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It was an emotional Billboard Latin Power Players event, with executive of the year George Prajin and his star artist, Peso Pluma, both delivering heart-felt messages that touched upon resilience, friendship and belief against all odds.
“I love you like a father George,” said Peso Pluma, who surprised Prajin at the Power Player celebration at Casadonna in Miami to give him his award.
“The talent and sacrifice that we put in is one thing, and all the doors that you have opened for us, and all the things that you have done so that we can have an opportunity to show ourselves as greats before other exponents of music and the industry, have been very important not only for me and for you as a person, but for an entire country, an entire generation,” he said.
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Prajin, a Latin music veteran who began his career working at his father’s one-stop distribution company in Los Angeles and now not only manages Peso Pluma but also is a partner in his Double P Records as well as heading Prajin Parlay, was visibly emotional when he picked up his award.
“I realized dreams that I never thought I would realize,” he said. “And I stand today because of you,” he added, pointing to Peso Pluma. “And I share this award with you. We’re doing this together. Regional Mexican has always been a genre that’s been one of the most profitable genres but often overlooked. And I’m very proud to be receiving this award on behalf of the genre.”
Prajin went on to thank numerous people, including his roster of artists (including Tito Double P and Jasiel), his staff (including publicists Elina Adut) and other music industry executives and companies, including Jimmy Humilde, Richard Bull, Jason Pascal of The Orchard and Del Records, who released early hit “Ella Baila Sola” alongside Eslabón Armado.
While Prajin was the centerpiece of the celebration, the evening also honored, for the first time, the main label and publishing winners of the 2024 Billboard Latin Music Awards. Sony Music Latin president Alex Gallardo picked up the award for Top Latin albums label of the year, home to Shakira, Marc Anthony and Manuel Turizo, among many others. The label also wins Latin airplay label of the year; Tropical airplay and albums label of the year; Latin pop airplay label of the year; regional Mexican albums label of the year and Latin rhythm airplay label of the year.
Hot Latin songs label of the year went to Interscope Capitol Labels Group, with hits by Xavi, Ivan Cornejo and Karol G, and was picked up by Nir Seroussi and fellow power players José Cedeño and Manny Prado.
Publishing Corporation of the year went to Sony Music Publishing, home to Keityn, Shakira and Edgar Barrera, and was picked up by CEO Jorge Mejía.
In addition, the Choice award went to Rebeca León of Lionfish Entertainment and RImas Entertainment was honored with a special 10 year impact award accepted by founder and CEO Noah Assad along with co-founder Junior Carabaño and Raymond Contreras, head of Rimas’ management arm, Habibi, and Rimas Entertainment CEO Jorge Bracero.
If you work in dance music, there’s a good chance you’re currently on a plane or train or are otherwise somehow en route to Amsterdam.
Per mid-October dance music tradition, the Amsterdam Dance Music Event, or ADE, is happening this week in the Dutch capital, with thousands of dance industry execs, artists and fans taking part in a dizzyingly robust program that caters to professionals, people trying to get into the industry and people who just like the music. Programming includes representatives from companies including SoundCloud, Bandcamp, Tresor, Tunecore, Empire, Spotify and more.
While ADE always reliably draws industry types from around Europe, the event is also “seeing a notable increase in attendees from the U.S., Africa, and Asia this year,” says ADE’s managing director Jan-Willem van de Ven, “so it’s a good mix of electronic music industries and cultures and global territories that see ADE as a gateway to Europe in a number of different ways.”
With the thriving electronic music scene in Africa gaining more attention and global influence, ADE 2024 is also hosting representatives from the Nigerian festival Homecoming for a special five-panel series on the dance scene in the country and across the continent.
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“The roots of electronic music are deeply tied to African music and culture, so this focus felt timely and essential,” says van de Ven. “The culture across many African territories offers so much we can learn from, particularly in terms of creativity and community, and in return, we can hopefully contribute some knowledge of industry infrastructure, things like that. Our collaboration with Homecoming is designed as a mutual exchange, where both sides — artists, audiences, professionals and ourselves — can inspire and grow from each other’s experiences.”
In total, ADE programming is famous for offering more panels, networking events, performances and mixers than a single person could possibly attend, so van de Ven advises that those going create a schedule based on what they personally want to get out of the conference. He also recommends “making full use of networking sessions and our new matchmaking formats, which are great for connecting with the right people.”
Jan-Willem van de Ven
Sarah Wijzenbeek
This year, ADE has also launched a new ADE App that will help attendees navigate the program while keeping their personal agendas on hand, for maximum productivity and likely a fair amount of fun. As always, ADE 2024 is split between PRO programming for industry professionals, Lab programming for those coming into the scene, festival programming for fans, and arts and culture programming for everyone.
Even van de Ven himself acknowledges that it’s difficult to fit everything in over the conference, with his assistant helping ensure he gets everywhere he needs to be. “I’m also just a big fan of everything we do,” he adds, “so I really try my best to experience as much as possible.”
