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Vinyl sales were up 14.2% across all U.S. independent retailers in 2023, according to Luminate, marking the continued growth of a format whose renewed popularity has coincided with a growing industry focus on sustainability — one that has consistently identified vinyl’s carbon footprint as problematic.
Now, the Vinyl Record Manufacturer’s Association (VRMA) and the Vinyl Alliance (VA) have released a study that looks at the carbon footprint of the manufacturing process and offers recommendations on how to mitigate it.

“We hope this report — and a series of subsequent updates — encourages everyone in the vinyl record industry to be radically transparent about the environmental impact of making vinyl records, and what steps we can take to reduce that impact,” the report reads, adding that the data backing it up is “based on a very limited number of businesses in the supply chain.” However, it continues, “we have a range of other companies who are in the process of contributing their carbon footprints, and we hope this report will encourage many more businesses in the supply chain to participate as well.”

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The study considers the vinyl industry’s scope one, two and three emissions, which are involved in the entire lifespan of a vinyl record. Respectively, they encompass a company’s direct emissions; indirect emissions from electricity purchased; and all other indirect emissions in a company’s value chain. The study was made in accordance with Greenhouse Gas (GHG) Protocol, which standardizes, on an international level, how businesses measure, report and manage their greenhouse gas emissions.

According to the report, the “cradle-to-factory gate” footprint of a single vinyl album is approximately 1.15 kg CO2e, or the equivalent of driving a car for three miles. Fifty percent of those emissions come from the plastic PVC compound used to press the records, another 30% are from energyconsumption at the factory and 13% of emissions are from print packaging like jackets, inserts and sleeves. The remaining percentage includes the manufacturing of lacquers, cutting tools and stampers, and other packaging.

But while vinyl emissions are an oft-cited problem, the report goes a step further by offering five recommendations vinyl manufacturers can take to reduce carbon emissions from their production processes.

The first is to eliminate air freight. “If a label or artist presses at a single location, then ships records to global markets by air freight,” the study states, “these shipping emissions will dwarf anything else you might do to reduce the carbon footprint of your release.”

The next recommendation is to switch to “bio-attributed” PVC compound. A relatively recent invention, “bio-attributed” PVC is made from a waste product created during paper production and uses plant-based raw materials to replace the petroleum that PVC is typically made with. Such usage could cut an album’s carbon footprint by roughly 44%, according to the report.

The report also recommends that manufacturers press on lighter 140-gram, versus 180-gram, vinyl. Heavier weights can increase a record’s footprint by between 14% and 26%, as can the use of splatter vinyl, which entails sprinkling various colors onto a background color before the record is pressed. The report also advises manufacturers to keep their packaging simple, noting that a jacket gatefold on a single record adds 10% to 15% to the typical footprint of a record compared to a standard 3mm spine jacket.

Finally, the report advises all companies in the supply chain to transition to zero-carbon energy. “Pressing plants often have gas boilers, and replacing these with electric or hydrogen boilers represents a huge challenge,” the report states, “but one that has to be grasped.”

The inaugural report was compiled by a working group led by Peter Frings of Stamper Discs alongside Adam Teskey and Alex Deninson of Vinyl Factory Manufacturing Ltd; Ryan Weitzel of A to Z Media; Karen Emanuel and John Service of Key Production; Ian Stanton of Beggars Group; Kamal Nasseredine of Precision Pressing; Vladimir Visek of GZ Media; Ryan Mitrovitch of Vinyl Alliance; Bryan Ekus of VRMA; and Ruben Planting of Deep Grooves.

Sirius XM Holdings announced a 1-for-10 reverse stock split for its shareholders when it merges with Liberty Media’s SiriusXM Group tracking stock later this year, sending the streaming and satellite radio company’s stock up 4.5% on Tuesday (June 18). The stock split, which was announced in a filing on Sunday (June 16), is meant to […]

For the first time ever, the musical fantasy film Labyrinth, Jim Henson’s original masterpiece starring the late David Bowie, will transport fans to Goblin City in an exciting fusion of film and live music onstage with “Jim Henson’s Labyrinth: In Concert.” The 30-city North American tour launches Sept. 24 — Henson’s birthday — with stops in Atlanta, Orlando and New Orleans.

