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Jeremy Erlich will be leaving his position as Spotify’s global head of music, a company spokesperson confirmed on Tuesday (Oct. 1). Erlich joined the streaming service back in June 2019, after a stint as executive vp, business development at Interscope Records. In an email to staff this week, he explained that “in the past few […]
Leslie Fram, CMT’s highly respected senior vp of music strategy and talent, is among the staffers who have left the Nashville-based country music and lifestyle programming network as part of the broad staff cuts taking place at Paramount Global.
Fram, Billboard‘s 2021 Country Power Players executive of the year, oversaw all musical integration within the brand, including original programming, CMT.com and music video airplay across all CMT platforms. Her last day was Monday (Sept. 30).
In a letter released exclusively to Billboard, Fram looks back with understandable pride at the multiple milestones she and her team, many of whom have also departed the company, achieved over her 13 years at the company, including the CMT Music Awards debuting on CBS, resurrecting franchises such as CMT Giants and Storytellers, and creating or continuing specials like CMT Campfire Sessions and its signature CMT Crossroads.
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Fram, who was an ardent supporter of all country artists — but especially burgeoning acts and women — was an outspoken advocate for diversity and inclusion and continuously strove to create ways to highlight women artists and artists of color on CMT in a genre dominated by white male acts.
“Among my proudest achievements has been our decade+ support of women with CMT’s ‘Next Women of Country,’ a program that has helped promote and elevate over 100 female artists on all platforms, and our efforts to move the format forward in areas of inclusion and diversity,” she writes.
“Over the years, the team worked tirelessly to grow these types of opportunities when in 2015, we created an all-female ‘Next Women of Country’ tour to give these artists a stage to play on – introducing newcomers like Kelsea Ballerini and supporting headlining acts like Martina McBride, Sara Evans & Jennifer Nettles.”
Fram, who will host the Save the Music event in Nashville on Oct. 15, ends the missive on a positive note: “Cheering on those who remain and those who have left — only great things ahead. With the ever-changing media landscape let’s remember to take care of each other!”
Read the full letter below:
To My Dear CMT Family, Friends, Colleagues,
Thirteen years ago this month, I had the extraordinary opportunity to become SVP/Music & Talent at CMT and work with my longtime friend and mentor Brian Philips (President of CMT at the time). The transition from rock radio to country music television turned out to be a pivotal moment in my career, allowing me and the brand’s resident experts to build CMT’s next great chapter. We went on to create an even bigger music brand, continuing to amplify the format’s superstars and legends while giving voice to the next generation.
Over the years, we’ve accomplished so many milestones as a team. From celebrating the ‘CMT Music Awards’ debut on CBS, bringing back historic franchises like ‘CMT Giants’ where we honored such legends as Kenny Rogers, Vince Gill and Alabama, and resurrecting the iconic ‘Storytellers’ format to creating new music programming and specials like ‘CMT Campfire Sessions,’ ‘CMT Summer Camp’ and ‘CMT Smashing Glass’ honoring Tanya Tucker & Patti LaBelle, these are once-in-a-lifetime experiences I will always treasure!
And it wouldn’t be CMT without a deep bow to the award-winning series, ‘CMT Crossroads.’ My first experience with the franchise was with Vince Gill & Sting at NYC’s Hammerstein Ballroom, and I immediately was overwhelmed by the musical magnitude of these shows. We went on to bring together such extraordinary pairings as Stevie Nicks & Lady A, Katy Perry & Kacey Musgraves, Alicia Keys & Maren Morris, Halsey & Kelsea Ballerini, Shawn Mendes & Zac Brown, Nickelback & Hardy, and so many more. I am eternally grateful for the expertise and genius of my colleagues, Executive Producers Margaret Comeaux and John Hamlin, without whom ‘Crossroads’ and so much more, would not be possible.
Among my proudest achievements has been our decade+ support of women with CMT’s ‘Next Women of Country,’ a program that has helped promote and elevate over 100 female artists on all platforms, and our efforts to move the format forward in areas of inclusion and diversity.
