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Troy “Tracker” Johnson will launch TRACK mgmt in January following nearly 10 years with Big Loud Management.
The new full-service Nashville-based management company, a partnership with Live Nation, will launch with clients HARDY, Dallas Smith, Jake Worthington and McCoy Moore, who follow him from Big Loud Management, as do artist managers Emily Smith and Drew Magid. HARDY, Dallas Smith and Worthington remain on Big Loud Records. Moore is unsigned.
“It’s been a long time coming for TRACK mgmt and now seems like the perfect time to make it a reality,” Johnson said in a statement. “I’m beyond grateful for the Big Loud partners — Seth England, Joey Moi and Craig Wiseman — for not only having a hand in my journey but also providing me with so much support. I’m excited to have Emily Smith and Drew Magid on the TRACK mgmt team. It’s going to be a great start to 2025.”
The move comes as Big Loud Management prepares to wind down by the end of next year. “Working with Tracker for over a decade, from the very beginning of Big Loud Mgmt, has been an incredible journey,” said Big Loud partners England, Moi and Wiseman in a statement. “As Big Loud concludes its artist management venture at the end of 2025, we couldn’t be prouder to see Tracker embark on his own entrepreneurial path. He and his team are more than ready for this moment, and we look forward to supporting TRACK mgmt in the years to come.”
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TRACK mgmt
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England says Big Loud’s focus will remain on its label and publishing divisions. “Prioritizing a greater work-life balance is something top of mind now that I am a father of two and need greater bandwidth,” he tells Billboard. “I will continue to lead our records and publishing divisions as their growth requires greater focus. This shift is a return to my first love. Continuing to foster close relationships with all management clients, it’s my privilege to help guide those not working with Tracker’s team to their next destination.”
Big Loud’s management roster still includes, among others, Ernest, Jagwar Twin, Ashley Cooke, Lauren Watkins and Mackenzie Porter. Morgan Wallen departed Big Loud Management earlier this year, though he remains on the label.
Prior to joining Big Loud Management when it started in 2015, Johnson worked in the music business in his native Texas beginning in the early 2000s and earned his nickname from being a tour manager who excelled at keeping track of things. Additional artists he has worked with include Wallen, Florida Georgia Line and Chris Young.
NLE Choppa is partnering with a new company that helps young artists collaborate with some of today’s biggest stars. Beginning today (Dec. 3), Feeture, a new app created by industry veterans Jareiq “JQ” Kabara and Edward “Ed” Ponton Jr., will “streamline the artists-to-artists collaboration process from idea to file delivery.”
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“I’m honored to represent a platform like Feeture that makes it so easy to connect with other artists and make music together,” Choppa tells Billboard. “As someone who’s experienced major success from both my features on other artists’ tracks and their features on mine, having an app that takes the heavy work out of finding collaborators is invaluable.”
After carving out a fistful of Hot 100 hits, including “Shotta Flow” and “Walk Em Down,” Choppa will serve as Feeture’s first global ambassador as they look to expand across genres to serve artists from different backgrounds and communities. The app allows artists to search for collaborators based on location, genre, and fees. Once a potential collaborator is found, the app provides a platform for negotiating terms, payments, and music file delivery. This process is designed to be as user-friendly as possible, allowing artists to focus on making music together.
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“Our goal was to create a space where finding and facilitating artist features is as easy as possible,” says Kabara, who formerly served as an A&R for Janet Jackson. “We want artists to focus on making music together—while leaving the administrative and legal challenges behind.”
“Feeture is a dream come true—a community exclusively for artists, free from middlemen and built on real, transparent connections,” says Ponton Jr, an experienced songwriter and now Feeture’s COO. “It opens doors the industry once kept closed, creating opportunities for all. I thank God for this journey and the vision to bring something new to the independent music industry.”
With Kabara and Ponton Jr.’s combined experience and knowledge in the industry, they hope to reduce the stress rising artists experience when negotiating artist collaborations with the creation of Feeture. Upon signing up, artists will get a one-month free trial with the promo code Feeture01. The app will also be available to Android users next year, empowering even more artists to connect and create.
Watch the Feeture commercial starring Choppa below:
NLE Choppa
MOM
Stephen King is killing off his cluster of money-losing radio stations in Maine, announcing on Monday (Dec. 2) that WZON, WKIT and WZLO will cease operations in the Bangor area on Dec. 31 after 41 years under his and wife Tabitha’s ownership.
