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This is Publishing Briefs, a semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing.
In case you missed it, the Copyright Office requested public comment on “factors that may be contributing to the formation of new PROs” and Puerto Rican reggaetón star Yandel signed a worldwide publishing administration deal with Warner Chappell Music.
Caught up? Here’s what else is going on:
Reach Music Publishing signed a deal with Michael “Fitz” Fitzpatrick, lead vocalist of Fitz and The Tantrums, granting them copyright interest in his entire back catalog of around 100 songs, including hits like “Handclap,” “Out of My League” and “The Walker.” The agreement also includes administration of Fitz’s solo album Summer of Us and the upcoming Fitz and The Tantrums album set for release in 2025. Reach Music had previously administered much of Fitz’s catalog through Dangerbird Records since the band’s 2010 debut. Michael Closter, Reach Music’s founder, expressed excitement about completing the circle and officially representing Fitz’s catalog, while Fitz praised Reach Music’s passion and “hustle,” adding “I couldn’t be more excited about this deal and to make the future happen.” Reach Music, an independent publisher with offices in Los Angeles, Nashville, and New York, specializes in publishing administration and copyright acquisitions, managing works from artists like Public Enemy, Judas Priest, John Mayer and Zac Brown.
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Concord Music Publishing signed rising country artist-songwriter Cole Goodwin to a worldwide publishing deal, covering his full catalog and all future works. Originally from Pooler, Ga., outside Savannah, Goodwin gained attention with his 2023 self-produced EP Soon Enough and has since toured the Southeast, opening for acts like Austin Snell, Conner Smith and Zach Top. Goodwin’s latest single, “Fast Track Back,” was released in January. He will be touring extensively this spring and summer, joining Top, Smith and Dylan Marlowe, and Luke Bryan’s stadium tour. “He is proof that traditional country music is alive and well in the next generation of hitmakers and I am thrilled that he has chosen Concord as his publishing home,” said Courtney Allen, CMP’s senior director of A&R.
The Hello Group Publishing and Sony Music Publishing Benelux renewed their multi-year partnership, enhancing global collaboration in A&R, sync, licensing and administration. This deal expands THG’s reach, especially in Southeast Asia and the Asia-Pacific. Founded in 2021, THG has become a leader in K-pop and J-pop, working with artists like NCT Dream and TWICE Japan. They operate in Hollywood, London, Seoul, Mumbai and Dubai, with a roster that includes new signings like Avery Walker and Nanee. THG CEO and global head of creative Taylor Jones praised Sony for its global support, saying the music giant “allowed our flexible operating ideas to flourish, and supported our trajectory in fast-growing international markets such as India, Middle East and of course, our continued traction in South Korea and Japan.”
Mau P, a Dutch DJ and producer, signed a global publishing deal with Warner Chappell Music Benelux. Born Maurits Jan Westveen but also known as Maurice West, Mau P gained fame with underground club hits. He rebranded and released “Drugs from Amsterdam,” which topped Beatport’s Top 10 and garnered over 200 million streams. His follow-up, “Gimme That Bounce,” coincided with his first North American tour. Mau P’s success continued with tracks like “Your Mind is Dirty” and “Dress Code,” remixes for top artists and sets at Tomorrowland and EDC Las Vegas, among other events. Last year saw the launch of his show concept, BADDEST BEHAVIOUR, which debuted in NYC. WMG Benelux president Niels Walboomers praised Mau P’s talent, saying his “approach to production aligns perfectly with our vision to champion great artistry.”
Range Music Publishing expanded its roster with four new additions: Darius Coleman, Alex Goose, James Maddocks and Simon Oscroft. Coleman, in partnership with Tommy Brown and Champagne Therapy Music Group, has collaborated with artists like Normani and Chris Brown, and co-wrote “You See Me” from The Color Purple soundtrack. Goose, a producer/songwriter, has worked with Childish Gambino and composed for brands like Nike and Apple. Maddocks, co-wrote Morgan Wallen’s No. 1 hit “Cowgirls” and has worked with Post Malone and Khalid. Oscroft, a New Zealand native, co-wrote and produced Almost Monday’s No. 1 Alternative hit “Can’t Slow Down.” Range Music’s roster also includes artists like Shaboozey, Jack Harlow and Saweetie.
