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The consortium acquiring French music company Believe increased its holdings to 94.99% of share equity at the conclusion of the tender offer, the company announced Monday (June 25). That marks a nearly 10% increase from the 85.04% of shares the consortium held a week earlier.
Led by CEO Denis Ladegaillerie, who founded Believe in 2005 to take advantage of the rapidly evolving digital music business, the consortium purchased 19.6 million shares at 15.00 euros ($16.10) per share during the offer, which ran from June 3 to June 21. Combined with blocks of shares previously acquired from investors, the consortium now holds 95.6 million of the 100.7 million shares outstanding. The free float — shares owned by minority investors — is 5.01%. The consortium, which also includes major shareholders EQT and TCV, commands 106.5 million of 113 million — 94.29% — of Believe’s voting rights.
While the consortium does not plan on executing a mandatory squeeze-out for shares not tendered by minority shareholders, because the free float — shares not held by insiders that can be publicly traded — has fallen under 15%, Believe will be de-listed from some stock indexes.
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Also on Monday, Believe announced the appointment of Andrew Fisher, a new director representing EQT, after venture capital firm Ventech sold its shares to the consortium and lost a director. Fisher’s ratification will go to a vote in the 2024 annual general meeting. The board additionally appointed two observers: Michael Kalfayan, general partner at TCV, and Nicolas Brugère, partner at EQT.
The consortium announced a takeover bid for Believe in February at 15.00 euros ($16.10), which represented a 21% premium over the prior closing price. According to an offer document, the consortium wants to take over the company “so that it can better execute on its value-creation plan and accelerate the scale-up of an independent player supporting artists and label clients” and “further grow and consolidate its position as a leader in the French and European markets.”
After the Believe board of directors backed the takeover bid on April 19, the consortium purchased a large block of shares from venture capital firms XAnge and Ventech. Before the acquisitions, TCV was the biggest shareholder with 41.1% of share capital, while Ladegaillerie owned 12.5%, private equity firm Ventech owned 12.0%, XAnge owned 6.3% and roughly 3.8% of shares were held by a strategic holding fund and in treasury shares. Free float was 24.4%.
Warner Music Group briefly looked at acquiring Believe in March and estimated a bid of “at least” 17 euros ($18.24) per share, which would have valued the company at 1.65 billion euros ($1.8 billion). But the pursuit was short-lived; Warner dropped out of the running in April.
Any music lover knows that a great song transcends borders and languages. Now, that unifying power is being leveraged as a diplomatic tool.
On Monday (June 24), YouTube announced a partnership with the U.S. State Department as part of the Global Music Diplomacy Initiative, a program launched last September by U.S. Secretary of State Antony J. Blinken that aims to use music to promote peace and diplomacy around the world.
The project centers around a group of genre-spanning artists who will act as musical ambassadors. Chuck D, Herbie Hancock, Jelly Roll, Armani White, Breland, Denyce Graves, Grace Bowers, Justin Tranter, Kane Brown, Lainey Wilson and Teddy Swims are all participating, with additional artists to be announced.
The Global Music Diplomacy Initiative is an extension of the PEACE through Music Diplomacy Act, which was signed into law by President Joe Biden last year and directed the State Department to facilitate public-private partnerships that would support music-related diplomacy.
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YouTube was selected as a partner given its global reach and influence on music culture worldwide. The partnership will include micro-grants to support people who use music to create positive change in their communities; YouTube will also assist the State Department in its work using music as a tool for learning English. Additionally, they will team up to engage audiences and aspiring artists in Australia, Brazil, Canada, France and India and “utilize major international gatherings to inspire action around the unifying power of music,” according to a blog post written by YouTube global head of music Lyor Cohen and YouTube vp of public policy Leslie Miller.
In a joint statement, Cohen and Miller wrote, “Music is a unifying force — it transcends language, cultural and national differences. It helps us understand and appreciate each other in ways almost nothing else can. During the height of the Cold War, the United States launched the Jazz Ambassadors program to send artists like Louis Armstrong, Dizzy Gillespie and Sarah Vaughn overseas to bridge cultural gaps and cultivate goodwill across the globe. The Jazz Ambassadors program left a lasting legacy, demonstrating the power of music as a diplomatic tool for fostering cultural understanding.”
