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Giant Music, the record label launched under The Azoff Company banner in 2022, has signed Australian singer/songwriter Ruel, the company tells Billboard. This marks the first signing for Nate Albert, who joined Giant Music as president in January. The label will release “Kiss Me,” Ruel’s cover of the hit song by Sixpence None the Richer, on Thursday (June 27).
“Ruel is truly a singular talent, and we are thrilled to be part of his next chapter,” said Albert in a statement.
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Best known for songs like “Painkiller,” “Dazed & Confused” and “GROWING UP IS ___”, Ruel released his debut album, 4TH WALL, last year. In August, he’s slated to play Lollapalooza for the first time.
Also this week…
Hip-hop producer, singer and songwriter Lithe signed with WME for global representation. The Melbourne-bred artist began putting out music in 2018 and has released several EPs since. His single “Fall Back,” released in March, currently boasts more than 97 million streams on Spotify. He’s managed by Benjamin James of Mutual Friends.
Boston-bred alt-rock band Vundabar signed to Loma Vista Recordings. The label released the group’s new garage-rock song, “I Got Cracked,” on Tuesday (June 25). Composed of Brandon Hagen, Drew McDonald and Zack Abramo, Vundabar is best known for its RIAA platinum-certified track “Alien Blues,” which boasts more than 540 million streams on Spotify alone. “Vundabar has already accomplished so much as a totally independent band, and we are thrilled to welcome them to Loma Vista for this exciting next stage of their career,” said Loma Vista A&R Susan Busch in a statement. The band is managed by Ally Ehasz and Zack Zarrillo at Alternate Side and booked by Greg Horbal and Carly Goldberg at Wasserman.
Rising country singer-songwriter Bayker Blankenship (“Maxed Out”) signed with Lone Star/Santa Anna Records. According to a press release, “Maxed Out” boasts more than 26,000 creates and more than 6 million views on TikTok. In a statement, Alamo Records/Santa Anna Records CEO Todd Moscowitz said the song “is quickly establishing itself as a very reactive hit.”
Drew Baldridge signed with UTA for representation in all areas. The country singer-songwriter’s single “She’s Somebody’s Daughter” currently sits at No. 15 on Billboard‘s Country Airplay chart, a feat he reached without the backing of a major label or a management team. Baldridge is signed with Sony Music Publishing. His team also consists of business manager Becky Harris (Huskin-Harris Business Management) and attorney Jeff Biederman (Greenberg Traurig, LLP). – Jessica Nicholson
Grammy-nominated artist, songwriter and producer Gallant (“Weight in Gold,” “Cave Me In”) signed with Mom+Pop Music. The first release under the deal is Gallant’s new single, “Coldstar.” Gallant has collaborated with artists including Dua Lipa, Zhu, Brandy, Noah Cyrus and Sufjan Stevens and appeared at festivals including Coachella, Bonnaroo and Austin City Limits.
10K Projects signed virtual artist angelbaby via Web3 agency Hume and and will re-release the track “Life Is Good” featuring Jagwar Twin. “This agreement is a major milestone for Hume as we continue our mission to become Pixar for music,” said the Hume team in a statement. “We’ve been looking for a partner that can push our artists further into culture and we’re excited to work towards that goal with 10K on ‘Life Is Good.’”
Big Loud Records signed singer-songwriter Kashus Culpepper. The Alabama native began performing during a deployment with the U.S. Navy in Rota, Spain. On Friday (June 21), the label released his single “After Me?”. Culpepper is repped by CAA for booking and managed by Jay Harren. – Jessica Nicholson
Dexter and the Moonrocks, “a formerly country/western band” that now makes “Western Space Grunge music,” according to a press release, signed to Severance Records, an imprint of Big Loud Rock. The label will release the band’s latest EP — aptly titled Western Space Grunge — on July 19. “Bleach,” the first song from the EP, was released on June 12. The band is managed by Chris Schoemann at Lion’s Claw Entertainment and booked by Mike Krug at WME.
Country singer-songwriter Ashland Craft signed with independent record label Leo33. Craft has supported artists including Cody Johnson, Ashley McBryde, Zac Brown Band, Luke Combs and Morgan Wallen on tour. She recently wrapped her Damascus Acoustic Tour with Elvie Shane and performed at CMA Fest. She’s next slated to play festivals including Summerfest, Watershed Music Festival and Field & Stream Festival.
