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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: A deep dive into Young Thug’s trial in Atlanta as the gang case passes the two-year mark with no clear end in sight; a Supreme Court ruling in a copyright case filed against Warner Music over a Flo Rida song; Donald Glover beats a lawsuit claiming he stole his chart-topping “This Is America”; and much more.
THE BIG STORY: Why Is Young Thug’s Trial Taking So Long?
It’s been two years since Young Thug was indicted on accusations of running a violent street gang that terrorized Atlanta. It’s been well over a year since jury selection started, and more than five months since the trial got underway in earnest. The proceedings are expected to last into 2025, with roughly 100 more states witnesses still to testify. And all the while, Young Thug has sat in jail.Pitting prosecutors from America’s rap capital against one of hip-hop’s most influential artists, the Young Thug case was always an extraordinary story – not least because it represented a flashpoint in a decades-long debate over the use of rap music in criminal trials. But as the case drags on for years, critics like Kevin Liles, the CEO of Warner Music Group’s 300 Entertainment, say the case has metastasized into something else.“From the absence of bond to the extraordinary weaponization of creative expression, this case has always been an outrage,” Liles tells Billboard. “Now as the longest trial in Georgia history and with no end in sight, it’s also become a farce.”For the full story, go read Jewel Wicker’s excellent deep dive into the Young Thug case – including how we got here, what experts think about the case, and what comes next.
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Other top stories this week…
SCOTUS COPYRIGHT RULING – The U.S. Supreme Court sided with a Florida music producer in a legal battle against Warner Music over a song by the rapper Flo Rida, ruling that copyright owners can recover money reaching back decades into the past. The decision in the case, which music companies had called “exceptionally important,” could encourage more accusers to try their hand at litigation over years-old songs.THIS ISN’T INFRINGEMENT – A federal appeals court affirmed a ruling last year dismissing a lawsuit that accused Donald Glover of ripping off his chart-topping Childish Gambino hit “This Is America” from an earlier song. A rapper named Kidd Wes had claimed that Glover’s 2018 Grammy winner was “practically identical” to a 2016 track called “Made In America,” but a lower court ruled last March that the two tracks were “entirely different.”50 CENT DEFAMATION CASE – The rapper filed a libel lawsuit against his ex Daphne Joy over her accusations that he raped and physically abused her, calling them a “calculated attack” of false allegations designed to destroy his reputation. The rapper claimed that Joy made her statements as retaliation after the he moved to take custody of their son – a step he claims he took in the wake of a lawsuit against Sean “Diddy” Combs that accused Joy of being a “sex worker.”PORTNOW RAPE CASE DROPPED – An unnamed woman who filed a lawsuit accusing former Recording Academy boss Neil Portnow of rape abruptly moved to drop her case, citing a concern that her real name will be revealed. The move came amid a split with her own lawyers, who told the judge they would withdraw from the case due to “irreconcilable differences” with Portnow’s accuser.ASTROWORLD TRIAL UPDATE – Settlements have been reached in nine of the 10 wrongful death lawsuits filed against Travis Scott, Live Nation and others over the deadly crowd surge at the 2021 Astroworld music festival, lawyers revealed at a court hearing last week, including the case that had been set to go to trial this month. The settlements leave pending one wrongful death suit to be tried – the one filed by the family of 9-year-old Ezra Blount – as well as hundreds of lawsuits filed by people who were allegedly injured.DIDDY WANTS CASE TOSSED – Sean “Diddy” Combs asked a federal judge to dismiss a lawsuit alleging that he and two co-defendants raped a 17-year-old girl in a New York recording studio in 2003 — one of several abuse cases the rapper is currently facing. Attorneys for Combs argued that it was a “false and hideous claim” that was filed too late under the law.BRIAN WILSON CONSERVATORSHIP – A Los Angeles judge ruled Beach Boys founder and music luminary Brian Wilson should be placed under a conservatorship to manage his personal and medical decisions because of what his doctor calls a “major neurocognitive disorder.” The ruling, which came on a petition filed by Wilson’s family, appointed two longtime Wilson representatives, publicist Jean Sievers and manager LeeAnn Hard, as his conservators.NBA YOUNGBOY DRUG CHARGES – A judge in Utah set a $100,000 bond for rapper NBA YoungBoy, who faces dozens of new charges involving allegations that he orchestrated a fraudulent prescription operation while he lived under house arrest as he awaited trial on separate federal gun charges.