“We’re excited to be a part of the next chapter in music diplomacy, helping to amplify the voices of artists and strengthen our community bonds across borders,” the statement continued. “Music reminds us more of what we can have in common than what separates us. That is the message we intend to echo around the world as we embark on this partnership, using the power of music to inspire peace for all.”
The board of governors of the Academy of Motion Picture Arts and Sciences announced on Monday (June 24) that CEO Bill Kramer will continue in his role through July 2028. Kramer’s contract, up for renewal in 2025, was approved one year early due to what the Academy calls “his exceptional leadership and significant contributions.” “Bill […]
Weeks after teaming with Oak View Group to acquire Canadian Music Week, Loft Entertainment has made another strategic partnership to expand its reach. The Toronto-based music company is joining forces with one twenty eight, a talent booking and cause marketing “impact agency” that focuses on connecting artists and influencers with social causes. The agency has […]
SiriusXM had its best week since December 2023 this week, leading all music stocks in a week when the losers outnumbered the winners two to one. Shares of the company jumped 12.3% to $2.93 following the company’s decision to conduct a 1-for-10 reverse stock split when it merges with the Liberty Media SiriusXM Group tracking stock later this year. SiriusXM gained 16.4% in the week ended Dec. 15, 2023.
The reverse split is meant to boost SiriusXM’s beleaguered share price. After years of steady growth in its satellite radio business, the company has suffered declines in both revenue and satellite subscribers as it attempts to build a competitive streaming service. The company lost 445,000 self-pay subscribers in 2023 — a 1% decline — and experienced a 1.4% drop in the first quarter of 2024. The revamped streaming app launched in December at $9.99 per month, about half the average revenue per user generated from satellite radio subscriptions in 2023.
SiriusXM was the only music stock to post a double-digit gain this week and one of only six stocks in the 20-company Billboard Global Music Index to see growth. With 13 stocks declining and one — French music company Believe — unchanged, the index fell 0.3% to 1,814.88. On average, live music stocks fared the best with an average gain of 0.6%. Other segments posted declines: streaming stocks fell 3.7%, radio stocks dropped 2.9%, and record labels and publishers dipped 1.3%.
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Live Nation rose 4.7% to $92.96, its highest closing price since June 5. The company’s shares are down 8.3% since the Department of Justice brought an antitrust lawsuit that seeks to break up its concert promotion and ticketing operations, but it’s held steady since an initial post-lawsuit drop. Friday’s closing price was just 52 cents below the price the day after the lawsuit was announced on May 23.
Shares of Spotify rose 1.5% to $317.86 to mark their third successive weekly gain. Cost-cutting and price-hiking have helped Spotify’s stock gain 69.2% in 2024 and 101.8% in the last 52 weeks. There was more price-related news on Friday (June 21) as Spotify revealed a new “basic” plan in the United States, which costs $10.99 per month and offers users a plan that doesn’t include audiobooks. The “premium individual” plan includes both music and 15 hours of audiobook listening for $11.99 per month, while the “audiobook access” tier provides 15 hours of audiobook listening and the ad-supported music service for $9.99 per month.
iHeartMedia was the index’s worst performer after dropping 17.4% to $1.00. The radio giant’s stock is down 62.5% year to date amidst a weak radio advertising market and steady growth at competing streaming services. LiveOne fell 12.6% to $1.59, bringing its year-to-date gain to 13.6%.
Music was outperformed by broader indexes as stocks reached new highs this week. On Thursday (June 20), the S&P 500 set a new all-time high of 5,503.53 and the Nasdaq composite reached a new high of 17,936.79. For the week, the S&P 500 rose 0.6% to 5,464.62 and the Nasdaq composite was barely above breakeven at 17,689.36. In the United Kingdom, the FTSE 100 rose 1.1% to 8,237.72. South Korea’s KOSPI composite index gained 0.9% to 2,784.26. China’s Shanghai Composite Index fell 1.1% to 2,998.14.
It was a special Juneteenth for Allison Russell.
Not only did she serve as the special Toronto opener for Sarah McLachlan on the Canadian icon’s Fumbling Towards Ecstasy 30th-anniversary tour, but she earned another big honor: Billboard Canada Women In Music Breakthrough Artist of the Year.
