue will include Top Music Lawyers
Issue Date: May 10, 2025Theme: AAPI Heritage Month/40 Under 40*This issue will include International Power Players
Issue Date: May 31, 2025Theme: Country Power Players
Issue Date: June 7, 2025Theme: Indie
Issue Date: June 21, 2025Theme: Pride
Issue Date: July 19, 2025Theme: Fashion
Issue Date: Aug. 16, 2025Theme: Fall Music Preview
Issue Date: Aug. 30, 2025Theme: R&B/Hip-Hop Power Players
Issue Date: Sept. 27, 2025Theme: Latin Power Players
Issue Date: Oct. 4, 2025 (Double Issue)Theme: Grammy Preview/Producers
Issue Date: Oct. 25, 2025Theme: Touring*This issue will include Top Music Business Schools
Issue Date: Nov. 15, 2025Theme: BBMAs*This issue will include Top Business Managers
Issue Date: Dec. 6, 2025Theme: Grammy Voter Guide
Issue Date: Dec. 13, 2025Theme: No. 1s/Year in Music
We’re a week into 2025, and Elon Musk and Mark Zuckerberg have gone full MAGA and parts of Los Angeles are burning.
Much like the world in general, the music business seems to be at an inflection point, its dominant subscription-streaming business model challenged by its success. As growth slows in the U.S. and Europe, labels and artists must contend with an avalanche of new music, disruption from distribution startups, and a possible ban on TikTok in the U.S. Then there’s the looming threat of generative artificial intelligence, which raises the uncomfortable prospect that computers could write songs about a dark future in which computers write songs about a dark future.
In a lighter spirit, here are my predictions for the coming year: the good, the bad, the ugly — and the nerdy.
TikTok’s time will not run out — but the issue won’t go away
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The case against TikTok is tighter than many people assume — the U.S. has always restricted foreign ownership of some media (which is why Sony is the only company that owned a movie studio but not a television network). But at a time when both political parties need to show that they matter to young people, the availability of TikTok is a tempting problem to solve. So it’s easy to imagine a compromise — which will last unless tensions rise with China and mysteriously popular videos portray Taiwan as a breakaway province.
Catalogs will continue to sell — but it will be obvious that some were overvalued
The market for publishing catalogs and other rights depends mostly on economics, but demographics matter, too. Baby Boomer performers and songwriters are at an age when they’re doing estate planning, and since many have led complicated personal lives, it’s often simpler to sell assets rather than divide them. That, and streaming growth, will keep the market steady overall. But it will emerge that at least some of these acquisitions weren’t worth the price. Any market only has so many blue-chip assets.
Trump’s administration will settle the federal antitrust case against Live Nation — but some states won’t back off
President Joe Biden’s administration made antitrust a priority, and the Justice Department’s case against Live Nation symbolized its ambition. (The case is complicated.) Most Republicans disdain antitrust enforcement and vice-president-elect JD Vance seems to favor it, but Trump’s consistent desire for visible wins on popular issues will tempt him to settle and declare victory. The states that joined the Justice Department case might not agree, however, and they could continue to pressure the company in other ways.
This will be the winter of our diss-content — but it will not last
Some feuds only have winners. Together, the six tracks at the center of the rap battle between Kendrick Lamar and Drake generated nearly $15.4 million in streaming, digital sales and publishing revenue by late November, according to a Billboard estimate based on Luminate data. No wonder the Drake freestyle “Fighting Irish” already appeared briefly on Jan. 3. Expect a few more lyrical salvos, one or two of which could do well. After that, hip-hop fans will move on.
More mergers are coming — at high prices
The Trump administration may move to limit market concentration in technology and some sectors of the media business, but the recorded music business won’t be a priority. If European regulators approve Universal Music Group’s acquisition of Downtown Music Holdings, another label group will buy another distributor. At what price, though? Companies, like catalogs, are selling for high multiples — especially distributors, which are strategically important to maintain market share and ensure access to talent. How much is too much? We’ll soon find out.
Concert ticket prices will keep rising — while Live Nation gets the blame and the money
As my colleague Dave Brooks points out, some concertgoers have had sticker shock longer than others have been alive, yet they keep paying top dollar to see their favorite artists. Prices will rise most for big shows, boosted by FOMO and the ability to tell everyone you were there on social media. Live Nation will take the blame and make more money, even though prices have more to do with supply and demand — there are only so many tickets to go around.