Over the years, the team worked tirelessly to grow these types of opportunities when in 2015, we created an all-female ‘Next Women of Country’ tour to give these artists a stage to play on – introducing newcomers like Kelsea Ballerini and supporting headlining acts like Martina McBride, Sara Evans & Jennifer Nettles.
All along, we would constantly ask ourselves, ‘how can we do even better?’
We soon founded an initiative called CMT ‘Equal Play’ – 50/50, male/female parity across all CMT video hours. With this momentum, we strongly encouraged the industry to play, sign and support more women and to make equally bold moves to help cement a format-wide commitment to women and equality. This concept ultimately grew to become the ‘CMT Equal Play Award,’ in recognition of artists who advocate for diverse and underrepresented voices in the industry, bestowed upon such luminaries as Jennifer Nettles, Linda Martell and Shania Twain.
We also partnered with Cameo Carlson, President & CEO at mtheory to create CMT ‘Equal Access’ to better support artists from underrepresented communities. I’m proud to say that this effort closely mirrors the visionary leadership of Marva Smalls, EVP of Public Affairs/Global Inclusion at Paramount, our partners in ‘Equal Access.’ This program has allowed us to work with both artists and management professionals, helping us diversify the talent pipeline in country music.
Looking back over my career at CMT, I have so much gratitude for amazing leaders like Van Toffler, Bob Bakish & Bruce Gillmer to name a few. Thank you for your vision and support.
To my incredible team, Donna Duncan, Stacey Cato, Jordan Walker, Katrina Cooper, Jordan Hatton, Abbi Roth, Bryana Cielo and my brilliant counterpart, Margaret Comeaux, John Hamlin, Heather Graffagnino, Jackie Barba, Jim Craig, Cynthia Mangrum, Jodi Carmichael, Melissa Goldberg, Ali Marszalkowski, Quinn Brown, Cody Alan, Shanna Strassberg, Andy Luther (and the IT Team) and so many more, we will always be a family and team. Your friendship and support have been my guiding light. I will cherish all our collective challenges and wins.
To my Paramount and MTV colleagues past and present, it’s been my complete honor to work and learn from you.
To the OG CMT’ers – the late great Chet Flippo, Suzanne Norman, Martin Clayton, Anthony Barton, Lisa Chader, Lucia Folk, Cindy McLean Finke, Jim Raley, Jackie Jones, Lewis Bogach, John-Miller Monzon, Shane Caldwell, Tessa Jordan, Jennifer Danielson, Jen Hoogerhyde (Morrison), Alina Thompson and so many more – in the words of Dolly ‘I will always love you!’
And finally, to this magical Nashville community and its brilliant artists, you have given and shared so much. I will always be grateful for your friendship and support, and I know that you will continue to collaborate with this undeniable brand for years to come.
Cheering on those who remain and those who have left-only great things ahead. With the ever-changing media landscape let’s remember to take care of each other! Thank you from the bottom of my heart.
Leslie Fram
lesliefram@me.com
Merlin, which negotiates digital licenses for a coalition of more than 30,000 independent labels around the world, told its members in a letter on Friday (Sept. 27) that TikTok “walked away” from talks to renew their TikTok license “before negotiations even began.”
“[TikTok] informed us that they do not want to renew our deal,” the letter, obtained by Billboard, states. “They informed us that… they intend to license some of our members directly.” The current Merlin-TikTok license is set to expire on Oct. 31.
“Their approach [to pursue direct deals with Merlin members] suggests that [TikTok] believe[s] their objectives can be better served by fragmenting the Merlin membership, in order, we believe, to minimize their pay out,” states the letter. “As you know, Merlin was founded to stand up for and champion its members. We will not support an approach that devalues our community.”
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A TikTok spokesperson says that “TikTok would like to offer all of the world’s music to our users. We are committed to working with the independent sector as well as the major labels and publishers. We know that our community of over a billion music fans value the diversity and richness that independent music brings to our platform. We are committed to entering into direct deals with Merlin members in order to keep their music on TikTok.”