Chicago-based private equity firm Flexpoint Ford said on Tuesday that it invested $165 million in Create Music Group in a funding round that a source said values Create as worth $1 billion. Create plans to use the money to scale operations, expand services and fund acquisitions, said CEO & founder Jonathan Strauss. “Flexpoint’s investment will […]
The consortium acquiring French music company Believe increased its holdings to 94.99% of share equity at the conclusion of the tender offer, the company announced Monday (June 25). That marks a nearly 10% increase from the 85.04% of shares the consortium held a week earlier.
Led by CEO Denis Ladegaillerie, who founded Believe in 2005 to take advantage of the rapidly evolving digital music business, the consortium purchased 19.6 million shares at 15.00 euros ($16.10) per share during the offer, which ran from June 3 to June 21. Combined with blocks of shares previously acquired from investors, the consortium now holds 95.6 million of the 100.7 million shares outstanding. The free float — shares owned by minority investors — is 5.01%. The consortium, which also includes major shareholders EQT and TCV, commands 106.5 million of 113 million — 94.29% — of Believe’s voting rights.
While the consortium does not plan on executing a mandatory squeeze-out for shares not tendered by minority shareholders, because the free float — shares not held by insiders that can be publicly traded — has fallen under 15%, Believe will be de-listed from some stock indexes.
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Also on Monday, Believe announced the appointment of Andrew Fisher, a new director representing EQT, after venture capital firm Ventech sold its shares to the consortium and lost a director. Fisher’s ratification will go to a vote in the 2024 annual general meeting. The board additionally appointed two observers: Michael Kalfayan, general partner at TCV, and Nicolas Brugère, partner at EQT.
The consortium announced a takeover bid for Believe in February at 15.00 euros ($16.10), which represented a 21% premium over the prior closing price. According to an offer document, the consortium wants to take over the company “so that it can better execute on its value-creation plan and accelerate the scale-up of an independent player supporting artists and label clients” and “further grow and consolidate its position as a leader in the French and European markets.”
After the Believe board of directors backed the takeover bid on April 19, the consortium purchased a large block of shares from venture capital firms XAnge and Ventech. Before the acquisitions, TCV was the biggest shareholder with 41.1% of share capital, while Ladegaillerie owned 12.5%, private equity firm Ventech owned 12.0%, XAnge owned 6.3% and roughly 3.8% of shares were held by a strategic holding fund and in treasury shares. Free float was 24.4%.
Warner Music Group briefly looked at acquiring Believe in March and estimated a bid of “at least” 17 euros ($18.24) per share, which would have valued the company at 1.65 billion euros ($1.8 billion). But the pursuit was short-lived; Warner dropped out of the running in April.
Any music lover knows that a great song transcends borders and languages. Now, that unifying power is being leveraged as a diplomatic tool.
On Monday (June 24), YouTube announced a partnership with the U.S. State Department as part of the Global Music Diplomacy Initiative, a program launched last September by U.S. Secretary of State Antony J. Blinken that aims to use music to promote peace and diplomacy around the world.
The project centers around a group of genre-spanning artists who will act as musical ambassadors. Chuck D, Herbie Hancock, Jelly Roll, Armani White, Breland, Denyce Graves, Grace Bowers, Justin Tranter, Kane Brown, Lainey Wilson and Teddy Swims are all participating, with additional artists to be announced.
The Global Music Diplomacy Initiative is an extension of the PEACE through Music Diplomacy Act, which was signed into law by President Joe Biden last year and directed the State Department to facilitate public-private partnerships that would support music-related diplomacy.
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YouTube was selected as a partner given its global reach and influence on music culture worldwide. The partnership will include micro-grants to support people who use music to create positive change in their communities; YouTube will also assist the State Department in its work using music as a tool for learning English. Additionally, they will team up to engage audiences and aspiring artists in Australia, Brazil, Canada, France and India and “utilize major international gatherings to inspire action around the unifying power of music,” according to a blog post written by YouTube global head of music Lyor Cohen and YouTube vp of public policy Leslie Miller.
