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On Feb. 2, group chats across the music industry lit up when Chappell Roan used the Grammys stage to implore record labels to cover healthcare costs for their artists. Perhaps few chats were more active than the one between employees at Backline, the mental health nonprofit serving music professionals.
“[Our group chat] was on fire as soon as she started talking… this is a conversation that we have all the time,” says Hilary Gleason, Backline’s executive director. “So to see it platformed in that way really resonated with us and encouraged us. We were all just blown away that she chose to use that moment in that way, not having any idea that a week later, we would be where we were.”
Where they are is in a privileged position. On Super Bowl Sunday (Feb. 10) — after Roan hit back at a Hollywood Reporter op-ed by a former A&R executive who criticized her speech by daring him to match her $25,000 donation to help “struggling dropped artists” — Roan and Backline jointly announced the We Got You! campaign, launched with $25,000 donations from Roan, Charli XCX and Noah Kahan (who had previously partnered with Backline to provide mental healthcare for all 78 band and crew members on his We’ll Be Here Forever Tour). Billed as “a fund to support artists’ mental health,” the campaign has resulted in an influx of donations to the nonprofit, including matching $25,000 donations from Sabrina Carpenter, Live Nation, AEG, the Wasserman Foundation, Guy Oseary, Sumerian Records and the Hinterland Festival, among others. Since launch, the campaign has netted the organization $353,000 and, perhaps more importantly, raised its public profile overnight.
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“Our biggest challenge has always been getting the word out,” says Gleason. “So this moment that happened around Chappell at the Grammys has really given us that exposure and opportunity to really connect with people who’ve never heard about us and could utilize these kinds of resources.”
Launched in October 2019 by more than 50 music industry professionals following the suicides of several prominent musicians, Backline provides a case management program that offers one-on-one support for music workers who need help navigating the often-knotty mental health care space. The organization helps link these workers with therapists and 170 partner organizations — including MusiCares, the Sweet Relief Musicians Fund and the Black Mental Health Alliance — that together form a clinical referral network boasting 1,150 providers across all 50 states, over 85 percent of whom have experience working with music professionals or have worked in the industry themselves. Backline also hosts annual clinical training for providers; sends out free touring care packages that include wellness products and mental health resources for professionals on the road; hosts weekly industry support groups; and offers free or heavily discounted wellness resources from partners that offer services including yoga, breath work, meditation and nutrition.
When Gleason learned that Roan had chosen to support Backline from a list of options the artist’s team had presented her with, she was flattered but uncertain that it was the right fit, given that Roan’s speech had focused on overall healthcare, not just mental health.
“I actually pitched a few of our partner organizations in that moment, saying, you know, this could be a really great moment for some of these other organizations who have a broader focus,” says Gleason. She was surprised, then, when Roan’s team came back to her and insisted Backline was the choice. In hindsight, Gleason sees the wisdom in Roan choosing to partner with Backline, which notably boasts Joshua Knight and Matt Runner — co-founder and agent, respectively, at Roan’s agency Wasserman – on its board of directors.
“I think the throughline of the work that we’re doing in mental health is a foundational piece of the larger conversation around access to health care,” says Gleason. “If you’re struggling with your mental health, it can be really hard to sign up for insurance, get your finances in order, go see a doctor, go see a dentist. Any of those pieces can feel really overwhelming if you don’t have the mental health foundation in place. And so we see this as the first step of accessing healthcare in a greater capacity.”
Since the influx of donations came through — including from many of Roan’s fans — the picture for Backline has changed. As Gleason puts it, the organization’s strategic plan for 2025 is now being looked at “with a bit bigger lens.” While she says they “want to stick to our core programs,” the extra money will “allow us to make some moves more quickly,” including upgrading the organization’s case management system this year. It will also allow Backline to expand its marketing efforts “farther into the music industry,” she says: “We really want to hit every corner, make sure that whether you’re in a tour bus, in a studio, in an office, you know that this is a resource that exists for you.”
Since the launch of We Got You!, Gleason says Backline has received an encouraging swell of support from music companies, noting that they’ve seen more corporate donations in one month than they did all of last year. While receiving support from individuals is important, she agrees that companies must shoulder the responsibility of caring for their artists and staff.
“Last year, we did 1.4 percent of our total raise from corporations, and that’s really where we want to see the change — for [companies] to invest in this and take care of their employees and their artists and be a part of this positive moment,” Gleason says. “It’s easy enough to email your whole staff and say, ‘Here’s all of Backline’s resources.’ It’s harder to say, ‘And we’ve made a donation, and we’ve earmarked that donation for your care.’ But we’re starting to see that kind of thing happen more and more, and we’re hoping that this moment really gets people thinking about what their plan is. And I think more artists are going to be looking for that as they are signing with labels and agencies and management companies.”
Of course, receiving the public support of Roan and other stars is the kind of marketing money can’t buy, and that added visibility, in addition to the flood of donations, has led to a spike in interest from music professionals looking for help. Gleason says Backline has had 205 submissions to case management in 2025, more than twice as many as it had at the same time last year (87) — an increase she attributes to both the Los Angeles wildfires (a Backline social post offering free therapy to those affected by the fires was shared by celebrities including Justin Timberlake and Common) and the We Got You! campaign. Notably, Backline has seen more producers, promoters and back-of-house professionals coming through its case management system — artists have historically made up 40 percent of cases — including an increase in music workers who hail from states including Texas, Maryland and Missouri, Roan’s home state. One of those cases, in particular, has stuck with Gleason.
“One of the submissions [was] from a young artist in Missouri, and that’s exactly what [Roan] was speaking to, and the work that we’re trying to do day in and day out,” she says. “So for [that artist] to learn about the resource, utilize the resource — I can’t think of a more perfect circle.”
In a first, the Polaris Music Prize is rescinding Buffy Sainte-Marie‘s wins. The Juno Awards have also revoked the singer-songwriter’s awards and her induction into the Canadian Music Hall of Fame.
The Canadian Academy of Recording Arts and Sciences (CARAS), the organization that administers the Junos, released a statement, writing that the singer-songwriter does not meet eligibility requirements following her confirmation that she is not Canadian — similar criteria that the Polaris Prize cited. It was a “not a reflection of Ms. Sainte-Marie’s artistic contributions,” CARAS writes.
CARAS says it made the decision following a thorough review and consultations with the CARAS Indigenous Music Advisory Committee.
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Sainte-Marie has faced criticism and scrutiny following a 2023 CBC investigation that cast serious doubt on her claims of Indigenous identity.
In January of this year, Sainte-Marie’s Order of Canada was terminated. On March 4, The Canadian Press reported Sainte-Marie issued a statement about the termination, saying that she returned the Order “with a good heart” and affirming that she is a U.S. citizen. “My Cree family adopted me forever and this will never change,” she added.
Sainte-Marie won the Polaris Prize — which is awarded annually by a jury of music critics to one Canadian album based on merit — in 2015 for Power In The Blood. She was also awarded a Polaris Heritage Prize, which honours albums released before the Prize’s founding in 2006, in 2020 for her debut solo album It’s My Way!
Now, those two awards will no longer be hers.
