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Morrison Hotel Gallery, the brick-and-mortar and online fine art music photography destination, is changing hands and looking to expand.
Original founders/owners iconic music photographer Henry Diltz, former music executive Peter Blachley and former music retailer Richard Horowitz started the gallery 22 years ago, and later were joined by noted photographer Timothy White. The quartet has sold MHG to private markets investor Grand Mountain Partners, former Sony and Amazon executive Adam Block and former Concord CEO Scott Pascucci for an undisclosed price.
Block will serve as the new CEO, while Pascucci will be executive chairman focused on strategy and development. Block was encouraged to take on the role after Pascucci, whom Block calls “the mastermind behind the acquisition,” told him their first order of business “’is make sure we do absolutely no harm,’” Block recounts. “’The foundation is solid. We want to see it continue to build and grow in the spirit that it’s existed for so long.’”
That answer resonated with Block, who was most recently global head of catalog music at Amazon Music, but is best known for his 25-year tenure at Sony Music Entertainment where he rose to president of catalog division Legacy Recordings. Under his guidance, Legacy amplified the prestige of icons such as Miles Davis, Michael Jackson, Bob Dylan, Johnny Cash, Elvis Presley, A Tribe Called Quest, and others.
At MHG, he sees the opportunity to do the same for some of the most legendary images in existence, including Bob Gruen’s 1974 shot of a cross-armed John Lennon in a sleeveless New York City t-shirt, Jim Marshall’s portrait of a defiant Johnny Cash flipping the bird, and, of course, Diltz’s Morrison Hotel album cover for the 1970 Doors LP.
Henry Diltz
“What these guys have been doing for 22 years is telling stories and celebrating the legacies of music, artists, photographers and art and it just felt like a real natural continuation of work that I’ve loved doing for most of my professional life,” Block says.
MHG operates retail locations at Los Angeles’ historic rock and roll hotel the Sunset Marquis and on Prince Street in New York’s Soho neighborhood. A third location at Mick Fleetwood’s restaurant and bar in Lahaina, Maui was destroyed in fires earlier this month.
“It’s absolutely our intention to remain in Maui,” Block says. “Beyond that and before that, we’re just trying to figure out how as extended members of that community we can be helpful.”
An immediate goal is to expand galleries into more cities with either permanent or pop-up locations, with an eye towards Nashville, Tokyo and Mexico City. “It’s part of a very rough roadmap that’s being sketched out now,” Block says. Mall locations have been ruled out. “It’s not my intention to see this become a cookie cutter mass market,” he continues. “Part of the beauty and success is the uniqueness of it from market to market.”
Block says there are also plans to expand MHG’s “relatively new” online business, which is “growing quite nicely. We see a huge upside there.” White, who will remain with MHG as creative director, will help develop a most robust website and online sales business. “The Morrison Hotel Gallery is a living testament to the power of music and the moments that define our culture. I am so excited to be a part of this next chapter under new stewardship, and the guidance and direction of Adam Block,” White said in a statement. “His visionary leadership and expertise will be instrumental in shaping the gallery’s future and continuing its enduring legacy. I’m excited to work alongside him as we continue to create an experience that resonates deeply with music fans and collectors across the globe.”
Marketing the gallery, the photographers and the work by enhanced storytelling is also an area for future development, Block says, including through a greater social media presence. “It’s making sure that the legacies of these photographers, the subject matter and the work itself continues to be celebrated,” he says.
Block also plans to add more photographers and areas of coverage. “Going forward, we’d like to continue to diversify both our roster and the subject matter that we’re offering,” he says, adding the gallery now features more than 120 photographers. “Morrison Hotel Gallery is and will always be the rock music gallery, but beyond that we’re seeing that our community and our customers are interested in music more than just rock music.”
To that end, both the New York and Los Angeles galleries currently feature exhibits celebrating the 50th anniversary of Hip-Hop, highlighting some of the most famous photos from the genre featuring Jay Z, Beastie Boys, Run DMC, Tupac and more.
“It’s exciting to me to have the opportunity to find ways to be more relevant to more people and celebrate more art that speaks to different kinds of people. I think there’s a huge upside to us,” Block says. “It’s really important that we become recognized as champions of younger photographers who are speaking to a different generation of potential customers. There’s a role that the gallery can play in encouraging and even accelerating some of that.”