Below are van de Ven’s top ADE 2024 schedule picks across all categories. (All times are CEST.)
ADE Pro
20 Years of Tomorrowland: How to Rise and Stay on Top – Wednesday, Oct.16, 2:15 p.m.
In this talk, Tomorrowland founder Michiel Beers will discuss the 20 year anniversary of the annual Belgian dance mega-festival, offering insights on the strategies that have made it the world’s biggest dance festival.
SoundCloud – Essential Insider Knowledge – Thursday, Oct. 17, 12:30 p.m.
Representatives from SoundCloud will take part in a conversation with Dutch producer Mau P, focusing on how the platform supports independent artists and offering insights on how artists can find success on digital platforms.
From Detroit to Durban: The Learnings of 30 Years of Dance Music – Thursday, Oct. 17, 1:30 p.m.
Artists including Detroit legend Carl Craig and South African producers Major League DJz will take part in a panel exploring the origins and influence of the techno and amapiano genres. The conversation will focus on growing these genres while preserving their cultural heritage and ensuring creators retain ownership.
Amelie Lens x Charlotte de Witte – Friday, Oct. 18, 4:30 p.m.
The techno titans will take part in a panel focused on their individual careers and newfound partnership.
ADE LAB
BIIANCO: How I Play Live hosted by DJ Mag – Thursday, Oct. 17, 5:15 p.m.
Multi-instrumentalist, producer and DJ, BIIANCO — whose 2023 viral hit “Against The Wall” aggregated 35 million streams — will give a talk on live performance technology for creators looking to build a live show and integrate live elements into hybrid DJ sets.
DJ Babatr: The Story of Raptor House – Saturday, Oct. 19, 2:45 p.m.
Venezuelan DJ Babatr, a pioneer of the Raptor House genre, will discuss his role in creating a sound that encapsulates the energy of Caracas.
CLUB Lab – Live Showcases (in association with DJMag) – Saturday, Oct. 19, 8:30 p.m.
The nightclub element of ADE’s Lab programming will feature live music, A/V shows and dancing, offering a place for ADE Lab attendees to celebrate at the end of the event.
ADE Arts & Culture
ADE Opening Concert: 50 Years of J Dilla – Wednesday, Oct. 16, 11:00 a.m.
Speakers including Carl Craig and Miguel Atwood Ferguson will celebrate the legacy of game-changing producer J Dilla in the year that artist would have been 50 years old. Atwood-Ferguson & Metropole Orchestra will perform the longstanding Dilla tribute project Suite for Ma Dukes before the ‘Dilla 50’-talk.
ADE Opening Concert: COCON II – Wednesday, Oct. 16, 7:00 p.m.
Designed especially for ADE, the audiovisual live performance by Cello Octet Amsterdam and Nick Verstand will feature a combination of live playing and robotics.
ADE Opening Concert: 24classics presents Philip Glass by Lavinia Meijer & Nikki Hock – Wednesday, Oct. 16, 7:30 p.m.
Harpist Lavinia Meijer and multidisciplinary artist Nikki Hock will present an interpretation of Phillip’s Glass music, with Meijer getting special permission for Glass himself to transcribe his music for harp. Hock, meanwhile, will create visuals in the room.
Festival
Tomorrowland Presents Afterlife – Wednesday, Oct. 16 and Thursday, Oct. 17, 10:00 p.m.
Tale of Us and a collection of other artists will play the city’s famed Ziggo Dome venue for two nights of music.
Barry Can’t Swim – Thursday, Oct. 17, 8:30 p.m.
The rising, award-nominated Scottish producer will perform a show incorporating his signature synthesis of piano playing and electronic productions.
Awakenings Upclose ADE presents Four Tet, Friday, Oct. 18, 3:00 p.m.
The U.K. producer will play an extended six-and-a-half-hour set at Amsterdam venue Gashouder, a former industrial gasworks complex.
Jeff Mills presents: Tomorrow Comes The Harvest – Friday, Oct., 8:00 p.m.
The collaborative project Tomorrow Comes The Harvest was initiated by Nigerian afrobeat pioneer Tony Allen and Detroit techno icon Jeff Mills. Together with keyboardist Jean Phi Dary, the trio toured the globe until Allen’s death in 2020. Now playing with tabla virtuoso Prabha Edouard, Tomorrow Comes The Harvest will present a new chapter of genre-spanning sounds and rhythms.
AMF 2024 – Saturday, Oct. 19, 9:00 p.m.
The night-long festival will feature a host of producers including Maddix, Martin Garrix, Tiësto, Timmy Trumpet and more.
Former Journey frontman Steve Perry signed to the late George Harrison‘s Dark Horse Records. The label will release his upcoming holiday album, The Season 3, on Nov. 8. “I am so pleased to announce that I have just signed with George Harrison’s label, Dark Horse Records,” said Perry in a statement. “I’ve so much music in me that has yet to be heard. To be able to work with a team of people who support and respect my creative expressions, is a dream come true.”