“Based on Sainte-Marie’s statement, Buffy does not meet Polaris Music Prize’s rules and regulations,” wrote the Polaris Prize. “Given Buffy’s statement regarding her citizenship, Polaris Music Prize will be rescinding all awards including her 2015 Polaris Music Prize and 2020 Heritage Prize,” the Prize states.
The PMP statement also acknowledges that not all Indigenous artists have access to government-issued paperwork, with the Prize asserting that this should not impact eligibility for the award.
The Prize’s eligibility criteria requires that nominees “be Canadian citizens or permanent residents, with proof of status provided through government-issued documentation, including passports, birth certificates, permanent resident cards, and/or Secure Certificates of Indian Status.”
Read the Polaris Prize and Juno Awards’ full statements on Billboard Canada .
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Canadian Vinyl Pressing Plant Promises to Absorb Tariff Costs for American Customers
An Ontario-based vinyl company has announced it will absorb tariff costs for American customers, receiving a mixed response.
As America imposes 25% tariffs on some Canadian imports (with others delayed until April 2), Precision Record Precision is committing to keeping prices stable for U.S. clients.
“We understand that recent tariff announcements may raise concerns, and we want to assure our US-based customers that any tariffs imposed by the US government on Canadian exports will be paid by and fully absorbed by PRP,” says a statement from CEO Shawn Johnson.
With manufacturing based in Burlington, Ontario, the company bills itself as one of the largest pressing plants in North America. The company was established in 2016 as a partnership between the massive Czech-owned vinyl manufacturer GZ Media and Canadian music distributor Isotope Music.
Some customers welcomed the decision, but the top comment on Instagram disagrees with the company.
“But the American clients SHOULD be paying the tariffs. Not the Canadian company. I understand the desire to not lose business but this is disappointing from a Canadian company and makes me question if I want to use Precision Pressing again thin [sic] the future,” the comment reads.
The trade battle between the U.S. and Canada, as well as persistent threats by the American President to annex Canada, have prompted uncertainty in the Canadian cultural industries as well as a wave of nationalism.
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Canadian Artists Hold the Top Two Spots on Billboard Albums Charts
Tate McRae is so close to superstardom.
The Calgary pop singer has notched her first No. 1 album with So Close To What, topping the Billboard Canadian Albums chart on the chart dated March 8. She bumps Drake and PartyNextDoor’s $ome $exy $ongs 4 U to no. 2, on that Canadian chart and on the Billboard 200 — a rare occasion where Canadians have the top 2 albums in both Canada and the U.S.
It marks a major ascension for the Canadian star, who has been building her profile since her breakthrough with 2020’s “You Broke Me First.” In the five years since, McRae has evolved into one of Gen Z’s biggest singers and performers.
McRae expressed her excitement at the No. 1 debut on Instagram. “????????? Are you kidding meeeeeeee Thank you Thank you Thank you 😭’” she wrote.
McRae also has 15 songs in total on the Canadian Hot 100 this week. Her highest placement is the sultry “Sports Car,” which she performed on Saturday Night Live this past weekend. That track sits at No. 11 on the Canadian Hot 100 and No. 16 in the U.S.
Drake and PartyNextDoor, meanwhile, have 16 tracks on the Canadian Hot 100 this week, though they are not as high as in the first week. The top placed song, “Nokia” drops 5-10, and “Gimme a Hug” moves down 10-39.
Overall, it’s a big week for Canadian artists on the charts.
Last Week In Canada: Billboard Live Stage Coming to NXNE
Welcome to the latest Executive Turntable, Billboard’s weekly 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, so let’s get started.
John Trimble, the longtime chief advertising revenue officer of SiriusXM — and Pandora before that — announced his departure after 16 years at the satellite/digital radio giant. Reflecting on his journey, he highlighted the twists and turns of his tenure, from Pandora’s start-up phase in the late aughts to its public offering and integration into SiriusXM in 2019. “Each step was defined by the risk-takers, colleagues who were truly teammates, and teammates who became friends,” he said on LinkedIn. “We built a high quality and sustainable revenue organization that can withstand the ups, downs and twists of crazy ad markets while being an integral part of the digital audio market.” Trimble, who lasted through seven CEOs and Pandora’s acquisition by SiriusXM, said he felt the company is in good hands and that it’s “time to go chase my growing bucket list.” Trimble joined Pandora in 2009 following stints at Glam Media and Fox Interactive. His successor as CARO is Scott Walker, previously the senior vp of the SiriusXM-owned ad platform AdsWizz. In a chat with Adweek this week, Walker said he aims to expand the company’s reach and improve its measurement and attribution capabilities.
Adrian Pope is the new executive vice president of digital business and global partner relations at Virgin Music Group. Based in London, he will connect VMG with its independent clients and digital partners globally. Pope previously served as chief digital officer at [PIAS] and managing director of its distribution and services business [Integral], collaborating with top indie labels and artists. He was instrumental in integrating [Integral] into Virgin following Universal Music Group’s acquisition of [PIAS] in 2024. With over 20 years in the digital music industry, Pope’s experience includes roles at Music Week and consultancy Understanding & Solutions. JT Myers, co-CEO of Virgin Music Group, praised Pope’s contributions to both [PIAS] and [Integral]. “We know his relationships and expertise will be important in our continued growth and success around the world and are grateful to have him play a key role on Virgin’s global leadership team,” said Myers.
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Jordan Fasbender, executive vp, chief legal officer and secretary of iHeartMedia, announced this week that she’ll resign by the end of the month to take a position outside the company. According to a new SEC filing, her resignation is not due to any disagreement with the company. The NYC-based legal executive joined iHeartMedia in mid-2019 as deputy general counsel and rose to her current role in November 2024 after signing new agreement extending her role through at least 2026. She previously served as senior vp and associate general counsel at 21st Century Fox and began her career as an associate at Weil, Gotshal & Manges LLP. Fabender’s replacement has not been announced, nor has she said where she’s headed next.
BMG is merging its Sync and Production Music teams into a unified global Sync Services structure to streamline operations and enhance services for clients in TV, film, advertising, gaming and tech. As part of this restructuring, Amberly Crouse-Knox and Scott Doran have been appointed senior vice presidents of Sync Services & Partnerships. Crouse-Knox will oversee North America and Latin America from Los Angeles, while Doran will lead UK and Asia-Pacific from London. Both will report to Johannes von Schwarzkopf, BMG’s chief strategy officer, and join Allegra Willis Knerr and Caspar Kedros in the global sync leadership team. Crouse-Knox has been with BMG since 2014, playing a key role in integrating X-Ray Dog Music. Doran, who joined in 2016, previously co-owned Altitude Music. This restructuring aims to strengthen the bridge between creators and clients, matching catalog cuts with impactful opportunities.
SharpTone Records appointed Jackie Andersen as its new head of label, succeeding Shawn Keith. With over 20 years in the industry and five years at SharpTone, Andersen has played a key role in the label’s growth. Her background in artist management has helped create supportive environments for musicians. She says “our commitment to empowering artists and connecting fans with cutting-edge music remains stronger than ever.” As part of the transition, Sal Torres has been promoted to head of A&R, bringing experience from Hopeless and Fearless Records. Founded in 2016, SharpTone, under the Nuclear Blast and Believe umbrella, continues to evolve. Nuclear Blast CEO Marcus Hammer and Believe Germany’s Managing Director Thorsten Freese praised Andersen’s vision, with Freese highlighting her “vision and expertise will foster even greater synergies across our network, allowing SharpTone to capitalize on Believe’s unique distribution, and audience development capabilities and global presence.”