In a joint statement, Cohen and Miller wrote, “Music is a unifying force — it transcends language, cultural and national differences. It helps us understand and appreciate each other in ways almost nothing else can. During the height of the Cold War, the United States launched the Jazz Ambassadors program to send artists like Louis Armstrong, Dizzy Gillespie and Sarah Vaughn overseas to bridge cultural gaps and cultivate goodwill across the globe. The Jazz Ambassadors program left a lasting legacy, demonstrating the power of music as a diplomatic tool for fostering cultural understanding.”
“We’re excited to be a part of the next chapter in music diplomacy, helping to amplify the voices of artists and strengthen our community bonds across borders,” the statement continued. “Music reminds us more of what we can have in common than what separates us. That is the message we intend to echo around the world as we embark on this partnership, using the power of music to inspire peace for all.”
CAA’s global touring division has made its first major hire since announcing new leadership earlier this month, bringing veteran music agent Cheryl Paglierani and her A-list clients Post Malone, rapper 21 Savage, Flo Milli, Jessie Murp and Dominic Fike to the agency. Paglierani joins CAA from UTA, where she served as a partner. She previously […]
A filmmaker is suing Warner Music over the 2021 Tom Petty documentary Somewhere You Feel Free, calling the movie a “brazen exploitation” that used nearly an hour of his copyrighted film footage without permission.
In a lawsuit filed last week in Los Angeles federal court, Martyn Atkins says he never gave the Somewhere producers consent to use hours of footage he filmed of the music legend during the 1990s but that the movie nonetheless contained “a shocking 45 minutes” of his materials.
“Atkins did not provide consent, did not otherwise license any of the footage, and was not compensated in any manner for the Film’s unauthorized, brazen exploitation of the works Atkins created and owns,” his attorneys wrote in a June 18 complaint.
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Released in March 2021, Somewhere You Feel Free promised viewers “never-before-seen footage” of Petty as he worked on his 1994 album Wildflowers. Much of the footage was filmed by Atkins, who served as art director for the album and says he often documented the proceedings with a 16mm camera. Later, Atkins says he and the music legend watched the footage and discussed eventually using it to create such a documentary.
But after Petty’s tragic death in 2017, the project didn’t come together until 2020, when Atkins says he was invited to a meeting with Petty’s daughter and other reps from his estate. After they promised him the job of directing the upcoming documentary, Atkins says, he provided them with a detailed breakdown of where he had stored the original footage at Warner Music’s storage facility.
But after that first encounter, he says he was “never asked to another meeting.”
“Atkins had been conned into believing he would produce and direct the film so that Atkins would reveal the location of his footage to defendants,” his lawyers write. “He was then cut out completely — in every imaginable respect. He was not even told as a courtesy that his works would be misappropriated and featured, let alone asked his consent.”
When he saw the movie, Atkins says he says he was shocked at what he saw: Roughly half of the movie’s 90-minute runtime was composed of his footage, including some of the “most compelling and iconic shots of Petty” in the movie. “Atkins simply could not believe it.”
A likely defense argument from Warner Music is that Atkins produced the footage as a so-called work-for-hire — a legal term meaning he created it at the request of someone else. If true, that would mean that even though Atkins filmed the footage, the rights to it were retained by Petty or the label. After all, he was the art director on Petty’s album and stored the film in Warner’s facilities.
But in his lawsuit, Atkins specifically aimed to preempt that argument: “The footage Atkins shot … was not subject to a work-for-hire or other such agreement. Atkins did not license the footage to Petty, Warner Records, any Warner Records affiliate, or anybody else. He was not acting as an employee of Petty or Warner Records, or any other party [and] here is no agreement in existence relating to any of the film footage.”
Beyond simply using the footage, the lawsuit claims that Somewhere‘s producers have “repeatedly misrepresented” that the footage was “magically and unexpectedly discovered” before the documentary was shot. “The film’s producers have systematically implemented this false narrative to manipulate the viewing public and bolster the marketing of the film,” the complaint reads.
In technical terms, the lawsuit names Warner Music unit WMG Productions LLC, as well as the film’s production company, Girl On LSD LLC. The lawsuit includes counts of direct and secondary copyright infringement and a claim that the defendants effectively stole his property.