Longtime National Public Radio (NPR) programming executive Anya Grundmann will leave the network after nearly 30 years, the media organization announced Monday (Aug. 21). Grundmann will step down from her post as senior vp of programming and audience development at the end of the year. “It’s been the best kind of roller coaster ride,” Grundmann […]
Tencent Music Entertainment topped all music stocks this week after second-quarter earnings on Tuesday helped the company’s share price gain 7.2% to $6.53. The Chinese music streaming company, traded on both the New York Stock Exchange and the Hong Kong Stock Exchange, reported second quarter revenue of $1.01 billion (up 5.5% year over year) and net profit of $179 million (up 51.6%).
Investors tend to react positively when companies report strong subscriber numbers and TME had good news about the surging Chinese market. TME finished the quarter with 99.4 million subscribers, up 20% from the prior-year period, and for the first time its music services (QQ Music, Kuguo Music and Kuwo Music) generated more revenue than its social entertainment services (WeSing). Users’ willingness to pay for copyrighted music, whether to listen to songs or enjoy premium features, “marks a significant step along TME’s growth trajectory,” said CEO Cussion Pang during Tuesday’s earnings call.
Tencent Music Entertainment was the only music stock with a double-digit gain and one of only two stocks to finish the week in positive territory. With Round Hill Music Royalty Fund unchanged, the remaining 18 stocks in the 21-stock Billboard Global Music Index lost ground this week. The index fell 3% to 1,299.04, the fourth straight week the index declined, and has lost 10.2% of its value since peaking at 1,447.32 for the week ended July 21.
Streaming companies (Spotify, TME, Cloud Music, Anghami, Deezer) dropped by an average of 1%. Live music companies (Live Nation, MSG Entertainment, Sphere Entertainment Co., CTS Eventim) had an average decline of 3.1%. Record labels, publishers and distributors (Universal Music Group, Warner Music Group, HYBE, SM, Believe, Round Hill, Hipgnosis Songs Fund) fell an average 4.6%. Radio and satellite broadcasters (SiriusXM, iHeartMedia, Cumulus Media) dropped by an average of 5.1%.
Music stocks’ decline reflected the losses seen by stocks around the world this week. Higher bond yields have helped dampen interest in equities and investors are increasingly looking for safer places to put cash. In the United States, the S&P 500 declined 2.1% and the Nasdaq composite fell 2.6%. In the United Kingdom, the FTSE 100 dropped 3.5%. South Korean’s KOSPI composite index fell 3.3%, the biggest one-week point and percentage decline since Sept. 2022, due to falling operating profits, concerns about the Chinese economy and high interest rates.
K-pop stocks were among this week’s biggest losers. Shares of YG Entertainment and JYP Entertainment, neither of which are in the index, fell 12.1% and 13.3%, respectively. HYBE shares dropped 7.3% and SM Entertainment fell 6.7%. All four K-pop companies’ share prices have made large gains this year, however. Even after this week’s declines, SM, YG and JYP have gained between 63% and 66% while HYBE shares are up 36.3%.
Skye Landgraf is the first director of partnerships and programs at We Are Moving the Needle, a nonprofit dedicated to empowering and supporting women and non-binary pros in the recording industry. The D.C.-based Landgraf will work to expand WAMTN’s core programs in higher education and oversee the org’s annual Fix the Mix report. (This year’s FtM found that women and non-binary people are drastically underrepresented in audio producing and engineering roles.) Landgraf is also tasked with growing WAMTN’s institutional partnerships to help drive meaningful change in the industry. Prior to joining WAMTN, Landgraf served as the director of institutional advancement at the American Association of University Women (AAUM), as well as the associate director of foundation relations at George Washington University.
“In just two short years, WAMTN has already made a difference in the careers of women and non-binary individuals pursuing careers behind the boards, but we still have much work to do,” We Are Moving the Needle founder Emily Lazar. “Bringing in Skye, whose decade of experience in the nonprofit world, deep knowledge of music, and commitment to gender inclusivity and equity, will allow us to make an even bigger impact on our industry.”
