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The Swedish company Pophouse has been a player in the rights market since 2022. Led by former Universal Music Sweden chief Per Sundin, they backed ABBA’s Voyage show in London, and acquired rights from Swedish House Mafia and Avicii.
Now the company has announced its first deal with a U.S. artist, the rainbow-haired pop icon Cyndi Lauper. The deal includes the majority share of Lauper’s publishing as well as her royalties from her recorded music. Lauper has sold more than 50 million records worldwide, with hits including “Girls Just Want to Have Fun” and “True Colors,” and she has writing credits on some of her biggest hits, including “Time After Time” and “She Bop.” (The deal does not include her Broadway music, which includes the hit show Kinky Boots.) The share acquired by Pophouse was not disclosed.
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Pophouse, which was founded in 2014 by investor Conni Jonsson and ABBA frontman Björn Ulvaeus, is known for trying to add value to its rights acquisitions with creative productions and installations, including ABBA Voyage in London, which uses virtual “ABBAtars” in a live musical show. It also operates the “Avicii Experience” museum in Stockholm, and it is working with KISS on its next avatar show.
The deal announcement says that Pophouse will “create new content and experiences to enrich Cyndi Lauper’s catalogue for fans old and new,” although it does not provide specific details. As an ‘80s icon, though, Lauper would be ideal for a show or a museum that could appeal to a broad audience worldwide. Fans just want to have fun, after all.
“Pophouse has impressed me with their commitment to maintaining and developing my professional life’s work and ensuring its legacy,” Lauper said in the press release about the deal. “Their creativity and vision, combined with my continued involvement via our unique joint venture is what is most exciting to me.”
Pophouse did not say whether the deal includes name, image and likeness rights, although it will work with Lauper on a joint venture, which presumably has the permissions it needs to create installations or experiences around the pop star’s career. “We set ourselves apart through our emphasis on artist and brand development so that we can nurture the value of our investment,” Sundin said in the press release, “and we are pleased Cyndi endorses our vision for her remarkable catalogue of work.”
Universal Music Group’s revenue reached 3.21 billion euros ($3.45 billion) in the final period of 2023, up 9% year-over-year (up 15.6% in constant currency) as the company’s non-subscription streaming growth slowed again and its record labels got a boost from strong physical sales and licensing.
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Spotify’s price increase helped drive the recorded music division’s subscription revenue up 8.9% (up 15% at constant currency, which removes the effects of foreign exchange rates) to 1.14 billion euros ($1.22 billion). As a percent of recorded music revenue, subscription revenue increased to 47% from 46.7% in the prior-year quarter.
Non-subscription streaming revenue declined 1.3% as reported (increased 5.6% at constant currency) in the quarter, however. That followed a 1.4% decline (a 5% gain at constant currency) in ad-supported streaming revenue in the third quarter. Ad-supported streaming “remains strong” but the ad market recovery “has not been uniform” and UMG is “cautious” about near-term growth, CFO Boyd Muir said during Wednesday’s earnings call. The soft streaming revenue was not affected by UMG’s decision in early February to pull its catalog from TikTok, which accounts for 1% of UMG’s annual revenue.
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Sales were strong elsewhere in the recorded music division, though. Physical revenue of 447 million euros ($481 million) was up 10.6% (up 17.0% at constant currency). Licensing and other revenue of 410 million euros ($441 million) was up 26.5% (up 34.0% at constant currency). Downloads and other digital revenue declined by 49.2% (45.8% at constant currency), but at 32 million euros ($34) accounted for just 1.3% of recorded music revenue in the quarter.
Universal Music Publishing Group’s fourth-quarter revenue of 576 million euros ($620 million) was up 8.7% (up 15.4% at constant currency). Digital revenue of 339 million euros ($365 million) was up 26.0% (36.1% at constant currency). Sync revenue of 70 million euros ($75 million) was up 18.6% (up 25.0% at constant currency). Mechanical revenue of 31 million euros ($33 million) was up 24.0% (up 29.2%). Performance revenue fell 19.1% (15.8%) to 123 million euros ($132 million).
Top sellers in the quarter were Taylor Swift, The Rolling Stones, Drake, Jung Kook and Stray Kids.
For the full year, UMG’s revenue of 11.1 billion euros ($12 billion at the average exchange rate for the year), up 7.4% as reported and a 11.1% increase at constant currency that removes the effects of foreign exchange rates. That’s similar to the 13.6% revenue growth at constant currency reported in 2022, but well below the as-reported growth of 21.6% that includes foreign currency exchange.
Adjusted EBITDA of 2.37 billion euros ($2.6 billion) was up 11% (up 14.6% at constant currency). Unadjusted EBITDA of 1.81 billion euros ($2 billion) was down 10.8% (down 7.8% at constant currency.) Unadjusted EBITDA eliminates the effects of the Copyright Royalty Board’s Phonorecords III ruling and a 15-million euro ($16 million) legal provision.
In the recorded music division, full-year revenue of 5.7 billion euros ($6.2 billion) was up 6.6% (up 10.2% at constant currency) and physical revenue of 1.38 billion euros ($1.49 billion) was up 14.3% (up 19.4% at constant currency). Licensing revenue of 1.17 billion euros ($1.27 billion) was up 9.5% (up 13.6% at constant currency).