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Labyrinth’s loyal and steadfast cult following has grown for nearly 40 years since the film’s theatrical release on June 27, 1986. Audiences are invited to experience an epic evening as the movie is presented on a large HD cinema screen. Onstage, a live band will perform in sync with Bowie’s original vocals, playing the songs and the score from the soundtrack, composed by Bowie and Trevor Jones.

“Jim Henson’s Labyrinth: In Concert” producer Black Ink Presents, a division of Sony Music Entertainment, is known for breathing new life into iconic films with symphonies, orchestras or bands live onstage, including Batman, Ghostbusters, The Nightmare Before Christmas, Rocketman, La La Land and more.

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“I have always been a huge fan of the groundbreaking collaboration of Jim Henson, George Lucas, David Bowie, and Trevor Jones on this film, and bringing it to fans in a live concert screening experience is a dream come true,” says John Kinsner, CEO of Black Ink Presents. “Getting to hear Bowie’s vocals with a live band while watching the film is sure to give every Labyrinth fan goosebumps.”

“It’s always incredible when the amazing fans of Jim Henson’s Labyrinth come together to watch (and rewatch!) this beloved fantasy adventure,” says Nicole Goldman, executive v.p. of Branding for The Jim Henson Company. “With ‘Jim Henson’s Labyrinth: In Concert,’ we are welcoming loyal and new fans to the world of the Goblin King, and celebrating the incredible music of David Bowie and Trevor Jones in a whole new way. It is certain to be a ‘Magic Dance!’”

Starring Bowie and Jennifer Connelly, as well as scores of goblins and creatures from the renowned Jim Henson’s Creature Shop, the film features a soundtrack of unique and memorable melodies, with Bowie’s original songs like “Magic Dance,” “Underground” and “As the World Falls Down,” along with Jones’ orchestral score.

“Jim Henson’s Labyrinth: In Concert” tour schedule:September 24 – Morgantown, WV @ Metropolitan TheatreSeptember 25 – Reading, PA @ Santander PACSeptember 26 – Glenside, PA @ Keswick TheatreSeptember 27 – York, PA @ Pullo CenterSeptember 28 – Concord, NH @ Capitol Center for the ArtsSeptember 29 – Mississauga, ON, Canada @ Living Arts CentreOctober 1 – Rutland, VT @ Paramount TheatreOctober 2 – Medford, MA @ Chevalier TheatreOctober 3 – Patchogue, NY @ Patchogue Theatre for the Performing ArtsOctober 5 – Munhall, PA @ Carnegie Music Hall of HomesteadOctober 7 – Cleveland, OH @ Agora TheatreOctober 8 – Louisville, KY @ Louisville PalaceOctober 9 – Columbus, OH @ KEMBA LiveOctober 10 – Lexington, KY @ Lexington Opera HouseOctober 11 – Indianapolis, IN @ Murat TheatreOctober 12 – Detroit, MI @ Masonic Cathedral TheatreOctober 13 – Milwaukee, WI @ Pabst TheaterOctober 14 – Cincinnati, OH @ Taft TheatreOctober 16 – Saint Paul, MN @ Fitzgerald TheaterOctober 17 – Waukegan, IL @ Genesee TheatreOctober 18 – Kansas City, MO @ Uptown TheaterOctober 19 – Omaha, NE @ Holland CenterOctober 21 – Dallas, TX @ Majestic TheaterOctober 22 – New Orleans, LA @ Orpheum TheaterOctober 23 – Atlanta, GA @ The EasternOctober 24 – Jacksonville, FL @ Florida TheatreOctober 25 – Orlando, FL @ Plaza LiveOctober 26 – Clearwater, FL @ Ruth Eckerd HallOctober 27 – Fort Lauderdale, FL @ The ParkerFor more information, including tickets and tour dates, visit LabyrinthInConcert.com.

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Wu-Tang Clan’s one-of-a-kind album is at the center of a lawsuit against Martin Shkreli; Justin Timberlake faces a drunk driving charge; Young Thug’s lawyer avoids jail and demands that a judge recuse himself; Drake is sued by Members Only for trademark infringement; and much more.