Founded in 2008, Merlin represents 15% of the global recorded music market, and it uses that collective market power to negotiate with digital partners on behalf of its members on a similar footing as the bigger major labels. The end of its license with TikTok would mean that top songs from artists like Coolio, Diplo, Faye Webster, J Dilla, The Lumineers, Mac Demarco, Madlib, Mitski, Nirvana, Phoebe Bridgers, Thundercat, Wet Leg and more will leave the platform after Halloween, unless their respective labels are able to reach agreements with TikTok. Each label individually would have to agree to terms with the platform, negotiating with a much smaller market footprint than they would have collectively.
Merlin is the third music organization this year, after Universal Music Group and National Music Publishers’ Association (NMPA), to express challenges in renewing music licenses with TikTok. In February, UMG’s failure to reach a deal with TikTok led to the removal of its entire catalog of hits from TikTok for about three months. In April, after publicly supporting UMG’s position against TikTok, the NMPA allowed its TikTok license, which was used by a number of indie publishers, to lapse as well. It has not been renewed.
“We believe the most likely reason that TikTok did this is that TikTok does not want to pay a fair rate for the music that powers their platform,” Merlin’s letter to members continues. “If this is right, then TikTok does not value independent music, the independent labels and distributors who support that music, nor the diverse artists who create it. They are unlike every other partner that Merlin works with.”
Along with negotiating digital deals for indie labels on TikTok, Merlin also licenses members’ catalogs to 40 services around the world, including platforms like YouTube, Meta, Spotify, Apple Music, Amazon Music, Tidal, SoundCloud, Deezer and more.
Separately, Billboard obtained an email TikTok sent out to some Merlin members, stating that the short-form video app “decided not to renew [its] license agreements with Merlin” and that TikTok “may be able to do direct deals” with the labels, provided that they agree to sign a non-disclosure agreement (NDA). “The purpose of the NDA is to enable us to discuss direct licensing agreements with you.” The deadline to sign and return the NDA is Oct. 4. A source familiar with TikTok said, however, that any Merlin label that wishes to stay on TikTok after Oct. 31 can review and sign the TikTok and CapCut agreements anytime before Oct. 25.
Merlin told its members that it is doing “all [it] can to re-engage with TikTok… we have already made it clear to them that we are ready to hold an actual negotiation and address any concerns they may have.”
While Merlin believes TikTok’s move is an attempt to keep the price tag for indie music lower than it would like, the organization’s letter to members also says that TikTok has “suggested” they are walking away “because of concerns about ‘fraud.’” “As we have told them on numerous occasions, we are incredibly proactive on this issue,” the letter states.
“TikTok’s refusal to negotiate a deal with Merlin isn’t just a setback — it’s a threat to the whole music ecosystem,” Dr. Richard Burgess, president of the American Association of Independent Music (A2IM), says of the situation. “This isn’t just about Merlin; it’s about properly recognizing the value of artists and their music.”
Merlin declined Billboard’s request for comment. In an interview with Billboard published last week, Merlin CEO Jeremy Sirota discussed his approach to renewing partnerships with platforms such as Meta and YouTube, with which Merlin has struck new deals of late. “We don’t think of it as, ‘Let’s come back and kick the tires every few years,’” Sirota said. “We want to help shape their thinking about music and their understanding of what independents need at an operational level. We want to do the same thing with our partners to create this continual feedback loop and conversation.”
Merlin’s membership includes, but is not limited to, independent labels like 4AD, Brain Feeder, Captured Tracks, Domino, Dualtone, Empire, Higher Ground, Matador, Ninja Tune, Secretly Group, Stones Throw, Subpop, Tommy Boy, XL and thousands more.
Read Merlin’s letter to members below in full:
Dear Merlin Member,
On August 5th, we informed you that we expected a difficult negotiation with TikTok.
This past Wednesday, with no warning, TikTok walked away before negotiations even began. They informed us that (1) they do not want to renew our deal, which expires on October 31st, and (2) they intend to license some of our members directly. To be even more clear, unfortunately, as of now, there will not be a Merlin-TikTok deal after October 31st.
We believe the most likely reason that TikTok did this is that TikTok does not want to pay a fair rate for the music that powers their platform. If this is right, then TikTok does not value independent music, the independent labels and distributors who support that music, nor the diverse artists who create it. They are unlike every other partner that Merlin works with.