Downtown Music has launched a new royalties and financial services division called DR&FS, which will streamline all of its royalty services, accounting and payments systems, the company announced Tuesday (May 14). The division is an outgrowth of Curve Royalty Systems, a royalty processing platform acquired by Downtown in January 2023. Curve’s founder, Tom Allen, has been […]
iann dior (featured on the 24kGoldn smash “Mood”) signed to Big Noise Music Group, which released his latest single, “Edge of Tomorrow,” on Friday (May 10). Formerly signed to 10k Projects, dior is managed by Andile Ndlovu at Fractal and booked by Mitch Blackman and Griffin Perkiel at IAG.
Fourteen-year-old singer-songwriter Maddox Batson (“Tears in the River”) signed with WME for global representation across departments including touring, brand partnerships, TV, film and digital. Batson is also signed to Prosper Entertainment and OH Creative.
BRITs Rising Star award-winning trio FLO (“Cardboard Box”) signed to PPL for the collection of the group’s international neighboring rights royalties. FLO is composed of Jorja Douglas, Renée Downer and Stella Quaresma. The group’s debut album is slated for release on Island Records this year.
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Stockholm-formed, Los Angeles-based band Solence signed with Better Noise Music, which will release the group’s new album this fall (preceded by the track “F— the Bad Vibes”). Solence is managed by Mike Mowery and Anna Greenhall at 10th Street Entertainment.
Country singer-songwriter Vincent Mason (“Hell Is a Dance Floor”) signed with WME in multiple areas.
Alt-rock artist Kami Kehoe (“SLEEP WHEN I’M DEAD”) signed with Coup D’Etat Recordings and 10k Projects, which released her new single, “WHERE DID IT ALL GO WRONG,” on May 3. Kehoe is managed by Alyce Hayek at Grass Fed Music and booked by Tom Windish and Andrew Buck at Wasserman. Her lawyer is Matthew Kamen of Grubman Shire Meiselas. This is the first joint venture signing for Coup D’Etat and 10k.
R&B artist Skylar Simone signed with Def Jam Recordings, which released her new single, “Shiver,” on May 3.
Singer-songwriter Zach John King, who plays what’s described as a blend of country, Americana and indie rock, signed with The Neal Agency for booking. King is slated to release his debut EP, Wannabe Cowboy, on May 24. He’s managed by Matt Reed at Hyphen Media Group, Boom Music Group for publishing and CMDSHFT for distribution.
Aric Improta and Stephen Harrison, coming together under the moniker House of Protection, signed with Red Bull Records. Improta and Harrison — previously of Night Verses and The Chariot, respectively — both recently departed the group Fever 333. The duo’s debut single is “It’s Supposed to Hurt.” The project is described in a press release as “bridging the disparate worlds of hardcore, electronica and punk.”
Nashville alternative band Jive Talk signed with War Buddha/Warner Records, which released the group’s new single, “Rat People,” on May 3. The band kicked off its tour on May 8 and is slated to play Bonnaroo. Jive Talk is managed by Neil Mason and Patrick Waters at Red Light.
Folk-pop singer-songwriter Julia Minichiello signed with Nashville-based Odyssey Entertainment Group for management. In 2021, Minichiello won the #Sing2gether TikTok contest held by Universal Pictures, which secured her a guest spot on The Kelly Clarkson Show. She’s also represented by lawyer Matt Cottingham.
In 2025, the annual Music Biz conference will be held May 12-15 at the Renaissance Atlanta Waverly Hotel.