CAA signed singer-songwriter, actress, dancer and TV personality Nicole Scherzinger, who is set to make her Broadway debut as Norma Desmond in Sunset Boulevard on Sunday (Oct. 20). Scherzinger won the Laurence Olivier Award for Best Actress in a Musical for the play’s London run. She’s also set to reprise her role as Sina in Disney’s Moana 2, which is slated for release next month.
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British rapper-producer Jim Legxacy signed with XL Recordings and released a new single, “aggressive,” on Oct. 7. He’s slated to release a new mixtape, Black British Music (2024), next year.
Seth Shomes‘ Day After Day Productions signed Bobby Brown for exclusive global touring representation. Tour dates will be announced in the coming months. Brown is managed by Alicia Etheredge-Brown at AE Management.
Electronic music duo Deep Dish (Ali “Dubfire” Shirazinia and Sharam Tayebi) signed with Purple Wall for management and CAA for touring. The duo, which recently signed with Armada Music and returned to the studio for the first time in a decade to reimagine some of their older songs, including “Flashdance” and “Say Hello,” is slated to hold residencies in both London and New York this winter.
Big Loud Texas, the label offshoot recently co-founded by Miranda Lambert and Jon Randall, signed country singer-songwriter Jake Worthington. To mark the occasion, Lambert and Worthington released the duet “Hello S—ty Day” late last month.
Tyler Brown (former MD at Syco Music) and Harold Serero (former senior A&R at Ultra Music Publishing and Payday Records) launched Heatwave Records, which will focus on signing artists from emerging markets. The label’s first signings are Nigerian artists Fido (“Awolowo”) and Firstklaz (“Gen-Z Area”) and Ivory Coast artist døpelym (“Guala”).
WME signed singer-songwriter Adrien Nunez (“Low Road”). Managed by Dillon Goldberg at FNGRPRNT, Nunez is slated to support both Dasha and Avery Anna on their respective tours later this year.
Music licensing company PPL signed Manchester, U.K.-based pop-soul singer-songwriter Lusaint (“Sweet Tooth”) for the collection of her international neighboring rights royalties. Lusaint recently released her debut EP, Self Sabotage.
Riser House Records signed cross-genre soul artist Stephen Day, who is set to release a two-pack of holiday songs: an original track, “It’s Christmas All Over,” and a rendition of “Pennies From Heaven.”
Universal Music Canada signed singer-songwriter Lindsay Ell, who will release a new EP, love myself, on Oct. 25. It’s preceded by lead single “Story I Tell Myself.”
Bay Area hardcore band Scowl signed with Dead Oceans. The label released the group’s new single, “Special,” earlier this month.
Irish folk band Amble signed with Warner Records and released a new song, “The Commons,” the title track off a forthcoming EP slated for release on Nov. 1.
Deb Never signed with GIANT Music and released a new single, “Not In Love,” on Tuesday (Oct. 15). Her debut full-length album is due for release next year.
Musical duo CocoRosie signed with Joyful Noise Recordings and will release the new single, “Least I Have You,” on Wednesday (Oct. 16).
Metal/hardcore band Biohazard signed with BLKIIBLK, a new heavy music imprint from Frontiers Label Group. The band is set to release a new album next year, marking its first full-length release in more than a decade. Biohazard is co-managed by Andy Gould and Paul Gargano.
Gotee Records, co-founded by CCM hitmaker TobyMac, has signed indie pop singer/songwriter Lydi Lynn. The Portland native, who now resides in Nashville, will release her debut EP Desert Dream on Oct. 11 and is currently providing direct support for Jervis Campbell’s Magnolia Tour. Lynn is booked by Reliant Talent Agency’s Kevin Castleman. – Jessica Nicholson
The founders of indie label group [PIAS] have announced they are selling the remaining shares they hold in the company to Universal Music Group (UMG), making the music giant the firm’s majority shareholder.
In an announcement on Tuesday (Oct. 15), Kenny Gates said he and his [PIAS] co-founder Michel Lambot were selling their shares to UMG, which acquired a 49% stake in the company in 2022, to “allow us to offer a truly global distribution and services platform to the independent music community.”
Financial terms were not revealed for the deal, which expands upon a strategic global partnership between the two companies that began in 2021. When UMG acquired the 49% stake in [PIAS] for an undisclosed sum the following year, Gates and Lambot retained majority control of the company.
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Ownership of [PIAS] now appears to be fully in the hands of UMG, although representatives of the European indie label group and UMG declined to expand upon the information contained in Tuesday’s press release.
Details that have been confirmed as part of the new arrangement include the merger of Virgin Music Group and [PIAS]’s services division [Integral], which provides physical and digital distribution services to more than 100 indie label partners including ATO, Beggars Group and Secretly Group.