Josh Javor departed X-ray Touring and is now a partner at WME and co-head of the talent agency’s music department in London. Javor spent 17 years at X-ray, scoring a spot on last year’s Billboard International Power Players list for his handling of Coldplay’s massive world tour, and for a major partnership between X-ray and Artist Group International. Over the years, he has had a hand in guiding the UK live careers of such artists as Eminem, Phoebe Bridgers, Bright Eyes, Belle & Sebastian and many more. “Josh has not only built a roster of artists that shape music, he’s also been an integral part of building the international touring industry as we know it today,” said Lucy Dickins, WME’s global head of contemporary music and touring, who Javor will be reporting to. “With Josh coming on board, our London office is doubling down on being the leading team in the region and on the international stage.”
Arista Records vp of promotion Mark Neiter announced his departure from the label, effective Aug. 23. The radio promo veteran joined the Sony Music imprint in September 2021 and points to successful campaigns for Maneskin, Lola Brooke and Beach Weather among his top accomplishments. Prior to joining Arista, Neiter put in the work (21 years worth) at Interscope, where as vp of national top 40 promotion he collaborated with — and built airplay dominance for — artists ranging from Maroon 5, Lady Gaga, Imagine Dragons and Eminem. According to RAMP, Neither will continue to consult for Arista. “I want to thank Davi Massey, Nick Petropoulos and the whole Arista team for a great run here,” he said. “I am excited to learn about what future opportunities lay out there.” He can be reached at mneiter11@gmail.com.
RIP Two All-Timers: Clarence Avant and Jerry Moss
Craig Newman joined the loving embrace of Paladin Artists, where he’ll focus on expanding the agency’s performing arts, family, special attractions and comedy divisions. The veteran agent won’t stop rocking, however, and is bringing along his diverse roster of clients that includes Bachman-Turner Overdrive, WAR and former Monkee Micky Dolenz, among others. Based in Los Angeles, this is a reunion of sorts for Newman, who used to work with Paladin co-founders Steve Martin and Andy Somers, as well as Bruce Solar, during his time as head of performing arts at APA. Newman’s diverse client list also includes chef Robert Irvine, illusionist Rick Thomas, American Girl Live! In Concert and Mini Pop Kids. “Craig Newman — aka Craigie Fresh! Master of time, the Ukulele and Arts Centers,” said Martin. “Paladin is happy to welcome Craig and his indomitable spirit, taste in artists, perspective and work ethic.”
Big Machine Label Group advanced Brooke Nixon to director of streaming, while the label’s The Valory Music Co. imprint has named Chris Waters to succeed Nixon in her previous role as southeast director of promotion & marketing. Nixon joined Big Machine Label Group in 2015, serving as the Dot Records promotion coordinator, before to moving to The Valory Music Co. imprint. Waters most recently served as director of promotion at Pearl Records with Garth Brooks. His career has also included radio and record promotion roles with Show Dog Nashville, Warner Music Group, Sony Music Entertainment, and Cumulus Nashville WSM Radio. –Jessica Nicholson
Mr. Holland’s Opus Foundation, a non-profit providing support services to school districts and musical instruments to underfunded music programs, named Tricia Williams as its next president and CEO in anticipation of the departure of Felice Mancini, who guided MHOF for a quarter century. Williams has been program director at the org since 1999 and is credited with creating a novel consulting service that districts use to more efficiently secure music and arts funding. Replacing Williams as program director is Todd Shipley, the former Director of Arts Education for the Tennessee Department of Education. Over Mancini’s tenure, MHOF has invested more than $34 million in musical instruments distributed to thousands of school music programs nationwide. “Felice has been instrumental in molding MHOF into the most admired music education foundation nationwide,” said Scott Holtzman, chairman of the board. “Our entire Board joins me in saying that we feel that Tricia has proven she is exceptionally qualified to lead MHOF at a critical time in the evolution of music and the arts in our public schools.”
ICYMI: Oak View Group (OVG) appointed Ade Patton as CFO … Elektra Entertainment promoted Jacob Fain to executive vp and head of A&R .. and the music team at TikTok was hit with layoffs. The cuts affected seven staff members, including senior product strategy & ops lead Kelly Chen and U.S. music partnerships and operations lead Marisa Jeffries.
Kobalt promoted Alaine Fulton to vice president of creative and clearance synch, putting her in charge of the London-based team that tackles strategy across how synchs are used, their clearance, and licensing administration. Fulton was previously director of UK creative and clearance synch and in the past year has negotiated and closed deals with the new Barbie movie, Samsung and Lexus, among others.