The conference attracts more than 2,300 music industry executives each year and has been held in Nashville for nearly a decade. The 2024 conference kicks off this week in Nashville, running from May 13-16.
Music Business Association president Portia Sabin announced the new dates and venue during her address during the Music Biz Brunch at the Music Biz conference on Tuesday morning (May 14), held at the JW Marriott Nashville.
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Sabin previously told Billboard that the conference’s move from Nashville to Atlanta was inspired by the September 2022 start of the Music Biz Roadshow program, which has previously traveled to cities including Atlanta, Dallas and Miami.
“With the Music Biz Roadshow, we bring our members to different cities across the U.S. for free educational programs for artists and musicians,” Sabin told Billboard. “We got inspired by doing that because there are so many great music cities out there in the U.S.”
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Beginning in 2025, the Music Biz event will revert to the way the conference had been scheduled when it was then-called NARM, when the conference frequently shifted to a new city.
“We will be on probably a two-year schedule, staying in a town for two years before going to another town,” Sabin said. Sabin noted that the conference could potentially be hosted in cities including Miami and San Diego in the future.
The Music Biz conference’s panel lineup for Tuesday (May 14) includes a wide range of topics currently impacting the industry, including neighboring rights, metadata, catalog sales and the growing popularity of Latin music in sync.
In 2013, the organization formerly known as the National Association of Recording Merchandisers (NARM) rebranded as the Music Business Association. The conference spent four years in Los Angeles before relocating the conference to Nashville in 2015. The Music Business Association headquarters continues to be based in Nashville.
Mon Laferte has signed a record deal with Sony Music Latin, the company tells Billboard. In this “new phase” of the Chilean singer-songwriter’s career, Sony Music will continue to “enhance” her legacy and international visibility, according to the label. The Grammy-nominated artist is currently on her Live Nation-produced Autopoiética tour in the United States, taking […]
A federal appeals court has rejected a lawsuit accusing Donald Glover of ripping off his chart-topping Childish Gambino hit “This Is America” from an earlier song.
In a ruling Friday, the U.S. Court of Appeals for the Second Circuit upheld a judge’s decision last year dismissing the lawsuit, which claimed that Glover’s 2018 song was “practically identical” to a 2016 track called “Made In America” by a rapper named Kidd Wes.
The earlier ruling said Glover had done nothing wrong because the two songs were “entirely different.” But in Friday’s decision, the appeals court rejected the case for even simpler reasons: that Wes (Emelike Nwosuocha) had failed to secure the proper copyrights on his track.
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“Nwosuocha’s problem is that his copyright registration is simply for the wrong work,” the appeals court wrote. “That distinction is important.”
Released in 2018, “This Is America” spent two weeks atop the Hot 100 and eventually won record of the year and song of the year at the 61st Annual Grammy Awards. It was accompanied by a critically acclaimed music video, directed by Hiro Murai, that touched on issues of race, mass shootings and police violence.
Nwosuocha sued in May 2021, claiming there were “unmissable” similarities between the song and his own “Made In America,” including the “flow” — the cadence, rhyming schemes, rhythm and other characteristics of hip hop lyrics. But in March 2023 ruling, Judge Victor Marrero sharply disagreed with the lawsuit’s allegations.
“A cursory comparison with the challenged composition reveals that the content of the choruses is entirely different and not substantially similar,” the judge wrote. “More could be said on the ways these songs differ, but no more airtime is needed to resolve this case.”
Nwosuocha appealed that ruling, seeking to revive his lawsuit against Glover. But in rejecting that appeal on Friday, the Second Circuit ruled that it didn’t even need to decide whether the songs were similar. Instead, it said the case also failed because Nwosuocha had secured a federal copyright registration only for the recording of the song, not for the underlying composition that he claimed Glover had copied.
“The distinction between a sound recording and a musical work is not just an administrative classification,” the judge wrote. “That statutory distinction is important because sound recordings and musical works are different artistic works that can be copyrighted by different creators and are infringed in different ways.”