TikTok pays substantially less for your music than other services, apparently relying on the perception that artists cannot afford to have their music unavailable on the platform. We made a good faith proposal to narrow this gap, but rather than negotiate, TikTok chose to simply walk away.
Given that TikTok refused to negotiate with us, our view is that they must see the obligation to pay fair royalties as a nuisance. They must view Merlin – with its mission to protect and maximize the value of our members’ music – as too strong a negotiating partner for their liking. Their approach suggests that they believe their objectives can be better served by fragmenting the Merlin membership, in order, we believe, to minimize their pay out.
TikTok has asked us for an “orderly transition” to do direct deals with those members they deem worthy. As you know, Merlin was founded to stand up for and champion its members. We will not support an approach that devalues our community.
The Merlin team remains dedicated to forging meaningful relationships between our members and partners, as well as driving value into every partnership. This includes dedicated teams to answer member inquiries across every aspect of our partnerships, operational support, best practices guides, partner-led and Merlin-led webinars, consolidated pitch forms, and so much more.
We are doing all we can to re-engage with TikTok to secure a renewal agreement for our members. We have already made it clear to them that we are ready to hold an actual negotiation and address any concerns they may have. TikTok has also suggested that they are walking away because of concerns about “fraud,” but as we have told them on numerous occasions, we are incredibly pro-active on this issue.
We recognized early on, and communicated with TikTok, the concerning growth and impact of stream manipulation and fraudulent content both on TikTok and across the marketplace. We have worked productively and collaboratively with TikTok on this issue, and until now, no concerns have been raised about the approach Merlin is taking. We have implemented measures to address illegitimate activity and content; automated systems to detect suspicious activity; and a dedicated team to address issues and impose sanctions, including ultimately, termination of membership for bad actors.
Members must, as ever, make their own decisions on how to deal with TikTok. For our part, we will never stop fighting for the value that our members bring, regardless of how this situation resolves itself.
We will follow-up by separate email with whatever answers we might have on your operational questions.
Narcís Rebollo has been appointed CEO and president of Global Talent Services, Universal Music Group’s full-service company for Latin artists spanning management, booking, live events, promotion and brand partnerships.
In line with Rebollo’s appointment, which was announced by Universal Music on Tuesday (Oct. 1) and is effective immediately, Global Talent Services (GTS) becomes a standalone company, with its management and operation now handled independently from UMG’s local music labels.
In the newly created role of GTS CEO and president, Rebollo — who is based in Madrid — will oversee the company’s operations in the U.S., Latin America, Spain and Portugal, reporting to Jesús López, chairman and CEO of Universal Music Latin America and Iberian Peninsula. Further details of leadership appointments within Universal Music Iberian Peninsula will follow shortly, said UMG in a statement announcing the structural changes.
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Launched in 2007, Global Talent Services provides a full suite of artist services for Latin artists and operates offices in eight countries, including the U.S., Spain, Portugal, Brazil, Mexico and Columbia.
Artists signed to GTS’ management roster in Spain include Antonio José, Salma, Natalia Lacunza and Mala Rodriguez with the company’s live events team booking over 500 shows in the country last year, according to Universal Music.
Other markets where UMG says Global Talent Services is experiencing solid growth include Mexico, where it booked 175 shows for 25 artists in 2023; and Brazil, where the company has had strong success as a booking agency and managing partner for artists projects by Maneva, Leo Santana, Atitude 67, Felipe Araújo and Paula Fernandes.
One of GTS’s biggest campaigns to date has been establishing Colombian band Morat as one of the leading Spanish-speaking pop-rock acts in the world with its “Si Ayer Fuera Hoy” 2023-2024 global tour — which included a sold-out show at New York City’s Madison Square Garden Theater in January — selling more than one million tickets across 125 concerts and over 15 countries, according to the company. GTS also operates the multi-date Universal Music Festival, which takes place every year in the Spanish capital city of Madrid.