Full-year publishing revenue of 1.96 billion euros ($2.12 billion) was up 8.7% (up 12.3% at constant currency). Digital revenue of 1.13 billion euros ($1.22 billion) was up 8.5% (up 12.5% at constant currency). Mechanical revenue of 108 million euros ($117 million) was up 11.3% (up 14.9% at constant currency). Performance revenue of 416 million euros ($450 million) was up 12.1% (up 15.9% at constant currency).
At constant currency, UMG’s fourth quarter improvement was similar to the other two major music groups. Warner Music Group was up 17.5% to $1.75 billion and Sony Music was up 16% to 358.2 billion yen ($2.5 billion). Smaller companies have also posted similar growth rates.
Strong album sales by K-pop groups Seventeen, Tomorrow X Together and New Jeans helped Korean music company HYBE enjoy record revenue of 2.18 trillion won ($1.67 billion), up 22.6%, in 2023, according to the company’s latest earnings report.
HYBE’s album sales from its Korean artists nearly doubled to 43.6 million last year from 22.2 million in 2022, while album sales accounted for 44.6% of total revenue, up from 31.1% the prior year. In Korea, Seventeen led the way with 15.9 million album sales (HYBE’s earnings release cited numbers from Circle Chart, which tracks sales only in Korea). Tomorrow X Together sold 6.5 million albums and NewJeans sold 4.3 million albums.
Streaming revenue got a boost from the company’s acquisition of Atlanta-based hip-hop label Quality Control in February 2023. Revenue from HYBE’s U.S. record labels — Quality Control as well as Big Machine Label Group — grew 70% to 150 billion won ($114.9 million) and accounted for nearly half of HYBE’s streaming revenue growth for the year. Streaming revenue from the company’s Korean labels outside Korea also performed well last year, increasing 102% to 107 billion won ($81.9 million). Within Korea, streaming revenue from those labels increased only 64%, however, to 41 billion won ($31.4 million).
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Concert revenue increased 39.1% to 359.1 billion won ($275 million) and accounted for 16.5% of total revenue, up from 14.5% in 2022. Much of that was due to volume, as HYBE had 125 concerts from seven touring artists in 2023 compared to 78 concerts from four touring artists in 2022.
Most other revenue sources declined year-over-year. Ads and appearances fell 12.3% to 141.9 billion won ($109 million). Merchandise and licensing dropped 17.7% to 325.6 billion won ($249 million). Content sank 15.1% to 289.9 billion won ($222 million). One bright spot was fan clubs, which increased 35.9% to 91.2 billion won ($70 billion).
Company-wide gross profit improved 19.7% to 1 trillion won ($773 million), lower than revenue’s 22.6% growth rate because cost of sales rose 25.2% (gross profit is sales minus cost of sales). Sales, general and administrative expenses increased only 17.7%, however, which helped operating profit improve 24.9% to 295.8 billion won ($227 million). Net profit soared 288% to 186.5 billion won ($143 million).
Korea’s share of HYBE’s revenue increased from 33% in 2022 to 36% in 2023. Japan’s share of revenue also increased, from 28% to 31%. North America fell from 32% to 26% despite the addition of Quality Control.
The Weverse social media platform ended the year with 10.1 million monthly active users (MAUs) in the fourth quarter, down from an all-time high of 10.6 million MAUs in the third quarter but well above the 8.5 million MAUs in the fourth quarter of 2022. Weverse finished the year with 122 artist communities, up from 71 at the end of 2022.
The American Federation of Musicians has reached a tentative agreement with the Alliance of Motion Picture and Television Producers as of Friday.
The agreement, which concerns basic theatrical motion picture and basic television motion picture contracts, comes with “historic breakthroughs” on streaming residuals and protections against AI, according to AFM. The agreement is unanimously recommended by the bargaining committee.
While AFM leadership said they could not comment on the exact details in the contract, they confirmed that the tentative deal language includes streaming residuals for musicians for the first time.
“This agreement represents a major win for musicians who have long been under-compensated for their work in the digital age,” said AFM International President and Chief Negotiator Tino Gagliardi. “We have secured historic breakthroughs in streaming residuals, established critical guardrails against the misuse of AI, gained meaningful wage increases and other important gains. This agreement represents a watershed moment for the artists who create the soundtracks for countless film and TV productions.”
The tentative agreement must be approved by AFM International Executive Board and then will next be submitted for ratification by roughly 2,000 members working under the contracts.
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The deal came after a first round of negotiations from Jan. 22 through Jan. 31 and then a second round that began Feb. 21 and lasted until the early hours of Feb. 23. The negotiations took place at the Sherman Oaks offices of the AMPTP.
AFM held a rally outside the offices on the first day of negotiations, with members from several other entertainment unions attending to show their support. The tentative agreement comes just ahead of the March 4 start date for negotiations between the AMPTP and the International Alliance of Theatrical Stage Employees and the Hollywood Teamsters.
“I want to congratulate our AFM Fair Share for Musicians bargaining unit members for their unwavering commitment to fighting for a contract that fairly compensates them for their invaluable contributions to film and TV and protects them in the ever-changing film and television industry,” Gagliardi concluded. “We were not alone in this negotiation, and we were proud to have the full backing of fellow unions: SAG-AFTRA, Writers Guild of America, IATSE, and the Teamsters. It was yet another powerful reminder that when we have solidarity in the labor movement, we can achieve great things. We also would like to thank Carol Lombardini, president of the AMPTP, as well as the AMPTP and its member companies, for helping bring these negotiations to a successful conclusion.”