Jody Williams Songs (JWS) promoted Nina Jenkins Fisher to vp/general manager and Tenasie Courtright to creative director. Fisher, with JWS since its inception in 2020, has signed and managed a diverse group of writers, including developing and major label artists, writer-producers and songwriters. She also oversees the company’s partnership with Warner Chappell Music. Courtright joined JWS in 2022 as creative coordinator and was later elevated to creative manager. Under Fisher’s supervision, Courtright now plays a key role within the company. JWS represents songwriters such as Andy Austin, Ashley McBryde and Vince Gill, and is a joint venture with Warner Chappell Music. Founder Jody Williams praised Fisher’s leadership in helping her launch the company from scratch and called Courtright an “innate communicator” who “offers creative ideas and solutions like a seasoned pro.”
Lauren Kilgore joined Sony Music Nashville and Provident Entertainment as senior vp of legal and business affairs. In this role, effective immediately, she oversees legal activities for both labels and collabs with business leaders to develop and implement legal, business and operational strategies. Kilgore reports to Taylor Lindsey, chair & CEO of Sony Music Nashville, and Ken Robold, president and COO. Recognized as one of Billboard‘s top music lawyers, Kilgore has spent her entire legal career in Nashville. She most recently served as a shareholder at Buchalter, where she handled various transactional entertainment matters.
Shore Fire Media promoted Chris Brudzinski to senior vp of business affairs and Dan Mansen to business operations specialist, reflecting the company’s growth since joining the Dolphin collective of marketing companies. Brudzinski, with 26 years at Shore Fire, will continue reporting to founder/CEO Marilyn Laverty. His role has expanded since joining as office manager in 1998 to include business development, accounting and human resources. He played a key role in adapting accounting practices after Shore Fire became a Dolphin subsidiary, collaborating with Dolphin CFO Mirta Negrini and overseeing a 50% increase in staff. Mansen, who started as mailroom coordinator in 2016, advanced to assist Brudzinski and became office manager in 2022. He led return-to-office procedures post-pandemic and managed Brooklyn HQ operations. In his new role, he’ll oversee accounts payable, sales order entry, and monthly accounting closings.
Global concert promoter Peachtree Entertainment added Marty Elliott as vp of university relations, and Andrew Goldberg as vp of strategic partnerships. Elliott has over 27 years of experience in venue management, business development and booking. Goldberg has previously held roles at Danny Wimmer Presents, Live Nation and Vinik Sports Group. –Jessica Nicholson
Musicians On Call, which brings music to the bedsides of patients in health care facilities, announced 11 internal promotions. Katy Epley is now chief operating officer, Elizabeth Black is senior vp of operations, and Nicole Rivera is vp of innovation. Other promotions include PJ Cowan (director of programs), Tarah Duarte (director of corporate partnerships), Melinda LaFollette (director of PR and events), Alli Prestby (creative director), Torianne Valdez (director of artist relations), Audrey Jadwisiak (senior program manager), Lia Okenkova (senior development manager) and Sasha Arnkoff (program manager).
NASHVILLE NOTES: Rachel Whitney is taking a sabbatical from her role as Spotify‘s head of editorial in Nashville, the company confirmed … Capitol Christian Music Group senior vp of A&R Josh Bailey left the company with plans to create his own firm involving both Christian and country music … Hsquared Management expanded its team with Kimberly Hopkins, who will serve as the day-to-day manager for Provident Label Group artist Lizzie Morgan and other clients.
New music streaming platform HIO is launching with an artist-first model designed to ensure a transparent path to compensation. Unlike traditional platforms, HIO’s per-user engagement model pays artists directly based on individual listener activity. HIO is led by CEO and founder Ryder Havdale, an indie label executive and musician, who envisioned the platform as an alternative to legacy streaming services. Arthur Falls, chief marketing officer, brings expertise from DFINITY Foundation and ConsenSys, while Galen Hogg, product lead, is a music industry veteran and NFT entrepreneur. The artist outreach team includes musician Eamon McGrath and Sheila Roberts, former director of marketing for PUMA Canada. “This isn’t about unpacking what traditional streaming services do or don’t do—it’s about proving there’s a better way,” said Havdale. “We built HIO because we believe artists deserve transparency, real engagement with their fans, and a revenue model that actually works for them.”
Chrysalis Records, part of the Reservoir group, appointed Colin Rice as director of catalogue marketing. Based in London, the former Sony executive will report to James Meadows, senior vp of marketing. He’ll focus on developing marketing strategies for the label’s catalog artists in the UK and internationally, collaborating with the US marketing team. Rice previously worked at Sony Music’s commercial music group division, overseeing international marketing for artists like Jimi Hendrix, Pink, Celine Dion. His achievements include international No. 1s for Mariah Carey’s “All I Want For Christmas” and campaigns for iconic albums by Pearl Jam, the Clash and others. Rice’s career began at Sanctuary Records, followed by roles at we7/Blinkbox music and Union Square Music. Meadows and Alison Wenham of Chrysalis Records praised Rice’s extensive experience and reputation.
Sound Talent Group promoted Sarah Pederson to director of finance, overseeing all accounting and finance operations for the agency. She began her entertainment career as founder and president of Family Tree Presents in Anchorage, promoting shows for bands like 36 Crazyfists. Through this work, she connected with STG co-founder Dave Shapiro, who invited her to join STG in San Diego as controller in 2020. Pederson, a metal fan, is excited about shaping STG’s future. Shapiro added: “She has been an integral part of our growth over the last 5 years and we look forward to many more years to come.”
Key Production Group, Europe’s leading bespoke physical music and packaging manufacturing broke, launched Key Intel, a new product development division led by strategy director John Service. This expansion includes entering the Irish market with newly hired consultant Ann Marie Shields. Key Intel will manage the ideation, creation and release of new products across the company’s subsidiaries. Upcoming innovations with sustainability in mind include a multi-disc boxset series, 3D packaging and a “100 % recycled alternative to shrink wrap.”
Iron Mountain Media and Archival Services appointed Andrea Kalas as vp to lead its expanded division. With over 20 years of experience, Kalas previously worked at Paramount, where she built a valuable film archive and preserved over 2,000 films, including The Godfather. She has also held roles at DreamWorks, Discovery and the British Film Institute. A former president of the Association of Moving Image Archivists, she is a member of the Academy of Motion Picture Arts and Sciences and founded the Academy Digital Preservation Forum Initiative.