The newly combined teams will provide “independent entrepreneurs with world class services and access to a bespoke, stand-alone international distribution network,” said [PIAS]. Reps for the firm and UMG declined to comment when asked if the merger would result in any job losses.
The [PIAS] Label Group, which includes the indie labels Play It Again Sam, harmonia mundi, Spinefarm, Source and partner imprints such as ATO, Heavenly, Mute and Transgressive, will remain completely autonomous, said the company. Artists signed to or distributed by those labels include Nick Cave & The Bad Seeds, Kneecap, Sofiane Pamart, Sleep Token, Arlo Parks and Black Pumas.
“I am selling my shares not my soul,” said Gates, who will remain CEO of [PIAS] and sit on the Virgin Music Group main board and advisory group, in a statement.
“Since agreeing [to] a strategic alliance with UMG in 2021 we have found them to be supportive and engaged partners who have added real value to our offering,” continued Gates, describing the decision to relinquish the founders’ remaining shareholdings in [PIAS] as a “pragmatic one.”
The company’s existing leadership team will continue to steer day-to-day operations “and nothing will change culturally or commercially for our existing clients and partners,” said Gates, who co-founded [PIAS] with Lambot in Brussels, Belgium, in 1983.
Lambot said that despite initially having “some concerns” about partnering with UMG in 2021, the experience has surpassed his expectations.
“Our relationship to date has been fruitful, convivial and everything we hoped it would it be,” he said. “This new phase, which will see us working even closer together promises to be an exciting new era for [PIAS], our staff, our partners and the artists we represent.”
“I’ve known Kenny and Michel for decades, beginning in the 80s when we were all signing bands from emerging scenes in Europe,” added Lucian Grainge, chairman/CEO of UMG, in a statement.
“Since that time, Kenny and Michel have built [PIAS] into a company that stands for authenticity and the best in independent music,” Grainge added. “And it is those qualities that are not only important to me personally but that also make [PIAS] a perfect fit for UMG’s entrepreneurial and creative culture.”
“We are delighted by all that’s been accomplished over the past three years together, and we look forward to working with Kenny and Michel and their entire team, including their family of artists and labels, to further build [PIAS]’s legacy,” said UMG executive vp/CFO/president of operations Boyd Muir. “Their experience and insights have significantly helped to grow this dynamic area of our business. Completing the acquisition of [PIAS] Label Group and [Integral] reinforces our best-in-class label services operations and enhances our ability to support the independent artist and label community globally.”
PPL has been appointed to collect neighboring rights for John Lennon and Yoko Ono. Announced Tuesday (Oct. 15), the deal will see the U.K.-based collective management organization (CMO) collect broadcast and public performance royalties globally on sound recordings where Lennon or Ono are listed as performers in markets where such rights exist. “PPL has shown […]
Billboard is now accepting nominations for the Chip Hooper Award, named in honor of the legendary talent agent, father and photographer who played a key role in building the Paradigm talent agency, which was purchased by Wasserman Music in 2021. Hooper passed away after a battle with cancer in 2016; the award was created in […]
Just two years shy of its 60th birthday, Guitar Player magazine will cease publication of its print version and go digital only, its editor has announced. The 58-year-old magazine dedicated to guitars, gear and the musicians who play and love them, publishes its final print issue this week with Jimmy Page on the cover. “What better way to wrap up our history than to have [the rock legend] help us do what we’ve always done best — bring you the finest interviews with your favorite players,” wrote Christopher Scapelliti, who’ll stay on as digital editor.
Founded in 1967 by Bud Eastman, Guitar Player was the first publication dedicated solely to all things guitars. It went on to inspire other singularly-focused magazines like Bass Player and Keyboard, as well as axe-specific competitors like Guitar World, Premier Guitar, Guitarist and Guitar for the Practicing Musician (RIP). The magazine is owned by Future US, an NYC-based publisher with other titles including PC Gamer, Electronic Musician and Guitar World.
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In his final editorial for the magazine, Scapelliti acknowledged the challenges faced by the print edition, citing the seismic shift of advertisers to preferring online platforms as a key factor.
“The ‘why’ will be obvious even if you don’t keep each issue tucked away chronologically on shelves,” he wrote. “These increasingly slim volumes demonstrate our almost heroic efforts to persist in an era where advertisers find greater opportunities online. Throughout the ups and downs of these years, we’ve appreciated the support of those readers and advertisers who have kept Guitar Player’s print edition a going concern.”
He also expressed gratitude to readers and advertisers who supported the magazine through its ups and downs, and said subscriptions would automatically be transferred to Guitar World unless a refund is requested.
Scapelliti also thanked colleagues, including managing director Stuart Williams, content director Scott Rowley, and head of design Brad Merrett, as well as art editor Philip Cheesbrough and music editor Jimmy Brown, and expressed deep appreciation for the writers and editors who contributed to the print magazine’s longevity.