Prior to today’s appointment, Rebollo served as president of Universal Music Iberian Peninsula since 2015, where he was responsible for UMG’s recorded music and GTS operations in Spain and Portugal. Under his leadership, the company grew its operations to include concert booking and promotion, festivals, touring and live events with GTS clients including Latin artists David Bisbal, David Bustamante, Pablo López, Lola Indigo, Aitana and Camila Fernández.
Before joining Universal, Rebollo held senior roles at Spanish independent music company Divucsa, BMG, electronic dance music label Max Music and Spain’s biggest independent label, Vale Music, which Universal acquired in 2006.
“Narcís is one of the most experienced executives in Latin music,” said Jesús López in a statement. “His vision of the evolution of the business and the expansion of Latin music around the world in recent years, has led him to create a very successful team in Spain and Portugal in the areas of management, booking, promotion and brands.”
López went on to say that GTS was born “with the purpose of being a full-service agency for artists, and the time has come for it to become an independent business unit within UMG.” Rebollo, added López, is the “perfect leader” to lead the growth of GTS globally.
“Today more than ever, our artists need strategic support from a company that is both fully focused on management, but with the ability to deliver global services and support,” said Rebollo in a statement. “With the explosion of interest and influence of live music, and music driving social engagement and conversation more than ever, I strongly believe that GTS is perfectly positioned to provide the best support for Latin artists around the world.”
Day After Day Productions and Emancipated Icon Entertainment Group have announced the joint signing of Lil’ Kim and Teddy Riley for worldwide touring engagements. The partnership marks a significant milestone for both artists’ bookings globally as they embark on new chapters in their careers.
Emancipated Icon, recently formed by Emancipated Talent’s CEO Rich Murphy and Icon Entertainment CEO Greg Walker, has established a strategic partnership with Day After Day, founded and led by veteran agent Seth Shomes. Together they will represent Lil’ Kim, a legendary figure in the hip-hop world who has captivated audiences with her unique style and iconic hits including “Not Tonight (Remix),” “Crush on You,” “Lady Marmalade,” “Magic Stick,” “The Jump Off” and “Lighters Up.”
Riley, a renowned producer, songwriter and multi-instrumentalist, has played a pivotal role in shaping the sound of R&B and hip-hop. His iconic productions include hits like “Remember The Time” by Michael Jackson, “My Prerogative” by Bobby Brown, “Baby Come Back” by The Temptations, “No Diggity” by Blackstreet and “Can’t Stop the Feeling” by Justin Timberlake. His collaboration with Lil’ Kim on the iconic track “Not Tonight (Remix)” featured Missy Elliott, Da Brat, Eve and Mary J. Blige and further solidified his status as a music industry powerhouse.
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Lil’ Kim said, “I am thrilled to be represented by Richard Murphy and Greg Walker of Emancipated Icon Entertainment Group, alongside Seth Shomes of Day After Day Productions. With their expertise and dedication, I am excited to take my touring shows around the world, ensuring that my artistry resonates in every corner of the globe. Together, we are committed to creating unforgettable experiences for my fans and pushing the boundaries of entertainment.”
Riley stated, “I am excited to have Richard Murphy and Greg Walker of Emancipated Icon Entertainment Group, along with Seth Shomes of Day After Day Productions, representing me in all areas of entertainment. Their passion and commitment to excellence will elevate my touring experiences around the world. Together, we aim to create remarkable moments for my fans and continue to shape the future of music. The journey ahead is filled with endless possibilities!”
Shomes said, “I have known Greg (Walker) and Rich for many years and have deep respect for all they have achieved in the industry. I couldn’t be happier to strategically align with them on icons such as Lil’ Kim and Teddy Riley and I can’t wait to collaborate on behalf of these legendary artists.”
“I have had the privilege of collaborating with Seth Shomes and Richard Murphy for over a decade in the entertainment industry,” Walker added. “Their creativity and vision are truly remarkable, and I couldn’t be more excited about the innovative projects we have lined up together. It’s a thrilling journey to bring our shared ideas to life with two of the most talented individuals in the business.”
