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Venezuelan singer/songwriter and producer NOREH has signed a record deal with 5020 Records, Billboard Español can exclusively announce Wednesday (Sep. 11).
“We are extremely pleased to welcome NOREH as a new member of the 5020 Records family,” Rafa Arcaute, president of 5020 Records, says in a press release. “His innovative approach to music and his ability to connect with audiences on a deep level make him the perfect addition to our roster of artists. We are excited about the opportunity to support his artistic development and help him achieve even greater success.”
Featured in our monthly column for emerging artists On the Radar Latin last February, when he played his first concert in the United States, NOREH has been rising in the Latin music scene since 2020, when he debuted as an independent artist with the album Asocial. This was followed by the live album Nada Íntimo (2021) and Mucho TXT (2023), an eclectic LP that included urban music, ballads, bolero, salsa and bossa nova.
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His latest release is BALADAS TATUADAS VOL. 1, a deeply personal EP launched in March this year, in which he reflects on the ups and downs of his life while exploring themes of melancholy.
“NOREH represents 5020’s artistic vision, anchored in originality, versatility and creative honesty. We couldn’t be prouder to welcome him to the family,” says Bruno Duarte, co-president of 5020 Records.
Adds NOREH: “Being part of 5020 is exciting because, like me, they believe in daring songs with soul […] I hope to live up to the other artists in the roster; I am Venezuelan and I bring with me my people, who have brought me here, and I am sure that we will all be a great team.”
The terms of the contract were not specified.
The artist, who has collaborated with established names like Jay Wheeler, Nacho, CNCO, and Servando & Florentino, is currently in the midst of his Baladas Tatuadas Tour, which has taken him through his native Venezuela, parts of the U.S., Spain and South America.
The recorded music market in Europe is at risk of falling behind other global regions unless regulators enforce tougher protections for artists, creators and rightsholders, according to a new report from international labels trade body IFPI.
In Europe, music sales grew to over $8 billion in 2023, representing more than a quarter of global revenues (28.1%) and maintaining the continent’s long-held status as the second largest region in the world for recorded music sales behind the U.S. and Canada, according to IFPI data.
Europe’s prominent position is coming under threat, however, from other music markets that are growing at faster rates, states IFPI’s first-ever report focused specifically on recorded music in the European Union, published Tuesday (Sept. 10).
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Last year, music sales among the 27 members of the European Union trading block — which the U.K. exited in 2020 — grew by 8.7% to 5.2 billion euros ($5.7 billion), says IFPI. While that places the EU below only the U.S. in total revenue terms, several other international markets are significantly outpacing its growth rate thanks to the widespread global adoption of music streaming services.
Examples cited by IFPI include China, which grew music sales by more than 25% to 1.3 billion euro ($1.4 billion) in 2023; Sub-Saharan Africa, up 25% to 85 million euros ($93 million); Mexico, up 18% to 454 million euros ($500 million); and the Middle East and North Africa (MENA), which climbed 14% to 102 million euro ($112 million).
Although all of those territories are developing from far lower bases than mature EU markets such as France and Germany — and all have some way to go before they come close to surpassing EU music sales — IFPI said their rapid growth represents “warning signs” that the region is facing strong competition from its global competitors. Notably, some of those fast-growing music markets were virtually non-existent just over a decade ago.
The report, which is titled “Music in the EU: A Global Opportunity,” comes three months after European Parliament elections and ahead of the unveiling of the new European Commission, the EU’s executive branch, which is expected to take place later this month.
The new cohort of Brussels politicians will be responsible for monitoring and enforcing already passed EU legislation such as the Digital Services Act, Digital Markets Act and the AI Act, which all impact the music business to varying degrees, in some instances significantly.
“The EU is a vitally important place for music,” said IFPI CEO Victoria Oakley in a statement. “However, the data in this report shows us that other parts of the world are developing and growing rapidly and the EU risks falling behind.”
To ensure that the EU’s music market stays competitive, Oakley called on European policymakers to provide “legal certainty and protection for music rightsholders, supporting the development of responsible and ethical AI and creating a competitive playing field on which today’s dynamic music sector can evolve.”
“Today, European music faces great risk but also great opportunity,” Oakley continued. “How policymakers address these issues will help determine its future.”
An accompanying press release from IFPI said its research sets out how policymakers can help “secure a positive future for music at what is a pivotal time for music in Europe” amidst rising global competition.The report notes that when adjusted for inflation, recorded music revenue in the EU last year was only 61% of where they were in 2001, the music industry’s revenue peak.