ICYMI:
Julie Greenwald
Mercury Records promoted Tyler Arnold to chairman/CEO and Ben Adelson to president/COO of the label, home to Post Malone and Noah Kahn … Street Mob Records hired veteran music executive Gustavo López as its new president … Richard Vega and Stephen Schulcz were promoted to partners in WME’s music division … and former Atlantic Music Group boss Julie Greenwald is now an executive-in-residence at the Clive Davis Institute of Recorded Music at NYU’s Tisch School. [Keep Reading]
Last Week’s Turntable: EMPIRE Hires MD of Europe
Peso Pluma and his cousin, Tito Double P, were both fetted with special honors at the 2025 BMI Latin Awards, held March 6 at the Coastal Convention Center in the Fontainebleau Hotel in Miami.
Peso Pluma received the BMI Champion Award for is great influence in the global musical landscape, and for opening doors to the exploding Música Mexicana movement. In winning the Champion Award, Peso Pluma joins a select group of honorees that includes Mark Ronson, Keith Urban and Residente. Peso Pluma also received the regional Mexican Songwriter of the Year award.
The Contemporary Latin Songwriter of the Year award went to both global superstar Karol G and producer and songwriter MAG, who each worked on six hit songs, including “Mi Ex Tenía Razón,” where they both have credits.
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Tito Double P also received a special award –the BMI Impact Award– for “his contributions to Peso Pluma’s success and his innovative songwriting that has propelled him into one of the most popular new artists in the Música Mexicana genre.”
Hit song “Lady Gaga,” written by Gabito Ballesteros and Alexis Fierro Román, was named Regional Mexican Song of the Year while “La Bebé (Remix),” written by Peso Pluma and HASA KING Beatz, won Contemporary Latin Song of the Year.
Sony Music Publishing took home the honor for Regional Mexican Publisher of the Year for representing 11 of the previous year’s most-performed regional Mexican songs, including those by JOP and his stable of songwriters at Street Mob Records; and Kobalt Music Publishing won Contemporary Latin Publisher of the Year for representing seven of the previous year’s most-performed contemporary Latin songs.
The evening was hosted by BMI’s President & CEO Mike O’Neill, and Jesús González, VP creative for Latin, with awards given to the songwriters and publishers of the top 50 Latin songs of the previous year, including Ryan Castro and Miguel Armenta.
The gala also featured live performances by FloyyMenor, who sang his smash hit “Gata Only,” and Jasiel Núñe, who, accompanied by his excellent band, performed an impressive medley that blended Mexican, blues and country sensibilities.
Prior to the ceremony, the BMI Foundation presented the 2025 Peermusic Award to jazz pianist Tomás Jonsson, a student at Peabody Conservatory, for his winning song “Ocurrencias.”
For a complete list of 2025 BMI Latin Award winners, click here.
At 2025’s two biggest music awards shows thus far, winning musicians have used their platforms to try to foster change.
At the Grammys in February, Chappell Roan sparked debate when she challenged record labels to provide better healthcare provisions and a living wage for stars, saying, “Labels, we got you, but do you got us?” Then, at the U.K.’s BRIT Awards on Saturday night (Mar. 1), homegrown artists like Myles Smith and Ezra Collective used their winners’ speeches to spotlight the importance of music education and youth clubs in the U.K. As Smith collected the BRITs Rising Star Award, the folk-pop star discussed his upbringing in Luton, England, in a single-parent household and lamented the lack of opportunities in state schools to learn about and play music.
Speaking directly to the U.K. government, Smith — whose single “Stargazing” peaked at No. 19 on the Billboard Hot 100 in January — asked, “If British music is one of the most powerful cultural exports we have, why have we treated it like an afterthought for so many years? How many more venues need to close? How many more music programs need to be cut before you realize that we can’t just celebrate success, you have to protect the foundations that make it?”
Also speaking up at the BRITS was jazz band Ezra Collective, whose members shouted out youth clubs that give teenagers extra-curricular opportunities to learn music skills following its triumph in the group of the year category. “This moment right here is because of the great youth clubs, and the great teachers and the great schools that support young people playing music,” drummer Femi Koleoso said. He shouted out youth organisations in London, such as Kinetica Bloco and Tomorrow’s Warriors, and said that the solution for youth disengagement in the U.K. “lies with giving a young person a trumpet.”
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It’s a topic that hits home amid industry panic about the next wave of superstars from the U.K. and Ireland. In February, the IFPI (International Federation of the Phonographic Industry) reported that no British artists featured in the top 10 bestselling singles or albums charts globally for the first time in two decades. Just two years ago, seven of the 20 artists in the two charts were British.
U.K. Music reports that in 2023, the music scene was worth £7.6 billion ($9.78bn) to the U.K. economy, an increase from 2022. Incoming figures for 2024 will no doubt see a similar bounce following the U.K. leg of Taylor Swift’s Eras Tour alongside other big-name tours. But a number of companies in the sector tell Billboard U.K. that the pipeline from schools to stages is at risk.
While music lessons feature on the national curriculum for U.K. state schools (non fee-paying comprehensives), over the last decade there’s been a considerable drop in the number pupils studying the subject at GCSE (14-16 year olds) and A level standards (16-18 year olds). National exam results in 2023 reported that fewer than 5,000 students in England took A level music, a 46% drop since 2010.
Music Hubs — a national programme to provide high-level music education to schools — set up by the Department of Education (DfE) will provide funding to schools to the tune of £79 million ($101 million) in 2025, and that funding may be extended to 2028. But Demos, a think tank, says that the new Labour government has inherited a “black hole” in its music education budget of £32.3 million ($41.6 million) per year, with rising staffing costs and a lack of specialist music teachers being part of the issue.
The Labour government has made positive noises about the sector. Prime Minister Sir Keir Starmer said at the party’s conference in September that “every child deserves the chance to study the creative subjects that widen their horizons, provide skills employers value, and prepare them for the future, the jobs and the world that they will inherit.” But some feel that in the government’s mission to drive growth in the economy, creative sectors in education are being left behind in favour of other subjects like maths, English and sciences.
Writing in the show programme for The BRIT Awards, Alexis Cruickshank of The BRIT School says that fundraising efforts to ensure a high standard of education are a constant pressure. The BRIT School is a state school in Croydon, South London, with a particular focus on performing and creative arts that has spawned stars including Adele, RAYE and Amy Winehouse.
“We need to keep the fundraising efforts to top up the shortfall between what the government give us to run a state secondary school and the contribution we receive annually from our founding funding partners, The BRIT Trust,” Cruickshank wrote. “Our focus is always nurturing and supporting the young people currently studying at the school — they are our future. The UK does the arts brilliantly. It’s such a source of pride, and it needs to be invested in.” In 2023, it was announced that a satellite campus in Bradford, Yorkshire, in the north of England, would form the BRIT School North.
The disparity between those educated at state schools and those in private institutions was brought into focus following recent comments by Sam Fender. Speaking to The Sunday Times last month, the high-flying rocker claimed that the U.K.’s music industry is “80%, 90% kids who are privately educated,” and that a young musician from his hometown in the north east of England “will not be seen because it’s rigged.”
A 2024 report from the non-profit organisation The Sutton Trust indicates that best-selling musicians are six times more likely to have been privately educated than educated at a state school, and that privately educated students take up more than half of enrollment at the most prestigious music conservatoires such as London’s The Royal Academy of Music (60%) and Royal College of Music (56%). Arts Council England says that without sustained financial support, a child from a lower-income family has “virtually no chance of becoming a professional musician.”