“Greg and Seth have consistently demonstrated their dedication to excellence and innovation in our past projects together,” said Murphy. “Their commitment to pushing boundaries and thinking outside the box mirrors my own approach to creativity and professionalism. I have full confidence in our ability to achieve great things together and believe that our partnership will lead to even greater success and growth for all of us.”
Gabriel Pellicer describes the Sing Out Loud Live Festival’s Wildly Showcase in downtown St. Augustine, Fla., as a convergence of history, passion and purpose.
“It’s a festival with a message,” explains Pellicer, who works as the CEO of SJC Portfolio Events, which manages Florida’s St. Augustine Amphitheater and Ponte Vedra Concert Hall and hosts a number of festivals in what historians say is the oldest city in the U.S., which is located about 40 miles southeast of Jacksonville and 70 miles east of Gainesville.
Over the weekend of Sept. 21 and 22, 27,000 music fans attended the annual showcase, which was headlined this year by Eric Church and Noah Kahan with appearances by marquee acts including Molly Tuttle and Norah Jones, Ryan Bingham with the Texas Gentlemen, JJ Grey & Mofro, Ole 60, The Breeders, Marcus King, Sierra Ferrell, Kevin Morby, and Nat & Alex Wolff. The showcase generated more than $160,000 from ticket sales in support of land conservation in St. Johns County and efforts to build a wildlife corridor between South and North Florida.
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“The primary intention is to try to keep as much wild Florida wild as possible,” Pellicer said.
“The idea for the [Sing Out Loud] Festival began in 2013 when Mumford & Sons brought their Gentlemen of the Road to St. Augustine,” Pellicer recalls. “It was a September event. Because we’re a historic town in Florida, the number one economy is tourism. And we have these peaks and these valleys. August and September usually tapers off, especially after Labor Day. School gets back in session, and it just slows down. And we saw that as an opportunity.”
Beyond the performances, this year’s Sing Out Loud Festival offered immersive experiences allowing fans to walk through a recreated wildlife corridor, navigate local state parks via interactive maps and interact with giant inflatable representations of Florida’s iconic panthers, manatees and alligators.
“It has been such an honor partnering with the festival and having such a big audience to be able to sing the praises of how cool wild Florida is,” says Sara Sheehy, director of storytelling and the lead adventurist for Live Wildly. “One of the things that I am super passionate about is getting people out to experience the real wild Florida and so when any of the bands here at Sing Loud express interest, I’m like, “Where do you wanna go? I’ll take you anywhere in wild Florida that you want to experience.”
That includes taking several artists to a Guano Reserve along an untouched stretch of coastline just north of St. Augustine.
“It has these pristine dunes we explored, then [we] jumped in the water and spent some time looking for shark’s teeth on the beach,” says Sheehy. “Any chance that I have to get artists or anybody, literally anybody, into the wild, that is the end goal for me. Getting them to experience the wildness and the beauty of this place. It is beautiful here.”
As the festival continues to grow, its commitment to pairing live music with meaningful community initiatives remains at the forefront. Sing Out Loud Festival organizers plan to build on their momentum in the years to come, expanding their live music footprint while building upon their conservation efforts in the Southeast of the state.
YouTube and SESAC have settled their rate dispute, meaning the performance rights organization’s catalog will soon be back up on the YouTube platform, according to representatives from both sides.
“We are pleased that SESAC reconsidered our offer,” a YouTube representative said in a statement. “We’ve reached a deal and content will come back shortly. We appreciate everyone’s patience during this time.”
SESAC executives also say they are pleased with the deal. “We have reached an agreement with YouTube to equitably compensate SESAC’s songwriters and publishers for the use of their music,” SESAC Performing Rights president/COO Scott Jungmichel said in a statement. “We appreciate the support and patience of our affiliates, as well as the artists who perform those songs. During our negotiations with YouTube, our affiliates’ works were unilaterally removed by YouTube ahead of the contract end date of October 1, 2024. YouTube has begun the process of reinstating videos featuring these songs.”
The deal was struck after YouTube pulled down a portion of SESAC’s repertoire, including songs from the likes of Bob Dylan, Adele, R.E.M., Green Day and Zac Brown, among others. When YouTube users wanted to play a video containing music from artists signed to SESAC, they were greeted with a message stating, “This video contains content from SESAC. It is not available in your country.”
