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Bob Boilen is leaving NPR.
On Wednesday (Sept. 13), Boilen announced his departure from the media organization after a 35-year tenure. Boilen is the co-creator of NPR’s Tiny Desk Concerts, the creator and host of All Songs Considered and has directed All Things Considered for the last 18 years.
On social media, Boilen wrote, “After 35 years, I am leaving NPR. I’ve had the thrill of creating Tiny Desk Concerts, All Songs Considered, directing All Things Considered for 18 years and so much more. I love the people I’ve worked with, but it’s time to find new challenges. thank you for listening/watching.”
Boilen’s last day on the job is Oct. 2.
An internal memo obtained by Billboard also announced Boilen’s departure to staff.
“For over 35 years Bob has been a fixture here, whether as a long-time producer and director on All Things Considered or as a digital pioneer with NPR Music, Bob’s impact has achieved what few can; he has, through his work, changed NPR and changed the world around us,” reads the memo, written by NPR vp of visuals & music strategy Keith Jenkins and outgoing senior vp of programming and audience development Anya Grundmann.
In the memo, Jenkins and Grundmann add that the Tiny Desk series, which Boilen co-created in 2008, “has set the music industry agenda for the last 15 years” and succeeded in “bringing new audiences to NPR.”
The memo includes a note from Boilen, who states, “I leave at a time when new creative folks will hopefully envision exciting new futures for NPR Music.”
In addition to his work at NPR, Boilen is an accomplished musician and writer. His debut book, Your Song Changed My Life, was published in 2016.
The news of Boilen’s exit follows two other high-level departures at the public radio broadcaster as of late. In August, Grundmann — who worked with Boilen on Tiny Desk in her role overseeing music, podcasts, entertainment and talk shows at the broadcaster — also announced that she’s leaving the public radio giant at the end of the year following nearly 30 years at the organization.
That was followed earlier this month by an announcement from NPR president/CEO John Lansing that he’ll retire at the end of the year following a four-year tenure. Lansing’s time at NPR involved navigating the COVID-19 pandemic and a recent budget crunch. He’ll remain in place until NPR’s board of directors identifies his replacement.
Read the full staff memo on Boilen’s departure below.
All;Today, we’re sharing the news that one of our longest tenured colleagues, Bob Boilen, is retiring from NPR. For over 35 years Bob has been a fixture here, whether as a long-time producer and director on All Things Considered or as a digital pioneer with NPR Music. Bob’s impact has achieved what few can; he has, through his work, changed NPR and changed the world around us.Bob’s work on the broadcast side of NPR was extensive, and he later was instrumental in pushing NPR into the digital world at a critical moment of change in media. All Songs Considered, which began as a multimedia online show in 2000 and became one of NPR’s first podcasts in 2005, was a foundational element of NPR Music which Bob helped create in 2007. Bob has continued to produce the podcast weekly, and it’s also heard on more than a hundred NPR Member stations.While web video was still in its infancy, Bob created Project Song which placed a musician in a Big Brother type environment at NPR for 24 hours, allowing us to observe the song writing process, unfiltered. While its run was short, its impact was great; Project Song’s influence can be found in podcasts like Song Exploder. Project Song also has the honor of earning NPR its first Emmy in 2012.Finally, there is little left to say that hasn’t already been shared about the Tiny Desk series, which Bob co-founded in 2008. The series has set the music industry agenda for the last 15 years, and it continues to break new ground with its concerts and the Tiny Desk Contest; bringing new audiences to NPR. It is very difficult indeed to go anywhere in the world — whether it’s a battlefield in Ukraine, an embassy in Washington, a farm in the Midwest or a restaurant in Asia — where people haven’t heard about and watched Tiny Desk Concerts. This is the very definition of a global phenomenon.Bob is leaving NPR with a legacy of creativity and innovation. Knowing of his love for photography and the Eastern Shore, we hope his days continue to be filled with beautiful birds and sunsets — that is, when he can tear himself away from continuing to discover new music in clubs across America. We wish you all the best.Keith and AnyaA few words from Bob:I’m retiring from NPR after 35 incredible years. It’s time to find new challenges in life, and I’m excited about some of the possibilities. I leave at a time when new creative folks will hopefully envision exciting new futures for NPR Music. My last day is October 2.I lived the dream when I came to NPR’s All Things Considered without a day of journalism or radio in my background. I was a musician and a video producer in 1988, but the folks at NPR saw something in me and gave me opportunities to take chances and grow. Within a year, I was directing All Things Considered. I did that for 18 years. I produced hundreds of music stories, brought in music writers, and edited and produced their reviews.In 1999, I imagined a music show for the internet, and in 2000 All Songs Considered was born. Back then, it was a multimedia show with music. In the summer of 2005 All Songs Considered became what I believe was the first original content podcast for NPR.With the launch of NPR music in 2007, NPR covered music festivals, including Newport Folk, and, of course, SXSW, where Stephen Thompson’s comment to Laura Gibson became the spark that started the Tiny Desk series. The staff includes such great talent and now the videos look and sound better than ever.All the while, I got to be in an office with some truly amazing, talented, and fun people. Most of all I just want to thank all of you for making magic happen.