“It’s an honor to be acknowledged for the work that I’m doing and that we’re all doing together,” said the singer-songwriter when she was presented with the award in an interview with iHeartRadio Pure Country host Shannon Ella on Wednesday (June 19).
“There’s still such an imbalance in our industry, and it’s [an important moment] to be here speaking with you on Juneteenth [the holiday commemorating the end of slavery in America], which is a significant date because I’m not just a woman, I’m a queer Black woman,” she says.
Born and raised in Montreal but living and working in Nashville, Allison Russell has been an advocate for LGBTQ+ rights and a vital voice for the representation of Black women in country, roots and Americana music. As her platform has gotten bigger, she’s used it to benefit her whole community.
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And it has gotten much bigger. This year, Russell won her first Grammy for best American roots performance for her song “Eve Was Black” and performed at the ceremony, playing clarinet and singing with none other than Joni Mitchell. She also made her Billboard Hot 100 debut with “Wildflower and Barley,” a duet with Hozier, who she’s also been touring with.
On those big stages, she’s usually playing with The Rainbow Coalition Band — a talented ensemble of Black and POC, queer and historically marginalized musicians.
“I make a point of playing with all women and gender-diverse folks on stage,” Russell says. “I do that because there is such an imbalance. It’s still a remarkable, unusual thing. No one says it’s so crazy that it’s just a bunch of dudes up there.”
More winners will be announced over the summer, culminating with the Billboard Canada Women In Music celebration on September 7. – Richard Trapunski
Read more from the interview at ca.billboard.com.
Music Publishers Canada Names 2024 Women in the Studio National Accelerator Class
There’s a gender imbalance behind the scenes in Canadian music, and Music Publishers Canada (MPC)’s Women in the Studio National Accelerator aims to address it.
Recently released statistics have confirmed the major gender gap that exists in multiple facets of the Canadian music industry, and this is especially glaring in the field of music production.
The Women In The Studio program fosters professional growth and advancement of talented producer-songwriters from across Canada. MPC has announced all six participants for this year’s program: Alysha Brilla from Toronto, Cat Hiltz from Vancouver, Charmie from Toronto, Jinting (Jinting Zhao) from Edmonton, JoJo Worthington from Montreal and Samantha Selci from Toronto.
Now in its sixth year, the program offers participants a series of curated workshops, skills training and networking opportunities with music industry leaders. The goal is to equip them with skills and connections crucial for their advancement in the music industry.
The accelerator will run virtually from June to December and include creative collaborations and an in-person residency week in Toronto in August. It focuses on topics including technical skills, financial literacy, music business skills and branding. Participants have also committed to exploring volunteer opportunities within their own communities.
Music Publishers Canada CEO Margaret McGuffin said in a statement that “with the help of our program partners and industry network, we are looking forward to breaking down some of the barriers that exist for this group of talented producers and give them the support they need to enter the next phase of their careers.” – Kerry Doole
Country Singer Bayker Blankenship Debuts on Billboard Canadian Hot 100 With ‘Maxed Out’
A new country artist is making his mark on the Billboard Canadian Hot 100 this week.
Bayker Blankenship of Livingston, Tenn., has landed on the chart for the first time with “Maxed Out,” a melancholy tune about being down on your luck and low on available credit. With a relaxed pace and a touch of grit in Blankenship’s voice, the song strikes a poignant tone.
The song has been gaining steam online, appearing on Spotify’s Viral 50 USA playlist as well as charting on Billboard‘s Hot Country Songs and Hot Rock & Alternative Songs charts, though it hasn’t hit the U.S. Billboard Hot 100 yet. But that doesn’t mean it won’t soon — another viral artist, Lay Bankz, hit the Canadian Hot 100 earlier this year before she landed on its U.S. counterpart.
The song is only Blankenship’s second single, following 2021’s “Can’t Get Enough,” but the singer has built an impressive following online. He boasts nearly half a million followers on TikTok, where he posts his song clips as well as covers of songs by country stars like Zach Bryan and Dylan Gossett. Blankenship, who is releasing with Santa Anna Label Group, could join their ranks soon if he can keep up the momentum.