Specific areas in which IFPI says policymakers can support creators and rightsholders include effective implementation of the EU’s AI Act, which passed earlier this year, and upholding existing EU copyright laws preventing the use of copyright-protected works and music from being used for training AI systems without prior consent. AI developers must also maintain and provide records of the materials used in training and developing generative AI models that enable rightsholders to exercise and enforce their rights, says IFPI.
When it comes to individual EU markets, the report highlights the continued strong performance of domestic acts in their home countries. In the 22 EU markets where IFPI collects yearly chart data, on average, 60% of the Top 10s were tracks by domestic artists in 2023, compared to only 47% in non-EU markets.
EU markets fared less well in terms of top 10 global chart exports, which were once again dominated by U.S. artists like Miley Cyrus, SZA and Taylor Swift last year, though Latin and Central American artists, most notably from Columbia and Puerto Rico, also performed well.
SiriusXM’s stock rose 2.6% on Tuesday (Sept. 10), the first full day of trading since it merged with Liberty Media’s tracking stock to create a single, streamlined public stock. SiriusXM said last December that it would merge its stock with Liberty SiriusXM Holdings to simplify and eliminate confusion around its multiple share classes and create […]
Concord Records and Fantasy Records have merged, their parent company Concord Label Group announced Tuesday (Sept. 10). The combined label will be called Concord Records.
The label will be headed up by co-presidents Margi Cheske, who was formerly president of Fantasy Records, and Mark Williams, who previously served as interim president of both Concord Records and Rounder Records (now led by Stephanie Hudacek). Both are based in L.A. and report to Concord Label Group CEO Tom Becci.
While leading Fantasy Records, Cheske built a roster that includes Nathaniel Rateliff & The Night Sweats, Allison Russell, James Taylor, Seether, Tedeschi Trucks Band, Lake Street Dive, Valerie June, Diiv, Lucius, LS Dunes, Taking Back Sunday, Marcus King Band, Grace Potter, Devon Gilfillian and Tanya Tucker. Prior to that, she was senior vp of marketing at Concord.
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In his prior role as interim president at both Concord and Rounder Records, Williams shepherded the release of music by artists including Sierra Ferrell, Billy Strings and The Revivalists and signed acts including Thirty Seconds To Mars, John Vincent III, Bella White, Amythyst Kiah, Daffo, Nitefire, Luke Tyler Shelton and Spacey Jane.
Cheske and Williams met while both were working at Virgin Records, where Cheske was The Smashing Pumpkins’ product manager and Williams was in A&R. Williams boasts a 44-year history in the business and previously founded Outpost Recordings before joining Interscope in 2001 and Columbia in 2010.
The new Concord label’s roster includes esperanza spalding, Lindsey Sterling, Nathaniel Rateliff & the Night Sweats, Taking Back Sunday, Seether, The Offspring and Thirty Seconds To Mars, along with emerging acts like Russell, Vincent and Matt Berninger.
Along with the announcement comes the reveal of a new Concord Records logo.
“In a music landscape where radical change has become the norm, it is vital that labels position themselves to manage complex challenges deftly,” said Becci in a statement. “This merger allows Concord to best utilize our global platform while maintaining the boutique level of service artists have come to expect. I know Mark and Margi share this notion, and their combined resources, alongside their complementary skill sets, will be a real benefit to the artists we serve.”
Added Williams, “Both Concord and Fantasy Records have always pursued artists with a unique vision and story to tell; the combined Concord Records will have an environment where those creative visions will be nurtured and supported.”
“This merger will allow us to better maximize our resources in service of those visions,” said Cheske. “Ultimately, this means a much more global, interconnected approach—allowing us, in concert with our incredible roster of artists, to bring their music to audiences around the world.”
The merger of the Fantasy and Concord labels is just the latest among several recent changes at the label group. Becci, who joined as CEO in August 2023, has previously restructured parts of the company, including by naming Hudacek president at Rounder Records and making changes to executive leadership in operations, marketing, and data analysis and streaming.
In a previous interview with Billboard, Becci alluded to the merger by calling the appointments of Cheske and Williams “a formidable frontline duo that can deliver on both new and developing artists,” adding, “They were swimming in the same pond, and I think together they’re going to own the pond.”