Barring an unlikely trip to the U.S. Supreme Court, Friday’s ruling will permanently end Nwosuocha’s lawsuit against Glover. Neither side immediately returned a request for comment on Tuesday.
Not long after Artist Partner Group (APG) signed Odetari — who specializes in glitchy, racing electronic tracks — last year, the label set up a second Spotify profile for him. Odetari “frequently has two to three different versions of records coming out a month,” explains Corey Calder, svp of marketing and creative services at APG. “If we were to have that all sit on his page, it would feel cluttered and make it hard for his fanbase to follow and track it all.”
This means that “HYPNOTIC DATA – Slowed & Reverbed” and “GMFU – Sped Up” live on a Spotify page called ODECORE, while the original hits will be found by anyone scrolling through Odetari’s own Spotify profile. And this split artist identity is part of a growing trend where acts keep one Spotify account for “official” releases, plus a side account for alternate versions.
Odetari’s labelmate 6arelyhuman puts remixes on Spotify under the name Sassy Scene. A Spotify account named Mei Mei The Bunny has only uploaded sped-up versions of Laufey singles, four to date. Mark Ambor has a breakout hit in “Belong Together;” his team uploaded the sped-up remix to Spotify through a separate account titled Lucky Socks.
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Even just a few years ago, creating alternate Spotify accounts for alternate versions of hit singles would’ve seemed wildly unnecessary. But user remixes and edits have proliferated and become popular soundtracks on short-form video platforms like TikTok.
Listeners often don’t care whether the “slowed and reverbed” sound they find on streaming is an official version generating income for the artist they like or a random upload — they just want to play the track that’s stuck in their head. As a result, labels adjusted by starting to release their own alternate reworks to satisfy this portion of the population. If they’re going to stream “Belong Together (Sped Up)” anyway, it might as well be a version that makes money for Ambor.
The streaming service Audiomack found that uploads of “manipulated songs” by labels — official tracks sped and slowed, pitched up and down, muffled and reverbed — shot up at the end of 2022. The number of these releases has continued to rise rapidly ever since, climbing from under 1,000 a quarter to around 6,000 a quarter.
These remixes can thrive in their own streaming ecosystems. Universal Music Group launched a Spotify account called Speed Radio that only posted sped-up versions of label releases; sped up nightcore did the same for singles from Warner Music Group.
The goal was “to create another mechanism for growth and a new algorithmic pocket on streaming services that helps increase visibility and discovery,” says Nima Nasseri, a former UMG executive whose role involved helping the company market user-generated remixes. As these Spotify pages amassed followers who enjoyed sped-up audio, they allowed new remixes to reach a larger audience by standing on the shoulders of their predecessors.
Some remix-focused side accounts exhibit clear links back to the mothership in a way that also helps drive awareness of the main artist project — ODECORE and Sassy Scene songs usually credit Odetari and 6rarelyhuman, respectively, as collaborators. Some of these alter-ego accounts, like Lucky Socks, maintain a degree of anonymity.
But both cater to a demand: Anyone searching Spotify for a sped-up version of 6rarelyhuman’s “Faster n Harder” finds the Sassy Scene version first. 6rarelyhuman picks up plays (and royalties) that might otherwise have been steered towards an entrepreneurial cover artist.
ODECORE has an additional function, according to Calder: Eventually, the goal is to turn it into a “sub-label” featuring music from artists signed to Odetari. “Ideally we’ll have a built-in audience already,” Calder says. ODECORE currently has more than 430,000 followers on Spotify, according to Chartmetric; that group functions as a potential launching pad to help Odetari’s future signings reach a wider listenership.
“A lot of what we do internally at APG is create multiple profiles for artists across social channels, and we’ll run fan pages in-house for our artists,” Calder continues. “We have these secondary and tertiary brands that are always on in the background. And so we just applied that same thinking to a Spotify profile.”