Concord’s $469 million bid for Round Hill Music Royalty Fund, announced on Friday, did more than give Round Hill’s shareholders a tidy premium over the previous day’s closing price. The offer, which must be approved by 75% of Round Hill shareholders at the company’s Oct. 18 general meeting, also provides a vote of confidence in music asset valuations and the ability of the marketplace to seek out value.
Andy Moats, director of music, sports and entertainment at Pinnacle Financial Partners, says Concord’s offer is “a win-win for all parties.” Round Hill, which had been trading at a steep discount to its catalog’s value, was offered a premium over the share price prior to the announcement. Concord gets to pay fair-market value for a catalog of 150,000 songs by the likes of Bruno Mars, The Supremes and Louis Armstrong.
The deal comes as Round Hill’s share price struggled to meet expectations and falls short of it the value ascribed by multiple independent experts. Concord bid $1.15 per share, 11.5% below the per-share net asset value (NAV) ascribed to Round Hill by Citron Cooperman, a leading valuation expert. Round Hill’s shares had been trading at a 47% discount to NAV the prior day and had fallen 11.5% year to date.
But the fact that Concord’s bid is slightly below Round Hill’s NAV shouldn’t be viewed as a negative, says Larry Miller, clinical professor and director of music business program at New York University. “When you see a liquidity event like this at even close to NAV, I think that is a sign of a strong business fundamentals, notwithstanding how some class of investors — in particular investors in alternative assets — might view the value of the catalog to NAV.”
Moats agrees that Concord’s bid should be seen as a positive despite falling short of Round Hill’s recent NAV. “It was consistent with what we’ve seen in the past” in terms of where deals transact, he says. Not all deals close precisely on valuations, Moats says. Some prices are above valuations and some fall below. The Round Hill price is “within range of what I’ve seen over the last five years where something trades relative to its valuation,” he says.
Other people see additional positives in Concord’s bid for Round Hill’s music royalty fund — which still leaves Round Hill with a substantial publishing and recorded music business. To some, the acquisition reflects a functioning market in which Round Hill’s music assets are moving to Concord’s more efficient cost structure.
Roy Salter, senior managing partner at Virtu Global Advisors, says the deal shows the market is working as intended. “Among the major messages symbolized by the Concord transaction is the continuing advancement of music royalty capital market efficiencies, wherein an increasing number of pension and profit-sharing funds, insurance companies, sovereign funds and similar capital market constituents are steadily entering the market in search of predictable, non-correlated investment returns, and business operations which support music royalty administration continue to be enhanced such as enables optimal market-efficiencies,” he says.
For others, Concord’s bid is an important vote of confidence for firms’ NAV models. “The key takeaway from this Round Hill deal is that it affirms the valuation methodologies that have been used for large music portfolios,” says Michael Poster, an attorney with Michelman & Robinson. “For all the negativity that has come out of a handful of analysts around some of these valuation methodologies, at the end of the day, the market tells the story.”