THE BIG STORY: Once Upon A Time In Court

When the Wu-Tang Clan auctioned off their one-of-a-kind album Once Upon a Time in Shaolin to Martin Shkreli in 2015, the deal was famous for its kooky restrictions. A rumor about a clause allowing Bill Murray to steal the CD in a heist turned out to be fictional, but the deal really did include a requirement that the music could not be released to the general public until 2103.  Needless to say, a lot has changed since then. Shkreli soon became the hated “Pharma Bro” who spiked the price of crucial AIDS medications; he then forfeited the album to federal prosecutors after he was convicted on securities fraud charges. Years later, the government then re-sold Shaolin to a group called PleasrDAO. But those weird contractual restrictions came back into the picture twice this past week — first when Pleasr sued Shkreli for threatening to leak the album online, and again when Pleasr itself said it would be offering fans the chance to buy a snippet of the mysterious album for just $1. Go read our full story on the lawsuit against Shkreli, which Billboard will be monitoring closely as it moves forward in court. And then go read our deep-dive into how a famously restricted album is being “offered to the public” decades earlier than it was supposed to be. 

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Other top stories this week…

TIMBERLAKE ARREST – Justin Timberlake was arrested in the Hamptons on suspicion of driving while intoxicated after a police officer pulled him over for running a stop sign and failing to stay in his lane. According to court records, Timberlake told police he “had one martini and I followed my friends home,” but his “eyes were bloodshot and glassy” and the officer smelled “a strong odor of an alcoholic beverage” before he failed a field sobriety test.NO JAIL FOR THUG’S LAWYER – Young Thug’s attorney in his Atlanta gang trial isn’t going to jail — at least not for now. Days after Judge Ural Glanville held Brian Steel in contempt over a bizarre courtroom episode centered on claims of a secret meeting between the judge, prosecutors and a key witness, Georgia’s Supreme Court hit pause on Steel’s sentence while it reviews the judge’s decision. RECUSAL REFUSAL – Meanwhile, Steel demanded that Glanville recuse himself from the case, arguing that the secret meeting was an “unforgiveable” error and that the judge had “forfeited its role as an impartial judge and has become a member of the prosecution team.” The judge quickly denied the motion, saying Steel had provided only “bare assertions and legal conclusions.” MEMBERS ONLY v. DRAKE – Drake’s production company was hit with a lawsuit from the apparel brand Members Only, which claims that he’s been selling tour merch that infringed the company’s trademarks. The superstar’s concert t-shirts are a reference to a track of the same name on his 2023 album For All the Dogs, but the lawsuit says that’s no excuse. CARTEL CONCERTS? Angel Del Villar, the CEO of Los Angeles-based Del Records, asked a federal judge to dismiss criminal charges accusing him of doing business with a concert promoter linked to Mexican drug cartels. Del Villar’s lawyers say the indictment, handed down in 2022, is unfairly vague and the sign of an eventual “sucker punch” by prosecutors. LIL UZI SUED OVER UNPAID BILLS – Lil Uzi Vert was sued by a touring production company called M99 Studios that claims the rapper owes more than $500,000 in unpaid bills for work done at last year’s Rolling Loud, Roots Picnic and other events. Among other things, the lawsuit claims the bills involve satisfying the rapper’s “unrealistic production requests,” including finding and hiring more than two dozen adult dancers to appear onstage at a concert last year. DIVORCE DRAMA – Billy Ray Cyrus filed an emergency motion in Tennessee court amid his ongoing divorce from the singer Firerose, accusing her of nearly $100,000 in unauthorized credit card charges and seeking a temporary restraining order to stop her. 

Four major independent concert promoters are joining forces under the Peachtree Entertainment banner, the concert promotion firm first launched by founder Bradley Jordan. Peachtree Entertainment has announced its partnering with Chuck Steedman from LiveCo and hired promoters Nathan Baugh of 46 Entertainment and Shane Quick of Premier Productions to serve in executive roles.

Baugh said the new firm will focus on maintaining an “artist-first” mentality, acknowledging “that artists are the driving force behind everything we do,” with a promise to “treat artists like partners and inventory.”