At the moment, the primary downside to releasing remixes under an alter ego is that they don’t count towards the success of the original on the Billboard charts. If artists put out a remix under their own name, consumption of that new version also counts towards chart position (generally, as long this happens within 18 months of the original track’s release and the original is still a “current” on the charts). That’s why stars often put out remixes with big names attached when they’re in tight races for the top spot on the Hot 100. But if Ambor’s alternate version of “Belong Together” is attributed to Lucky Socks, he gets no help from the extra consumption.
Ben Klein, president of Ambor’s label, Hundred Days Records, acknowledges that “commercially, it makes a lot more sense” to put out remixes under the same artist project. But Ambor is not competing for No. 1 — at least not yet, as the song has only reached No. 84 on the Hot 100 — and the team chose to release “Belong Together (Sped Up)” under a goofy alternate name anyway.
“We actually took inspiration from the Laufey team when we came up with the idea,” Klein says. “When Mark thinks about his profile, he wants it to be a representation of his music. A sped-up version is meant to be a fun, playful way for people to engage with the song on social media. It’s not a direct connection to his artistry. And I think he just wanted to keep it separate for that reason.”
Calder believes “a lot more new artists” will take a similar approach in the future. As streaming platforms try to capitalize on the homemade remix eruption by adding their own audio manipulation tools, it’s easy to imagine artists encouraging fans to mess with their songs by saying that the most popular fan edit will be posted to an official artist account. Just not the official artist account.
Warner Music is restructuring its Mexican music division to strengthen its market presence and product quality, the label tells Billboard. The revamped division will feature a culturally attuned A&R team and a strategic marketing framework designed to promote artist development across multiple territories.
The initiative will be led by Tomas Rodríguez, president of Warner Music Mexico & Mexican Music, who will be spearheading the restructured division from Mexico. “The expertise, adaptability, and market acumen of the Mexican Music team will bolster our vision for the genre’s development and globalization, cementing Warner as a protagonist,” he said in a statement.
Rubén Abraham, Warner Music’s GM of Mexican music, will oversee the A&R and marketing teams from Los Angeles, aligning strategies across the United States and Mexico. “We’re primed to offer the industry’s premier platform for the genre, supported by top-notch professionals and tailored negotiation options that cater to both present needs and future prospects of Mexican Music,” he said.
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The division’s A&R team will include Brian Plascencia as director of A&R. Plascencia brings extensive experience from previous roles at Universal Music and Univision Records and as a West Coast label manager at Machete Music, where he was instrumental in launching artists such as Larry Hernandez, Fidel Rueda, El Potro de Sinaloa and Roberto Tapia. As a founding partner at Alianza Records, Plascencia has also developed artists like Grupo H-100 and Edicion Especial.
Elsewhere, the A&R team will include associate director of A&R Armando López, who brings over a decade of expertise in marketing, musical production and concert promotion. Cesar Carrillo has been appointed senior manager of A&R, with an 18-year track record in the regional Mexican music scene. His experience spans music production, artist management for acts like Tomas Ballardo and Los Buitres de Culiacán and booking for Legado 7 with Lumbre Music. AT FM Entertainment, he assisted in managing schedules for música mexicana giants such as Ramón Ayala, Banda Machos and Fidel Rueda.
María Angela Batiz, the label’s director of marketing for Mexican music, will continue to play a crucial role with her extensive experience and expertise in the genre, leading the development of marketing strategies and campaigns across the department.
Warner Music’s expansion in Mexican music is supported by its collaboration with the company’s independent distribution and label services arm ADA, enabling a range of services and partnership opportunities.
Warner Music’s Mexican music roster also includes Grupo Codiciado, El Komander, Pesado, DannyLux and Los Aptos.
British rock band Elbow was never supposed to be the first act to play Co-op Live — the United Kingdom’s newest and biggest entertainment arena. That honor was originally supposed to go another Greater Manchester local, comic Peter Kay, who grew up in the nearby town of Bolton, and was slated to officially open the 23,500-capacity venue in on April 23.