NAV, a measure of an investment fund’s assets minus debts and liabilities, has been a sticking point for Round Hill and the other publicly traded music royalty fund, Hipgnosis Songs Fund, in recent years. Citron Cooperman, FTI Consulting and other valuation experts employ valuation models that calculate music catalogs’ values by estimating their cash flows over a lengthy period of time. A company’s NAV can improve if the valuation expert believes the catalog merits a lower discount rate, for example, or because favorable industry trends suggest previous revenue forecasts are too conservative.
Some equity analysts have raised questions about not just the valuations but the music industry’s tendency to constantly update NAV. Most funds in other sectors hold their new acquired assets at cost “until there are verifiable reasons” — such as a market transaction — “to suggest a change is warranted,” Stiefel analysts wrote in a Jan. 7, 2021, note to Hipgnosis investors.
Over the last roughly two years, a gap between independent valuation expert’s NAV and Round Hill’s trading price had widened dramatically. The discount to NAV stood at 5% on Dec. 31, 2021, when Round Hill’s NAV was $1.12 per share, and peaked at 51.6% on April 3, 2023, when Round Hill fell to $0.615 per share.
To give the market more faith in its NAV, Round Hill commissioned a second valuation report, by FTI Consulting, that put its NAV within 3% of Citron Cooperman’s estimate. This additional valuation supported Round Hill’s view that its portfolio was being “significantly undervalued” by investors, Round Hill CEO Josh Gruss said at the time.
The move appears to have helped some: Round Hill’s share price rose 19.7% over the following month (Hipgnosis shares, not part of Round Hill’s efforts to change investors’ impressions, fell 4% over that period). But whether investors remained concerned with NAV methodologies or motivated by rising interest rates and other macroeconomic factors, Round Hill’s share price remained well below NAV until last week.
Concord’s bid also provided a boost to Hipgnosis Songs Fund shares that have also been trading at a deep discount to NAV. The day before Concord’s bid was announced, Hipgnsosis shares closed at 0.798 pounds ($1.00), a 58.3% discount to the company’s NAV on March 31 of $1.92. Whether investors regained faith in the NAV or expect Hipgnosis to negotiate a similar asset sale, its shares jumped 15.7% to 0.923 pounds ($1.15) the day of the announcement, peaked at 0.962 pounds ($1.20) on Tuesday and closed at 0.93 pounds ($1.16) on Wednesday.
Had Concord’s bid come in significantly less than NAV, there could have been ripple effects that touched everybody from banks to investors. In such a scenario, people would re-think the value of catalogs and their interest in investing in music assets.
But that didn’t happen. Concord and Round Hill, both widely considered to be smart players in the music asset market, agreed to a price tag close to the often-criticized NAV. If the market was looking for a signal about how to value Round Hill, it received a credible confirmation.
“There’s a lot of stability and consistency in this space,” says Moats, “and this transaction provides that.”
CAA has signed Alesso, the agency tells Billboard. Alesso was previously represented by UTA, who will continue to represent him in the European Union, with CAA repping him in all other territories. The Swedish producer has been a marquee name in the global dance/electronic scene since breaking out amidst the EDM boom of the early […]
The Country Music Association has announced the nominees for the 2023 CMA International Awards. The awards, which encompass six categories – two for artists and four for industry players – honor those who have impacted the growth of country music in the international marketplace.
Luke Combs, Kip Moore and Morgan Wallen are vying for the International Artist Achievement Award, which recognizes outstanding achievement by a U.S.-based artist who has demonstrated the most significant creative growth, development and promotion of the country music industry outside of the U.S. during the eligibility period.
“As we continue to see country music grow globally, it is thanks in large part to those who have supported our mission and spearheaded events, initiatives and programming to reach new territories around the world,” Sarah Trahern, CMA CEO said in a statement. “The dedication from each of these nominees has made them a vital part of the success of our genre internationally, and we cannot wait to celebrate them in the coming months.”
This year’s nominees hail from Australia, Canada, Germany, New Zealand, Scotland, South Africa, Sweden, the U.K. and the U.S.
Nominees are voted on by international members of CMA along with a select panel of U.S.-based professionals who have knowledge in the international country music industry. Voting is open now through Thursday, Sept. 28. Winners will be announced later this year.