Story House Collective, founded by Christian artist/songwriter Matthew West, signed to its roster producer/songwriter Carter Frodge, who has worked with artists including Cain (“The Commission”), Newsboys (Stand), Jordan St. Cyr (“Be My Defender”) and The Afters (“God Is With Us”). Story House Collective also represents artists including West, Anne Wilson and Peter Burton.
Prescription Songs signed EJAE, a Korean American singer, songwriter and vocal producer. The NYC-based EJAE has worked with top K-pop groups like AESPA, TWICE, Red Velvet and NMIXX, contributing to hits such as Red Velvet’s “Psycho” and AESPA’s “Drama.” Recently, she has been the lead singing voice and songwriter for an upcoming animated K-pop movie on Netflix. Prescription Songs A&R Nick Guilmette praised EJAE’s ability to craft compelling melodies and concepts across genres, saying she’s “already has a catalog of international hits with over a combined billion streams, and is truly just getting started.”
Leon Else, a Los Angeles-based artist and singer-songwriter from the UK, signed a co-publishing deal with Brill Building Music Publishing. Known for his releases through Interscope and as an independent artist, Else’s music has been featured on numerous Apple and Spotify editorial playlists, as well as in various sync placements. Most recently, he co-wrote BTS member Jin’s “I Will Come To You,” which sold over 1 million copies in its first week.
Gangsta, the Colombian producer behind global hits such as Kapo’s “Ohnana”, “UWAIE” and “Aloh Aloh,” as well as Fariana’s “Caballito” and Wolfine’s “Bella”, signed a publishing deal with Sony Music Publishing Colombia and NEON16. The alliance “aims to unite the strengths of two powerhouse teams within the Latin music industry to bring GANGSTA’s sound to different markets worldwide,” according to a press release. Gangsta, who has a deep knowledge of Caribbean and African music (afrobeat, amapiano, salsa, and reggaetón), has also worked with Piso 21, Mariah Angeliq, Pedro Capó, Wisin, Elena Rose and Farruko, among other artists. –Sigal Ratner-Arias
Matt Lang signed an exclusive worldwide publishing deal with Anthem Entertainment and partnered with WME and River House Artists for booking and management. These alliances aim to boost his presence in the U.S. country scene while maintaining his success in Canada. Since his 2018 debut EP, Lang has achieved over 50 million streams, three Top 10 radio singles and multiple award nominations, including three Canadian Country Music Association nods. He has performed at major festivals like Boots & Hearts and Lasso Montreal, and internationally at Berlin’s C2C and the UK’s Buckle & Boots Festivals. Lang’s latest single, “Back To The Bar,” dropped this month.
APG and WZRD BLD’s In The Cut Publishing signed producer and writer Will Carlson. Known for his genre-blending style, Carlson leads the project Bilmuri on Columbia Records and has over 35 collaborative tracks. He co-wrote and produced four songs for Knox’s upcoming Atlantic Records debut. Carlson is also co-producing We Came As Romans’ new album and has upcoming singles with Pop Evil and Bad Wolves.
Last Publishing Briefs: Tori Amos Sticks With Downtown
For several years, the consensus has been clear: Hit singles are getting shorter. Blame for this has fallen on shrinking attention spans, an environment of endless musical abundance in which songs must impress themselves on listeners quickly or risk being discarded, and the rise of short-form video platforms, which cause users to fall in love with 15-second sound snippets, rendering a full track irrelevant.
In 2024, however, the average length of songs that cracked the top 10 on the Billboard Hot 100 actually rose by more than 20 seconds, to 3:40, according to Hit Songs Deconstructed. At the same time, the portion of top 10 hits that let over a minute pass before hammering home a chorus rose to its highest level in a decade, nearly 23%.