While a number of this year’s BRITs winners were educated at state schools, leading artists such as Charli XCX — who picked up five awards on the night, including the prestigious album of the year prize — were educated at fee-paying schools. Charli studied at the £38,319 ($49,368) per year Bishop’s Stortford College in Hertfordshire, while her Brat collaborator A.G. Cook, who picked up producer of the year, was enrolled at The King Alfred School in London to the tune of £30,000 per year ($38,489).
Joe Armon-Jones, keyboardist of Ezra Collective, was a former pupil at elite institution Eton College (former pupils include heir to the throne Prince William and his brother, Prince Harry), while lead singer Abigail Morris of The Last Dinner Party — which won best new artist — was educated at Bedales School in Hampshire with an annual fee of up to £43,000 ($55,321).
The 93% Club, a network of state educated students and professionals, say that music education goes beyond practical teaching, and that showcasing and encouraging career pathways should form a larger part of the curriculum. “The sharp decline in arts education in state schools remains a pressing issue, driven by the separation of the arts from so-called ‘strategically important’ subjects,” says Fin Wright, head of communications at The 93% Club. He adds that the larger companies in the music industry “have a duty to support talent from state schools and lower socioeconomic backgrounds” and calls on them to offer additional work placements and to abolish unpaid internships, saying that they exclude those unable to work for free.
The importance of opening career paths rings true with Ben Selway, the managing director of Access Creative College, the U.K.’s largest independent training provider across creative fields. Former pupils at Access Creative’s seven campuses include Ed Sheeran (now a patron of the ACC), Rita Ora and Jorja Douglas of BRIT-nominated girl group FLO.
Selway concurs with Smith that there needs to be a greater focus on making music education a viable option for young people. “The lack of access to music education for under-16s results in a generation of young people who’ve not been afforded the opportunity to spark their interest in music and realise their talent,” he says. “There is significant pressure caused by venues closing which results in ever shrinking opportunities for young performers to put their craft into practice. A lack of celebration of the arts being a credible career option built over time can at times make it difficult.”
The positive noises by the government need to be backed up by action, Selway says, but acts like Sheeran are stepping up to fill the void. In January, the “Shape of You” singer established the Ed Sheeran Foundation, which provides grants for select schools, projects and community music groups across the UK. The mixed funding approach from both state sources and private investment will no doubt be key in the coming years.
Smith’s speech has resonated across the industry and brought back to the forefront an important conversation. As Selway says, the lessons learned can resonate for decades to come: “We want to give young people the opportunity to find their tribe and the space to develop their careers, and not just moments.”
Growth in recorded music, publishing and merchandise helped Universal Music Group (UMG) post strong revenue growth in both the fourth quarter and full year 2024, while cost savings from layoffs helped the company produce even better earnings gains.
Driven by an 8.2% increase in recorded music subscription revenue, full-year revenue was up 6.5% (7.6% at constant currency) to 11.83 billion euros ($12.8 billion). With a lower cost base, adjusted earnings before interest, taxes, depreciation and amortization (EDITDA) improved 13.8% to 2.66 billion euros ($2.88 billion), while adjusted EBITDA margin climbed to 22.2% from 21.3% in 2023.
During Thursday’s earnings call, CEO Lucian Grainge called 2024 “a tremendously successful year for us at UMG” and cited the company’s “healthy revenue and double-digit adjusted EBITDA growth for each and every year since 2021 when UMG became a standalone public company.” He rattled off a host of UMG’s accomplishments for the year, including having four of the top five artists on Spotify and nine of the top 10 artists — and all of the top five — on the IFPI Global Artist Chart. UMG also had the two biggest new artist breakthroughs of 2024 in Chappell Roan and Sabrina Carpenter. Roan won the Grammy for best new artist in February.
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In the recorded music segment, full-year revenue increased 5.2% (6.4% in constant currency) to 8.9 billion euros ($9.63 billion). Adjusted EBITDA climbed 11.4% to 2.28 billion euros ($2.47 billion). Streaming revenue grew 5.9% to 6.04 billion euros ($6.54 billion), with subscription revenue doing the heavy lifting, rising 8.2% while other streaming revenue — namely ad-supported streaming — fell 0.8%. Downloads and other digital revenue dropped 13.0% but accounted for just 180 million euros ($195 million), or roughly 2% of recorded music revenue. Physical revenue fell 1.6% (up 1.1% in constant currency) to 1.36 billion euros ($1.47 billion). Licensing and other revenue jumped 12.9% to 1.33 billion euros ($1.44 billion).
In music publishing, full-year revenue rose 8.4% (9.0% in constant currency) to 2.12 billion euros ($2.29 billion) and adjusted EBITDA improved 8.7% to 511 million euros ($553 million). Led by strong streaming growth, digital revenue improved 12.4% to 1.27 billion euros ($1.37 billion) and accounted for 60% of total publishing revenue. Performance revenue grew 6.3% to 442 million euros ($478 million). Synch revenue fell 0.4% to 253 million euros ($274 million). Mechanical royalties dropped 4.6% to 103 million euros ($112 million).
Full-year merchandise revenue grew 19.3% to 842 million euros ($911 million), although adjusted EBITDA declined 8.5% to 43 million euros ($47 million). UMG COO/CFO Boyd Muir said the revenue growth reflected “robust superfan demand that is driving strong growth in both direct-consumer and touring revenue.” The lower EBITDA resulted from lower-margin touring merchandise sales, said Muir, though UMG expects merchandise margins to improve as the company ramps up its direct-to-consumer business.
UMG experienced 75 million euros ($81 million) of cost savings in 2024 in the first phase of a 250-million-euro ($270 million) cost savings program. Muir said the company will provide an update on the second phase of the program at a later date and added the implementation “remains on — if not slightly ahead of — schedule.” When UMG announced its cost-savings plan in February 2024, Grainge said the redesign “carefully preserves what we’re best at: creative A&R, marketing independence, unique label brand identities” and an entrepreneurial and competitive spirit.
Cash paid for catalog acquisitions grew to 266 million euros ($288 million) in 2024 from 178 million euros ($193 million) in 2023. Last year’s figure included the acquisition of the remaining stake in RS Group in Thailand and the completion of a 2023 catalog acquisition. UMG had a busy M&A year, buying the remaining share of [PIAS] and investing in Chord Music Partners, NTWRK and Mavin Global. As a result of that activity, free cash flow fell to 523 million euros ($566 million) in 2024 from 1.08 billion euros ($1.17 billion) in the prior year.
Comprehensive fourth-quarter revenue grew 7.2% to 3.44 billion euros ($3.67 billion), or 7.9% in constant currency. Adjusted EBITDA jumped 19.1% to 799 million euros ($852 million). Adjusted EBITDA margin rose to 23.2% from 21.1%. Excluding one-time items, fourth quarter revenue was up 6.1% in constant currency. That non-recurring revenue included the 20 million euros ($21 million) of DSP catch-up income and 40 million euros ($43 million) of legal settlements.