Here’s a complete list of nominees:
International Artist Achievement Award
This award recognizes outstanding achievement by a U.S.-based artist who has demonstrated the most significant creative growth, development and promotion of the country music industry outside of the U.S. during the eligibility period.
Luke Combs
Kip Moore
Morgan Wallen
Jeff Walker Global Country Artist Award
This award recognizes outstanding achievements by a country music artist signed outside of the U.S. The artist must have furthered the popularity of country music as well as brought attention to the country music format in their foreign-based territory.
Casey Barnes (Australia)
Kaylee Bell (New Zealand)
Tebey (Canada)
Jo Walker Meador International Award
This award recognizes outstanding achievement by an individual in advocating and supporting country music’s marketing development in territories outside the U.S.
Jon Cauwood (U.K. – music consultant)
Sina Hall (Germany – Semmel Concerts)
Natalie Waller (Australia – ABC Music)
Rob Potts International Live Music Advancement Award
This award recognizes outstanding achievements by an individual who has made important contributions to the live music industry by extending performance opportunities and building live audiences for country music outside of the U.S.
Susan Heymann (Australia – Frontier Touring)
Anna-Sophie Mertens (U.K. – Live Nation)
Ron Sakamoto (Canada – Gold and Gold Productions, LTD.)
Neil Warnock, MBE (U.K. – United Talent Agency)
Wesley Rose International Media Achievement Award
This award recognizes outstanding achievements in the media as they relate to country music outside of the U.S.
Jill Johnson (Sweden – ‘Jills Veranda’ SVT)
Ross Jones (U.K. – Holler)
Richard Murdoch (Scotland – BBC Radio)
Dayna Bourgoin (Canada – Pure Country Radio, iHeart Radio)
International Country Broadcaster Award
This award recognizes outstanding achievement by a radio broadcaster or syndicated radio reporter outside the U.S. who has made important contributions for the development of country music in his/her country.
Stefanie Jüneman (Germany – FM Maximum Roc)
Joakim Richardson (Sweden – Go Country)
Ricky Ross (U.K. – BBC Radio Scotland)
Justin Thomson (Australia – KIX Country)
Wimpie van der Sandt (South Africa – Bok Radio)
Diddy is gearing up to release his first album in 13 years, The Love Album: Off the Grid, on Sept. 15.
While the music and business mogul is in album mode, his multiple interests continue to be overseen by a seasoned group of executives, including his management team at SALXCO. Read on to learn about the executives working behind-the-scenes at Combs Global, REVOLT TV & Media and more.
Nathalie Moar – Longtime Advisor and Communications Lead
Moar is a. global communication strategist who manages Diddy’s narrative and brand image across his multi-brand empire, as well as all of his various activations.
Che Pope – Head of Love Records
Pope’s experience in the music industry spans 25 years in both the creative and executive arenas of the music business. The Grammy-winning producer has collaborated with artists such as Aretha Franklin, Whitney Houston, Carlos Santana, Destiny’s Child, Ms. Lauryn Hill, Dr. Dre, The Weeknd, Diddy and Kanye West.
Frankie Santella – Vice President of Music Management & Strategic Partnerships
Santella was first hired by Diddy as part of Bad Boy Management in New York City, where he was involved in cultural events such as Diddy’s 50th birthday celebration, 2013 attendance at Burning Man and collaborations with such companies as Nike, Ciroc, WWE and Live Nation. In 2020, Santella moved to Los Angeles to work at Combs Global.
Kristina Khorram – Chief of Staff to Sean “Diddy” Combs
Khorram works side by side daily with Diddy and spearheads many of his projects and events.
Deon Graham – Chief Brand Officer
Graham oversees brand presence, strategic marketing, growth and development for Diddy’s portfolio of companies.
Tarik A. Brooks – President
The seasoned executive, with over 22 years of experience, oversees all business operations and investments owned by Diddy.
Detavio Samuels – CEO of REVOLT TV & Media
Samuels leads all business efforts with a bicoastal team of young executives and creators, working to build the world’s largest Black-owned media company.