While a single year of data doesn’t reverse a trend, it’s clear that longer hits have not been banished permanently from the upper reaches of the Hot 100. Five top 10s last year exceeded five minutes, including two apiece from Taylor Swift and Kendrick Lamar. These are the musical equivalents of doorstops, more than twice as long as the shortest top 10, Tate McRae‘s “Greedy.” And those hits seem downright laconic next to Drake‘s “Family Matters,” released in the middle of his venomous, no-holds-barred showdown with Lamar, which ran past 7:30.
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Top songwriters and producers were cautiously optimistic about having more room to roam last year — and more freedom from the old adage, “Don’t bore us, get to the chorus.”
“The whole short-form thing has been pushed so hard,” says GENT!, who co-produced Doja Cat‘s “Agora Hills,” a hit that clocks in at 4:25. “The majority of the time, with short-form content, you need a gimmick, and I think music lovers are kind of tired of the gimmicks.”
“[An increase of] 20 seconds is significant,” adds the writer and producer Cirkut (Lady Gaga‘s “Abracadabra,” ROSÉ and Bruno Mars‘ “APT.”). “People may be tiring of the quick little TikTok thing.”
On a spectrum between succinct and long-winded, Cirkut leans toward the former. “I do like to get to the hook,” he says. But he acknowledges that “sometimes, a longer verse keeps you waiting, and if it’s well-written, then it makes the chorus that much more satisfying.”
TikTok can certainly reward brevity as users fall hard for sonic morsels, even a verse or a hook from an as-yet-unwritten song. But perhaps counterintuitively, when “any catchy part of a song could be what grabs people’s attention,” this may end up loosening the constraints binding commercial songwriters, according to Matt MacFarlane, senior vp of publishing at Artist Partner Group. “Song length becomes less relevant,” adds Olly Sheppard, also a senior vp at APG. “Listeners already like the part they found on TikTok,” so they’re locked in regardless of how peculiar or meandering the rest of the track turns out to be.
This theory also got a vote of support from Evan Blair, who produced and co-wrote Benson Boone’s theatrical, heaving ballad “Beautiful Things,” which peaked at No. 2 on the Hot 100. (At three minutes on the dot, “Beautiful Things” was shorter than the average top 10 hit last year, but it did make listeners wait more than a minute before drenching them with a chorus.) “Now that teasing tracks [on TikTok and other social media platforms] is a thing, we often don’t introduce songs to the world chronologically,” Blair says. “If we draw people into the middle of the song, the journey to get there matters much less.”
While TikTok plays a prime role in music discovery, it is not the only factor influencing what songs become popular. Vincent “Tuff” Morgan, vp of A&R at the indie publisher peermusic, points out that many of the star artists and songwriters who released albums last year are now in the second half of their 30s. They have devoted fan bases, so they don’t live or die by viral trends: Instead, they can be confident that even if they take their time, legions of listeners will linger with them.
“If you look at the chart, a lot of these are seasoned songwriters,” Morgan says. “The commonality is that the songwriters are a little more mature than the Gen-Z, TikTok generation.” Superstars like Swift, Lamar, Bruno Mars and Beyoncé, who combined for two dozen top 10 hits between them in 2024, are all 35 and up.
Data from last year offers some support for Morgan’s theory. The average length of a top 10 hit was 3:40, and the average age of the lead artists on songs that exceeded 3:40 was around 35. That’s roughly five years more than the average age of the lead artists whose hits clocked in under 3:40.
Not only that: 12 out of 18 of the top 10s that sprinted to the finish line in less than 3 minutes came from musicians under the age of 30. On the other end of the spectrum, Swift, who is 35, had seven top 10 hits longer than 3:40, and Lamar, age 37, had six.
This is all exciting for Dan Petel, who runs This Is Noise, a management company with a roster of songwriters and producers. For years, he’s been admonishing his clients, “stop sending songs that are just two verses and a chorus!” And now he believes, “happily, we’re evolving away from 15-second clip-based music.”