Various Artists Management hired Emily Thorpe-Jones as the London-based agency’s new head of brands and corporate. In her new role, which is effective immediately, Thorpe-Jones will work on all brand partnerships, commercial opportunities and corporate live bookings, and report jointly to Group CEO David Bianchi and Various Artists Management USA CEO Matt Luxon. She splits her time between Los Angeles and London. Prior to joining VAM, whose roster includes Melanie C, La Roux, The Libertines and Supergrass, among others, Thorpe-Jones worked extensively in radio PR before moving into the publishing sector, where she agency director at Hearst.
Too Lost, a music distribution and technology company, just added seven new employees — and a pair of promotions — within its office in Los Angeles. Up first at director of communications is Damien Ritter, formerly COO of BeatStars. Next up is Meghan Lyttle, who takes on the role of product manager following her time at Spotify and Peloton. Then its Jennifer Ferrer, a former senior manager at ADA Worldwide, who is Too Lost’s new senior product manager. Jake Selvey, previously with 300 Entertainment, steps into the role of A&R manager. Jheanelle Henry joined Too Lost’s Label Services department from MySeat. Ariana Slater and Carly Golisch round things out as new product and operations coordinators. And finally, Aldo Davalos was promoted to general manager and head of business development, while Buster Ross got bumped up to associate director of A&R. Too Lost offers distribution and publishing services that deliver, monetize and protect the songs of over 200,000 indie artists and labels.
Apple veteran Peter Stern joined Ford as president of the automaker’s new Ford Integrated Services unit. Up until January, Stern was vice president of services at Apple, where he was the driving force in launching non-music pillars including Apple TV+, iCloud and Apple Arcade. As part of his job, he headed up all marketing for Apple Music and Apple Podcasts.
UK-based marketing and digital consultancy agency Blackstar hired Dan Alani as head of creative. He’ll oversee Blackstar’s creative studio and work in tandem with the agency’s social and marketing teams on client campaigns. Alani was previously a senior producer at Able Media, working on campaigns for Harry Styles, Beyonce and others. Blackstar was launched in 2018 by former Universal Music Group marketing exec Olivia Hobbs, who is “beyond excited to be welcoming Dan… who brings with him 10 years of experience delivering creative campaigns for some of the world’s biggest icons.”
Dr. Moiya McTier joined the Human Artistry Campaign, a coalition of music and entertainment organizations that support ethical standards around AI, as an advisor and public communicator. The org describes Dr. McTier’s role as essentially “Explainer-in-Chief,” advising and educating policymakers and fellow creatives about the promise and the risks of AI. Since being announced at this year’s SXSW, the HAC’s efforts have been co-signed by music firms including Recording Industry Association of America (RIAA), National Music Publishers’ Association (NMPA), American Association of Independent Music (A2IM), SoundExchange, ASCAP and BMI, among others.
Nashville Notes: Courtney Gregg launched Blue Sky Artist Management, with an artist roster that already includes Gaelic Storm, David Cook and John Baumann, among others. The former Carnival Music president (with previous stops at Billboard and ASCAP) is joined at Blue Sky with Kelsey Fitzgerald (Artist Management as Management Coordinator) and Corey Piper (Social Media and Tour Promotions Coordinator). Reach her at courtney@blueskyartistmgmt.com. … Bobby Bones renewed his affiliation with iHeartMedia. He will continue as an iHeart vp/creative director … Canada’s Corus Entertainment promoted Ronnie Stanton to vp of audio from vp of programming … Bad Blocks Music hired senior director of A&R Autumn Ledgin and creative coordinator Elizabeth Cook. Ledgin arrives from Good Company Entertainment. Cook joins following internships at Creative Nation and King Pen Music … Sarah Bennett joined The GreenRoom PR as senior publicist following a run in the same role at IVPR.
The music team at TikTok was hit with layoffs last week in an effort to improve efficiency, multiple sources tell Billboard. The cuts affected seven staff members, including senior product strategy & ops lead Kelly Chen and U.S. music partnerships and operations lead Marisa Jeffries. All affected employees were based in the United States. Sources […]
After at least five months of deliberations, Paramount Global has decided against selling a majority stake in its BET Media Group, The Hollywood Reporter has confirmed.
The move to take down the “for sale” sign for the unit — which includes the BET channel, streamer BET+ as well as VH1 and BET Studios — follows publicly expressed interest from the likes of moguls Tyler Perry, Byron Allen, Sean “Diddy” Combs and others in acquiring a majority interest. The Wall Street Journal earlier reported Paramount’s decision to end the bidding process for BET.