Jay Lundy – Senior VP of Investing & New Ventures
In his role, Lundy leads new ventures, investment diligence and business development strategy.
Dr. Steve Perry – Founder & Head of Capital Preparatory
Perry is an educator, bestselling author, and founder and head of schools at Capital Preparatory Schools. Since 2006, he has sent 100% of their predominantly low-income, minority and first-generation high school graduates to four-year colleges.
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WATCH: Diddy Talks About His New Album ‘The Love Album,’ New Record Label & More
Urgent action is needed to protect the United Kingdom’s longstanding success as one of the world’s biggest exporters of music, warns a new report from umbrella trade organization UK Music.
In particular, robust copyright laws must be put in place to ensure that creators and rights holders are shielded from the potential impact of artificial intelligence (AI), says the trade body’s “Manifesto for Music,” published Tuesday (Sept. 12), which calls for increased government support to grow the sector.
In 2021, U.K. music exports totaled £2.5 billion ($3.1 billion) — up 10% on the previous year, but still lower than 2019’s pre-pandemic figures — according to data from UK Music. Those export totals are made up of record sales, publishing revenue, overseas touring by British acts and tourism spending by international tourists attending live shows in the United Kingdom.
When it comes to recorded music, hit albums by Harry Styles, Glass Animals and Ed Sheeran helped British music exports climb to a record high of £709 million ($910 million) last year, maintaining the country’s long-held position as the second largest exporter of music globally after the United States, according to labels trade body BPI.
Overall, the United Kingdom is the world’s third biggest recorded music market, as per IFPI rankings, behind the United States and Japan.
However, the growth of streaming in emerging territories such as Latin America, the Middle East and South Korea has eaten into the United Kingdom’s share of the global music market, which has fallen from a peak of 17% in 2015 to 12% in 2022. To arrest that decline, UK Music has published a five-point plan to boost exports, protect venues and studios, and promote diversity.
Among the trade group’s recommendations is the enforcement of strong copyright protections against generative AI systems, including clear labeling and a requirement for AI developers to keep and disclose records of any music works used for training purposes.
UK Music is additionally asking policymakers to introduce specific personality and image rights into the British legal framework — and ensure that AI-generated music is clearly distinguishable from human-created works.
Last month, a U.K. Parliament committee issued its own report on regulating the use of AI technology in the music and creative industries. One of the committee’s key recommendations was for the British government to commit to abandoning plans for a proposed (and since shelved) new text and data mining (TDM) exception that would allow AI companies to freely use copyright-protected works for commercial purposes.
“It’s critical that we ensure AI enables and supports human artistry and creativity, and does not damage it,” said UK Music interim chief executive Tom Kiehl, echoing the committee’s request to rule out any new TDM exceptions.
“Strong copyright and intellectual property protections must be at the center of any approach when it comes to AI,” said Kiehl.
Other recommendations in UK Music’s manifesto include the introduction of a new tax credit — similar to what’s in place in other European markets and some U.S. states — encouraging new music production in the country.
The trade group, which recently saw chief executive Jamie Njoku-Goodwin exit the London-based organization to work for Prime Minister Rishi Sunak, is also calling for increased investment in music education and for the government to secure a post-Brexit cultural touring agreement with the European Union that would reduce costs for U.K. acts touring Europe.
“Without action, the U.K. risks being overtaken by countries who are more proactive and ambitious in promoting their music sectors,” said Kiehl.
The United Kingdom’s moves to police the rapidly evolving AI sector come as other countries and jurisdictions, including the United States, China and the European Union, explore their own paths toward regulating the nascent technology.
Over the course of 15 years, MPT Agency, founded by Raffi Keuhnelian and Anto Dotcom, has mastered the art of getting artists heard and discovered by fans across the globe. The music publicity, promotion and marketing agency serves as a bridge between music executives and artists that can create longevity by accelerating their careers. Together, Keuhnelian and Dotcom have grown an agency that has succeeded with a range of international acts from A-listers to garage bands. As they continue to grow this roster, they use digital tools to stay ahead of the curve.
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Artists have been finding their wings with the company since its first office opened in Montreal, Canada. Now the team works with acts from the three major labels as well as hundreds of emerging artists, shaping their stories and images they need to make their mark in the industry.