“While longtime readers will lament this change, there’s much more to come in Guitar Player’s future,” Scapelliti said. “As for this final issue, what better way to wrap up our history than to have Jimmy Page help us do what we’ve always done best — bring you the finest interviews with your favorite players.”
A powerful Canadian executive is making a move to Live Nation Canada.
Melissa Bubb-Clarke is leaving her role as senior vp of music & live events at Maple Leaf Sports and Entertainment (MLSE) for a leadership role at the juggernaut promoter. She’ll serve as chief commercial officer at Live Nation Canada, leading the company’s commercial business in the country.
Bubb-Clarke worked closely with the Live Nation team while overseeing entertainment programming at MLSE, which included high-profile concerts at Toronto’s Scotiabank Arena promoted by Live Nation.
It’s a full circle moment for Bubb-Clarke, who previously worked at Live Nation as regional vp of marketing and later vp of client services.
“I am so excited to join the Live Nation Canada team as Chief Commercial Officer,” Bubb-Clarke tells Billboard Canada. “It’s such an exciting time in the live music space, I couldn’t be more thrilled to have the opportunity to help grow the business further and work with the best team in the biz.”
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Wayne Zronik, president of business operations at Live Nation Canada, notes consumer demand for live entertainment and experiences is at an all-time high, necessitating a leader who can optimize that growth. “Melissa brings an impressive track record, and we are beyond delighted to be welcoming her back into the Live Nation Canada family,” he says.
Bubb-Clarke was on the Leaderboard as one of Billboard Canada‘s top 10 Power Players this year for her work at MLSE.
She also shared career wisdom as part of the Billboard Canada Women in Music’s Industry Spotlight: “A career, in my experience, is not linear,” she said at the time. “I have accelerated, paused, and taken steps ‘back’. Sometimes it was because different parts of my life were the priority and sometimes it was just the ebb and flow of opportunity. Stick with it, keep going.”
With Live Nation opening a new stadium in Toronto next year — just in time to welcome Oasis on their reunion tour — Bubb-Clarke will have plenty to keep her busy in the new role. – Rosie Long Decter
Shaboozey Ties Record for Most Weeks at No. 1 on the Billboard Canadian Hot 100 with ‘A Bar Song (Tipsy)’
Shaboozey has made history on the Billboard Canadian Hot 100.
On the chart for the week of Oct. 12, the Virginia singer ties the record for most weeks at No. 1. His country hit “A Bar Song (Tipsy)” has now spent 19 weeks in the top spot, a run only matched by Lil Nas X and “Old Town Road.”
If Shaboozey can hold on one more week, he’ll break the record, marking the first time that a song has spent 20 weeks atop the chart since its launch in 2007.
“A Bar Song” first hit No. 1 back in May and dominated all summer, with brief interruptions by Eminem‘s “Houdini” and Morgan Wallen and Post Malone‘s “I Had Some Help.”
Shaboozey’s road to No. 1 has been building since he first gained momentum in 2018 with his track “Start a Riot,” featured on the Spider-Man: Into the Spider-Verse soundtrack. He got a big boost earlier this year from Beyoncé when he featured on two songs off her country opus Cowboy Carter.
That album came out March 29 and “A Bar Song” dropped just two weeks later on April 12, which made the timing ripe for Shaboozey to climb the charts in his own right. “A Bar Song” first hit No. 1 on Billboard‘s Hot Country Songs chart on May 5, following Beyoncé’s “Texas Hold ‘Em,” and marking the first time two Black musicians topped the chart in a row.
A Bar Song” hit No. 1 on the Canadian Hot 100 the week after, two months before it reached No. 1 on Billboard‘s U.S. Hot 100 in July.
Last month, Billboard Canada presented Shaboozey with a plaque at his Toronto concert to honor his chart achievement. – RLD
Three Days Grace Reunites With Original Singer
Popular Canadian hard rock band Three Days Grace has announced the official return of its original singer Adam Gontier, with Matt Walst remaining as a lead vocalist. Gontier recently surprised fans during a performance in Nashville.
Following the announcement of their reunion, the band has booked an upcoming tour as direct support for Disturbed on their The Sickness 25th anniversary tour. The 12-date tour runs from Feb. 25-March 21, 2025, and includes stops at Montreal’s Bell Centre and Madison Square Garden in New York.
Since 2003, Three Days Grace has scored five charting hits on the Billboard Hot 100, four No. 1s on the Mainstream Rock Airplay chart and three No. 1s on the Alternative Airplay chart. The band consistently averages 13 million monthly listeners on Spotify and boasts over 5 billion combined streams. – Kerry Doole
Deryck Whibley of Sum 41 Details Alleged Sexual Abuse By Former Manager Greig Nori
Sum 41‘s Deryck Whibley has detailed allegations of abuse against former manager Greig Nori.