Recorded music subscription revenue climbed 7.9% (9.0% in constant currency) in the fourth quarter, safely within the company’s prior long-term guidance of 8% to 10%, though it suffered a one-percentage-point hit from a decline in revenue from fitness platforms. Ad-supported streaming revenue fell 5.1% (4.1% in constant currency). Combined subscription and ad-supported streaming revenue grew 4.6% (5.6% at constant currency).
Music branding” does not involve stamping horses with band logos (at least not yet). But it does apply to just about anything else in which a commercial entity — from Taco Bell to JPMorganChase — partners with an artist or music company.
Which is why, at the beginning of last year’s Brat Summer, Charli xcx appeared as a 3D hologram activated by White Claw drinkers who aimed their phones at a product logo; why Nike spent in the low seven figures to license Led Zeppelin’s “Whole Lotta Love” for a Super Bowl LIX commercial; why Will Ferrell sang a PayPal jingle set to Fleetwood Mac’s “Everywhere”; and why Pinterest set up Coachella “manifest stations” filled with beauty products curated by singer Victoria Monét.
“It can be a tour sponsorship, a social media campaign, a tie-in with a brand’s philanthropic endeavor,” says Marcie Allen, president of MAC Consulting, who has been connecting artists with brands for 30 years and was one of 15 music industry experts who helped Billboard compile its first Branding Power Players list since 2019. “Brand partnerships are bigger than they have ever been because they give companies the ability to break through the noise.”
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There are no metrics that quantify the overall music-branding market, because it’s so multifaceted — from the multimillion-dollar advertising synch business to singer-songwriter RAYE performing intimate concerts at Hilton hotel rooms, footage of which appeared in commercials and social media posts. That said, a hint of its scale can be found in the financial filings of the industry’s largest concert promoter, Live Nation, whose worldwide sponsorship revenue has grown from $590.3 million in 2019 to $1.2 billion in 2024. (Advertising and sponsorship amounted to just over 5% of Live Nation’s total revenue last year.)
“We’re seeing brands spending more in music than ever before,” says Russell Wallach, the promoter’s global president of media and sponsorship. He adds that Live Nation research shows 80% of its customers are “interested” in participating with brands at live events. “What brands are doing from an experiential standpoint has been significantly elevated over the last few years.”
Post-pandemic, according to Allen, brands have returned aggressively to the live space — like T-Mobile sponsoring this summer’s Post Malone-Jelly Roll tour.
The synch business, too, has more than rebounded since the pandemic: Global revenue amounted to $400 million in 2020, mostly due to production shutdowns, but it hit $632 million in 2023, according to IFPI. That’s an increase of 58%, from 0.4% of global recording-industry revenue in 2020 to 2.2%. (These numbers don’t include publishing, but they do include film/TV synchs in addition to advertising.) For this year’s Super Bowl, licensed songs cost between $400,000 and $2.5 million on the publishing side alone, music industry sources say, not counting the separate fees for licensing master recordings. According to Brian Monaco, Sony Music Publishing’s president/global chief marketing officer, 50% of this year’s Super Bowl ads, which cost brands a reported $7 million to $8 million apiece, employed synchs.
In the streaming era, brands and music companies are more efficient than ever in using data to align artists’ fan bases with companies’ target demographics, says Rich Yaffa, Universal Music Group’s executive vp of global brands: “When we partner with a brand, our goal is to make fans of our artists fans of their brands.”
Stephanie Miles, Wasserman Music’s head of music brand partnerships, says brands recently have become more willing to work on elaborate activations with artists. One act she declines to name spent months negotiating a fashion shoot and a live event to ensure both artist and brand emphasized the same regional market. “The days of receiving an opportunity that has been completely conceptualized by a brand, and the artist taking it as is, are long gone,” she says.
“Deals are definitely becoming more complicated and sophisticated,” adds Andrew Klein, managing director of AEG’s global partnerships. “It used to be [when] Coca-Cola’s coming out with a new product, [it would] just hand out the can [at concerts] and do a sampling program. They’re now trying to get a lot more return on investment. Yes, they want to sponsor the tour, but they also want to use the music for that artist in a campaign, use [their] name and likeness or tap into their social media.”
Will the good times in music branding continue? It’s hard to say, given President Donald Trump’s unsettling of the economy with layoffs, deportations, tariffs and threats of tariffs in the first weeks of his administration. “We’re starting to see a bit of a spend slowdown,” says Toni Wallace, partner and head of music brand strategy and partnerships at UTA. “There’s no question the demand and opportunity is there; it’s just ‘Let’s see how this first quarter goes.’ ”
It wasn’t long ago that artists, fearing claims of “selling out,” avoided collaborations with major corporations: In the late ’80s, after Pepsi landed Michael Jackson, Madonna and David Bowie in commercials and Whitney Houston sang a Diet Coke jingle, Neil Young responded with the scathing “This Note’s for You”: “Ain’t singing for Pepsi/Ain’t singing for Coke/I don’t sing for nobody/Makes me look like a joke.”
But things have changed: In 1999, Sting refashioned his “Desert Rose” music video into a Jaguar commercial; Bob Dylan licensed “Love Sick” to a Victoria’s Secret spot in 2004; an instrumental portion of Vampire Weekend’s 2019 “Harmony Hall” — an upbeat-sounding tune that nevertheless is about antisemitism — was used in a Choice Hotels TV plug; and last year, Megan Thee Stallion’s colorful 2024 Amazon Music ad included the original track “It’s Prime Day.”
“You had rockers who never wanted to be seen associated with anything: ‘It’s too commercialized,’ ” says Jeff Straughn, Primary Wave’s senior partner/chief brand officer. “Today, it’s ‘How can I sell it?’ ”
This story appears in the March 8, 2025, issue of Billboard.
Growing up in Virginia, John Mlynczak, now president/CEO of the National Association of Music Merchants (NAMM), didn’t have much money to spare, but he always dreamed about the day he could take home a Martin guitar. In college, he says his now-wife and mom “plotted and saved up to both go in together” to buy him one as a gift. “I still have it,” he recalls with pride. “It was made in Mexico. I didn’t care. I would not have been able to hold that brand and that signature square headstock in my hand if it wasn’t for the affordability and quality” of what Martin was making in its Mexican factories.
Mlynczak’s story is a common one. Many musicians, whether they know it or not, are playing instruments that were made entirely (or in part) in Mexico, Canada or China. For example, 989,621 acoustic guitars were imported from China and 187,722 acoustic guitars were imported from Mexico in 2024, according to data from the U.S. International Trade Commission. Top guitar brands like Fender, Martin, Taylor and more create many of their moderately priced products in Mexico; popular drum kit manufacturers like PDP, Yamaha and Pearl all list instruments made in China on their sites. While Mlynczak says instrument brands “have so much strong manufacturing in the U.S.” already — more than most other industries — those American-made products are cost-prohibitive for a lot of musicians.
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So when the Trump administration enacted a new 25% tariff on imports from Mexico and Canada and added an additional 10% tariff for Chinese goods on Tuesday (March 4), Mlynczak and NAMM sprung into action to help members weather the storm — though really, the trade organization has been helping members with storm after storm over the last decade, which has been especially turbulent for the instrument market. Whether it was the tariffs during Trump’s first term in 2018, the stress on the supply chain during COVID-19, or this week’s latest action, NAMM has engaged in a never-ending effort to make the voice of music manufacturers heard.