One of their many success stories is Colin Brittain, who went from being a hobbyist producer to supporting artists in their journey to the Billboard charts. After a brief exposure campaign and strategic collaboration with MPT Agency, the young producer built a presence that attracted collaborators including Papa Roach, 5 Seconds of Summer, and the Jonas Brothers.
This year has been defined by the explosion of non-western music markets. With a team of 20 across four continents, Keuhnelian and Dotcom have their eyes set on the next billion streamers. In 2023, MPT Agency worked with Warner Music Group, Universal Music Group and Sony Music Entertainment to ignite careers in Brazil, Germany, Mexico, Japan, Ukraine, Korea, and Nigeria. These efforts generated over 1.2 billion views a month and resulted in three major label signings. Most notably, MPT Agency recently supported K-pop group FIFTY FIFTY in its inclusion on the Barbie soundtrack. Keuhnelian and Dotcom’s efforts have proven that the music business is a global affair and they are leading the new trend.
Raffi Keuhnelian of MPT Agency
Chris Carpenter
As the music business continues to expand globally, consumption habits are evolving with it. MPT Agency’s hybrid approach combines exposure marketing and career development to help artists develop sustainable careers in a modern music landscape that prizes virality. “Premium streamers are a niche of the past,” Keuhnelian explains, “Today the ultimate engaged fans are the communities, the listening groups, tastemakers, influencers, bloggers, and readers; they hold the balance of power in a song’s viral uptake. When it comes to igniting a career overseas, harnessing the power of these communities can build overnight empires if the sound is right.” MPT Agency approaches fanbase creation and growth by integrating artist branding with niche communities everywhere, from the traditional social media landscape of YouTube Shorts, TikTok & Instagram, to the self-propelled communities on Reddit, Discord and key music blogs.
The globalization of the music industry has been accelerated by technology, a fact that MPT Agency not only recognizes but incorporates into its mission. Dotcom and Keuhnelian further committed themselves to being ahead of the curve when they launched the Virtual Publicist service, which leverages AI, databases and more to streamline publicity campaign management and outreach. This unique platform gives users affordable and accessible support as they navigate their careers.
Anto Dotcom of MPT Agency
Chris Carpenter
“Artists and labels need to partner with us fully, or their tracks will miss the beat,” says Dotcom. “While leveraging their streaming presence to conquer global markets is just the beginning, it is the hands-on development we give debut artists that allows them to navigate those once-in-a-lifetime situations. Meeting managers, executives, and publishers—this is what the artist needs to do with the presence and exposure we are giving them. We build the foundations for what will be a chart-topping career and make sure their network is hooked on the message.”
In an ever-shifting market, Anto Dotcom and Raffi Keuhnelian have reimagined the path artists must follow to reach their dreams. If you are primed for the spotlight, look to leverage Keuhnelian and Dotcom’s marketing expertise by visiting MPT Agency and Virtual Publicist.
Kehlani signed with Wasserman Music for global representation, with agents Brent Smith and Eli Gelernter serving as her representatives at the company. The signing follows the singer-songwriter’s extensive world tour supporting her most recent album, Blue Water Road.
K-pop group RIIZE signed with RCA Records via a partnership between the U.S. label and Korea’s SM Entertainment. The group’s first release under the new deal is the single “Get A Guitar,” released on Sept. 4.
Rising country star Zach Top signed with independent label Leo33. Top is managed by Bob Doyle and Associates with booking representation courtesy of Jay Williams at WME.
Lay Zhang, a popular Chinese artist, producer, actor and dancer, signed to Warner Music China. Zhang, who debuted as a member of Korean-Chinese boy band EXO before launching a solo career, is managed by Zhang Yixing Studio.
Warner Music Central Europe signed its first digital artist, Noonoouri, and released her debut single, “Dominoes” featuring German DJ Alle Farben, on Sept. 1. Noonoouri’s voice, based on a human singer’s voice, was created using artificial intelligence. The songwriters and producers on “Dominoes” will receive royalties and publishing splits, according to the announcement of the signing in The Independent.