Whibley’s new memoir, Walking Disaster: My Life Through Heaven and Hell, features Whibley’s descriptions of sexual coercion and verbal abuse at the hands of Nori when Nori was in his 30s and Whibley was a teenager.
Nori fronted the pop-punk band Treble Charger and mentored a host of rising Canadian bands in the early 2000s. He denies the allegations and has retained a defamation lawyer, The Globe & Mail reports.
Whibley met Nori when he was 16 and Nori was 33. He writes that Nori first kissed him while the two were on drugs when Whibley was 18 and that Nori would go on to pressure Whibley into sexual activity. Nori lashed out when Whibley resisted, Whibley writes, claiming Whibley “owed” him.
Whibley describes Nori as exerting complete authority over his career. “Greig had one requirement to be our manager — he wanted total control,” he writes. “We couldn’t talk to anyone but him, because the music business is ‘full of snakes and liars’ and he was the only person we could trust.”
Eventually, Whibley says, he disclosed the sexual pressure to his girlfriend and eventual wife, Avril Lavigne, who told him it was abuse. After a mutual friend of Nori and Whibley learned of the alleged abuse, Whibley says, the sexual pressure stopped, but Nori was still verbally aggressive.
Whibley claims Nori also insisted on receiving songwriting credits for songs he didn’t help compose.
Sum 41 fired Nori after releasing and touring their third full-length, 2004’s Chuck.
In an interview with The Toronto Star, Whibley said he welcomes a legal challenge from Nori.
“If he wants to challenge it, I welcome that,” Whibley said. “Let’s go to court. Let’s go under oath. That would be f — king great! I welcome that part. Let’s get into discovery. I’ll have my lawyers grill you. They can grill me all they want. I mean, that would be f — king perfect! Finally, let’s get it on record!” – RLD
Time to drop the needle on the latest Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.
Read on for mostly good news and also check out Billboard‘s annual list of music’s highest compensated executives, plus our weekly interview series spotlighting a single executive, our helpful calendar of notable events, and have you ever wanted to look at tchotchkes inside the office of an executive while reading their in-depth answers to the most important questions facing the biz? From the Desk Of is probably your jam.
Sphere Entertainment announced the departure of David Byrnes, the company’s executive vice president, chief financial officer and treasurer. Byrnes will remain in his role during a transition period while the company searches for a new CFO. The NYC-based media executive has been Sphere’s finance lead since January of this year and held that same position at MSG Entertainment before that. During his tenure at Sphere and MSG, he has played a key role in major transactions including the spin-off of MSG Entertainment, the sale of a majority interest in Tao Group Hospitality, and two stock offerings. Byrnes joined MSG following a nearly 14-year run in senior roles at CBS (and later ViacomCBS), rising to executive vp of corporate finance and then exiting prior to the company’s name change to Paramount Global in early 2022. Byrnes has not announced his next move.
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Sphere Entertainment, which opened its spectacle-invoking Las Vegas venue in September 2023 with U2’s residency, has since hosted live-wired artists including Phish, Dead & Company and current residents Eagles (they play tonight and tomorrow), and multimedia shows like Darren Aronofsky’s Postcard from Earth. During its fiscal year ending June 30, Sphere reported $273.4 million in revenue and full-year revenue of $1.03 billion, nearly double the prior year’s $573.8 million.
Meanwhile…
BMG appointed Melanie McAllister as its global chief human resources officer (CHRO), effective Nov. 1. Reporting to CEO Thomas Coesfeld, she will join the executive board and oversee key HR functions across 20 offices, including hiring, performance, development, DE&I and aligning HR strategies with overarching business goals. McAllister brings extensive experience from her previous roles as Chief People Officer at EasyPark Group and Megaport, and nearly a decade as Chief HR Officer at Arvato. She has also held senior HR positions at Oracle and other global tech firms and holds a Master’s in Strategic HR from Liverpool JM University and serves on the board of ENABLE Trust. Coesfeld expressed enthusiasm for McAllister’s role in shaping BMG’s future, adding “Her expertise, vision, and proven track record of combining innovative thinking with people excellence will have a transformative impact on our company.”
Johnny Pinchard was promoted to head of A&R at Believe UK, advancing from his role as senior A&R Manager. Reporting to Malena Wolfer and Panos Polymatidis, he’ll continue working from the London office. Since joining Believe from RCA Records in 2021, Pinchard has signed notable artists like Sea Girls, who reached No. 4 on the UK Albums Chart, and rapper Blanco, who has earned over 140 million streams in less than a year. He also signed Grammy-nominated electronic artist HAYLA, who won Vocalist of the Year at the 2024 EDMA’s. Pinchard is committed to developing new talent, including Sainte, Leon Vynehall, Grace Davies, and Sevdaliza. Believe UK Managing Director Alex Kennedy praised Pinchard as being “absolutely vital in identifying, signing and developing a wide range of artists that have formed the cornerstone of our success and that fit the Believe ethos perfectly.”