The wicked prolific author bought WLBZ in 1983, renaming it WZON in homage to his 1979 novel The Dead Zone. The station was sold in 1990 but re-acquired by the Kings three years later. Despite King’s passion for radio and his efforts to maintain local and independent stations, the three stations have consistently lost money, with King personally covering the deficits.
WZON is on the AM dial at 620 and plays “Retro Radio,” while WKIT 100.3 FM is branded as “Stephen King’s Rock Station” and WZLO, at 103.1 FM, is “Maine’s Adult Alternative.” The company operates under the name The Zone Corporation.
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King, who was in his mid-30 when he got into radio, cited financial losses and his advancing age — a healthy 77 — as reasons for the shutdown. He expressed pride in being a local owner and gratitude for the staff and local advertisers who supported the stations.
“While radio across the country has been overtaken by giant corporate broadcasting groups, I’ve loved being a local, independent owner all these years,” said King. “I’ve loved the people who’ve gone to these stations every day and entertained folks, kept the equipment running, and given local advertisers a way to connect with their customers. Tabby and I are proud to have been a part of that for more than four decades.”
General manager Ken Wood, who has been with the stations for 10 years, acknowledged the end of an era but appreciated the Kings’ commitment to local broadcasting.
“Independent, locally owned radio stations used to be the norm,” said Wood. “There’re only a few left in Maine, and we’re lucky we had these three as long as we did.”
A news release states that Zone Corporation is closing but doesn’t specify if they’re looking to sell the stations. This potentially means they could stop operations under a Special Temporary Authority from the FCC, which lets them follow regulations while possibly finding a buyer.
Since getting into the terrestrial radio business in 1983, King has written over 50 novels, including well-known works such as It, Misery, The Dark Tower series, Pet Sematary, Under the Dome, Skeleton Crew, The Green Mile and 11/22/63, among many (many) others.
Read the full announcement from Zone Corporation:
When internationally known author Stephen King first entered the radio business in 1983, it was with the enthusiasm and love of a lifelong rock and roll fan and as a listening member of the greater Bangor community.
He also was a young man of 36 with a lifetime of creativity ahead of him. Now, in good health but feeling his 77 years, King says it’s time to “get his business affairs in better order,” and that means saying good-bye to the radio stations that he personally has kept afloat and on the air all these years.
“While radio across the country has been overtaken by giant corporate broadcasting groups, I’ve loved being a local, independent owner all these years,” said King. “I’ve loved the people who’ve gone to these stations every day and entertained folks, kept the equipment running, and given local advertisers a way to connect with their customers. Tabby and I are proud to have been a part of that for more than four decades.”
In those four decades, however, the stations consistently have lost money. The amounts have varied from year to year but have been significant. King personally has covered those losses.
Flagship station WZON, which first went on the air in Maine in 1926 as WLBZ, was purchased by the Kings in 1983. The call letters were changed to WZON, a nod to Stephen King’s best seller The Dead Zone and a rock and roll format was instituted. The station never made money and for a time, even surrendered its commercial status to become a donor supported enterprise. In 1990, the station was sold, only for the Kings to re-acquire it three years later and bring back the commercial model.
Ken Wood, General Manager of the stations for the last ten years is certainly sad to see the end but said he’s grateful for the Kings’ ownership and proud of the local voices that have a place in Maine’s colorful broadcast history. “Independent, locally owned radio stations used to be the norm. There’re only a few left in Maine, and we’re lucky we had these three as long as we did,” said Wood.
The stations of The ZONE Corporation are WZON (620 AM), WKIT (100.3 FM), and WZLO (103.1 FM). Broadcasting operations are expected to cease on December 31st.
South Korea’s Financial Supervisory Service is investigating HYBE and its chairman, Bang Si-hyuk, over allegations he earned $285 million from the company’s 2020 initial public offering through profit-sharing deals with three large shareholders.
HYBE, then named Big Hit Entertainment, went public in 2020 after building its primary act, BTS, into global stars. The IPO raised approximately $820 million and confirmed HYBE’s arrival as a major player in the global music business. But while the IPO was a success for the company, many individuals who bought shares for well above the IPO price lost money as the price retreated in the following weeks.
Last week, The Korea Economic Daily broke the story that Bang personally pocketed about 400 billion won ($285 million) from agreements made with private shareholders STIC Investments, Estone Equity Partners and New Main Equity a few years before the IPO. Those agreements, according to the report, called for Bang to receive 30% of the shareholders’ profits from their sale of Big Hit shares following the IPO. But if Big Hit failed to go public before an agreed-upon time, Bang would have had to repurchase the shares plus interest.