This article was originally published by The Hollywood Reporter.
Cumulus Media led all music stocks this week by gaining 20.2% to $4.70 after the radio broadcaster announced it had employed a “poison pill” to ward off a Singapore-based investor.
In January, Renew Group Private Ltd increased its stake in Cumulus Media from 5.2% to 10.01%. To protect the best interests of all Cumulus shareholders, the board of directors explained, the company chose to enact a “limited-duration shareholder rights plan” that would dilute Renew Group’s equity if it exceeds a 15% stake. In justifying the move, Cumulus said Renew Group has investments in other media companies, including a direct competitor to Cumulus.
Music stocks were broadly up this week as the Billboard Global Music Index improved 1.5% to a new high of 1,684.49. The index is up 9.8% in the young year and has gained 38.4% over the past 52 weeks. Of the index’s 20 stocks, 13 finished the week in positive territory, six lost value and one was unchanged.
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Stock markets around the world reached new highs this week, too. In the United States, the Dow reached a new closing high of 5,088.80 on Friday (Feb. 23) after surpassing 5,100 for the first time earlier in the day. The Nasdaq composite also reached a new high on Friday and finished the week up 1.4% to 15,996.82. The S&P 500 improved 1.7% to a new closing high of 5,088.80. Japan’s Nikkei 225 index reached an all-time high on Thursday (Feb. 22), finally surpassing the previous record reached in 1989 when the Japanese economy was the world’s envy.
Music streamer LiveOne was the second-best performing music stock of the week after its shares jumped 17.9% to $1.71, bringing its year-to-date improvement to 22.1%. With no other music stocks posting double-digit gains, the next best performance came from Chinese music streamer Cloud Music. Its shares rose 4.1% to 90.95 HKD ($11.63) as Chinese stocks finished the week strong after hitting a five-year low in February. In an attempt to bolster the market, Chinese regulators this week established trading restrictions such as limits on short-selling and institutional investors.
Spotify shares gained another 4.0% this week to close at $256.10, bringing its year-to-date gain to an impressive 36.3% (which has added approximately $13.4 billion to its market capitalization). On Wednesday (Feb. 21), the company announced the creation of a new music advisory agency, AUX, that will connect brands with artists. The inaugural campaign matches Coca-Cola with DJ-producer Peggy Gou in what the company called “a long-term partnership that will span live concerts and events, social media content, a branded playlist, and on-platform promotional support.”
Live Nation shares finished the week up 2.2% to $95.32 and rose 2% on Friday following the company’s encouraging fourth-quarter earnings release. Morgan Stanley raised its price target from $110 to $120 in part because Live Nation said it expects double-digit growth in adjusted operating income in 2024 thanks to a busy touring schedule in its high-margin amphitheaters. “This is going to be a great year,” president/CEO Michael Rapino said during Thursday’s earnings call.
Radio broadcaster iHeartMedia was the index’s biggest loser of the week after dropping 12.5% to $2.32. The company will announce its results for the fourth quarter of 2023 on Feb. 29.
Paul Hourican announced on Thursday (Feb. 22) that he was leaving TikTok, where he served as global head of music operations. “After four and a half amazing years and with a lifetime’s worth of memories and achievements in the bag, I have made the decision to move on from TikTok,” Hourican wrote on LinkedIn. He […]
Beyoncé’s Chart Hit Is Also a Win for Canadian Songwriters
This week, Beyoncé became the first Black woman to top Billboard’s Hot Country Songs chart with “Texas Hold ‘Em.”
There are some surprising Canadian connections. The song is co-written and co-produced by Ontario-born writer/producer Nathan Ferraro, who co-produced the track with Killah B and Beyoncé. Two other Canadian songwriters also participated in the runaway hit: Megan Bülow (who records and performs as bülow) and Elizabeth “Lowell” Boland (a.k.a. Lowell).
Ferraro was in an alt-rock band called The Midway State that had some success in Canada in the late 2000s. A signing to Interscope as a teenager brought him to Los Angeles, where he splits time with Toronto (his signing with the label also led to a collaboration with a then up-and-coming Lady Gaga).
After writing for mostly Canadian artists, including Carly Rae Jepsen and Jessie Reyez, Ferraro had a modest hit with bülow in “Not A Love Song,” which started their collaboration as songwriters. He also wrote with Lowell (signed to Canadian label Arts & Crafts), with the two forming a songwriting team that picked up steam in 2022 when they collaborated on the Charli XCX song “Yuck.”
“[The collaboration] works well for us,” Ferraro tells Billboard Canada. “We’re such good friends and we know each other’s strengths and weaknesses. I think we all have a lot of mutual respect, so we have a lot of confidence together and that allows us to take risks. We’ve written probably 100 songs together.”
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But none of their credits have been as big as “Texas Hold ‘Em,” which could become a breakthrough for Ferraro and his collaborators.
“Honestly, since I was 14, I had the vision that I would write songs that could have a major impact,” he says. “And it’s pretty delusional because it’s just so, so far away. I grew up in Collingwood, Ontario. But you put one foot in front of the other and write lots and lots of songs and don’t give up.” – Richard Trapunski
Neil Young’s New Album FU##IN’ UP Includes Live Recordings from Intimate Toronto Venue The Rivoli
Canadian icon Neil Young is adding to his immense discography with a new release this spring: a live album titled FU##IN UP. The album, featuring Young’s longtime band Crazy Horse, consists of nine live recordings from 2023 and is set for a limited edition two-LP release this April in partnership with Record Store Day.