“Streaming 2.0” will take off — and we’ll figure out what it means
Subscription streaming saved the recorded music business, but its flaws are starting to show. Online platforms are full of AI elevator music and sped-up versions of existing songs. Meanwhile, rightsholders are pushing for a price increase. The solution, according to UMG, is “Streaming 2.0,” a concept introduced at UMG’s capital markets day presentation and mentioned again in the company’s announcement of its new deal with Amazon Music. The basic idea is to segment pricing, to drive up ARPU by offering more value to superfans. This is the year we’ll get some details.
Streaming services will set themselves apart from rivals — at least a little
The tiered pricing model implied by Streaming 2.0 means online platforms could be incentivized to offer additional content or functionality for superfans. Exclusives died in 2016, when the industry’s focus was on adding subscribers. Now it needs to get some of them to pay more. Imagine extra tracks, like those that go to big-box retailers, or behind-the-scenes video — content that’s worth something to a relatively small number of superfans but won’t capture the interest of casual fans.
Emerging markets will keep emerging — but will stay that way for some time
As streaming growth slows in the U.S. and Europe, all eyes are on emerging markets — countries in South America, Africa and the Middle East. The growth is impressive, and the excitement is palpable, but some of these markets account for so little revenue that it will take some time for them to matter as much as people expect. For the next decade, most of them will bring in less revenue than vinyl records in the U.S.
At least one major star will go all-in on Trump — and many fans won’t care
As Trump prepares to take office, the resistance is losing its persistence — especially in the media business. Walt Disney Company CEO Bob Iger signed off on subsidiary ABC’s settlement with Trump, and Meta CEO Mark Zuckerberg announced that the company would prioritize free speech, in a way that looks like he kissed Trump’s ring. Before 2026, at least one major pop star will follow, either out of genuine enthusiasm or just because it’s easier. The expected outrage will not materialize.
Lyndsay Cruz, who has served as executive director of the Academy of Country Music’s Lifting Lives philanthropic arm since 2019, has stepped down.
The shift comes as the organization seeks a director based in Nashville. The Academy moved its headquarters from Los Angeles to Nashville in December 2022. Cruz, who is looking for other opportunities, lives in Los Angeles with her family where the Academy had been based.
“I am so proud of the work that my team and I accomplished during my time at ACM Lifting Lives. With a focus on health-related initiatives, we were able to help the country music industry through the COVID-19 pandemic and the continuing mental health crisis, all while working to remove the stigma around mental health struggles,” said Cruz, who was on Billboard’s Country Power Players list in 2022 and 2023 and on Billboard’s Women in Music list in 2023.
During Cruz’s tenure, Lifting Lives raised more than $6 million. More than $4 million was disbursed from Lifting Lives’ COVID-19 fund to over 2,000 people in 42 states. Lifting Lives’ mental health fund, which was created as COVID-19 waned, has handed out $400,000 in grants to individuals and organizations that prioritize mental health support for those working in the country music industry.
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“It was only with the help of the passionate people in the industry who are willing to give back that we were able to raise and distribute over $6 million during my time leading ACM Lifting Lives. We had artists like Lainey Wilson, Morgan Wallen, Jelly Roll, Luke Bryan, and so many others step up to help when they knew others needed it,” Cruz said. “Some of the moments that stick out in my head over the past few years include our Covid fund, mental health focus, music therapy programs and mostly, the industry and artists stepping up to support Lifting Lives with their time and resources. Jelly Roll and Lainey Wilson singing ‘Save Me’ at the ACM Awards in 2023 inspired by ACM Lifting Lives mental health related work was one of the top highlights of my time with the organization.”
Cruz says she hopes to continue to work in philanthropy as she believes deeply in the mission of such organizations as Lifting Lives — as both executive director and someone who needed help.
“As I leave my post, I want to reiterate how important the support for organizations like this is, and for individuals going through struggles,” Cruz says. “The mental health crisis is so prevalent, especially in the entertainment and music industries, and I’m proof of that. I’ve had recent struggles with mental health, having to step away from my role for a moment to take care of myself and give permission to feel. It’s been life-changing to get a handle on my own life and focus on what’s really important, and I will continue to do that moving forward, and help others with their struggles.”
The Academy has not yet begun its search for her replacement.
Liberty Media, a major shareholder in Live Nation and SiriusXM, named Derek Chang as its new president/CEO, the company announced Wednesday (Jan. 8). He will begin his new role on Feb. 1. Liberty Media chairman John Malone will serve as interim CEO in the meantime. Chang’s hiring follows the departure of longtime CEO Greg Maffei, […]