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In a statement posted to HYBE’s investor relations website on Friday (Nov. 29), the company confirmed the existence of a shareholder agreement but dismissed the notion that Bang broke any securities law. “During the process of preparing for the listing, our company provided the relevant shareholder agreement to the listing underwriters, and the listing underwriters also reviewed the relevant shareholder agreement in accordance with the listing-related laws,” the statement reads. “In this regard, we have determined that our company did not violate any relevant laws during the listing process.”
A HYBE official provided more detail about the shareholder agreement in a statement to The Korean Herald. Prior to the IPO, one of HYBE’s investors requested to know the IPO timeline, which HYBE refused to share. Worried about unnamed uncertainties, the shareholder demanded a “put-back option,” or a right to sell an equity at a pre-determined price and time. But HYBE “couldn’t sustain itself under such conditions,” this person stated, and Bang “took on the risk himself” and personally agreed to the option.
South Korea’s Financial Supervisory Service was quoted in media reports as saying it’s investigating HYBE and Bang for possible violations of the country’s Capital Markets Act, including how a private equity fund acquired Big Hit shares prior to the IPO and whether Big Hit omitted information from its securities filing. The Korea Exchange stock market is also examining relevant documents for potential violations.
When Big Hit shares debuted on the Korea Exchange on Oct. 15, 2020, strong demand drove the share price from the 135,000 won ($118) IPO price to 351,000 won ($308) on its opening day. But Big Hit’s price fell 22.3% the next day and dropped another 29% over the next two weeks, leaving many individual investors with losses. (The stock rebounded over time. An investor who bought at the peak on the stock’s opening day could have sold for a profit had they waited one year.) The Korea Economic Daily article contended the drop-off was “largely driven” by the private equity fund’s “massive selloff” of Big Hit shares after the IPO.
Even by the standards of a litigious business, Drake’s recent legal actions against Universal Music Group and other companies look like odd filings.
On Nov. 25, Drake filed an action accusing UMG and Spotify of acting to “artificially inflate” the popularity of Kendrick Lamar’s “Not Like Us”; the next day, he made a similar filing against UMG and iHeartRadio, alleging that UMG’s release of the song could also constitute defamation. The basic idea seems to be that “Not Like Us,” Lamar’s diss track against Drake, became so successful because it was rigged.
“UMG did not rely on chance, or even ordinary business practices,” Drake’s lawyers wrote in the first filing. “It instead launched a campaign to manipulate and saturate the streaming services and airwaves.” The filings accuse UMG and its partners of acting in ways that are fraudulent, including using “bots” and payola, but little proof is provided — a “whistleblower,” an “inside source known to petitioner” and an assertion that Drake “learned of at least one UMG employee making payments to an independent radio promoter” who had agreed to pay stations. (The company has said in a statement to Billboard that “the suggestion that UMG would do anything to undermine any of its artists is offensive and untrue.”)
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These filings aren’t lawsuits, but rather legal attempts to get information that might provide the basis for them. And since Lamar’s success doesn’t really come at the expense of Drake’s — at least any more than any artist becomes popular at the expense of any other — it’s hard not to wonder if Drake is just upset that, with “Not Like Us,” Lamar seems to have won the long-running feud between them. That’s a long story — well-summarized here — but Drake and Lamar basically traded diss tracks for hip-hop fans until Lamar’s scathing “Not Like Us” topped the Billboard Hot 100. Drake is essentially claiming that UMG — for which both rappers record under different labels — cheated on Lamar’s behalf. It was rigged.
Quick: What other famous person does this remind you of? Hints: When he wins, he revels in his success; when he loses, he blames it on unfairness and litigates. Yes, I’m going there: Drake has become Trumpian.
Before Team Drizzy throws bottles of Virginia Black Whiskey by Drake, Drake is a skilled rapper, a compelling performer, and a fantastic Drake — it’s hard to compare him to other artists, both because he doesn’t fit neatly into a genre and because his greatest talent is being Drake. (Drake the artist seems to be an exaggerated version of Drake the person, with the soap operatic conflict amped up and the more mundane parts edited out.)
Both Drake and Trump thrive on success and fandom — their fans root for them because they win and they win because their fans root for them. (Trump the politician seems to be an exaggerated version of Trump the person, with the cultural conflict amped up and the boring parts edited out.) Neither gets a ton of respect from critics, but they are both popular beyond belief, and they love to win and then show off that they did. Drake’s feud with Lamar became so compelling because each was a champion in his own way — Drake the unmatched entertainer, Lamar the iconic old-school lyricist. By scoring a No. 1 single with a diss track, an unusual achievement, Lamar essentially beat Drake at his own game.