Though there’s not much anyone can do to stop the tariffs, NAMM is creating working groups for its members to come together and share tips, including providing essential information straight from Washington, D.C.; encouraging members to submit comments to Congress about how tariffs affect business; and building alliances with other impacted industries.
“The global supply chain has allowed us to make high-quality, affordable products, and it’s taken decades to do that,” says Mlynczak. “When you start raising the price everywhere of what it costs to import goods, it’s challenging, and it really threatens everything we’ve learned to do as an industry.”
Now that these tariffs have taken effect, what is NAMM’s role in helping its members?
NAMM’s first job as a trade association is to represent our industry on anything that affects them, and research and get the facts and help our industry navigate any policy. NAMM has been involved in tariffs, especially since the 2018 tariffs were imposed. We did a lot of work on that, and we were monitoring all the pre-election coverage on tariffs last year. We were fully ready for this and have been heavily involved, not only with our NAMM members but also building alliances with other associations and industries that were also impacted.
What are the key differences about the tariffs in 2025 versus those during Trump’s first term in 2018?
There was a different mechanism used by President Trump at the time, and there was an exception process. So after the tariffs were imposed, we led efforts to try to get exceptions from tariffs for music product categories. It was a long process that we worked through with many associations. This round, however, the tariffs so far have been implemented with no exceptions and no process for exceptions.
Were you able to get any exceptions last time? If so, for what product categories?
In 2018, very few exceptions were granted for musical instruments — those typically were granted to larger industries. We are actually a very small industry overall. While we work really hard for exceptions for music-making equipment, concerns about the furniture industry or the lumber industry, for example, can dominate the conversation… Unfortunately, we fought the good fight, but few exceptions were granted – but really that’s true for most industries.
What country or region is most popular for the manufacturing of musical instruments?
China is the largest manufacturing hub for products worldwide. Secondarily, there is a lot of instrument manufacturing in Mexico, U.S., Canada, Indonesia. We have lots of manufacturing in Europe too. But I think the thing to keep in mind is that this is important for the affordability of products and the level of musicians that can afford them. As an industry, you have people who are starting out playing music for the first time. They don’t know how much to invest, but they want a quality product and a price that is reasonable. They’re not ready to get a customized mahogany-backed instrument right away, right? As you progress as a musician, then you start spending more.
We have lots of companies that make musical products in the U.S. We are proud to have a substantial amount of high quality music products made in the U.S. — it’s an impressive number compared to other industries — but the way it works is you have your highest level custom products made in the U.S., then your mid level and entry level products are made by partners in Mexico, China and other countries.
One thing we’d like people to understand is the reason why we have companies that can afford to build their highest-end products in the U.S. is because they have the revenue from the mid-to-entry level products from overseas. Our supply chain is deeply interconnected. It’s not like an instrument is solely made in China or Mexico. What happens is you have certain components that are made really well in China that are then imported for final assembly. Or you have a factory in Mexico that has a specialty in making certain components that are imported. Then they are assembled in the U.S. This happens because this work is highly specialized.
What’s really devastating about this idea of “Oh, we’ll just move manufacturing elsewhere” is that it’s actually not that easy. What we’re building are not generic widgets that come off a line. These workers around the world are trained to understand how to test musical products, to buff the bell of a brass instrument perfectly, to tune the strings on a violin. There are handmade components to these instruments that take — in some cases — decades to do right. These factories often have multi-generational workers. This isn’t a skill set you pick up overnight.
Now that you know Trump’s tariffs are being enacted — and that there are no exceptions — what course of action do you take from here as a trade organization?
Our members are looking for the most factual information, so we have a lobbying firm and law firm in D.C. that allows us to get vetted, factual information. With all the news coming out, it’s difficult to get down to the actual nitty-gritty information that a brand needs. So we are a source for our members to come to. What we try to do is save them time — there’s thousands of companies impacted right now. We’re also creating a working group of members specifically who are impacted by tariffs and bringing them together every two weeks so we can feed them what we’re hearing, anything like “We think this might happen” or “There’s talks of this…”’ and they can share advice with each other.
I know this is not a support group, this is business, but in a tough time that impacts the whole industry, it almost feels like that.
Yeah, these are groups of competitors coming together, but they all are actually concerned for each other and their product categories. They’re concerned for music-making in general. It’s really sweet to see that, as an industry, people are literally sitting across from their number one competitor and saying, “What are you hearing? How can we work together?”
I know, as a trade organization, you can’t speak to individual companies and how they are reacting, but have you heard of any solutions that companies are turning to that seem helpful?
The challenge is that these tariffs are intentionally punitive, intentionally non-exemptible. The retaliatory tariffs actually make the impact harsher because we have so much strong manufacturing in the U.S., so not only do import tariffs cause problems, but export tariffs do too. American-made instruments are really coveted by musicians around the world. It’s a double whammy. The squeeze is really real.
Given tariffs often lead to an increase in the price of products, do you think this will lead to a surge in the used instrument market?
It could… we’re actually in a surge of used products right now because of COVID. In the pandemic lockdown, we saw a really big boom of musical product sales, and our industry is at the tail end of that now. Lots of instruments are being re-sold on the used market. So I don’t know how much more surging it can do, but that’s a perfectly good idea.
The instrument market has been hit with so many challenges over the last decade. From the 2018 tariffs, the supply chain disruption and surge in sales during COVID-19, and now this. Has this been a uniquely challenging decade for this market or has this market experienced this level of ups and downs before?
You’re right. It’s been a wild seven years. From NAMM’s perspective, there’s never been a more important time for us to be there as a trade association, to double down on policy work, and double down on working groups. I feel like now we are probably more united as an industry than ever.
We’re a 124-year-old organization. Historically, musical products are seen as a luxury good. Of course, I would argue music is essential to life, but we are a luxury, unlike bread or gas or housing. Luxury industries historically struggle with high inflation and rising costs… When that happens, traditionally, it becomes harder for us because people don’t buy a seventh guitar — they are trying to figure out how to feed their family. In these times, we as an industry have to come together because the last thing we want to see is companies going out of business.
NAMM members are resilient — we are very used to contracting businesses or experiencing booms, like during COVID. We have a lot of multi-generational companies and incredibly resilient people. This is probably a weather-the-storm situation, and our job is to help companies do that.
If there are less affordable, high-quality options for American families to help their children get interested in playing an instrument, what ripple effect could that have on the market long-term?
Every company recognizes that a user’s first touch point, when they buy an instrument at an affordable price, that if it’s not a quality instrument or the user has a bad experience, then we’ve lost a customer for life.
It’s important to remember that these truly are quality instruments coming from these overseas suppliers. In the instrument market, you need options at every level. Our customers’ buying habits are like a pyramid. There is a very, very small market for the highest tier, custom instrument models, but it is very wide at the bottom. You can’t have that custom shop model at the top without the support of a very wide entry-level bottom.
I understand the reasoning given for being “America First,” but we’re not an industry that builds only in America and only for Americans, and every musical brand wants to sell in the United States. We are global and interconnected. It’s very hard to disrupt that. Our companies say that any change will take about three to five years to implement. We’re talking years of planning. The biggest issue right now is that this administration has been predictably unpredictable.