“That means being fully transparent and putting everything on the table,” Baugh tells Billboard.

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Peachtree Entertainment has helped launch the touring careers of many artists including Luke Combs, Morgan Wallen and Luke Bryan, and promotes Alan Jackson, Gavin Adcock, and festival brands Rock The Country, Rock The South and Bulls, Bands and Barrels.

Baugh will serve as CEO, leading all day-to-day operations while Quick will focus on relationship management with artists and their teams. Jordan will focus on cultivating new relationships and discovering new talent for Peachtree Entertainment.

“Collaborating with Nathan, Shane, Bradley and the entire Peachtree team furthers LiveCo’s commitment to providing the best possible experiences for fans, artists, and entertainers,” said Steedman. “They are among the most innovative, visionary, and talented leaders in the live entertainment space.”

Baugh noted that “Peachtree has built an incredible reputation for being an artist-first company. We are excited to continue to align with incredible artists and agencies to help provide creative touring and soft-ticket solutions to grow their careers.”

Quick noted that he’s now “working full-time alongside my best friends.”

Peachtree Entertainment is based in Nashville and includes full-service in-house marketing, talent buying and more, including veterans Billy Cowell (creator of Tailgates & Tallboys), Joe Lee and more.

“I founded Peachtree Entertainment out of a passion for collaborating with artists from the grassroots level, aiding in the growth of their live touring endeavors,” said Jordan. “It’s truly gratifying to elevate this venture to the next stage with people who value artists the same way I do.”

The Atlanta judge overseeing Young Thug’s gang trial is refusing to recuse himself from the case and declare a mistrial, denying a motion filed by the rapper’s lawyers over revelations of an allegedly “illegal” secret meeting with prosecutors and a star witness.
At a hearing in Fulton County Court on Tuesday, Judge Ural Glanville rejected arguments from Thug’s attorney Brian Steel that the judge had “forfeited its role as an impartial judge and has become a member of the prosecution team.” The ruling came just a day after Steel filed his motion, in which he argued that the secret meeting with prosecutors had been an “unforgivable” error.

“The court has become a member of the prosecution team in an effort to thwart Mr. Williams’ Constitutional right to a fair trial,” Steel wrote in the motion, referring to Thug by his real name Jeffery Williams. “This court must be recused, the court and the prosecution have violated Mr. Williams’ rights and the Indictment must be dismissed after a mistrial is declared.”

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But in Tuesday’s ruling from the bench, Glanville said that Steel’s allegations were based merely on “bare assertions and legal conclusions which aren’t sufficient for the court to grant your motion.” The judge also refused to pause the trial or allow an immediate appeal the ruling to a higher court.

Thug and dozens of others were indicted in May 2022 over allegations that his “YSL” group was not really a record label called “Young Stoner Life” but rather a violent Atlanta gang called “Young Slime Life.” Prosecutors claim the group committed murders, carjackings, armed robberies, drug dealing and other crimes over the course of a decade. After kicking off in January 2023, the trial is already the longest in Georgia state history and is expected to run until early next year.

In an extraordinary courtroom episode last week, Steel revealed that he had learned of a secret “ex parte” meeting that morning between Glanville, prosecutors and a witness named Kenneth Copeland. Steel argued that such a meeting, without defense counsel present, was clear grounds for a mistrial. He claimed Glanville had helped prosecutors coerce the uncooperative Copeland into testifying with threats of extended jail time.

Rather than address Steel’s complaints, Glanville instead repeatedly demanded that he divulge who had informed him about a private meeting in his chambers, suggesting the leak was illegal: “If you don’t tell me how you got this information, you and I are going to have problems.” After Steel refused to do so, the judge eventually held him in contempt and sentenced him to 20 days in jail. The Georgia Supreme Court later halted the sentence while it reviews Glanville’s decision.

In Monday’s motion demanding Glanville’s recusal, Steel lambasted the judge over the secret meeting, repeatedly referring to it as a “star chamber” – a reference to an ancient English judicial practice characterized by secrecy and a lack of due process. He said the incident illustrated that Glanville and the prosecutors are “teaming up to gain an unlawful advantage over Mr. Williams.”