“If you’re gonna have a great song,” Petel adds, “why would you want it to end so soon?”
HYBE is partnering with Grammy-winning producer and OneRepublic frontman Ryan Tedder to form a new boy group, the company announced Thursday (Feb. 19). The project, to be led by Tedder alongside HYBE chairman Bang Si-Hyuk and HYBE America CEO Scooter Braun, will kick off with a global talent search. Once the members of the group […]
The REPUBLIC Collective, which includes Island Records, Def Jam Recordings, Mercury Records and Republic Records, has announced several executive promotions and new hires.
Recently, Jeffrey Remedios, former Universal Music Canada chief, was appointed president of strategic development. In his new role, Remedios oversees high-priority growth initiatives for Republic’s labels, focusing on international A&R, Republic recording studios, brand expansion, and more, reporting directly to REPUBLIC Collective CEO Monte Lipman and COO Avery Lipman.
Key promotions across departments include Joe Carozza as executive vp and global media officer, Brittney Ramsdell as evp of creative sync, Julie Vastola as svp of creative, and Zoë Briggs as vp of global marketing. Gary Spangler revamped the Audience team, elevating Natina Nimene to evp of urban audience and artist relations, Lucas Romeo to evp of pop audience, Brett Dumler to svp of pop audience, James Brown to svp of urban audience, and Roya Raji to vp of touring.
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Kevin Lipson expanded his team with strategic hires and promotions, including longtime Capitol Music Group svp of streaming strategy Jeff Temske coming over as evp of global research and analytics, and Colin Yost elevated to vp of innovation and gaming partnerships. Additionally, Brian Sutnick was promoted to evp of global replay strategy, Ryan Stevens to svp of commerce, Charlene Thomas to svp of global replay strategy, and Blair O’Brien to vp of commerce.
Monte Lipman praised these recent advancements, calling them “hard-earned and well-deserved,” and emphasized the collective’s commitment to artist development and finding “generational talent.”
The executive changes follow another record-breaking year for REPUBLIC Collective, which topped Billboard’s major year-end label rankings for the fourth consecutive year. In 2024, the collective amassed 72 albums on the Billboard 200, including 13 No. 1s, and 209 songs on the Hot 100, with eight chart-toppers, reinforcing its dominance in the music industry.
Record executive and former artist manager Abou “Bu” Thiam has formed a new partnership with Atlantic Music Group that brings his BuVision label to the Warner-owned major, Billboard has learned. As part of the deal, BuVision’s artists’ projects will now be released and marketed through Atlantic moving forward. Artists as part of the venture include […]
An attorney for The 1975 says frontman Matt Healy and his bandmates cannot be held responsible for the cancellation of the July 2023 Good Vibes Festival in Kuala Lumpur, which was shut down by authorities after Healy kissed one of his male bandmates on stage, violating the country’s ban on same-sex relationships. As a result […]
The honorees for the Country Radio Hall of Fame Class of 2025 were revealed Wednesday (Feb. 19) during CRS Honors as part of the Country Radio Seminar, which is happening in downtown Nashville Feb. 19-21.
This year’s radio category honorees are Ginny “Rogers” Brophey, Clay Hunnicutt and Gregg Swedberg. Honorees in the on-air personality category are Big D & Bubba, Mary McCoy and Rowdy Yates.
The honorees will be feted during the Country Radio Hall of Fame Induction and Dinner set for July 21 at the Virgin Hotel Nashville.
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The Country Radio Hall of Fame honors individuals who have made a significant and enduring impact on the industry, with inductees being recognized in the categories of on-air personality (honoring the achievements of on-air talent), and radio (honoring professionals behind the scenes in programming, management and sales). To qualify, potential honorees must have worked in the radio industry for at least 20 years, with 15 years in the country format.