According to the album’s credits, it was recorded at Toronto’s Rivoli club, meaning it likely captures Neil Young & Crazy Horse‘s secret show at the venue last November.
At that show — supposedly a private birthday party for Canada Goose CEO Dani Reiss — the band performed most of its 1990 album Ragged Glory, according to reports that generated a lot of buzz when they appeared online days later. FU##IN’ UP features primarily songs from Ragged Glory, with new titles taken from lyric fragments. (“Over and Over,” shared as a single, is now “Broken Circle.”)
The album features performances from Crazy Horse members Billy Talbot on bass, Ralph Molina on drums, and Nils Lofgren and Micah Nelson on guitar and piano, while Reiss is credited as a presenter.
To tease the album announcement, Young previously shared a version of “Cinnamon Girl” recorded at the Rivoli on his site, Neil Young Archives. “This version of Cinnamon Girl is an example of the energy captured as the horse road through the RIVOLI club in Toronto Nov 4, 2023,” the post reads.
Neil Young and Crazy Horse will be returning to Toronto to tour the new album, though this time at a venue with a higher capacity: They’ll play Budweiser Stage on May 20, as part of their 2024 Love Earth Tour — their first major tour in a decade. – Rosie Long Decter
Tanya Tagaq Plays a Pivotal Role in True Detective Season Finale
The new season of True Detective wrapped up this past weekend, and timed with the tense final episode, HBO also released the show’s gripping soundtrack. Inuk artist Tanya Tagaq, one of the most celebrated contemporary musicians in Canada, contributed to seven songs on the soundtrack and made appearances in the show itself.
Subtitled Night Country, the fourth season of the HBO detective show takes place in the fictional town of Ennis, Alaska. It stars Jodie Foster and Kali Reis as Liz Danvers and Evangeline Navarro, two police officers trying to figure out how the recent bizarre deaths of six scientists are linked to the murder of Iñupiaq activist Annie Kowtok. Through its mystery framing, the show explores themes like colonial violence, environmental destruction, and missing and murdered Indigenous women.
While the score was primarily composed by British composer Vince Pope, Tagaq’s vocal work and throat singing add power to his compositions. Tagaq is listed as a featured artist on six tracks on the soundtrack and is the sole artist credited on “Tanya’s Lullaby,” a beautiful composition where Tagaq’s voice is layered to ghostly effect.
Tagaq had an impact on the series in more ways than one. She appears as an actress in the show, playing a doula, and her family’s names also provided inspiration for two of the series’ characters: Danvers and Navarro visit a fisherman named Oliver Tagaq in one episode, while Navarro also periodically spends the night with a sweet bartender named Qavvik, a version of Tagaq’s daughter’s name. Tagaq thanked season four showrunner Issa López for including the names in the show.
“Oliver Tagaq and Kavvik. Kavvik is my youngest daughter’s name. Thank you @IssitaLopez for including our names in #TrueDetective” she tweeted. – Rosie Long Decter
It’s time for another quick spindle around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. Ever ponder, “who is music’s most influential lawyer?” Here’s your chance to vote for Billboard‘s Top Music Lawyers Power Players’ Choice Award, honoring the attorney whose industry peers believe had the most impact in the past year.
Erica Bellarosa is Atlantic Records‘ new head of business affairs and general counsel, effective Feb. 26. Based in New York City and reporting to Atlantic Music Group chairman & CEO Julie Greenwald and Atlantic Records chairman & CEO Craig Kallman, Bellarosa is a 19-year veteran of the storied label and most recently occupied the post of evp of business & legal affairs. In her elevated role, the Yeshiva University alum will head up the label’s business/legal affairs and contract administration departments. The promotion is right on the heels of former general counsel Michael Kushner moving up to parent Warner Music Group as its senior vp, deputy general counsel of business and legal affairs after 25 years with Atlantic. Greenwald and Kallman said: “At Atlantic, we nurture executive development as much as artist development, so it’s been great to watch Erica develop into a powerhouse leader over the past two decades. An invaluable asset to our team and a passionate advocate for our artists, she has a deep understanding of the music and legal landscape, along with second-to-none negotiating skills.
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Global talent agency Wasserman Music welcomed four new executives to its ranks. They are: Josh Dick, an NYC-based vice president who brings more than 20 years of experience and several clients, including Flatbush Zombies. In Nashville, Jonathan Insogna also joins as a vice president. The 17-year WME veteran has a client list that includes Morgan Wade, Yola, Cam Whitcomb and Drew Erwin. Londoner Rebecca Prochnik joins as a director and will represent artists including AJ Tracey, Black Lips, Calibre, Ghetts, Paranoid London and others. Finally, Gideon “Shay” Royale joins as a director based in New York. A former financial advisor, he’ll lead the agency’s growth in the Afro-music space, and mind a roster that includes Victony, Black Sherif, Gabzy, Blxckie, melvitto and WurlD. “Their unique backgrounds and experience will help to drive Wasserman Music’s accelerating growth across global territories, emerging genres, and innovative new ways to serve our valued clients around the world,” commented Lee Anderson, evp and managing executive.