“Mr. Williams’ trial is constitutionally fractured, unfair and lacks all constitutional, statutory and ethical safeguards and protections of due process of law,” Steel wrote. “No intellectually honest person could believe that coercing witness Copeland to testify in a ‘star chamber’ setting meets Constitutional muster.”

In the filings, Steel laid out in detail what he believes occurred during the ex parte meeting.

After Copeland had reneged on a plan to testify in exchange for immunity, Steel claimed prosecutors and Glanville had warned the witness that if he did not testify, he could be held in custody until the entire YSL case is over – a process that’s expected to take many years. Steel claims that Glanville gave Copeland a written copy on the rules of perjury, which Steel argued was “no subtle gesture and one that helped the prosecution team to obtain their mission for Mr. Copeland to change his mind and testify.”

“This court was a participant and was present during these admonitions/threats to Mr. Copeland,” Steel writes. “This is witness intimidation, coercion and the court has become a member of the prosecution team in assisting the prosecution to induce a material witness to testify.”

In addition to the substance of the meeting, Steel took particular aim at the secrecy of it – saying that Glanville and the prosecutors not only held the meeting without notice, but “never intended” to reveal it to defense attorneys until Steel himself learned of it through other means. He also argued that Glanville had “obstructed justice” by refusing to release a transcript, and even suggests that court officers “may have been instructed to turn off their body cameras.”

During Tuesday’s hearing, after Glanville denied the motion to recuse, Steel pleaded in vain with him to reconsider stepping aside. The attorney warned that when he cross-examined Copeland on the witness stand, he would need to ask him about the ex parte meeting with the judge.

“I’m going to ask him how much pressure, if any, the court put on him, and you’re going to be the one instructing the jury,” Steel said to Glanville. “And I just can’t imagine how that’s fair to Mr. Williams.”

Justin Timberlake was arrested on suspicion of driving while intoxicated in Sag Harbor, New York on Monday night (June 17). According to CNN, a spokesperson for the Sag Harbor Police Department confirmed that Timberlake, 43, remained in custody as of Tuesday morning (June 18) while a rep for the Sag Harbor Justice Court told the […]

Chris Atlas has been named president of Fat Beats. The appointment of the music industry veteran comes as the legendary distributor and retail brand celebrates its 30th anniversary this year.  In his new role at Fat Beats, New York-based Atlas will be setting the course for the company’s future. Along with business development and marketing, his […]

Universal Music Group has announced a new partnership with SoundLabs, a “responsible” AI music tools company, to provide AI music editing tools to UMG talent. This includes a real-time personalized AI voice clone plug-in, called “MicDrop,” due to launch later this summer.
The SoundLabs AI-powered music editing tools (AU, VST3, AAX) hook up to all major digital audio workstations (DAW), including Logic, ProTools, Ableton and more, to let musicians clean up their vocals, make changes, and even shape-shift their voices in the click of a button, thanks to AI technology. With MicDrop, UMG artists can create their own AI voice models, but these custom models will exclusive to their creative use, not available to the general public.

The news falls perfectly in line with the company’s “responsible” AI strategy, laid out by UMG CEO and chairman, Lucian Grainge, at the beginning of 2024. As he stated in a January memo to staff, obtained by Billboard, Grainge wrote that even though some experts viewed AI as “a looming threat,” UMG’s view was that AI would be “presenting opportunities” for the company. “Just as we did with streaming, we went out to turn those opportunities into reality.”

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He went on to explain his two-prong approach to embracing what he called UMG’s “responsible AI initiative.” First, he would lobby for “guardrails,” or public policies to protect artists’ name, image, voice, and likeness from wrongful impersonation and other “basic rules.”

Second, Grainge set out “to forge groundbreaking private-sector partnerships with AI technology companies,” which now includes its deal with SoundLabs. “In the past, new and often disruptive technology was simply released into the world, leaving the music community to develop the model by which artists would be fairly compensated and their rights protected,” Grainge continued. “In a sharp break with that past, we formed a historic relationship with our longtime partner, YouTube, that gives artists a seat at the table before any product goes to market, including helping to shape AI products’ development and a path to monetization.”