Big D & Bubba first joined forces in 1996 at WTGE in Baton Rouge, La., and launched their self-syndicated morning show three years later. They have been honored by the Country Music Association and the Academy of Country Music. In 2014, they formed their own company, Silverfish, which continues to be the duo’s radio home, extending to 97 radio stations and partnering with 71 broadcast companies. Since 2011, the duo have been heard on the Armed Forces Radio Network each morning.
McCoy has been drawing in radio listeners in Conroe, Tex., for more than seven decades, a feat that has been recognized by the Guinness Book of World Records. Her radio career launched in 1951 when she joined KMCO-AM in Conroe. In the early 1990s, McCoy was one of the first voices heard on KVST-FM, a new radio station in Conroe. She has since played country music on K-STAR Country 99.7 for more than 30 years. McCoy is currently heard six days a week with on-air co-host Larry Galla. She was inducted into the Texas Radio Hall of Fame in 2010 and was part of the 2024 National Radio Hall of Fame class.
This year, Yates celebrates four decades working in radio. His career launched in Denton, Tex., in the mid-1980s, after which he ascended to dual programming/on-air roles in College Station, Tex., and Oklahoma City, Okla., before rising to roles at KIKK and KILT in Houston as well as KVOO in Tulsa, Okla. In 2004, Yates surged into nationally syndicated radio with an eight-year run hosting Country Gold. Since 2013, he’s owned, operated and worked as a host on Syndicated Media LLC Houston, and since 2019, he’s served as operations manager/PM for RFC Media/Suite Radio Houston, for country radio formats The Brand and The Legend. He also hosts The Rowdy Ride Home. Yates has been honored by the Academy of Country Music and the CRS-Country Aircheck Awards and is a member of the Texas Radio Hall of Fame.
Brophey has worked in the radio industry for more than 40 years, with roles at WBOS, WKLB and WBWL. Since 2022, she has worked as brand manager/air talent/content creator at Townsquare Media’s WOKQ/Dover/Portsmouth. During her time at WBWL, Brophey joined the Country Cares radiothon program benefiting St. Jude Children’s Research, which earned her the “St. Jude Radio Partner of the Year” honor in 2019. Her St. Jude commitment included nine years of service on the St. Jude Radio Advisory Board. Brophey has been honored by the Country Music Association and the Academy of Country Music, as well as by the CRS/Country Aircheck Awards and the New Hampshire Broadcasters Association.
Hunnicutt has earned significant success in the radio and label sides of the business. He started at WUSY/Chattanooga, where he served in roles including production director, imaging director, assistant program director and ultimately program director. He then worked as program director of WGAR/Cleveland, director of programming for Clear Channel’s five-station cluster in Nashville, and held day-to-day program director responsibilities for WSIX. Hunnicutt later took on a similar role for iHeart/Atlanta with country station WUBL, before taking on a series of corporate roles for iHeart, including executive vp of programming for the company’s major markets. At iHeart, he went on to serve as vp/brand manager of country programming for the company’s 143 country stations, as well as vp/GM of iHeartMedia’s national programming platforms. He’s been honored on Billboard‘s Power 31 list and named one of Radio Ink‘s top 50 programmers, and has served on the boards for the CMA, ACM and Country Radio Broadcasters. He also is a member of Leadership Music’s class of 2005. Later in his career, Hunnicutt started Big Loud Records as president, helping to launch the careers of Morgan Wallen, Hardy and more. He subsequently served as GM at Big Machine Records and most recently served as executive vp of label operations for all of Big Machine Label Group’s imprints.
Swedberg has spent 34 years programming at KEEY (K102) in Minneapolis, Minn. He was named K102 program director in 1992, then rose to operations manager, senior vp/programming, regional senior vp/programming and national country format coordinator for the station’s parent company iHeartRadio. Swedberg was previously a board member for the Country Radio Broadcasters and has been a member of Radio Ink’s most influential country program directors every year since 2000. KEEY has won multiple station of the year honors from the ACM and CMA. Several personalities on K102 have also been honored by both organizations during Swedberg’s time as program director.