A2IM president and CEO Dr. Richard James Burgess announced that the indie trade body’s longest-serving staff member, Sheryl Cohen, will be stepping down later this year. Cohen joined A2IM in 2010 as operations manager and worked her way up to head of strategic planning, her current role. Her boatload of responsibilities includes program curator of Indie Week, which has doubled its programming under her watch, plus she handles the organization’s mentorship program, co-writes grants and did we mention she’s the current acting CFO? In candid fashion, Cohen explained her reasoning behind taking her professional life into a different direction. “As I turn 55, I am looking at the next chapter of life with profound gratitude and excitement for what’s to come,” she said. “It’s not a mid-life crisis, but rather, in the words of Chip Conley, a mid-life chrysalis. I am creating an opportunity to transition to a new career where I can serve the other communities and passions in my life, and hopefully continue to make a positive impact.” Cohen’s last day will be Friday, Aug. 2.
The Country Music Hall of Fame and Museum promoted five staff members. Grace Cavanaugh has been upped to director of event services and catering. Cavanaugh has more than 15 years of experience in the event industry and joined the museum in 2015. Kelsey Reiner has been named associate director of event sales; prior to joining the museum, Reiner worked as event sales manager at the Loveless Café/Loveless Events. Daniel Lonow has been promoted to Haley Gallery director; he has been with the museum for nine years. Elek Horvath, who joined the museum in 2000, has been promoted to associate director of collection access. Michael McCall, a 17-year museum veteran, has been promoted to associate director of editorial. In this role, he will assist in managing the development of written content for the museum’s exhibitions, books, public programs, website, social media and educational materials. He previously served as senior museum writer-editor and has curated more than 20 exhibitions, hosted numerous museum programs, as well as co-edited the second edition of The Encyclopedia of Country Music. –Jessica Nicholson
Create Music Group named Carl LeGrett to senior vp of A&R and music publishing at the company, effective immediately. Since joining CMG as an intern in 2018, LeGrett has quickly established himself as a trusted partner to up-and-coming songwriters and producers, with a client role that has collaborated on dozens of hits by Ice Spice, Lil Durk, Megan Thee Stallion and Bad Bunny, among many others. Founder and CEO Jonathan Strauss said LeGrett’s “deep entrepreneurial spirit led him to identify a need in the marketplace and his dogged determination helped him win the confidence of music’s most prolific producers and songwriters. His ability to think outside the box and discover untapped talent and trends has made him a true leader and we look forward to his continued success here at Create Music Group.”
BOARD SHORTS: The Mechanical Licensing Collective announced six appointments to the org’s advisory committees, including three additions to the Dispute Resolution Committee (songwriter David “DQ” Quiñones, Spirit Music Group’s Consuelo Sayago and Vydia’s Matthew Skiba), one to the Operations Advisory Committee (Concord Music Publishing’s Lidia Kim) and two new faces (songwriter “Bruce” Waynne Nugent and Sony Music Publishing’s Dale Esworthy) on the Unclaimed Royalties Oversight Committee. Committee terms last three years … Music community startup We Are Giant added William Morris Endeavor co-head of Nashville Becky Gardenhire to its board of directors. She’ll act as a strategic advisor to WAG founding CEO Andy Apple and his team on their efforts to expand the music platform’s footprint in the always-growing Nashville market. Gardenhire joins the recently added AEG Presents exec David Rappaport on the board.
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Moonbug Entertainment hired former Spotify executive Courtney Holt as the children’s content factory’s first-ever global head of music and strategic audio initiatives. A spoke in the Candle Media wheel, Moondug creates and distributes your favorite children’s YouTube channels, namely Cocomelon and Blippi. The Los Angeles-based Holt will focus forging strategic partnerships with artists and building out the company’s music label. Holt joins Moonbug after a five-year run as Spotify’s head of talk partnerships, editorial and global markets. Prior to that he exec’d at Maker Studios, where he worked with eventual Candle co-founder Kevin Mayer. Earlier in his career, Holt held positions at MySpace, MTV and UMG.
Thomas Jamois was appointed managing director of Wise Music France, where he’ll manage all office staff and the company’s regional publishing houses, including Première Music, Éditions Alphonse Leduc, Campbell Connelly, Les Editions Transatlantiques, Bleu Blanc Rouge, Choudens, Le Chant du Monde and Musique des Anges. Jamois arrives at Wise Music Group from Velvetica Music, a publishing indie he founded in 2011. Prior to that, he was head of music publishing and synch at Naïve for seven years. “I’m delighted to have Thomas join the Wise Music family, and I look forward to working with him to lead our French and Francophone business forward with continued catalogue acquisitions and high-profile signings,” said Wise Music chief Marcus Wise.
NASHVILLE NOTES: Full-service marketing agency FlyteVu welcomed Brooks Parker as vp of business development and Purvi Patel as account director. Parker has more than a decade of artist management experience, and most recently worked in experiential marketing at Nashville-area agency Streamline. Patel was most recently president and head of partnerships of media agency Claima Stories, with prior stops at Alice’s Table and Reebok, where she worked on influencer-focused strategies … Kings Hill Music named two-time Dove Award-winning recording artist Billy Gaines as director of A&R for the label. “I have a deep-seated desire to help artists use their gifts to fulfill their calling from God,” said Gaines, who is also signed to KHM … Briana Galluccio joined One Country as director of promotion & partnerships … River House Artists promoted Kayla Adkins to creative director of publishing from creative manager.