Meanwhile, breakout country singer Shaboozey‘s “A Bar Song (Tipsy)” retakes the top spot on the Canadian Hot 100 this week. The Beyoncé collaborator has hit No. 1 in Canada, which he has yet to do on the American Hot 100. – Rosie Long Decter
It’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. Don’t forget to dig into this year’s Indie Power Players list. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
Bravado, the merch and brand management arm of Universal Music Group, announced across-the-board changes to its leadership structure. Joining Bravado’s c-suite as chief financial officer is NYC-based Colin McIntosh, most recently CFO and chief operating officer at REVOLT Media. McIntosh reports to company president Matt Young, as do a slew of newly promoted Bravadoans. In Los Angeles, Alyssa Tobias is upped to svp and head of creative services, Ashley Fogerty is now svp of business affairs and Brian Schechter is senior vp and head of brand management. In London, David Boyne is managing director of Bravado, UK, while Rachel Redfearn continues to lead the region’s A&R and brand management and label liaison teams as svp of UK A&R. Working alongside McIntosh in the NYC office is Bill Ashton, who is promoted to svp of commerce at the company, and down Nashville way Stacie Swanson was elevated to vp of artist strategy. But wait there’s more: Reporting to Ashton in the commerce department is NYC-based Briana Farrell, who was promoted to vp of U.S. retail, and Londoner Keith Taperell, now the vp of licensing. “Helping artists connect with fans around the world will always be our driving force, and I’m excited to announce this new leadership, who will ensure that artists’ visions are brought to life,” said Young.
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Warner Records welcomed Terese Joseph as senior vp of A&R administration. Based in Los Angeles, Joseph will report to Karen Kwak, evp/head of A&R, and work closely with Julian Petty, evp/head of business and legal affairs. The veteran executive most recently served as head of label operations at Se LaVi/Rebel Music but launched her career at UMG, where she logged time at Def Jam, Victor Victor Worldwide and Capitol. “I’ve known Terese for many years, starting back in our Island Def Jam days in New York,” said Kwak, who oversaw A&R at UMG’s U.S. labels until 2016. “She’s a well-respected and knowledgeable player in the field, playing an integral role in the delivery of massively successful projects for music legends to newcomers alike.”
Sony Music Nashville promoted Lauren “LT” Thomas to svp of promotion, with Thomas having day-to-day oversight of both the RCA Nashville and Columbia Nashville imprints. Thomas will continue to report to evp of promotion Steve Hodges and work with him across the roster on all national promotional strategies and initiatives. During her tenure, Thomas has helped earn radio hits for artists including Luke Combs, Megan Moroney, Nate Smith, Mitchell Tenpenny and Old Dominion. Thomas joined Sony Music Nashville in 2009 and previously spent five years at KMLE in Phoenix, Arizona. Thomas is also a 2019 Billboard 40 Under 40 honoree. –Jessica Nicholson
AEG Presents ditched the “co-” from Don Strasburg‘s title and named the live music veteran as sole president of the Rocky Mountains and Pacific Northwest regions. The Denver-based executive will oversee AEG’s regional offices in the Colorado capitol and Seattle, and continue managing the team that books concerts in a full slate of venues. Until recently, Strasburg served as co-president of the expansive region alongside Brent Fedrizzi, who in May was promoted to president of North American regional offices. During a lengthy career, Strasburg has been a plank owner of sorts at Bill Graham Presents/Chuck Morris Presents, Live Nation and AEG Live. “Don has a drive to win and succeed that is unmatched,” noted Shawn Trell, AEG Presents’ evp, COO and general counsel. “He’s got an almost innate sense of knowing what the audience wants and where the trends are heading.”
Emre Dokucu
Turkish conductor, arranger, guitarist and pianist Cenk Eroglu joined Frontiers Label Group as the Italian metal label’s new in-house writer and producer. FLG is the home of such artists as Winger, Stryper and Blue Öyster Cult, among others. Eroglu has a long creative partnership with the former, having appeared on a Kip Winger solo album and later as a core player on the prog-adjacent rock band’s first release for Frontiers, 2006’s IV. “I am truly excited to welcome Cenk to Frontiers Records, and I am confident that his impressive background and top-notch craftsmanship will bring some major added value to our label,” said the label’s president Serafino Perugino. “I am looking forward to working together on new epic projects.”