Jessica Vaughn
Raedio appointed Jessica Vaughn as vp of creative synch sales, a new role at the audio company. Vaughn will lead efforts to expand Raedio’s music library and sync services, aiming to deliver “Audio Everywhere.” Her responsibilities also include developing growth strategies for Raedio’s one-stop music library and collaborating with industry partners to secure music placements across film, television, advertising and gaming. Outside of her day job, Vaughn is a veteran singer-songwriter who gained attention in the late aughts as Charlotte Sometimes, releasing her debut album on Geffen and appearing on the sophomore season of The Voice. She now performs and records under the name LACES. In 2023, Vaughn penned a guest column for Billboard advocating for more creatives joining executive ranks across the industry.
Canvas Music onboarded former Spotify UK & Ireland managing director Tom Connaughton as partner and senior advisor of the independent boutique distributor. Connaughton joins to support Canvas Music’s mission of offering artist-centered, indie label-like distribution services. Canvas was launched in 2020 by Richard Lyne, who said the company’s goal is to “provide a great service with a great product but with more focus and less volume.” Connaughton expressed excitement about joining and highlighted the potential of Canvas to bride the gap between artists, tech and audiences in a “fair, artist-centered way.” Connaughton hit the exits at Spotify in late 2023 after five years in leadership roles at the streaming giant. Prior to Spotify, he served in various roles at Vevo.
Ineffable Records appointed Sage Ressler as head of synch, effective immediately. Ressler previously worked at Spirit Music Group, where she negotiated licensing deals and secured placements across a plethora of media formats. At Ineffable, she will work with marquee artists across the reggae, indie and Caribbean music spaces, including Sean Paul, Sublime, Govana, Protoje and Bob Marley: One Love star Hector “Roots” Lewis. Ressler will lead the label’s first formal synchronization department, which will focus on securing high-profile placements for the label’s catalog across film, TV, advertising, gaming and more. “The opportunity to help shape and lead the synch department feels like a natural next step for both myself and the company,” said Ressler. “Synch has become a uniquely powerful tool for storytelling, and it’s opening doors for artists in ways we’ve never seen before.” –Kyle Denis
NASHVILLE NOTES: Opry Entertainment Group promoted Jordan Pettit to vp of artist relations and Jenn Tressler to director of artist and industry relations. Pettit, who joined OEG in 2018 and has been instrumental in initiatives like Opry NextStage, will now lead OEG’s artist relations team, developing programs to strengthen artist and fan connections. Tressler has built strong industry relationships since joining OEG in 2020 and will continue to focus on creative artist engagement strategies, especially for the Grand Ole Opry … Rachel Derosia has been promoted to senior vp of comedy at Outback Presents. She’ll work with co-CEO Brian Dorfman and co-svp Joel Bachkoff to expand the division. The Rochester, NY native started her professional career in music, working at Sony Music before shifting to comedy at Zanies Comedy Club, later joining Outback Presents as a coordinator. She has managed and produced numerous tours, helping comedians transition from club to theater-level performances … Chandler Thurston joined Position Music’s A&R team as the first hire for their new Nashville office. Previously, he was senior creative director at Anthem Entertainment, managing talents like Jamie Paulin and Meghan Patrick, and overseeing hits such as Florida Georgia Line’s “Talk You Out of It.” Before Anthem, Thurston worked at Major Bob Music, where he helped sign and develop writers like Alysa Vanderheym. He’ll be based at Position Music’s Nashville office, set to open in Q3 of 2025.
Jaime Kelsall joined Paladin Artists, effective immediately, reuniting with former colleagues from APA and The Agency Group. Based in Los Angeles, Kelsall brings over 20 years of experience, having represented clients like Dionne Warwick, Fitz and the Tantrums, ZZ Ward, and Michelle Branch. She began her career as an intern at the House of Blues in New Orleans, later working at Absolute Artists Agency in San Francisco, where she met Paladin partner Bruce Solar. Kelsall then joined The Agency Group in Los Angeles before spending over 20 years at APA. “We are all thrilled have the talented Jaime Kelsall join our team at Paladin,” said Solar. “We are excited to have her continue her journey with us that started so long ago and bringing her expertise and professionalism to our company.”
ALL IN THE FAMILY: Fairchild Media Group, a division of Billboard parent Penske Media Corporation, promoted Jim Fallon to chief content officer for WWD and FMG. Fallon, with 45 years of industry experience, will oversee editorial and content creation for FMG’s brands, including WWD, Beauty Inc, Sourcing Journal, and Footwear News. Reporting to CEO Amanda Smith, Fallon will focus on enhancing brand positioning, expanding audiences, fostering collaboration, and developing new editorial products. Fallon previously served as editorial director of Fairchild Fashion Media and held leadership roles at Fairchild Publications, including editor of WWD.