SoundLabs was co-founded by Grammy-nominated producer, composer, software developer and electronic artist BT. After a 25-year career, working with David Bowie, Madonna, Sting, Death Cab for Cutie, Peter Gabriel and Seal, he turned to software development to create new music tools to help producers innovate. Over the years, his software products — including patented audio plugins like Stutter Edit, BreakTweaker (iZotope), Polaris, Phobos (Spirfire Audio) — have generated $70 million in gross sales.

The company’s other co-founders — Joshua Dickinson, Dr. Michael Hetrick and Lacy Transeau — are all aligned with BT on an “artist-first” approach to making AI music tools. As a press release from UMG about the partnership states: “SoundLabs was founded with a foundational respect for intellectual property rights and is focused on helping artists retain creative control over their data and models.”

“It’s a tremendous honor to be working with the forward-thinking and creatively aligned Universal Music Group. We believe the future of music creation is decidedly human. Artificial intelligence, when used ethically and trained consensually, has the promethean ability to unlock unimaginable new creative insights, diminish friction in the creative process and democratize creativity for artists, fans, and creators of all stripes. We are designing tools not to replace human artists, but to amplify human creativity,” says BT.

Chris Horton, svp of strategic technology at Universal Music adds: “UMG strives to keep artists at the center of our AI strategy, so that technology is used in service of artistry, rather than the other way around. We are thrilled to be working with SoundLabs and BT, who has a deep and personal understanding of both the technical and ethical issues related to AI. Through direct experience as a singer and in partnership with many vocal collaborators, BT understands how performers view and value their voices, and SoundLabs will allow UMG artists to push creative boundaries using voice-to-voice AI to sing in languages they don’t speak, perform duets with their younger selves, restore imperfect vocal recordings, and more.”

Songtradr welcomes to its board of directors Alex Rigopulos, co-founder of Harmonix and the studio’s director at Epic Games, best known as the maker of “Fortnite,” and veteran music lawyer Priyanka Khimani, managing partner at Khimani Associates, as the B2B music company embarks on its next phase of growth and development.Rigopulos brings a wealth of experience from his extensive career in the video game and entertainment industry. A co-founder of Harmonix, acquired by Epic Games in 2021, Rigopulos was instrumental in the development of “Guitar Hero,” “Rock Band,” and “Dance Central,” game-changers in the way music intersected with interactive entertainment.

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Rigopulos’ “deep understanding of both music and technology will be invaluable as Songtradr continues to expand its global footprint,” reads a statement. Meanwhile, Khimani is one of South Asia and MENA’s most influential music entertainment lawyers, her talents highlighted in Billboard’s 2023 Women In Music special. As managing partner at Khimani Associates, she has represented such clients as AR Rahman, AP Dhillon, Divine, Reservoir Media, Warner Music Group, Snap Inc and Netflix, and has been “a formidable advocate for intellectual property rights and creative talent,” reads a statement.

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Khimani’s expertise in entertainment law and her commitment to protecting creative works “align perfectly with Songtradr’s mission to empower artists and rights holders worldwide,” the licensing platform’s statement continues.

Adds Paul Wiltshire, CEO of Songtradr, “Alex’s visionary approach to integrating music, technology, and video games, along with Priyanka’s extensive rights knowledge and dedication to the creative community, will provide strategic insights and strengthen our leadership as we continue to innovate and grow in the global music marketplace.”These new appointments of Rigopulos and Khimani to the Songtradr board, where they join Lindsay Nahmiache, Helge Steffen, and Wiltshire, reaffirms its “commitment to leveraging top-tier expertise to drive forward its mission of powering the world with music,” the corporate statement continues.

Songtradr made headlines in September 2023 with the acquisition of Bandcamp, a crucial commerce platform for independent musicians, buying the business from Epic Games.The plan, Wiltshire said at the time, was to “introduce the opportunity of licensing” to Bandcamp artists who are interested in seeding their music to various brands and platforms. “We think that alone is a really big piece, and we want to get that right,” Wiltshire added. “That will create a lot of opportunity for the independent market and the artists on there.”