Vickie Nauman, founder of music-tech consultancy CrossBorderWorks and a former executive at 7digital and Sonos, joined Musical AI as an advisor. Formerly Somms.ai, Musical AI provides tools to help rights holders monitor and manage how their IP can be used in AI creation. “Happy to be a part of this journey,” Naumna said on LinkedIn. “I believe AI can be transformative to us all if used wisely, and generative AI needs licensed models.”
Night Time Industries Association chief executive Michael Kill joined the International Nightlife Association, a Barcelona-based advocate for nightlife venues, as Vice President. In a joint announcement, the organizations called it a validation of Kill’s leadership and the NTIA’s “growing impact on global nightlife policy and advocacy.” Kill remarked that he’s “excited to collaborate with our international counterparts to drive positive change and innovation in the nightlife sector. Together, we will work towards a vibrant, sustainable, and safe nightlife environment for all.”
NASHVILLE NOTES: Contemporary Christian music industry veteran Tim Robinson launched Aligned Talent Agency. The Brentwood, Tennessee-based firm represents artists Love & The Outcome, Dan Bremnes, 7eventh Time Down, Ignescent and others. Robinson most recently served as a booking agent with Greg Oliver Agency –J.N. … Milestone Publicity promoted Campbell Jenkins to publicist, effective immediately. The Belmont University grad joined the Music City-based PR firm a year ago … BMG Canada appointed Bryan Columbus as vp of recorded music. He was previously label director for Concord Label Group/Canada.
The creative team for next year’s SXSW London is taking shape with the appointment of Adem Holness as head of music and Katy Arnander as director of programming. Additionally, Alex Poohs will serve as a consulting creative advisor and Elliot Willis has taken the role of SXSW London’s commercial director. The festival and conference will take place over one week in June 2025 at venues and spaces around Shoreditch in east London. (In April 2021, it was announced that SXSW had signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.)
Independent music distribution and marketing company Symphonic Distribution hired Guji Lorenzana as its first territory manager for Asia. Based in Los Angeles, Lorenzana is tasked with growing Symphonic’s presence in the region, by way of expanding its artist roster and forging new business partnerships. A former solo artist and member of Philippines boy-band TFTI, Lorenzana arrives from Ingrooves Music Group, where he was country manager for Philippines.
Aaron Hamel is the new label director for Materia Music, a Seattle-based video game imprint, distributor, publisher and rights administrator. Hamel’s appointment follows Materia’s recent acquisition of the remaining game music inventory of Ship to Shore, a boutique label he founded that’s centered on discovering and re-issuing cult soundtracks. “He shares our passion for discovering and promoting the rich musical heritage of video games as well as bringing innovative new products to the video game music community and marketplace,” said Sebastian Wolff, Materia Music’s founder and CEO.
Victoria Fleary was promoted to vp of social at iONE Digital, a content company targeting Black and urban lifestyle enthusiasts. Fleary joined the company two years ago as senior director of social following stops at Emmis Communications and BET. “Victoria’s promotion is a result of the dedicated work that she has put in since her first day at iOne,” said Sam Stiers, GM/evp. “Her relentless drive, creativity, and commitment to excellence in digital media has truly been an inspiration to everyone around her.”
Gregg Stewart is the new senior manager of communications at Universal Music Canada. Previously he worked with Bell Media for 12 years, leaving as Director of Music Strategy & Industry Relations. He was also with the Much MTV Group for a year and between 2000 and 2006 was with UMG’s digital marketing division. –David Farrell
Live Redesigned creative producer Melody Tseng is the art director and set designer for Alanis Morissette’s recently launched Triple Moon Tour, which carries through late September. Tseng joined the NYC-based live company three years ago as an associate creative producer. She previously worked on projects for Live Nation, Diversified Production Services and others. “Melody, as she always does, brought her unique creative vision to life as both the Art Director and Creative Set Designer for the tour through the artistic use of various stage and scenic elements.”
ICYMI:
Jess Ducrou
Jessica Ducrou is departing as co-CEO of Australia’s Secret Sounds Group, producer of Splendour in the Grass festival … Bradley Jordan‘s Peachtree Entertainment brought in Chuck Steedman of LiveCo, Nathan Baugh of 46 Entertainment and Shane Quick of Premier Productions … Fat Beats appointed Warner Music Group veteran Chris Atlas to president … Songtradr welcomed Harmonix co-founder Alex Rigopulos and music lawyer Priyanka Khimani to its board of directors.