The Core Entertainment, known for a roster that includes clients Bailey Zimmerman and Nate Smith, named Dan Dymtrow as general manager and Jamie Sudhalter as senior director of A&R. Dymtrow most recently served as executive manager at Maverick Music and head of music at tech startup Curio. Sudhalter most recently served as senior director of A&R at Mercury Records. The Core Entertainment was co-founded by Kevin “Chief” Zaruk and Simon Tikhman in 2019, and focuses on cultivating talent in music, sports, film, television, and technology. In 2023, The Core expanded beyond talent management into the record label space with a partnership with UMG’s Lucian Grainge. –JN
ASM Global appointed Karin Sinclair as the new GM of Södra Teatern, one of Sweden’s oldest active theaters. Sinclair joins ASM from Scandic Hotels, where she was revenue manager for the Swedish chain’s 85 hotels.
ICYMI:
Pulse Records hired Tim Glover as president of A&R. He was previously executive vp of A&R at Interscope Geffen A&M, where he ran point for the label’s two-handers with Dreamville and LVRN … NTWRK is acquiring Complex from Buzzfeed, which purchased the media company in 2021 for $300 million. NTWRK co-founder/CEO Aaron Levant — who co-founded ComplexCon with Complex founder Marc Ecko in 2016 — will become CEO of the new company.
Last Week’s Turntable: Metallica’s Vinyl Plants New CEO
Event discovery platform Bandsintown will be directly integrated into Spotify via a new partnership with the streaming service. The agreement allows artists to directly reach fans through the Spotify app in order to drive stronger engagement and more robust sales for events around the globe. According to Bandsintown, in 2023, the platform increased the number of concerts listed in its database by more than 150,000 year-over-year, while Spotify says it has increased impressions for live events across its platform by 10 times in the last 12 months. – Dave Brooks
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Collectibles, toys and apparel company Super7 secured the rights to create a new set of Mötley Crüe action figures featuring all four members of the iconic metal band: Vince Neil, Nikki Sixx, Tommy Lee and Mick Mars. The “ReAction Figures” are 3.75″ tall and retail for $20 each. Super7 has previously designed, manufactured and distributed officially licensed products for artists including Iron Maiden, the Misfits, Ol’ Dirty Bastard and Beastie Boys.
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Music financing platform Duetti announced $90 million in new funding, including $15 million in new equity and a new $75 million credit facility. The equity financing is led by Nyca Partners alongside Viola Ventures, Duetti’s lead seed equity investor, and Cohen Circle. The credit facility comes from Northleaf Capital Partners. Duetti allows a wide range of artists to sell master catalogs, individual tracks or parts of tracks, opening up opportunities for those who wouldn’t ordinarily have access to such deals. The new funding will be used to accelerate the growth of Duetti’s catalog acquisitions, the development of the company’s prediction and analytics technology and the expansion of its catalog marketing capabilities. Duetti recently opened offices in New York, Los Angeles and Miami.
Warner Chappell Production Music (WCPM) and Warner Chappell Music (WCM) partnered to launch a new label, Run4Cover, which will pair WCM’s catalog with WCPM’s production expertise to deliver new arrangements of songs in order to minimize licensing complexities for productions and content creators. Run4Cover’s repertoire includes new versions of songs by artists including Radiohead (“Exit Music (For A Film),” “Karma Police”), Curtis Mayfield (“Move On Up”), Kool & The Gang (“Celebration”) and Donna Summer (“Hot Stuff”). The songs are rendered in “diverse styles,” according to a press release, from big band to nu-disco; Run4Cover will also offer custom covers. All Run4Cover compositions are controlled by WCM while the original master recordings are owned by WCPM. Clients will benefit from a streamlined clearance process through a single point of contact. Licensing inquiries can be sent to licensing@warnerchappellpm.com.
AXS and CTS Eventim were appointed the official ticketing services providers for the 2028 Summer Olympic and Paralympic Games in Los Angeles. The two companies will form a joint venture to combine their tech and marketing assets to promote, sell and distribute LA28 tickets globally. Their online storefronts will be made available for the global distribution of Olympics 2028 tickets, which will also be sold through the LA28 website.
ADA Worldwide struck distribution deals with Charlotte, N.C.-based label South Coast Music Group and Valley Entertainment, an indie label with a focus on singer-songwriters, modern Irish artists and World music. Founded by Arnold Taylor, South Coast’s roster includes emerging hip-hop artists including Dustystaytrue, DeeYounginn, Luclover and Big Mali. Valley Entertainment’s catalog includes tracks by David Darling and Jonn Serrie and new recordings from frontline acts including Lisbeth Scott and Squeeze.
OneLand Music Group announced a deal with Create Music Group that encompasses Create’s acquisition of OneLand’s music catalog and a joint venture to release new music, beginning with Atomic Otro Way’s new EP, Dembow 5. “This is a full circle moment for both the Create and OneLand teams,” said OneLand Music Group co-founder Hector Morales in a statement. “In 2019 we partnered with Create to help them sign their first Latin artist. Ever since then, we’ve worked closely with Jonathan [Strauss] and Alex [Williams] to build opportunities for OneLand artists. This venture is a celebration of our shared musical vision and we’re thrilled to be in business with Create’s growing team.”