Perry is already in business with Paramount via a multiyear content partnership struck in 2019, while Allen has been aiming to expand his TV station empire that counts The Weather Channel and Combs has a TV presence with his Revolt network.
During Paramount’s latest earnings call, on Aug. 7, CEO Bob Bakish was asked about the status of the potential sale and didn’t address BET by name, but replied: “We’re always looking for ways to maximize shareholder value. And as we said before, that might involve divesting, acquiring or potentially partnering on assets all of which we’ve done. But other than that, I’m not going to comment on anything specifically.”
The company has owned BET since 2000, when the Sumner Redstone-led firm then named Viacom snapped up Black Entertainment Television for $2.3 billion in stock and $570 million in debt. At the time, the BET channel was carried in 62.4 million households domestically.
For the past several years, Paramount has been looking to slim down its collection of assets in order to scale up in streaming and burnish its core entertainment portfolio (Paramount Pictures as well as CBS, Showtime, Nickelodeon, Comedy Central, MTV, BET and streamers Paramount+ and Pluto TV). That effort has boosted Paramount+ to about 61 million subscribers globally, but the streaming division still isn’t profitable, tallying $424 million in losses in the second quarter.
Earlier this month, the company struck a $1.62 billion deal with private equity giant KKR to sell off major book publisher Simon & Schuster. That sale (a yearslong effort after its first attempt was blocked by a judge over antitrust concerns) followed Paramount selling tech site CNET for $500 million in 2020, CBS’ New York BlackRock headquarters building for $760 million and CBS’ Studio City lot for $1.85 billion in 2021.
Paramount, with its large collection of linear channels, has been subject to headwinds in the industry amid the march of cord-cutting as consumers look beyond pay-TV packages to subscription streaming offerings. In the last quarter alone, more than 1.7 million subscribers were shed by the major pay-TV and cable companies (including Comcast, Charter and DirecTV), per a tally from Leichtman Research.
Affiliate and subscription revenue at Paramount’s TV Media unit was off 2 percent in its most recent quarter, the company disclosed Aug. 7, noting that the decline was “primarily reflecting the impact from subscriber declines, partially offset by pricing increases.”
This article was originally published by The Hollywood Reporter.
Boosted by K-pop’s growing popularity and artists’ return to concert stages, the four publicly traded South Korean music companies — HYBE, SM Entertainment, YG Entertainment and JYP Entertainment — posted average revenue growth of 71% in the second quarter of 2023, according to Billboard’s analysis of their recent earnings reports.
Sky-high growth rates in recent quarters have helped make the K-pop companies a wise investment in 2023: Through Wednesday (Aug. 16), the four share prices increased an average of 63.6% year to date, adding more than $4.7 billion in market capitalization cumulatively to the companies’ stocks. In contrast, stocks of the two largest standalone music companies, Universal Music Group and Warner Music Group, have gained 3.6% and lost 6%, respectively, year-to-date through Tuesday (Aug. 15).
In terms of revenue growth, the leader in the second quarter was JYP Entertainment, home to the groups Stray Kids and Twice. JYP’s revenue grew 124% to 151.7 billion won ($115.2 million), with new albums by Stray Kids, Twice and NMixx driving a 298% increase in physical sales to 74.1 billion won ($56.3 million). Republic Records, JYP’s partner in the United States, accounted for 14.5 billion won ($11 million) of physical sales, or about 20% of the total amount. Elsewhere, JYP’s concert revenue grew 44% year-over-year to a record 14.4 billion won ($10.9 million) while merchandise sales climbed 151% to 21.7 billion won ($16.5 million). Domestic streaming revenue grew 18% to 2.2 billion won ($1.7 million) while overseas streaming revenue jumped 82% to 10.3 billion won ($7.8 million).
YG Entertainment boasts the greatest share price gain among the group at 75.6% year to date. The company behind breakthrough girl group BLACKPINK, YG posted revenue of 158.3 billion won ($120.2 million) in the second quarter, up 108% from the prior-year period.
JYP Entertainment’s operating income grew 88% to 45.6 billion won ($34.6 million) but missed its 51-billion won estimate, causing the company’s share price to fall 8.2% the following day. Although its revenue grew 124% in the quarter, JYP was hurt by what it called a “temporary increase in content product costs.” As a result, its cost of goods sold rose 162% while gross margin percentage — gross profit as a percent of sales — declined 1.6 percentage points to 47.7%.