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Artists and songwriters including J Cole, Sam Smith and Kanye West who are not signed to SESAC also had songs taken down due to having credited co-writers who were signed with the PRO. In addition, sources say, even some SESAC songwriters whose publishers have direct deals with YouTube had their songs taken down.
The YouTube representative indicates it will take a day or two for everything to go back up online. As it is, some videos still have the “is not available in your country” notice, while other songs by songwriters signed to SESAC are once again available on the service. Apparently, YouTube was still in the process of removing videos when the deal was struck, so while some notable SESAC songs were taken down over the weekend, other songs by the same artists, and even songs on the same album, were still available.
According to sources, YouTube global head of music Lyor Cohen was making phone calls at the end of last week to managers, labels and publishers, warning them that the takedown was coming. When executives who received the calls asked why the music was taken down, Cohen apparently answered that YouTube and SESAC were too far apart in negotiating the rate.
Meanwhile, other industry sources say they heard that an agreement was reached in principle on Saturday morning (Sept. 28), before YouTube started heavily pulling down SESAC songs.
Attorneys for Sean “Diddy” Combs have formally launched an appeal of a judge’s ruling denying him bail, marking their latest effort to get him released from jail as he awaits trial on racketeering and sex trafficking charges.
In a notice filed in Manhattan federal court on Monday (Sept. 30), the rapper’s lawyers said they would ask the U.S. Court of Appeal for the Second Circuit to overturn Judge Andrew L. Carter’s ruling earlier this month, which kept Combs behind bars on the grounds that he might pose a danger if released.
Monday’s filing did not contain detailed arguments, which will be filed later at the appeals court.
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Combs, also known as Puff Daddy and P. Diddy, was once one of the most powerful men in the music industry. But earlier this month he was indicted by federal prosecutors over accusations of sex trafficking, forced labor, kidnapping, arson and bribery. If convicted on all the charges, he potentially faces a sentence of life in prison.
Prosecutors allege that Combs ran a sprawling criminal operation, aimed at satisfying his need for “sexual gratification.” The charges detailed “freak offs” in which Combs and others would allegedly ply victims with drugs and then coerce them into having sex with male sex workers, as well as alleged acts of violence and intimidation to keep victims silent.
“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” prosecutors wrote in the indictment. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”
A day after the indictment was unsealed, Carter denied the rapper bail. Though Combs’ legal team had offered to pay a $50 million bond and submit to strict monitoring, the judge was swayed by arguments from prosecutors that he might still flee or might obstruct the government’s case by pressuring witnesses.
The ruling has left Combs at the Metropolitan Detention Center — a federal correctional facility in Brooklyn that has long been criticized for danger and dysfunction. In court filings, Agnifilo has called the MDC “horrific” and “not fit for pre-trial detention.” In a press conference after the bail hearing, he called the jail “inhumane housing conditions.”
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When Slipknot first contacted Cedar Ridge Distillery, which is located 120 miles from the band’s hometown of Des Moines, Iowa, management was not interested in an alternative metal whiskey brand inspired by scary clowns. Until one of the owners forwarded the Slipknot email to employees. “Oh, my God, Slipknot — are you kidding me?” came the overwhelming response. “We have to do this.”
The result, Slipknot No. 9 Reserve Whiskey, which debuted in 2019, represents the shattering of a “glass ceiling” in the heavy metal business, according to Cory Brennan, Slipknot’s manager. Metal-branded products were once taboo; today, they’re no-brainers. “For so long, the gatekeepers were scared of anything aggressive and scared of metal and scared of their audiences. Over the past 15 years, that’s really changed,” Brennan says. “More and more people are open to the genre. They’re kids, adults. Some are grandparents at this point. And they’re loyal. They’re not going away.”
Artists from all genres rely financially on fan bases who buy product. Metal audiences tend to be loyal for years, even decades — and that loyalty translates into revenue for long-running legacy acts. Iron Maiden built a worldwide branded-apparel business out of its logo and skeletal Eddie the Head mascot.