But construction delays led to the cancellation of Kay’s shows and subsequent gigs for The Black Keys, A Boogie wit da Hoodie, Keane, Olivia Rodrigo, as well as a five-night run by Take That. After weeks of false starts, executives with building co-owner and developer Oak View Group — partners on the project with City Football Group (the parent company of Manchester City football club) – insist tonight’s (May 14) long-scheduled Elbow show at Co-op Live will go ahead. Across the live business, executives will be keeping a close eye on how events unfold in Manchester, where the much-hyped project is located.
Billed as a “game-changing” best-in-class new arena facility, Co-op Live has long been positioned as an important international pivot for co-owner Oak View Group, the LA-based arena development company launched by OVG chairman and CEO Tim Leiweke a decade ago. OVG has successfully designed, built and opened more than a dozen successful arenas in the U.S. including Climate Pledge Arena in Seattle and UBS Arena in New York and has a full slate of arena development projects in progress in Brazil, Nigeria, Canada and Wales. The firm has also confirmed that it’s in talks to open a new arena in West London.
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Arena construction is challenging under the most ideal conditions, and delays are common, but the arena’s aggressive opening calendar, with more than a dozen concerts planned in its first month, became a liability and source of embarrassment for the company as the delays worsened.
The first signs of problems became apparent at a press launch and invite-only test concert on April 20, headlined by U.K. acts Everything Everything and Rick Astley. OVG’s Leiweke travelled to England to be at the launch, which was attended by Billboard, and told guests of his extreme pride at what OVG and its partners had built in Manchester, which he enthusiastically called “one of the greatest cities on the face of the Earth.”
Foreshadowing some of the issues that were soon to follow, Leiweke urged those present to be patient as his team hosted an audience inside Co-op Live for the first time. “It won’t be perfect,” he said. “Please bear with us as we get through the growing pains and learn tonight how to better operate this building.”
As Leiweke spoke, extensive construction work could be seen and heard taking place in the background. At the time, only the ground floor and sections of the first floor were open to visitors. In those areas, lights, cables and wires could be seen hanging loosely from fittings. Temporary wall and floor coverings were a common sight and only a small number of toilets were accessible. The cold temperature inside the building suggested either its heating system was not working or had not been switched on.
Rendering of the interior of Co-op Live in Manchester, England.
Courtesy of Oak View Group
Hours before doors opened that night, Co-op Live announced it had cancelled thousands of free tickets for the test event, provoking an angry backlash from disappointed fans on social media. Inside the venue, the show went ahead smoothy in front of several thousand people — but it was hardly the grand unveiling OVG were hoping for and was overshadowed by negative headlines.
Less than 48 hours later, Co-op Live began detailing the construction issues delaying the building’s opening, starting with power supply issues that would push back shows for Kay, the comic, and The Black Keys by one week.
That news was followed by the surprise resignation of Co-Op Live building manager Gary Roden, who came under fire from the UK based Music Venue Trust for criticizing a proposal to raise money for venue preservation by adding a surcharge to Co-op Live and other U.K. arena tickets. The next day, the rescheduled opening shows by The Black Keys and Kay were postponed for a second time.
In an interview with the Manchester Evening News, Leiweke said Brexit, Covid and a record amount of rainfall were in part to blame for the delays to the project, while a joint statement from Manchester City Council and the city’s emergency services on April 26 blamed outstanding issues should been fixed in advance of opening including “a fully tested emergency services communication system… some remaining internal security systems, and fire safety measures.”
On May 2, during a soundcheck for A Boogie Wit Da Hoodie, a piece of the building’s ventilation system fell from the ceiling, shaking confidence in the building’s readiness. That led to another round of cancellations at Co-op Live, including upcoming shows by Rodrigo, Keane and Take That.
In response, A Boogie Wit Da Hoodie and Take That’s teams jumped into action and moved their concerts (six in total) to Manchester’s rival arena facility, the ASM Global-operated AO Arena, who’s general manager Jen Mitchell relished the opportunity, telling Billboard, “Everyone really pulled everything out of the bag at the last minute. It’s been a lot of late-night calls and problem solving, but in the best possible way.”