Expenses also grew faster than revenue at HYBE, where cost of sales grew 25% while sales, general and administrative expenses climbed 32%. HYBE’s operating profit declined 8% as a result, while net income improved 19% despite a 21% growth in revenue. HYBE’s share price declined just 0.9% the day after the results were released; with a 38.9% gain year-to-date, its stock boasts the lowest appreciation of the four K-pop companies.
Tencent Music Entertainment Group’s (TME) quarterly net profit surged by more than 50% for the quarter ending in June on the strength of its online music business, sending its stock up 5% in mid-day trading on Wednesday.
Net profit for TME’s second quarter was RMB1.30 billion ($179 million), up 51.6% from second quarter last year, the Chinese company reported on Tuesday. Total revenues rose 5.5% to RMB7.29 billion ($1.01 billion) in the quarter ending June 30, as a more paying subscribers helped the online music business contribute more than half of TME’s earnings for the first time since the company’s launch in 2016.
TME is growing increasingly focused on its music business, and its company promotions which resulted in a record high of 99.4 million paying users this quarter, are paying off, executives say.
“As we continue driving the healthy development of China’s online music industry, we have seen users become increasingly accustomed and willing to pay for copyrighted music, whether for songs they want to listen to or for premium listening features they enjoy,” TME executive chairman Cussion Pang said on Tuesday. “This marks a significant step along TME’s growth trajectory.”
Quarterly revenue from online music services jumped nearly 50% to RMB4.25 billion (US$586 million) on strong music subscription revenue growth and advertising services and contributed more than 58% of the company’s total revenues.
The number of monthly active users for online music fell nearly 5% to 594 million in the second quarter this year from 623 million in the year-ago quarter, but the number of paying online music users rose more than 20% to 99.4 million from 82.7 million a year ago.
Revenues from music subscriptions grew 37% to RMB2.89 billion ($399 million).
TME’s social entertainment business, which it has de-emphasized for the last several quarters in a row, saw mobile monthly active users fall 18% to 136 million from 166 million, while paying social entertainment users also declined 5% to 7.5 from 7.9.
Monthly average revenue per paying user (ARPPU) rose 14% to RMB9.7 ($1.33) for online music, while monthly ARPPU for social entertainment declined 20% to RMB135 ($18.50).
Tencent Music executives said they are in the process of deploying several service enhancement and risk control measures that will promote music-centric live streaming, which they expect to put pressure on TME’s social entertainment services revenues throughout the rest of 2023.
“TME remains confident about delivering year-over-year net profit growth for 2023, driven by the continued strong performance of online music services, laying a much more solid foundation for the company’s healthy and resilient development in the long run,” a spokesperson said.
Damien Scott has been named Billboard‘s new deputy editorial director, the music media brand announced Monday (Aug. 14). In his New York-based role, Scott will work to expand Billboard’s audience through news coverage, video, social content, live events and more, all with a special focus on hip-hop and R&B. “We are so happy to have […]
Rock-country artist Riley Thomas has signed with Elektra/DBLBLK Records, which will release his new single, “I’ll Be Damned,” on Friday (Aug. 18). Thomas scored a sleeper success with his debut single, “Cowboys Did Cocaine,” which has racked up nearly 14 million streams on Spotify since its release in June.
“I’ve had the pleasure of knowing and watching Riley develop as both a writer and artist for years,” said DBLBLK Records founder Jameson Roper in a statement. “It’s always been a question of when — not if — his moment would arrive. I am beyond thrilled to lock arms with my true partners at Elektra. They have always identified great music and supported our artists fully. For Riley, the music may be dark, but the future is bright.”
Thomas added, “As an artist focused on the reach of my music, I knew I wanted to be with Elektra after meeting the team. I’ve long admired Gregg Nadel, Johnny Minardi, and the staff’s ability to develop and sustain career artists. Moreover, their respect for good music and commitment to fostering growth gave me confidence that this is the place for me. With the addition of a tenacious Jameson Roper and DBLBK, I’m looking forward to a long ride with this family.”
Thomas is managed by Mike Easterlin at Glen West Entertainment and Jameson Roper at DBLBLK Management. His booking agent is Nate Towne at WME.