Johnson & Johnson is facing a lawsuit that accuses the pharma giant of “rampant infringement” of copyrighted instrumental music in YouTube and Facebook videos.
In a complaint filed last week in Los Angeles federal court, Associated Production Music (APM) claims that J&J released nearly 80 different internet videos featuring unlicensed “production music” — an industry term for stock tracks created for use in videos, podcasts and other content.
“At no point did defendant ever obtain APM’s license, authorization, or consent to synchronize the Recordings with the Videos,” the company’s lawyers write. “Moreover, despite being repeatedly contacted by APM regarding Defendant’s unlicensed uses of the Recordings, Defendant has refused to obtain proper licenses or admit wrongdoing.”
APM, a joint venture of Sony Music Publishing and Universal Music Publishing, describes itself as the top purveyor of production music in the country, controlling huge libraries of songs that have appeared in TV shows (Stranger Things, Game of Thrones and Spongebob Squarepants), movies (Lady Bird, The Shape of Water and The Big Sick) and video games (Call of Duty: Infinite Warfare and MLB: The Show). One particularly notable APM song is “Heavy Action,” the theme to Monday Night Football.
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Earlier this year, APM says it discovered that J&J had been using the company’s songs without permission. The lawsuit lists out 79 different videos featuring 30 different APM songs, like a YouTube video posted by J&J in May 2021 called “Nurse Leaders Disrupting Healthcare.” The video, which features an upbeat instrumental track behind narration, allegedly used an APM track called “Driving Inspiration” without securing a license.
The lawsuit is light on details, and it’s unclear how a sophisticated company came to release dozens of videos without securing licenses for the music. A representative for J&J did not immediately return a request for comment on the allegations.
Though the songs in question are hardly Hot 100 hits, intentionally using them without a license would still be a costly decision for J&J. Under federal copyright law, a judge can award as much as $150,000 per song infringed if a defendant acted willfully — nearly $12 million for all the songs involved.
Following the recent announcement that DJ revenue sharing platform Aslice is closing, Richie Hawtin has shared his thoughts on the news.
In a 10-minute statement posted to YouTube and social media, the pioneering techno producer expressed his disappointment that many big-name DJs did not participate in Aslice, a donation-based platform launched by DJ Zak Khutoretsky in 2022 that allowed DJs to voluntarily share their set playlists and contribute part of their performance fee to the artists whose music they played.
“The closing of Aslice is a huge disappointment,” Hawtin says. “Perhaps the biggest disappointment that I felt in our community, our scene since I’ve been part of it.”
Last week, the company announced it was closing and released a lengthy report that cited reasons including industry skepticism (“despite outreach to over 2,000 professional DJs, many remained hesitant,” the report says), difficulties the platform faced in gaining widespread adoption, the company’s difficulty in achieving financial sustainability, mixed engagement among DJs, and limited adoption by the leading and most well-played DJs.
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The report notes that “only 4.7% (56) of the top 1,199 DJs on Resident Advisor [with more than five upcoming performances] participated in Aslice.”
Hawtin has a sharp critique for these non-participating DJs, writing in his Instagram caption that “Aslice was working, and the only problem was that not enough DJs, especially the successful ones, agreed to sign up and share back into the music eco-system that they have built their careers on. Aslice did not fail, the famous, most followed DJ’s of our scene failed us all.”
With its closing announcement, the Aslice team said that since launching, they’ve paid out $422,696 to musicians with money from DJs who participated in the platform. They add that all participating artists with remaining balances will be paid out by the end of 2024.
Hawtin shared that since 2021, he has personally paid out €88,950 (roughly $116,268) to the producers whose music he played during his sets, at the expense of what averaged out to be roughly $800 per gig.
Noting that he wasn’t an investor in Aslice, Hawtin explained that it “was a platform that was built to rebalance the economic inequalities that are a big part of our scene. The economic inequalities between how much a DJ or musician and a producer gets paid for the music they make and the money that goes into the pocket of us DJs when we perform playing other people’s music.”
Hawtin said that while most bands perform their own music and earn commensurate royalties, “in our own beautiful scene where we have the largest paid performers playing other people’s music, that system doesn’t work. And it’s only gotten worse as we moved into digital distribution and streaming.”
He added that he’s seen many talented producers stop making music because they couldn’t support themselves and their families by doing it, even though their music might have been getting played by famous DJs in their sets. He says the platform was “a way to recognize the musicians and support the actual foundation of our whole scene. Without music, there’s no DJs.”