We need to remember that there’s an executive order that was signed that required departments to research tariffs on every other country by April, so we could see more and more and more of these. So even though the guidance is to stop making in China, Mexico and Canada, our companies don’t know where to move to because we don’t know where the tariffs could be imposed next.
Create Music Group has acquired the deadmau5 catalog in addition to the catalog of the electronic producer’s longstanding label, mau5trap.
The deal is valued at $55 million and includes the master recordings and publishing of more than 4,000 songs. The partnership also includes the formation of a joint venture to release future recordings from deadmau5 and mau5trap.
“I have worked closely with Jonathan, Alex and Create for nearly two decades now, building my own career as well as the artists on mau5trap,” said Deadmau5 (born Joel Zimmerman) in a statement. “We didn’t need to look far when we were considering a partner to help get it all to the next level. With Create, I feel the music is going to reach more.”
As part of the partnership, Create Music Group will remaster and re-release key catalog pieces, launch exclusive new content and work to introduce “the mau5trap legacy” to new generations of fans, according to a press release. The collaboration will also explore licensing opportunities and brand partnerships and continue to focus on media such as gaming, virtual reality and live-streaming to drive additional revenue streams.
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Founded in 2015, Create Music Group functions as a record label, distribution company and entertainment network. Eric Nguyen, senior vp of global corporate development and M&A at Create Music Group, played a key role in the deal. Paul Hastings LLP served as legal advisors to Create Music Group while LaPolt Law P.C. served as legal advisors to deadmau5 and mau5trap.
“From the earliest days of Create Music Group, [co-founder and COO] Alexandre Williams and I had the privilege of working alongside Joel and his business partner Dean Wilson, witnessing firsthand the evolution of an icon,” added Jonathan Strauss, co-founder/CEO of Create Music Group. “Now, as the stewards of deadmau5 and mau5trap’s legendary catalog, we inherit a legacy that changed music forever. Joel’s influence reaches far beyond sound — his mastery bridges music, gaming, and technology, inspiring a new generation to think bigger. This is more than an acquisition; it’s a responsibility.”
“Over the last 20 years, fueled by Joel’s creative and entrepreneurial ambitions, we have built one of the strongest brand names in electronic music,” adds Wilson, deadmau5’s longtime manager. “To have partnered with Create, who have worked so closely with us over the years on our journey, ensures that the next two decades will be every bit as exciting for Joel and everyone on the mau5trap team as we work to expand our legacy even further.”
One night during the last week in February, a crowd of fans wrapped in Ukrainian flags gathered in front of the 4,200-capacity Tempodrom in Berlin to shop for keyrings and souvenirs with Ukrainian emblems and pose for pictures with a person dressed up as a dog that has become a symbol of the country’s war effort. Inside, before the band Okean Elzy took the stage, fans spontaneously sang part of the Ukrainian national anthem, which at least three-quarters of the people there seemed to recognize.
Okean Elzy (pronounced so it sounds like a duo of “Okee and Elzee”) has been one of the most popular acts in Ukraine for more than two decades, and in the three years since Russia invaded the country, both it and frontman Sviatoslav Vakarchuk have become symbols of its cause. As that cause becomes more urgent — and as the number of Ukrainian refugees who live elsewhere grows — the band’s music is also starting to resonate more outside its home market.
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Last year, the band released its first English-language album — the obvious but inexact musical comparison is Coldplay — and signed a global deal with Warner Music Group to expand its audience internationally. Now Vakarchuk, who goes by Slava, is using his stature as a popular musician to raise awareness of his country’s plight, without getting trapped in a morass of specific politics. In pop music terms, he is more akin to the Bono of 1983 — the white-flag-waving moral crusader for peace — than the Bono of 2003 who took meetings with lawmakers.
One of his goals is to show the West another side of the country they are supporting. “I don’t want Ukraine only to be associated with news from the frontline,” Vakarchuk says over a cup of coffee in a hotel lobby the next day. “We love sympathy, we love compassion, we love support, but we want people in the West to also to fall in love with something, and Ukrainian culture is a perfect thing.”
This raises an obvious question: What did he think of President Donald Trump’s car wreck of a meeting with Ukrainian President Volodymyr Zelensky? “Russia is the aggressor,” Vakarchuk says in an email, days after an interview in Berlin the day after the concert. “Ukraine is defending itself. We are sincerely grateful to the American people for all the help Ukrainians have received and are receiving.”
Vakarchuk needs to walk a tightrope of sorts — he was involved in politics years ago as a member of Ukrainian parliament and he founded the political party Holos (it translates as “voice” or “vote”), but he has retired from that. His politics were pro-Europe, which can be contentious in a country that has only been independent in its modern incarnation since 1991 and has been struggling with Russian interference or invasions almost ever since. “I treated politics as a public duty,” he says, noting he retired from it a half-decade ago. “I hate it as an operational thing. I have no taste for fighting for power.”
Vakarchuk seems to see music as the continuation of politics by other means — not only as an art form but also a way to influence the world. To him, “Music is the most influential thing that changes the world.” If rock bands and pop culture played at least some role in bringing down the Iron Curtain — and Bruce Springsteen’s 1988 concert in East Berlin might have played a significant one — why can’t Okean Elzy have some influence? Vakarchuk takes care to point out that he’s retired from politics — he wants the war to end, but he doesn’t want to go back to that. But at a time when rock barely tops sales charts, let alone topples walls, simply thinking that way sets the band apart from most of its peers.
That’s part of the reason the band started recording in English. Back in 2022, when Okean Elzy played Prague, Vakarchuk was recognized on the street by people who knew him less from his music than from his appearances on television news, where he sometimes commented on the Russian invasion. “Many of them said, ‘We love you and we support you, but we can’t understand what you’re singing,’” Vakarchuk remembers. The next day, the band decided to make an album in English. That required a global promotional push, which in turn required a big label that could match Vakarchuk’s ambitions. “I don’t only want to break the band in the West,” he says. “I want to break Ukraine culturally in the West.
This could be more important than it might seem. Americans and Europeans tend to see foreign military conflicts as remote — which, in geographic terms, the war in Ukraine is. But the conflict is essentially about whether the country can break out of Russia’s geopolitical orbit to move toward Europe politically. Having Ukrainian artists to admire might matter — especially since Trump seems to admire the raw power politics of Russian president Vladimir Putin. It could make a difference if Americans feel that Ukraine deserves not only sympathy but also support to achieve a peace deal that secures its independence.
“We Ukrainians most of all want an end to the war and a sustainable and just peace with security guarantees for Ukraine,” Vakarchuk says. “We are fighting to achieve this goal and we are grateful to everyone who supports us.”
For now, the band’s show comes with a good deal of patriotic flair, but much of that comes from the audience. “It’s an inevitable reaction to use your political tokens, like flags, to shout at the world — ‘We’re here! And we’re big and we’re strong,’” Vakarchuk says. But Vakarchuk hopes that both his band and his country will move beyond this. “When we are finally done with the war and we secure our independence and develop as a normal European nation, like Denmark or Sweden,” he says, “then the politicizing of events will go.”