Last Week’s Turntable: Sphere Goes Hollywood
LONDON — European independent labels trade body IMPALA is rolling out its carbon footprint calculator project to the U.S. as part of a free one-year pilot to help American music companies measure and reduce their emissions.
IMPALA first launched a carbon calculator in Europe in 2022 in partnership with U.K. sustainability charity Julie’s Bicycle. The resource is designed to help record labels track their environmental impact by measuring energy and water use, staff commuting and business travel, as well as the manufacture and distribution of physical products such as vinyl records or merchandise.
The American Association of Independent Music (A2IM), which represents more than 600 independently owned U.S. labels, is partnering with IMPALA on the pilot. The carbon calculator project is supported by global digital licensing agency Merlin, which has provided funding.
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Indie powerhouse Beggars Group, whose labels include 4AD, Matador, Rough Trade and XL Recordings, and London-headquartered Ninja Tune are among the imprints with U.S. offices taking part in the project. A2IM and IMPALA say they are currently talking to other interested labels to complete the core group with a full list of participants due to be published later this year.
In a joint press release, the two indie trade groups called the launch “the first step towards rolling out the tool in the world’s biggest music market” and its expansion into other non-European countries.
“We are very excited that the U.S. is the first territory in the internationalization of IMPALA’s Carbon Calculator,” said Richard Burgess, A2IM president and CEO, in a statement. “Thanks to Merlin‘s support, our members will be able to shape the tool for the U.S. market and play a key role in the expansion of its use.”
In a statement, Karla Rogozar, IMPALA’s sustainability lead said it was important to give U.S. indie labels access to the carbon calculator “to help standardise the [indie] sector’s approach across regions.”
IMPALA’s carbon calculator is part of the Brussels-based organization’s sustainability program, which aims to halve greenhouse gas emissions before 2030 and achieve net zero emissions before 2050.
Since its launch in April 2022, nearly 150 labels have signed up to the carbon calculator initiative from 24 countries. The first report based upon data they submitted was published by IMPALA last year and found that labels using the tool produce the average equivalent of 3.21 kgCO2e for each physical CD or vinyl record they release (based upon the total carbon emissions produced across a label’s whole business, not per physical release).
The biggest source of carbon emissions for the indie sector is manufacturing, which accounts for 76% of emissions on average. Over three quarters of this figure is attributed to vinyl production, which has a higher manufacturing carbon footprint than CDs.
The second highest source of emissions is the distribution of physical products, accounting for 15% of the carbon footprint for labels on average. That’s followed by day-to-day operations, including procurement, business travel and office energy, water and waste (around 9%).
A second edition of the carbon calculator report will be published later this year, said IMPALA, which represents more than 6,000 independent music companies spread across 31 countries.
The U.S. rollout of IMPALA’s carbon calculator is part of a growing industry-wide push to improve environmental and sustainability practices across the music business.
Last year, Universal Music Group, Sony Music Entertainment and Warner Music Group joined forces to establish the Music Industry Climate Collective (MICC) – a new alliance to address and lessen the sector’s environmental impact, which is being assisted and advised by A2IM.
In 2021, all three major record companies, plus independent labels BMG, Beggars, Partisan, Warp, Ninja Tune and the Secretly Group, signed up to the Music Climate Pact, a wide-ranging commitment to “decarbonize” the global record business.
“Our path towards a more sustainable future involves all of us working together,” said Jeremy Sirota, Merlin’s CEO, in a statement on Thursday (June 20). He said the roll-out of IMPALA’s carbon calculator in the U.S. would “help more independents build that future together.”
Chiara Badiali, Julie’s Bicycle’s music lead, called the pilot project “an invaluable opportunity” to share understanding between European and U.S. independent music companies. “Because meeting the climate crisis head-on means coming together, learning from and with each other, and taking action collectively,” said Badiali.
SYDNEY, Australia — Jessica Ducrou is exiting as co-CEO of Australia’s Secret Sounds Group, producer of Splendour in the Grass festival and a slew of live music brands.
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As co-founder of Splendour, Australia’s flagship mid-winter camping festival, Ducrou is the nation’s leading female concert and festival promoter.