Chrysalis Records signed several new artists: British singer-songwriter Liz Lawrence, better known as one-half of electro-pop duo Cash + David, who is set to release her first EP on the label on Sept. 29; New York art-punk band Bodega, which will release a new album early next year; British vocal harmony group The Wandering Hearts, who will also release a new album next year; pop artist Gia Ford, who just released her new single, “Alligator,” and will put out her debut album on Chrysalis next year; and British singer-songwriter Marika Hackman, who released her latest single, “No Caffeine,” on Wednesday (Sept. 6) and will also put out an album in 2024.
Kyle Dion — whose music is described in a press release as a “blend of heartfelt R&B soul-pop” — signed a global label deal with Position Music. His latest single, “Boyfriend Jeans,” was released by Position on Aug. 25. Dion is represented by Brandon Hughes of Revel Talent Agency for booking and Lauren Camp of On Camp for management.
Alt-punk band 408 signed a multi-album deal with Los Angeles-based alternative label Big Noise, which will release the group’s next single, “Break Up With Your Girlfriend,” on Sept. 29. The band is managed by Nick Bailey, with booking representation by Jason Parent; it was previously signed to Regime Music Group.
Fievel Is Glauque, a group centered around American keyboardist Zach Phillips and French singer Ma Clément, signed to Fat Possum Records, which released its new singles, “I’m Scanning Things I Can’t See” and “Dark Dancing,” on Aug. 15. The band is managed by lucas@abusiness.company and Adam Ogushwitz at UTA for booking.
MNRK Music Group signed Los Angeles-based songwriter-producer Shawn Mackey, aka Pressplayy, to its producer and songwriter management roster. Pressplayy has collaborated with artists including Jeremih, Jadakiss, Quavo, Chris Brown, E40, Jeezy and more. He also boasts a producer partnership with Mally Mall; together, they’ve produced hits for artists including Justin Bieber, Akon and Roy Woods. Pressplayy most recently collaborated on a gospel album for the late rapper DMX.
San Francisco Bay Area singer-songwriter Maria BC signed to Sacred Bones, which will release their sophomore album, Spike Field, on Oct. 20. The label released Maria BC’s dual single, “Amber/Watcher,” on Aug. 29. Maria BC is represented for booking by Maxwell Cann at Anniversary Group in the United States and Guillaume Brevers at Hometown Talent in the United Kingdom and Europe. They were formerly signed to Father/Daughter Records.
Comedy/music duo Austin & Colin signed to BMG/BBR Music Group, which released the duo’s new track, “Guilt Tippin’,” on Sept. 1. Austin & Colin is managed by Peter Strickland and Craig Campbell at Marathon Talent.
Country-folk artist Colby T. Helms, who hails from the Blue Ridge/Appalachian Mountains region, signed with Photo Finish Records. The label will release Helms’ debut single, “Higher Ground,” on Wednesday (Sept. 13). He is represented by Ramseur for management and New Frontier Touring for booking.
The Digital Media Association (DiMA), the trade group representing digital music streaming services, has tapped Graham Davies, CEO of U.K. songwriters advocacy group The Ivors Academy, to become its next president and CEO beginning this fall. “Graham has long championed initiatives that bring the music industry together through collaborative discussion and action,” DiMA’s board of directors said […]
Greatest hits albums were once a key facet of the record business — a way for labels to repackage existing copyrights, for artists to make a statement about a body of commercial success and for consumers to get all their favorite hits by an artist in one collection.
The development of streaming hobbled that format. If a fan can create a playlist of all their favorite songs, why would they need to buy an album of those hits?
Best-of albums, though, are quietly hitting back — especially in the country format. MCA Nashville released Josh Turner’s Greatest Hits on Sept. 8, and Valory has Thomas Rhett’s 20 Number Ones scheduled for Sept. 29. Encore Music Group likewise issued Ricochet’s Then & Now on Aug. 18, with rerecordings of its four top 20 singles from the 1990s among the package’s 16 tracks.
“It’s kind of a milestone moment for me,” Turner says.