Read the entire lawsuit here:
The board of governors of the Academy of Motion Picture Arts and Sciences announced on Monday (June 24) that CEO Bill Kramer will continue in his role through July 2028. Kramer’s contract, up for renewal in 2025, was approved one year early due to what the Academy calls “his exceptional leadership and significant contributions.” “Bill […]
Last July, more than 70 country songwriters and producers filtered into Sony Music Publishing’s Nashville office to hear a presentation from Beatstars, the popular website that allows artists to buy or lease full instrumentals for their own use. Seth Mosley, whose recent co-writes include songs recorded by Tim McGraw and Gabby Barrett, was in attendance that day, and he was compelled by the company’s pitch. He started posting beats on the platform regularly in December, hoping it could provide him with a new income stream — and another source of exposure.
But this way of working is unusual in country music. Beatstars was initially popularized by rappers and singers in R&B and pop, genres where it’s common for vocalists to use a fully-formed track as a jumping-off point. Music-making in Nashville is often more traditional, with ace session musicians recording in revered studios — a world away from the fast-moving online beat economy.
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With time, though, Beatstars’ success stories have become more varied, spreading to realms that were once ruled by bands playing instruments. ThxSoMch and Wisp found post-punk and neo-shoegaze instrumentals, respectively, on the platform, added their own vocals, and scored breakout moments and major-label deals. And country could be the next frontier.
Beatstars is noticing heightened interest in the genre as it surges in the U.S., says Greg Mateo, the platform’s president of music and publishing. In Mosley’s six months on Beatstars, he’s learned that “anything that’s got a Morgan Wallen spin to it is in high demand.”
That demand is growing on other music-making platforms as well. Bandlab, a mobile music creation app that now has more than 100 million users, has also seen excitement for country elevate in the U.S., according to CEO Meng Ru Kuok.
On top of that, statistics from Splice, which provides producers with a massive library of samples, indicate that its 8 million-strong user base is incorporating country flavors with greater frequency this year. User searches for “country” have more than doubled compared to 2023. And their interest in samples of instruments associated with the genre has soared, including banjo (searches are up 75%), mandolin (66%), pedal steel (113%) and fiddle (131%).
Producer BachBeats, who sells country instrumentals online, predicts that this enthusiasm on music creation platforms is only going to increase: The recent release of Post Malone and Morgan Wallen’s collaboration “I Had Some Help,” which landed one of the biggest streaming debuts in history, “is going to bring a bunch of people from the hip-hop world into country.”
Beyoncé‘s recent references to the genre helped too, according to Xzaviar, another producer who sells country instrumentals. He says downloads of his productions “ticked up” after she released Cowboy Carter in March.
But importantly, the phenomenon appears larger than any single act or album: Xzaviar has quadrupled his income from beat sales on YouTube and Beatstars since August, with instrumentals in the style of Wallen or Zach Bryan performing especially well. It’s notable that, even though country music is most beloved in America, only 65% of Xzaviar’s sales come from the U.S.
Beatstars is trying to capitalize on this interest — and fan the flames. In June, they launched a new playlist to highlight their top country producers. “They’re really focused on country and getting a lot of country creators on the platform,” says Kenley Flynn, vp of creative for Sony Music Publishing Nashville. (The publisher and Beatstars first formed a partnership in 2020.)
Still, the rise of country in the online music-making economy may not be immediately felt in Nashville. Even though pre-programmed tracks aren’t uncommon in contemporary country, this model of working — buying a beat on a website — flies in the face of the industry’s longtime system for songwriting and producing. “The biggest hurdle for us is just it’s so not how the Nashville creative community operates,” Flynn acknowledges. “These writers are used to creating from 11a.m. till 3 p.m. in a room with two or three others,” often people they know.
And when it comes to producers, artists often find one they like and rely on that person to “cut everything,” Mosley says. In pop or hip-hop, every song on an album might be overseen by someone different, and each track could contain elements from a beat-maker that neither the artist nor the producer has met in person. That grab-bag approach remains rare in country music.