Hear Hawtin’s complete statement below.
The Aslice report notes that the platform was an especially vital tool in the electronic music world, given that PROs’ “failure to support the electronic music scene is evident in several key areas,” including, the report says, their technological stagnation, a lack of proactive outreach and community building, complex registration processes, an inability to track unreleased music, outdated distribution models, low accuracy rates, and a lack of retroactive payments for producers who weren’t registered when their music was played.
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Universal Music Group is revving up its Use Your Voice voter education campaign to mobilize eligible voters ahead of election day on Nov. 5. This year’s efforts range from a digital content series outlining important issues, an outreach program targeting HBCU’s and a get-out-the-vote initiative aimed at driving voting registration — and then ensuring people can get to the polls.
Use Your Voice, which launched its first campaign in 2020, is supported by three UMG entities: All Together Now Foundation, the Task Force for Meaningful Change and °1824, the company’s creative marketing division. For this election season, UYV will provide information and resources to help power the work of partners including the ACLU, BallotReady, HeadCount, the NAACP, National Coalition of Black Civic Participation, the National Council for Negro Women (NCNW), the Voto Latino Foundation, When We All Vote and Xceleader.
Susan Mazo, evp and chief impact officer of UMG, said that “since we started the program in 2020, it has helped tens of thousands of voters get to the polls and vote with confidence. This year, it will do so again through the work of our colleagues, our passionate artists, songwriters and labels, and our incredible voter resource partner organizations.”
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One such partner, HeadCount, will work alongside UMG for Use Your Voice and Vote About It, a short-form digital content series taking a much-need look at issues that voters may see on their local ballots. The initiative includes a voter hub with information, resources and digital tools, plus there’s a corresponding tote bag sold by Social Goods benefiting HeadCount. UMG is also supporting HeadCount’s Vote HBCU ‘Say It Louder’ Tour of 10 campuses with the goal of registering more than 10,000 students to vote. The program, built in partnership with Xceleader, and will collaborate with UMG to amplify messaging around National Voter Registration Day, coming up on Sept 17.
This year, HeadCount has also partnered with artists from UMG’s labels including AJR, Ariana Grande, Barenaked Ladies, Billie Eilish, Clairo, Chappell Roan, Chelsea Cutler, Em Beihold, Glass Animals, Gracie Abrams, Hootie & the Blowfish, Maggie Rogers, Mt. Joy, Noah Kahan, Olivia Rodrigo, Rapsody and Remi Wolf, among others.
“As we head into this pivotal election, our partnership with Universal Music Group through the ‘Use Your Voice’ campaign is about more than just registering voters,” said HeadCount executive director Lucille Wenegieme. “Together, we’re making sure that every voice is not just heard, but impossible to ignore. At HeadCount, we partner with organizations that see the value of a multi-pronged approach to civic engagement to ensure we are reaching as many voters as possible – this is no different. We are so grateful for UMG’s strategic support during this election cycle. Together, we’re inspiring a new generation to actively participate in shaping their future.”
Additionally, UMG’s °1824 is producing a digital content series called By the Numbers targeting young people and possible first-time voters to check their registration status and inform them on their potential impact on election results. BallotReady and UYV are also jamming on a series of co-branded assets urging users to make a fully-informed voting plan.
UMG’s Task Force for Meaningful Change unveiled its Pull Up to the Polls initiative providing resources including a plan to provide 15,000 ride share codes to voters through NAACP, NCNW and When We All Vote. TFMC is also working with Voto Latino Foundation with the goal of registering over 7,200 eligible voters, and will work with Black Voters Matter, the National Coalition of Black Civic Engagement/Black Women’s Roundtable and others to mobilize and educate voters ahead of Nov. 5.
“The NAACP is proud to work with UMG in ensuring that democracy works, for everybody. Black voices matter, and we know that when our communities Pull up to the Polls, we’re heard,” said Dominik Whitehead, NAACP svp of campaigns and mobilization. “That’s why partnerships like these are so important in bringing the resources and tools necessary to ensure that every vote is counted, and every voice is heard. Let’s make this an election to remember!”
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: Prosecutors file a first-of-its-kind criminal case against an alleged streaming fraudster who made $10 million with fake songs; the White Stripes file a copyright case against Donald Trump over use of their music; Spotify wins a strongly-worded ruling dismissing a long-running lawsuit filed by Eminem’s publisher; and much more.