Indeed, in the old-school music business, hits albums carried a certain status. In their original, purest form, they signified that an artist had accrued enough successful individual titles that they could fill both sides of a vinyl release with familiar music. They sometimes expanded a fan base, too, as consumers who hadn’t necessarily kept tabs on a specific act suddenly recognized their accomplishments more fully.
“The greatest-hits aggregate, whether it’s physical or even just a digital collection, is kind of a marketing banner for the body of work,” says Fisher Entertainment Consulting founder Pete Fisher.
If the hits package has a throwback vibe, that’s appropriate since nostalgic vinyl is the format that’s most likely driving its return. Fans who want to hear the hits from the turntable at home can’t mix and match the songs for a 12-inch disc as they could on Spotify. The disc needs to be manufactured in a fixed order, and the best-of package offers real value.
“We’ve been selling a lot of vinyl on the road at my shows, so that’s a good sign to show that people really want the physical product,” Turner says. “Everybody’s familiar with the digital stuff now. Sometimes it’s kind of cool to just unplug and go to the record.”
There’s an irony to the development. Producers have been known to add programmed needle scratches to digital music to give it a ’60s or ’70s atmosphere. Avoiding those pops and crackles were one of the supposed benefits of shifting to CDs. The digital disc’s rise pretty much ended a 30-year reign for 12-inch pressings around the early 1990s. Now the sonic imperfections add a new dimension to several generations of music.
“Vinyls are making a comeback, and [they’re] making a comeback among the younger generation,” says Ricochet founder Heath Wright. “It’s the thing now.”
That shift is opening up new possibilities for most of the music from the last three decades as it appears on a warmer, less brittle configuration.
“It’ll be the first time I’ve heard Ricochet music on vinyl,” Wright says, anticipating the release of the band’s material on black and yellow plastic.
Plenty of recent hits projects marked the first time the songs were available in the format. Among the best-of collections unveiled in the last two years are Heads Carolina, Tails California: The Best of Jo Dee Messina, Luke Bryan’s #1’s Vol. 1 and Vol. 2 and a Justin Moore Greatest Hits originally offered in translucent red vinyl at Walmart. Much of Dolly Parton’s Diamonds & Rhinestones: The Greatest Hits Collection — including “Jolene,” “9 to 5” and “Coat of Many Colors” — was initially issued on vinyl back in the day.
But vinyl isn’t the only point. Digital service providers have created their own playlists dedicated to specific artists. However, that same act may prefer a different set of songs as a career overview, and the makeup of those titles on a hits compilation aren’t subject to revisions by DSP managers.
“It’s a nice way to roll up an era and curate the hits from a label-centric perspective for all time,” 615 Leverage + Strategy partner John Zarling says. “Apple constantly updates their Essentials playlists and prominently features those for every artist of note. But if you think about 10, 20 years removed, are those playlists going to properly document a specific era for an artist?”
Hits projects also give the act’s team a chance to elevate a song that was overlooked publicly. “Desperado,” for example, was never a charting single for The Eagles or Linda Ronstadt, but it rose in significance after being featured on both acts’ best-of compilations.
“Think about the songs that might have been important,” says Zarling, “but were never big chart successes, that because they were placed on greatest-hits records, it became a part of that artist’s repertoire.”
Plenty of artists who would have qualified for best-of albums in a previous era have never issued one during the last 20 years. That includes Brad Paisley, Cole Swindell, Taylor Swift, Chris Stapleton and Miranda Lambert. As the hits album hits back, a template has been established that makes a best-of compilation a good bet again.
In addition to making a statement about the act, it’s also a good way to enhance the experience with fans. Turner and Rhett are both offering special packages that combine hits albums with other merchandise. Rhett’s 20 Number Ones can be purchased in two different collectible versions, including one with an autographed box set with a booklet for $125. Turner’s Greatest Hits is available in several configurations, including signed copies and/or Turner-branded clothing for up to $185.
“That’s a trend that’s not going to go away,” Fisher suggests. “The entertainment industry as a whole is just continuing to try and find very high-touch experiences and high-quality products for that premium consumer. There’s profit opportunities with the superfan, and I don’t think they’re disappointed to pay that way. It’s a way they vote in support of their favorite artists.”
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