Music promotion platform Groover announced an $8 million Series A funding round led by investors OneRagtime, Trind, Techmind and MozzaAngels and supported by earlier backers Partech, Bpifrance‘s Tech & Touch fund, Verve Ventures and Frenchfounders. The new funding will help Groover integrate additional services into the platform including promotion, marketing, coaching and career development while supporting the expansion of Groover’s presence in the North American, European and Latin American markets. Launched in 2019 by Dorian Perron, Rafael Cohen and Romain Palmieri, Groover provides artists with the opportunity to network with music industry players to receive feedback on their work. According to a press release, Groover has so far drawn nearly 350,000 independent artists from more than 180 countries and generated more than 4 million personalized reviews.
Music collaboration platform ENGINEEARS closed a $7.5 million seed round led by Drive Capital, with participation from 645 Ventures, Slauson & Co. and FLUS Investment Group, the venture arm of SALXCO. The platform is designed to streamline music collaboration, make payment and project management processes easier and more.
Atlantic Records UK partnered with London-based agency EYC LTD, which specializes in talent and brand management and event planning. Under the deal, Atlantic UK will work closely with EYC to sign and develop artists under a new imprint, EYC Records, while serving as a connection between Atlantic UK’s roster and EYC LTD’s global client base, which includes Louis Vuitton, Prada, Dior, Bentley and Samsung. EYC Records will sign early-stage acts “aligned with the progressive, culture-first ethos of EYC LTD,” according to a press release, working with Atlantic UK and ADA to develop them. The first artist signed to the imprint is Betty, who has already released two singles under the deal: “Mum Says” and “Take Me Under.” EYC Records is also developing the artist project of poet, model and activist Kai-Isaiah Jamal, who will begin releasing music early this year. “I am extremely happy about the launch of EYC Records — a platform to develop the acts we believe in, facilitate brand partnerships in our field of expertise and push our creative visions to the next level,” said EYC LTD director Cora Delaney in a statement.
The Clive Davis Institute of Recorded Music at the NYU Tisch School of the Arts is collaborating with Atlantic Records on a semester-long series of career development workshops and sessions with Atlantic executives, including A&R president Pete Ganbarg. Eight events held at the institute’s Brooklyn location and Atlantic’s Manhattan offices will offer students access to Atlantic executives to learn about opportunities on both the business and artistic sides of the label. It will end with a weeklong songwriting camp led by Atlantic staffer and institute alum Stefan Accardo that will match select students and alumni with Atlantic artists. The partnership kicked off on Feb. 13 with the first of two field trips to Atlantic Records’ New York offices.
Cloud-based end-to-end music rights and royalties administration platform RyteBox acquired SR1, a digitally-native royalty calculation suite, from Exactuals. Joe DeCanio, president/CEO of SR1, along with his team will join RyteBox following the acquisition. SR1 helps to streamline royalty management for its clients, including mechanical licenses and reporting; expense processing; royalty statement generation; deal management; sales and income processing; master licensing and invoicing; and neighboring rights. Those capabilities will serve to complement RyteBox’s current services, which include contract and catalog management; revenue and royalty calculations, statements, and analytics; and relationship management for recorded music and publishing.
NeueHouse, a private workspace and social club for creative workers, has teamed up with the Save the Music Foundation to become the official partner of NeueHouse’s Sunset Sounds live music series. The partnership will kick off with the next Sunset Sounds event on Feb. 22: a listening experience hosted by MGMT where guests will have the opportunity to listen to the band’s new album, Loss of Life, one day prior to release. Going forward, NeueHouse will tap Save the Music for programming opportunities for its various shows, with a portion of the proceeds from each going to fund Save the Music’s various student initiatives.
ASM Global has been contracted to manage and operate Thunder Ridge Nature Arena, a new 18,000-capacity venue in Ridgedale, Mo. ASM has partnered with Live Nation to produce live music events at the outdoor amphitheater, which is slated to open in May.
Oak View Group (OVG) acquired the Stadium Club division from Invited, a leading owner-operator of private golf, country and city clubs in North America. Under the deal, OVG will own and operate Stadium Club properties at universities across the United States; OVG and Invited have also struck a long-term partnership focused on “enhanced membership benefits and uniquely curated experiences for both Invited and OVG club members,” according to a press release. Stadium Club properties include Arizona Sands Club at University of Arizona, Baylor Club at Baylor University, Ken Garff University Club at University of Utah, Texas Tech Club at Texas Tech University, University Club of Virginia Tech at Virginia Tech and the Carolina Club at the University of North Carolina.
Big Machine Label Group and W!ZARD Radio Media entered an agreement to develop and launch a slate of new podcasts. Under the partnership, the two companies will handle production, distribution, marketing, promotion and ad sales functions of the podcast slate. The partnership launches with the sports-comedy podcast A Game of No Halves, hosted by British broadcasting legend “Whispering” Bob Harris and his son Miles Myerscough-Harris. The partnership also encompasses the re-launch of the podcast Songwriter Soup, hosted by songwriter Laura Veltz (“Speechless,” “I Could Use a Love Song”), financial advisor Tracy Hackney and producer Kevin Sokolnicki. – Jessica Nicholson
Primary ticketing and event commerce marketplace Tixr struck a deal with Eden Nightclub Ibiza making Tixr the club’s official ticketing partner. “Tixr’s advanced technological solutions provide a transformative answer to the longstanding challenges faced by nightclubs. From optimizing online ticket sales to implementing unique selling strategies and unlocking revenue streams beyond traditional ticketing, Tixr’s innovation resonates with our commitment to redefining the clubbing experience,” said Rinco Soesman, owner/director of Eden Nighclub Ibiza, in a statement.