THE BIG STORY: Streaming Fraud Finally Goes To Court
When Manhattan federal prosecutors indicted a North Carolina musician named Michael Smith last week, accusing him of stealing $10 million in streaming royalties as part of a “brazen fraud scheme,” they told a story that much of the music industry already knew. Streaming fraud – artificially boosting traffic for certain songs – has been a growing problem for years. One study found that 1% to 3% of plays in France in 2021 were fraudulent; a 2022 report by fraud-detection service Beatdapp estimated that more than 10% of global streams were fake. And this isn’t the scam from “Office Space,” stealing fractions of a penny from a faceless tech giant. Because royalties are calculated as a percentage of a finite pie, every phony stream represents real money being diverted away from music that consumers actually played and the artists who created it. In the first-of-its-kind indictment, the feds say Smith created thousands of fake songs, then used an army of bots to play them billions of times on Spotify and other streamers. At one point, Smith estimated that he could play his songs 661,440 times each day, raking in as much as $1.2 million per year. Prosecutors say Smith’s plot was aided by artificial intelligence – another growing problem for the industry. When he couldn’t create enough fake tracks to make the scam work, Smith allegedly partnered with an unnamed executive at an A.I. music company to produce grist for his mill, funneling money back in the form of percentage cuts. For more details go read Kristin Robinson’s stories – on the filing of the charges, and on an AI company with strong ties to the accused fraudster.
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Other top stories this week…
“SUES FASCISTS” – The White Stripes filed a copyright lawsuit against Donald Trump for using their iconic “Seven Nation Army” in a social media post, arguing that any association with the president was “offensive” because they “vehemently oppose” his policies and his bid for another term in the White House. In announcing the case, Jack White included a screenshot of the complaint with the caption “this machine sues fascists” – an allusion to Woody Guthrie’s famous use of a sticker reading “this machine kills fascists” on his guitar during World War II. The White Stripes are the latest in a long list of musical artists to threaten or take legal action against Trump over his use of music. LOSE YOUR CASE – Spotify defeated a long-running lawsuit filed by Eminem’s publisher, Eight Mile Style, that claimed the rapper’s music had been streamed illegally “billions” of times on the platform. Rather than order Spotify to pay, the judge sharply criticized Eight Mile for suing in the first place, ruling that the company had effectively manufactured the lawsuit in an effort to win legal damages. “Eight Mile Style was not a hapless victim,” the judge wrote. DIDDY DAMAGES – A Michigan inmate named Derrick Lee Cardello-Smith won a $100 million default judgment against Sean “Diddy” Combs in a sexual assault lawsuit — an eye-popping figure that was handed down after the rapper did not show up in court or file any formal response to the case. Following the ruling, Combs’ lawyers strongly denied that the rapper was served with the lawsuit and said he “looks forward to having this judgment swiftly dismissed.” GUESS WHO TRUCE – The members of classic rock band The Guess Who settled a bitter trademark lawsuit in which two bandmates (Randy Bachman and Burton Cummings) referred to a recent iteration of the group run by two others (Jim Kale and Garry Peterson) as nothing more than a “cover band.” COPYRIGHT CLAPBACK – Verizon fired back at a lawsuit filed by Universal Music Group, Warner Music Group and Sony Music Entertainment over allegations of “staggering” piracy on its network. The labels claim Verizon “buried its head in the sand” and enabled illegal filesharing, but in a motion to dismiss, the telecom giant blasted the “legally deficient” premise of the case: “When people do bad things online, their internet service providers are not typically the ones to blame. This lawsuit claims otherwise.”
A Michigan inmate has won a $100 million default judgment against Sean “Diddy” Combs in a sexual assault lawsuit, an eye-popping figure handed down after the rapper did not show up in court or file any formal response to the case.
The huge judgment, confirmed by Billboard from court records, was issued by a Michigan state judge in Lenawee County to Derrick Lee Cardello-Smith – one of numerous people to accuse the embattled rapper of sexual abuse over the past year.
The ruling is a so-called default judgment, a kind of legal award granted when an accused party doesn’t respond to a legal action. At a hearing last month, a judge said that Combs had been properly served with the lawsuit, and court records indicate that he never answered the claims.
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In a statement to Billboard, Combs’ attorney Marc Agnifilo strongly denied that his client had ever been served with the lawsuit and said the rapper “looks forward to having this judgment swiftly dismissed.”