With co-CEO Paul Piticco, Ducrou built Secret Sounds Group, one of the largest music group in the country, representing Splendour, Harvest Rock, Falls Festival, Secret Sounds Touring, Village Sounds booking agency, Secret Sounds Connect commercial rights and creative agency, North Byron Parklands, The Triffid live music venue in Brisbane and more.
In 2016, Live Nation acquired a controlling stake in Secret Sounds Group.
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Ducrou announced her departure on Friday morning, June 21, one month before the 2024 edition of Splendour in the Grass was meant to play out in Byron Bay, with a bill featuring Future, Kylie Minogue, Arcade Fire and many others.
That isn’t happening. Splendour, as previously reported, canceled this year’s event just days after tickets went on sale to the public, becoming the highest-profile casualty of a batch of brands that have decided to pause or close for good.
“So many memorable moments over the last almost decade with Secret Sounds, what a wild ride it’s been,” Ducrou comments in a statement. “I’m well due for an overseas summer holiday so it’s a good time to take a break before I embark on my next chapter.”
Established in 2001 and held each year in Byron Bay, a picturesque beach town on the most easterly tip of Australia, Splendour is a destination event.
The fest would become the hottest ticket in the coldest months.
In recent years, however, the show endured a particularly tough run, first with the pandemic, which saw the fest announced, then shelved several times. Then, in 2022, extreme weather conditions wrecked the first day of Splendour 2022, contributing to softer-than-usual ticket sales for the 2023 edition.
It was Ducrou who faced the media when the heavens opened, and on the occasions when Splendour was pushed back. In 2021, when the health crisis shut down festivals everywhere, Ducrou led a novel project that would turn Splendour into a virtual world, with more than 50 exclusive, in-game performances.
Ducrou will take time out with her children, travel, and, in the interim, will continue in her duties as chair of SoundNSW and deputy chair of the Australian Festivals Association.
“It has been an epic journey that has been truly inspiring, and an opportunity to collaborate with the best in the business,” she continues. “It would not have been as rewarding, possible or enjoyable if it weren’t for the people I have worked alongside of. Paul Piticco has been a great business partner for more than 30 years and we will no doubt continue our friendship well into the future. The Secret Sounds team, notably Elise Huntley and the festivals gang, are the absolute best, I will miss working with the awesome individuals who inspired me every single day. I wish all at Secret Sounds and Live Nation the very best success in their future endeavors.”
Miley Cyrus has signed with CAA, re-joining the agency more than four years after moving to WME, it was announced Thursday (June 20).
The signing comes roughly a year and a half after Cyrus enjoyed her biggest hit to date, “Flowers,” which spent eight weeks atop the Billboard Hot 100. In February, the song also netted Cyrus two Grammys: record of the year and best pop solo performance. Earlier this year, she dueted with Beyoncé on the Cowboy Carter track “II MOST WANTED.”
Cyrus has been a household name for nearly two decades, ever since breaking through as the star of Hannah Montana, the Disney Channel sitcom that skyrocketed her to fame as both an actress and a singer. As Hannah Montana, she racked up 20 Billboard Hot 100 hits, including one top 10 (“He Could Be The One”), and scored three No. 1 albums on the Billboard 200 (Hannah Montana, Hannah Montana 2/Meet Miley Cyrus and Hannah Montana: The Movie).
After Hannah Montana concluded in 2011, Cyrus enjoyed success under her own name, notching 61 entries on the Hot 100, including 13 top 10 hits and two that topped the chart: “Flowers” and 2013’s “Wrecking Ball.” She also scored two more No. 1 albums on the Billboard 200: 2008’s Breakout and 2013’s Bangerz.
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In recent years, Cyrus appeared on a 2019 episode of Netflix’s Black Mirror and brought Miley’s New Year’s Eve Party to NBC in 2022 with executive producer Lorne Michaels, hosting the show alongside her godmother, Dolly Parton.
Cyrus’ philanthropic endeavors include the launch of her Happy Hippie Foundation, which has raised millions to support youth suffering from homelessness, especially those identifying as LGBTQ+. This year, she announced the launch of the Miley Cyrus Foundation, an extension of her philanthropic work that focuses on supporting mothers.
Cyrus continues to be represented by Crush Management and attorney Bill Sobel at Laird and Sobel.