Live Nation is ending its “concerts all summer long” program at the company’s amphitheaters and plans to replace the multi-show offering with something different, company officials tell Billboard. On Tuesday (Feb. 18), the Live Nation Lawnie Instagram page announced the end of the six-year-old program, in which music fans paid a flat fee for a […]
Sony Music Entertainment is asking a judge to throw out a lawsuit brought against the company by Patrick Moxey‘s Ultra International Music Publishing late last year, claiming the suit was an act of “retaliation” against the major label after it filed its own lawsuit against the publishing outfit two years prior.
Ultra International Music Publishing and Ultra Music Publishing Europe brought the lawsuit against Sony Music Entertainment and its subsidiaries — including Ultra Records, which Moxey sold his remaining 50% share of to Sony in 2021 — last November over allegations of copyright infringement, claiming Sony and its affiliates had been using Ultra Publishing’s compositions without a license. Filed in New York federal court, the complaint alleged that Ultra Publishing had conducted an audit finding that Sony had been underpaying royalties to the publisher and its songwriters “for years” — but that after bringing the results of the audit to Sony’s attention, the major label “failed” and “refuse[d]” to pay Ultra Publishing the royalties it was due.
Ultra Publishing claimed that after Sony’s alleged refusal, it ceased granting the music giant licenses to the company’s compositions, but that Sony nonetheless continued uploading tracks featuring Ultra Publishing-owned compositions to streaming services and selling them as digital downloads and physical releases, among other exploitations. The lawsuit concerned more than 50,000 compositions by artists including Ed Sheeran, Madonna, Rihanna and others.
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In its response, filed on Monday (Feb. 17) by attorney Tal Dickstein, Sony Music called the lawsuit “an ill-conceived effort by Plaintiffs — two music publishing companies owned by Patrick Moxey — to retaliate against” Sony Music for an earlier lawsuit it filed against Ultra Publishing for the continued use of the Ultra name. In that complaint, filed in November 2022, Sony attested that Moxey had signed away his rights to the Ultra trademark after selling the company his remaining stake in Ultra Records, which he founded in 1995.
Sony claims Ultra Publishing attempted to justify the “nefarious timing” of its own lawsuit — which allegedly dropped the day before the trial for the trademark lawsuit began — “by claiming this lawsuit stems from an audit of the music publishing royalties that Sony Music Entertainment paid to Plaintiffs.” However, Sony alleges that the audit in question, “which involved payments made by Sony Music Entertainment to Plaintiffs through 2016,” was in fact “settled in principle years ago for a small fraction of the amount claimed, and Plaintiffs never pursued those audit claims any further.”
Sony’s filing goes on to say that it and Ultra Publishing “continued working together after the audit was settled, with Sony Music Entertainment paying publishing royalties on the musical compositions that were the subject of the audit without objection from Plaintiffs, and working to license and pay the corresponding publishing royalties for well over a thousand other compositions owned in whole or in part by Plaintiffs.”
“Sony Music Entertainment’s licensing practices are both appropriate and entirely consistent with the licensing practices of every other leading record label that releases new sound recordings, including record labels that Moxey himself controlled in the past and currently owns,” the filing continues. “Moreover, Plaintiffs’ own songwriters and producers continue to write songs and collaborate with SME artists with the intention and expectation that the resulting sound recordings incorporating the underlying musical compositions will be commercially released — underscoring the obvious question of whether Plaintiffs’ attempted boycott of SME is in their songwriters’ best interest.”
An attorney for Ultra International Music Publishing did not immediately respond to Billboard‘s request for comment.
On Saturday, Feb. 15, Billboard and EMPIRE came together at EMPIRE’s San Francisco studios to celebrate Billboard’s second annual Sports and Music issue, honoring some of the most powerful people operating at the intersection of the industries of sports and music. The issue, which features EMPIRE founder/CEO Ghazi on the cover, as well as a […]