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“Pop comes and goes. Metal stays consistent,” says Barry Drinkwater, executive chairman of Global Merchandising Services, which works with Iron Maiden, Guns N’ Roses and others.
The revenue proportions in the metal world are different from those of pop or hip-hop. Marketing and selling albums remain important for the bands’ labels. Brian Slagel, owner and chairman/CEO of Metal Blade Records, home of Mercyful Fate, Sacred Reich and many others, says the 42-year-old indie label makes 25% to 30% of its revenue from vinyl album and CD sales, and the rest from streaming, although only the genre’s biggest stars are racking up substantial royalties, such as Metallica and Black Sabbath, which have both crossed the 1 billion stream threshold.
Most metal acts, however, rely on touring and merch. “Merchandise on the road is probably the No. 1 source of our income,” says Keith Wampler, frontman for The Convalescence, a symphonic horror death metal band from Toledo, Ohio.
Drinkwater adds, “Eighty percent of it is a black T-shirt.” Metal merch sales boomed during the coronavirus pandemic, when fans stuck at home turned to online shopping. In July 2020, August Burns Red guitarist Brent Rambler found himself shipping hundreds of packages from the basement of his house to fans who were spending money on merch instead of live shows. “A lot of tape and scissors,” he recalls. The group soon hired a fulfillment company to help with the orders and built a thriving online store. “It has fully replaced the income almost of doing a full tour,” Rambler adds. “We say it’s the silver lining of the pandemic.”
The strength of merch sales has since helped bands weather the post-pandemic inflation that has hiked up the prices of buses, crew, hotels and gas and cut into the profit margins of groups with smaller fan bases.
Meanwhile, the genre’s marquee acts are thriving. Metallica sold 1.2 million tickets last year, grossing $125.8 million, according to Billboard Boxscore. And Cannibal Corpse drummer Paul Mazurkiewicz says, “We’re doing the best we’ve ever done. A lot of bands talk about the tough time touring and the costs and all that, but we don’t see any of that.”
New headliners are also emerging, says Hatebreed frontman Jamey Jasta, who bought the rights to the dormant Milwaukee Metal Festival and rebooted it in 2023. Knocked Loose, Lorna Shore and Slaughter To Prevail are among the bands that have drawn massive live crowds despite repertoires with “almost no melody,” Jasta says. “We had [all three] headlining on a Sunday. It was the biggest day and outdrew [more established bands] Lamb of God and Machine Head.”
And while metal acts have yet to master TikTok the way pop star influencers have, their fans’ social media posts often heighten their visibility and drive discovery. Slagel calls TikTok “vitally important,” and says metal bands that distance themselves from the app wind up dominating it anyway. “I went to see Cattle Decapitation and Immolation in Dallas. Both bands were telling me there were a lot of younger fans there that they haven’t really seen [before]. I said, ‘Well, it’s TikTok.’ And they said, ‘We’re not on TikTok!’ ” he recalls. “But your fans are on there,” he told them, “and they’re hashtagging Cattle Decapitation and posting videos.”
The key to long-term success, say veteran metal stars, is to keep touring and recording, as well as taking control of their masters. Testament, founded in 1983, made a deal with indie Megaforce Records in the mid-’90s to license its recordings rather than sign over the rights, and is awaiting the reversion of its earlier Atlantic Records masters after 35 years, according to U.S. copyright law. “The label’s like, ‘Have you ever looked at your numbers?’ We have close to 3 million listeners a month on Spotify,” frontman Chuck Billy says. “I was like, ‘Holy smokes!’ All the publishing rights, everything goes to us. We rode the storm out and stayed together. We’re still out there touring pushing the music — now we own it.”
The multigenerational consumer demand for metal and the avid loyalty of its fans may lead to multi-million-dollar catalog sales. Now that Mötley Crüe and KISS have sold their publishing catalogs for hundreds of millions of dollars, heavier bands are optimistic. Publishing companies have been “knocking on our door,” Billy says.
“I hear Judas Priest and Van Halen on car commercials, I hear bands that we grew up with on commercials,” he adds. “Ten or 15 years from now, it might be Testament.”