Norms are shifting in the genre, though — adaptations that are increasingly necessary since a country hit can now come from anywhere. More coastal record companies are signing country artists directly instead of relying on their Nashville office, for example. And country labels are increasingly taking part in the signing conversations around artists who go viral.
In other genres, the hits that explode on social media platforms are often cobbled together with help from places like Beatstars or Bandlab. It’s not a stretch to imagine the next Priscilla Block or Tucker Wetmore buying a “Morgan Wallen type beat” on YouTube before embarking on a savvy social media campaign that sparks a viral trend. As a “new generation of artists and songwriters comes in [to the music industry] they’re going to use the modern tools,” says Corey McAfee, who serves as director of global copyright for Sony Music Publishing Nashville.
The economics of these music creation platforms also position them to help would-be country stars. “If you’re bartending to make money and work on your music part-time, it can be very expensive to get in a room with a full band,” says David Morris, a Nashville-based rapper and singer who works with BachBeats and other country producers on Beatstars. “You need to be able to explore your sound or write to music, and you can lease some of these beats for less than $100.” (A lease comes with only limited rights, so if a song becomes a hit an artist has to make a new deal with the producer; acts also have the option to buy out beats from the start, though that is slightly more expensive.)
Band members might be able to benefit from offering their work online as well. “It’s not just so-called beat-makers on these platforms,” McAfee notes. “Maybe you’re an amazing guitar player, which we know this city is full of, and you’re making guitar loops” that can be used by vocalists around the world.
For Flynn, the math is simple. “Big songs have come from Beatstars, and there are producers on the platform that are earning tons of money by just selling their beats,” he says. For country artists and producers, “there’s a huge opportunity.”
AEG Presents and Tim Hinshaw’s Free Lunch have entered into a strategic partnership, Billboard can exclusively report. Under the terms of the partnership, Hinshaw will be responsible for securing and marketing hip-hop, R&B and gospel tours for AEG’s global touring division.
The alliance follows in the wake of Kendrick Lamar’s “The Pop Out — Ken & Friends.” The Juneteenth concert at the Kia Forum in Inglewood, Calif. was presented by pgLang and Free Lunch. Streamed to fans around the world on Amazon Music — Hinshaw’s current client — the event broke the record for the most minutes watched of any Amazon Music production.
In announcing the partnership, AEG Presents president of global touring Rich Schaefer said, “Tim’s connection to hip-hop and R&B — whether it’s the music, the artists or the culture — is unmatched. I’m excited to bring someone of Tim’ stature on to help our team expand in an area we’ve already had so much success in. His spirit and energy will be a great addition to the touring team, and we look forward to learning from him as we help build our business together.”
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Free Lunch founder and CEO Hinshaw added, “I am honored that this chapter started with Kendrick Lamar’s ‘The Pop Out — Ken & Friends,’ an iconic moment for L.A. and hip-hop. Partnering with AEG is a natural next step for Free Lunch. I have been very fortunate in my career to play a role in delivering some of the most unforgettable live music experiences for the culture and look forward to continuing that success with Rich and the whole AEG team moving forward.”
Formerly Amazon Music’s head of hip-hop and R&B, Hinshaw launched Free Lunch in 2023. As noted in a release announcement, the multifaceted creative shop is principally focused on “authentically bridging the gap between culture and corporate America.” During Hinshaw’s five-year tenure at Amazon, he oversaw the streaming service’s industry strategy and partnerships across both genres, inclusive of the global flagship brand Rotation. Among the various projects he brokered was 2022’s exclusive livestream of The Big Steppers Tour: Live from Paris via Amazon Music and Prime Video. The event not only spotlighted Kendrick Lamar’s second performance in Paris, it also celebrated the 10th anniversary of his second studio album, good kid, m.A.A.d city.
Hinshaw also helmed artist negotiations for Amazon Music Live, a livestreamed concert series on Twitch and Prime Video that aired following Thursday Night Football. Among artists featured on the series were Lil Baby, A$AP Rocky and 21 Savage. Additional livestream projects under Hinshaw while at Amazon Music included: Tyler, The Creator’s Call Me If You Get Lost Live concert in his hometown of Los Angeles; Kanye “Ye” West’s #FreeLarryHoover benefit concert in L.A.; J. Cole’s Dreamville Festival from Raleigh and Summer Walker’s homecoming show in Atlanta for Black History Month.