Mitchell declines to discuss operations at Co-op Live but says she empathizes with the issues the venue has experienced. “Arenas are big venues and there’s always challenges around those, and opening any space comes with its own [unique] challenges,” she says.
In Roden’s absence, Co-op Live is now managed by Rebecca Kane Burton, the former GM of London’s O2 arena, which is owned and operated by AEG.
Over the past two weeks, contractors have been working overtime to fix outstanding issues to the building and get it ready for tonight, insiders tell Billboard. An inspection by Co-op Live subcontractor, SES, found that the issues with its ventilation system, which led to the pulling of A Boogie Wit Da Hoodie’s May 2 show, was the result of “an isolated manufacturing fault.”
Sources tell Billboard that all premium member spaces for which tickets have been sold are up and running, including the venue’s deluxe spaces, Ciroc Lounge and AMP Club. As compensation for recent disruptions, ticket holders for all postponed shows would be offered a free drink and food item of their choice when visiting the arena, Co-op Live said.
“I think the lesson to be learned in all of this, is never over promise and under deliver because it will catch you out,” says Mark Borkowski, founder of London-based communications agency Borkowski and an expert in crisis and reputation management.
“The magnifying glass is now on them but if they can get it right, and they have got to get it right, then all of this will be forgotten.” says Borkowski.
He cites the troubled birth of London’s Millennium Dome, which was subsequently redeveloped as The O2 arena, as an example of high-profile building projects that experience major teething problems before eventually turning it around.
“No project of this scale runs to plan,” adds Borkowski. “The negative headlines that surrounded the Millennium Dome totally dwarfed what’s going on in Manchester, but now [The O2] is held up as one of the best in the world. Co-op Live can use that as exemplar of what they need to do.”
SYDNEY, Australia — Universal Music Australia forms a strategic relationship with hip-hop specialist One Day Entertainment, a bond both parties are confident will unearth and launch more Aussie acts. Through the agreement, One Day Recordings will work closely with UMA label EMI Music Australia on developing and exposing local talent, both here and abroad. The joint venture, say reps for UMG, ought to strengthen the major music company’s Australian artist roster by “drawing on One Day Recordings strong A&R connections within the domestic market.”Over the past few years, notes EMI managing director Mark Holland, “I’ve seen their drive, tenacity, and hunger to succeed in the music business first-hand and am keen to help find and nurture the future generation of musicians alongside them.”The One Day team, he continues, is “already proving to be a strong A&R source in the domestic market, utilizing their established position in artist and studio management, as well as touring and event promotion.”
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Financial terms weren’t disclosed.Launching in 2013 as an artist collective comprised of Horrorshow, Spit Syndicate, Joyride and Jackie Onassis, One Day Entertainment began life as a events brand.In 2019, Sydney-based One Day Entertainment changed gears and diversified into artist and producer management, led by co-founders Nick Lupi and Adit Gauchan.Currently, One Day manages ARIA Award winning, Grammy- nominated producer 18YOMAN, and 2024 APRA Music Award-winning hip-hop ONEFOUR, the subject of the Netflix documentary, Against All Odds. One Day’s roster also includes Chillinit and tiffi.“The team at One Day,” says UMA president and CEO Sean Warner, “combined with our team at EMI Australia, will bring something unique and fresh to the domestic music ecosystem. Warner adds, “we are always on the hunt for new and up-and-coming talent, and with the help of Nick and Adit, alongside our in-house A&R teams, we aim to expand our roster even further – I’m looking forward to what this next chapter of our partnership brings.”
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The JV is announced after an impassioned plea from the artist management community on the eve of the APRA Awards, with a common goal to fix Australian artists’ “discoverability” problem. One solution, pitched by the Association of Artist Managers, is Michael’s Rule, a three-pronged industry code that would require all major tours in these parts to feature a local support act.