Amuse struck an automated integration with YouTube for official artist channels (OACs). Users on Amuse’s Boost and Pro tiers can now request their OAC in a quicker, more streamlined process under the integration, merging all of their subscribers and content from different areas of YouTube into one channel. The YouTube OAC integration will now show as an option within an artist’s profile on the Amuse web app. Additionally, eligible Amuse artists will be granted access to supporting YouTube tools involving analytics, merch, ticketing and more.
During its first week of release, Vultures 1, the first full-length release from the artist formerly known as Kanye West and singer Ty Dolla $ign, changed distributors, was pulled from Apple Music temporarily and got cut by a song to ward off a possible copyright infringement issue brought up by Donna Summer’s estate. So far, the story of the album may be as interesting as the music itself — and Billboard has reported that some samples remain uncleared, which suggests that this could only be the beginning.
Like many hip-hop artists, Ye makes music that involves both snippets of other recordings (samples) and passages of other songs that are re-recorded (interpolations, which confusingly are often referred to as samples as well). Samples generally require a license from the owner of the recording and the underlying composition, while interpolations only require the latter. West seems to have cleared some of the samples and interpolations he’s used, but not all of them.
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There was a time when that would have been dangerous. When the music business was dominated by physical media, rights holders whose work was used without a license had the legal leverage they needed to take most, or even all, of the rights to a song, as ABKCO famously did with the Verve’s “Bitter Sweet Symphony,” which sampled a version of the ABKCO-controlled Rolling Stones song “The Last Time.” The Verve’s only other choice would have been to destroy all existing copies of the album it was on and stop promoting what became its breakthrough hit.
West won’t face those issues, partly because no single song on Vultures 1 depends as much on one sample or interpolation, and partly because the nature of streaming means that most music — most art, really — isn’t ever really final anymore. When the estate of Donna Summer said that West had used elements of “I Feel Love” without a license for “Good (Don’t Die),” the song was simply pulled offline. Uncleared samples could be re-recorded, if West can get permission from a publisher but not a label, or simply replaced by other musical elements. Albums can evolve for legal reasons as well as artistic ones.
This is an extreme example of what seems like a general trend, as is the Travis Scott album Utopia which Billboard recently reported has its own issues with songwriting credits and royalty splits. In this case, Scott worked with producers and co-writers but didn’t finalize all of the relevant agreements. Scott is far from the only artist to deal with this issue. Here, too, Scott’s collaborators could sue — although this would be a foolish move since many of them depend on his star power to market their work and the nature of streaming blunts potential legal threats.
In both cases, the balance of power in a licensing system that initially gave more leverage to songwriters and other rights holders is now tilting toward recording artists, especially powerful ones. That could be bad for other creators, because the less money they make, the more tempted they are to take any deal they can get to keep money coming in. In most cases, delays in negotiation and payment are just that — arranging all the co-writing deals gets very complicated because there’s only so much credit, and thus royalties, to go around. But the way the leverage shifts toward artists doesn’t exactly inspire their teams to deal with this as fast as possible.
The same kind of pressure doesn’t apply to publishers that control interpolation rights for older songs, but it’s important to remember that this money, too, goes to creators — often on better terms than streaming revenue does. Financial issues aside, creators also have the right to decide if they want to be associated with other creators, just as they have the right to turn down advertisement opportunities. In West’s case, Ozzy Osbourne turned down West’s request to sample a live version of “Iron Man,” which he wrote with his bandmates in Black Sabbath, because of West’s antisemitic comments. So West simply went ahead and sampled his own song, “Hell of a Life,” which uses the same riff. Osbourne should be able to prevent that — his team didn’t comment on West’s use of this other song — and he may decide to try.
The music business needs a code of conduct to deal with this situation before it gets any worse. If it’s overly strict to require artists to sort out all rights before the release of an album, a voluntary code could mandate having rough agreements in place or requiring final ones to be completed within a certain amount of time. The idea would be to give artists the time they need to sort out rights issues, within reasonable deadlines that will keep negotiations relatively equitable. If artists can’t figure out the credits issues that get their collaborators paid, maybe they shouldn’t submit their music for the Grammy Awards — which are voted on by other creators — or even be allowed to. The idea isn’t to penalize anyone, just to create a hard deadline.
None of this would address Osbourne’s issue with West, which I can’t help but take more seriously than the others. Think about it: The No. 1 album in the country this week is by an antisemite who has praised Adolph Hitler and the Nazis and will soon headline a major festival. (In December, West apologized for his comments with a statement in Hebrew but it’s hard to know how seriously to take that, considering that this album has a line about how “I just f—ed a Jewish b—-.”) I think it’s possible to enjoy good art made by bad people, and I assume that most people listening to Vultures 1 don’t agree with the crazy things West has said. At the same time, it feels wrong to write about the copyright issues West faces without acknowledging how hateful he has been. Presumably, West will find ways to license the snippets of music he uses on this album or else replace them. But as he faces pushback from creators and rights holders who are reluctant to be associated with him, as Osbourne is, perhaps he’ll begin a more serious effort to make up for some of the awful things he’s said.