Prior to joining Amazon Music, Hinshaw established the urban music division at Fender Guitars. He also worked in music marketing for Vans. Honored as executive of the year in 2022 for Billboard’s annual R&B/Hip-Hop Power Players issue, Hinshaw began his music industry career as co-manager of his songwriter brother, Charles “Prince Charlez” Hinshaw. That endeavor led to a joint venture label deal with Island Def Jam and a global co-publishing agreement with Rondor/Universal Music.
AI has incredible promise and music creators are first in line exploring just how far these tools and innovations can take us.
At the same time, like every new technology, AI has risks and music creators are also first in line working to ensure it develops in lawful, responsible ways that respect individual autonomy and extend human creativity and possibility.
Yet today, a year and a half after the first mass market AI services were released, we still don’t know whether the promise or the peril of AI will win out.
Too many developers and investors seem to see a zero sum game – where AI behemoths scrape artists’ and songwriters’ life’s work off the internet for free and without any opportunity for individual choice, autonomy, or values. Where most of us see music, art, and culture to be cherished, they see soulless data to copied, “tokenized,” and exploited. Where most of us look to collaborate and reach for new horizons, they prefer to exploit art and culture for their own narrow gains. On the road to society’s AI future, it’s their way or no way.
At the top of the list of irresponsible developers are two music generation services, Suno and Udio, who claim to offer the ability to generate “new” music based on simple text prompts – a feat that’s only possible because these models have copied and exploited human-created music on a mass scale without authorization. Both have clearly chosen the low road of secretive, unconsented scraping and exploitation of copyrighted creative works instead of the high road of licensing and partnership.
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To address this egregious conduct, a group of music companies have today filed lawsuits against Suno and Udio in federal court in Boston and New York City, respectively. These lawsuits seek to stop the companies’ industrial scale infringement and steer generative AI back onto a healthy, responsible, lawful path.
Suno and Udio clearly recognize the business risks they are taking, going to extreme lengths to avoid transparency and refusing to disclose even the most obvious facts about how they have exploited copyrighted works or to even show us what works they have copied and used. If they really believed their own “fair use” rhetoric, if they really believe what they are doing is legal, would they work so hard to hide the ball?
The worst part is, these are multi-million dollar companies funded by the deepest pockets in the world who know the long term value music brings to their projects and who can well afford to pay fair rates for it; they just don’t want to. They willingly invest mass sums in compute and engineering, but want to take the most important ingredient – high quality human creativity – for free.
It’s a deeply shortsighted gamble – and one that has a track record of failing to deliver. Early internet services who relied on similar arguments and failed to get permission before launching are the ones who flamed out most spectacularly. Meanwhile digital streamers that partnered with artists and rightsholders to gain permission and innovate a healthy, sustainable marketplace together are today’s leading global music services.
And it’s totally unnecessary. Music creators are reaching out and leaning into opportunities in AI that support both innovation and the rights of artists and songwriters and have extended the hand of partnership and licensing to responsible AI companies.
In the last year, Sony, Warner and Universal have used creative AI tools to deliver breathtaking new moments with iconic artists including The Beatles, Roberta Flack, and David Gilmour and the Orb, all with appropriate partnership and consent. Music companies have partnered with ethical cutting-edge AI firms like BandLab, Endel and SoundLabs. And singer/songwriter Randy Travis used AI to record his first new song since largely losing his voice after a 2013 stroke.
But AI platforms should not mistake the music community’s embrace of AI as a willingness to accept continuing mass infringement. While free-market partnerships are the best path forward, we will not allow the status quo scraping and copying of artists’ creative legacies without permission to stand unchallenged. As in the past, music creators will enforce their rights to protect the creative engine of human artistry and enable the development of a healthy and sustainable licensed market that recognizes the value of both creativity and technology.
Generative AI has extraordinary promise. But realizing it will take collaboration, partnership, and genuine respect for human creativity. It’s time for AI companies to choose – go nowhere alone or explore a rich, amazing future together.
Mitch Glazier is Chairman and CEO of the Recording Industry Association of America (RIAA).