“This man is a convicted felon and sexual predator, who has been sentenced on 14 counts of sexual assault and kidnapping over the last 26 years,” Agnifilo said. “His resume now includes committing a fraud on the court from prison, as Mr. Combs has never heard of him let alone been served with any lawsuit.”
If lawyers for the rapper now respond to the lawsuit, they could seek to overturn the default judgment and proceed to normal litigation, where Cardello-Smith would need to prove his allegations to a jury before securing a judgment.
Once one of the most powerful men in the music industry, Diddy has been hit with at least seven civil lawsuits alleging sexual abuse over the past year, including claims by ex-girlfriend Cassie Ventura that were later followed by a video showing him assaulting her. The hip-hop mogul is also facing an apparent federal criminal investigation after authorities raided his homes in March.
Though the rapper has denied the legal allegations against him, he issued an apology in May over his conduct captured on the video of the Ventura attack: “My behavior on that video is inexcusable. I take full responsibility for my actions in that video.”
According to Michigan inmate records, Cardello-Smith, 51, is serving multiple, decades-long sentences for a variety of crimes, including first-degree criminal sexual conduct and two counts of kidnapping. The earliest he can be released from prison is 2036.
Cardello-Smith sued Combs in June, claiming the rapper had spiked his drink and sexually assaulted him at a party in 1997. At a court hearing last month, he told a judge that the rapper had personally visited him in prison after he filed the lawsuit and offered him $2.3 million to drop his case.
At that same hearing, the inmate alleged that Combs had told him that he would not appear in court or respond to the lawsuit, saying “You know how we get down.” Cardello-Smith told the judge that he responded by telling Combs “I disagree with how you get down” and rejecting the settlement offer.
The lawsuit against Combs is not the first civil action Cardello-Smith has filed from behind bars. Last year, he sued a Detroit-area Catholic archdiocese, alleging he had been sexually abused by a priest and others between 1979 and 1993. The case was dismissed last month by state appeals court, which ruled that Cardello-Smith’s allegations were barred by the statute of limitations.
Venues across the nation can now show off their independent status. On Tuesday (Sept. 10), the National Independent Venue Association (NIVA) announced the launch of “Live Independent,” a first-of-its-kind certification program for independent venues, promoters and festivals nationwide.
The new initiative, supported by event discovery platform Bandsintown, is aimed at strengthening and unifying the live entertainment community by “offering a seal of certification that recognizes excellence and commitment to the independent ethos,” according to NIVA.
Certified venues will receive physical posters, stickers and decals of the Live Independent seal to display, along with virtual seals and assets for websites, marketing materials and social media. Partnerships with ticketing companies will also enable the Live Independent seal to be displayed on event tickets.
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The Live Independent program will include a dedicated website serving as a hub of information and emphasizing the importance of supporting certified Live Independent venues and events. Fans can use the site’s search feature to verify if their favorite venue is certified independent and find shows at certified stages.
“This certification is a testament to the power of independent stages as sanctuaries for human connection. In an era dominated by publicly-traded live entertainment conglomerates, these venues and festivals are the final strongholds of authenticity, where the heart of live performance beats strongest,” said NIVA executive director Stephen Parker in a statement. “When fans and artists choose independent stages, they’re investing in the soul of their community. Live Independent is our collective promise — to the artists, to the fans, and to the communities that cherish these spaces — that the spirit of independent venues will not only endure but will continue to flourish.”
As a partner for the program, Bandsintown is committed to educating fans about what Live Independent means and promoting independent venues through dedicated placements on the Bandsintown app and at Bandsintown.com. Every NIVA-member independent venue will have the Live Independent seal on its Bandsintown venue page while a map of Live Independent-certified venues will be featured on Bandsintown’s homepage to help fans locate and support these independent entities.
“Bandsintown’s ethos is independent at the core, serving artists since day one of their journey,” added Bandsintown co-founder/managing partner Fabrice Sergent. “Independent venues shed light on those artists early in their career and we’re proud to work alongside NIVA to help them find the audience they deserve.”
To become certified, venues, festivals and promoters must demonstrate a mission centered around delivering music, comedy and performance to audiences; maintain fair pay practices for all artists, performers and creators; be independent from multinational conglomerate or publicly traded company ownership or exclusive operation; show support for a transparent, competitive marketplace and a diverse, inclusive community; and be a NIVA member. NIVA members will not pay additional fees to join the program.
More information on the Live Independent certification program, including details on how to apply and the specific benefits of certification, can be found here.