Daughtry signed with Big Machine Records, which released the band’s latest single, “Artificial,” on Aug. 11. Fronted by Chris Daughtry, the band has released a total of six albums to date.
Country singer-songwriter Walker Hayes announced a new partnership with Monument Records and RCA Records. Under the deal, Hayes recently released a new two-track bundle titled Strait Two Stepping featuring “Stetson” and “Show Me The Country.” Hayes is managed by Robert Carlton at SMACKSongs and represented by Aaron Tannenbaum at WME.
Nashville-based alternative singer-songwriter Max Frost signed to Nettwerk, which will release his new single, “Creep Back,” on Friday (Aug. 18.) Frost is represented by Ron Shapiro and Joe Hegleman at Have Fun Management and Marsh Vlasic and Craig Bruck at IAG for booking. He was formerly signed to Atlantic Records.
CMW Entertainment struck a partnership with Sony Music’s AWAL Recordings for CMW’s flagship artist, Mudrigo, whose latest single, “UH HUH,” was released under the pact on Aug. 2. The companies will collaborate to support Mudrigo with a full suite of services globally; AWAL will support his development by offering services including A&R, global marketing, creative, synch, brand partnerships, distribution and access to real-time analytics.
Mette signed to Since ’93 and RCA Records in the United States. The labels will release her upcoming EP, METTENARRATIVE, on Sept. 22, preceded by Mette’s new single, “VAN GOGH.” She is managed by Caron Veazey at ThreeSix Zero; booking is handled by Mary Hannon and Craig D’Souza at WME for the United States and United Kingdom, respectively.
SMACK has launched SMACKRecords, adding a label branch to the company and announcing its first signing, singer-songwriter-actress Jenna Davis. SMACKRecords marks the fourth enterprise to launch under SMACK, following publishing company SMACKSongs, SMACKManagement (which reps Walker Hayes and Kylie Morgan) and digital marketing company SMACKTok. Davis will also be represented by Marissa Turk at SMACKManagement. Her debut single, “DiCaprio,” was co-written by Hayes, Kelsea Ballerini and Ross Copperman. Davis also recently voiced the main character in the horror-thriller M3GAN. – Jessica Nicholson
Rock band Sheer Mag signed with Third Man Records, marking the group’s first partnership with a larger independent label. Under the deal, Third Man will physically and digitally re-release Sheer Mag’s entire back catalog — including EPs I, II and III as well as albums Need To Feel Your Love and A Distant Call — on Oct. 27. Third Man just released the band’s latest single, “All Lined Up.” Sheer Mag is represented by manager Mike Sneeringer at Another Management Company and booking agent Timmy Hefner at Ground Control Touring.
Country duo Neon Union signed with CAA. The duo, which has played over 50 tour dates so far this year, is signed to Red Street Records and managed by Tristan Kirkbride.
Country singer-songwriter Annie Bosko signed a joint-venture management deal with Randy Bernard and Brown Sellers Brown (BSB) Management; she will be represented at the latter by Benny Brown, Jason Sellers and Angela Wheeler. Bosko also signed a label deal with Brown’s Stone Country Records and is now represented by CAA for booking.
Emerging country singer-songwriter Eli Winders signed to Atlantic Records/Bad Realm Records, which released his debut single, “Pack My Hometown,” on Friday (Aug. 11). He is managed by Layne Lindroth at C3.
Morgan Myles, the country singer-songwriter who was formerly a contestant on The Voice, signed with KZZ Music/Blue Élan, which released her new single, “Vertigo,” on Aug. 8. She’s represented by manager Ann Henningsen and booking agents Jennifer Hludzik at APA and Jared Caleb.
Singer-songwriter Rissi Palmer signed with New York-based management/distribution/merchandising company Invasion Merch and has signed a new contract with talent and literary agency Paladin Artists. Palmer recently earned two Grammy nominations and hosts the Apple Music show Color Me Country with Rissi Palmer. Earlier this year, Palmer’s Still Here documentary film was featured on PBS’ American Masters: In the Making series. – Jessica Nicholson
Singer-songwriter Ryan Larkins signed with CAA, where he will be represented by Marc Dennis. Larkins previously signed with Red Street Records, which released his debut songs as an artist — “Man That Holds the Beer” and “She’s the Tough One” — on Friday (Aug. 11).