ICYMI:
Eric Wong
Warner Music said Eric Wong will shift from chief marketing officer to the role of global head of A&R, recorded music. He’ll also assume the presidency of East West Records. As part of that transition, WMG’s evp of global marketing Jessica Keeley-Carter has been promoted to chief marketing officer, recorded music … Chris Moncada is promoted to COO at MNRK Music Group … and former C3 Presents promoter Sophie Lobl was named vp of Rolling Stone Live. [KEEP READING]
Last Week’s Turntable: Sweet Relief Makes It Official With Executive Director
As Bad Boy Records founder Sean “Diddy” Combs sits in a Brooklyn prison awaiting trial on federal sex trafficking and racketeering charges and prepares to fend off multiple civil lawsuits alleging sexual assault, those in the music industry are asking how much of his wealth could be at stake.
Sources tell Billboard that the hip-hop mogul has sold many of the assets that earned him hundreds of millions of dollars. And Forbes estimated that Combs’ net worth — once fueled by ventures in music, fashion, liquor and cable TV — has fallen from approximately $740 million in 2019 to $400 million as of this past June.
Federal prosecutors and attorneys for the alleged victims likely will go after the money Combs earned from his businesses and other assets, and his own legal defense potentially could cost him hundreds of thousands of dollars as well. That said, prosecutors will need to prove that the businesses were in some way connected to the alleged crimes, to which Combs has pled not guilty. Lawyers representing individuals suing Combs in civil court do not need to meet that barrier of proof. It is unclear when a jury trial will take place for the federal charges, and the many civil lawsuits he faces are at various stages of adjudication.
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Combs’ attorneys, representatives and federal prosecutors did not respond to requests for comment.
Here is a breakdown of Combs’ current financial picture viewed through his music, real estate and cable TV assets:
Bad Boy Records
While Combs began diversifying his investments long ago, his core music industry holdings have dissipated. He once owned his masters and publishing rights through Bad Boy Records. Currently, he may still own his publishing rights and albums recorded from 2010 onward, but he likely no longer owns the albums he recorded before 2009, which were the most successful of his career.
B.I.G. and Diddy
That’s because of a joint venture Combs entered with Warner Music Group for the entire Bad Boy catalog in 2005. The deal ended in 2009 with WMG retaining full ownership of the vast majority, if not all, of the catalog released by Bad Boy prior to that year. Those include the catalogs of The Notorious B.I.G., Faith Evans, Mase and another dozen or so platinum albums by Bad Boy artists.
In June, Billboard estimated that Diddy’s own catalog brings in $2.4 million annually in recorded masters revenue, as well as $600,000 in publishing revenue, of which his share is $222,000. We estimated his catalog would carry a valuation of $42 million.
Since determining that Combs no longer owns his best-selling albums, Billboard revised that estimate — based on a calculation that almost 60% of his catalog’s annual activity is owned by WMG — to $1.05 million. His music publishing earnings remain unchanged, which adds up to $1.25 million in take home pay.
Catalog
One asset Combs is unlikely to sell soon is his catalog because his the nature of the alleged abuses outlined in the various legal cases he is facing and the fact that recordings were not put out under a single, identifiable brand — he has released music as Puff Daddy, Puff Daddy & the Family, P. Diddy, Diddy and Diddy-Dirty Money — make it harder to market, institutional investors tell Billboard.
While private equity investors have no appetite for music issued under the Diddy names, financial sources say that music from other artists he has worked with still have value, and those artists could sell their income streams. However, some Bad Boy Records artists have asked the various majors if their albums might drop the Bad Boy logo, sources tell Billboard.
In 2023, Combs disclosed that he has been returning ownership of publishing to the artists who recorded on Bad Boy Records. In a Q&A with Billboard, he reported that Mase, Evans, The LOX, 112 and the estate of The Notorious B.I.G. are among the creatives who have already signed agreements to regain those rights.
REVOLT
Co-founded by Combs as a music cable channel in 2013, REVOLT was initially broadcast by Comcast and Time Warner Cable to a combined roughly 34 million subscribers. Over the past decade, it has built a reputation as a prominent black-owned media company and has been profitable since 2018. Last summer it was part of a group of investors bidding for a majority stake in Paramount Global’s BET Media Group. As a private company, it has never disclosed its financials. Combs stepped down from his role as chairman of REVOLT last November, and reports circulated in March that he sold his stake to an anonymous bidder. Sources tell Billboard Combs’ stake likely netted him a sum in the low to mid-eight figures.
Real Estate
It is documented in court documents filed in connection with the federal charges against Combs that Combs owns homes in Los Angeles and Miami. The latter, which is located on Miami’s exclusive Star Island has multiple pools, an on-site spa and a guesthouse was listed as part of his collateral for his $50 million bail bond. (Judge Robyn F. Tarnofsky denied his release, and Combs’ attorneys filed an appeal this week.) Combs’ home in Beverly Hills is currently for sae for $61.5 million.