Is this why Drake is filing legal actions? Most people file litigation for financial restitution, to get an injunction to stop something, or to win negotiating leverage. In this case, the first would be hard to calculate, the second involves practices that would be hard to prove and the third seems unlikely — why would Drake want out of the UMG deal he signed in 2021, which includes publishing and merchandise rights and was described as “Lebron sized.” The only thing we know about Drake’s motive is that his second filing says he “brings this action for a discrete and specific purpose: to understand whether, and how, UMG funneled payments to iHeartRadio and its radio stations as part of a pay-to-play scheme.” Perhaps, like Trump, he simply can’t imagine the possibility that he would lose a fair fight.
Does Drake have a case? If UMG really had the power to make any song a hit, wouldn’t it do so more frequently? If anyone thinks Drake hasn’t received enough marketing or promotion — and I have yet to meet such a person — it’s worth considering that some Spotify subscribers found the service’s promotion of Scorpion so extensive that they asked for a refund. This, too, has political echoes: If U.S. elections are as unfair as Trump claims, how can he trust the one in November?
Like Trump, Drake loves the one-upmanship drama of competition — but only, apparently, when he wins. Trump ran several campaigns based partly on the politics of insult comedy — his dog-whistle racism was obviously far worse — but he doesn’t like to be on the receiving end of it. (The kind of thin skin that would be a personal fault in most is terrifying in the U.S. president.)
If rappers could pursue defamation claims for diss tracks, much less against the labels that release them, hip-hop never would have made it out of the Bronx. Lamar called Drake a certified pedophile, which is an ugly accusation, and a pun on Drake’s Certified Lover Boy, but not an actual thing; the reason Drake looks bad isn’t because people believe it but because “Not Like Us” is catchier and wittier than his own diss tracks. Drake certainly has the right to ask about music promotion practices — even in a legal filing. If no evidence of this emerges, though, he will need to seek satisfaction the old-fashioned way — by releasing a more compelling single.
Restructures at Universal and Warner, standoffs with TikTok, hot streaks by iconic labels, and a focus on fraud make up some of the biggest label stories of the past year.
After closing multiple deals in the past several months, Prediction Enterprises has officially launched as a music rights management company. Co-founded by industry veterans Matthew Limones and Nicolás González, the firm focuses on the rights and revenues of top music industry creatives and rights owners.
“I’m proud to have been able to found a company that offers essential and meaningful services in the sector of the business where I saw the need,” said Limones, CEO, in a press release. “After my tenure as an executive at one of the most important collective management organizations in the world, I saw an opportunity to jump in and start an operation that managed the rights and revenue of creatives that grew their business on the recorded music side.”
The company provides services for labels, publishers, artists, producers, and songwriters, and negotiated “multi-million dollar transactions of music catalog rights” and deals for top names that include Pitbull, Natanael Cano, Gerardo Ortiz, Sech, Darell, Belinda, Gabito Ballesteros, Cristian Castro, Nacho, Fariana, Lit Killah and brands such as Latin music festival Vibra Urbana and media company Rapeton.
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González, COO, added in the press release, “Many creative artists’ music careers move very fast and don’t have time to understand and learn which music rights belong to them or where to start claiming their rights and collecting their royalties. We saw an opportunity to help them.”
Limones brings a rich background in music technology, policy and label management to his role as CEO of Prediction Enterprises. Before co-founding the new company, Limones served as vp of artist relations at RichMusic; he was also the director of marketing at Universal Music Group/Capitol Latin, and manager of artist and label relations at SoundExchange, where he expanded the company’s Latin digital footprint. Limones has been featured on Billboard’s 40 Under 40 list and is a Billboard Latin Power Player alum.
González also offers a diverse background in tech, music business, and production to his role as COO. Before this, the exec was integral to the Uruguayan pop group Rombai, contributing as a music director, composer and producer. His work earned him accolades including the Uruguayan Music Graffiti Awards and honors from the Viña del Mar International Song Festival. He also serves as vp of the Music Managers Forum in Miami.
Check out Prediction Enterprises’ official website here.
Sony Music UK has appointed Azi Eftekhari as its chief operating officer, effective immediately. Reporting directly to Jason Iley, chairman and CEO of Sony Music UK & Ireland, she’ll oversee key operational areas, including the label’s Commercial Group, and play a pivotal role in shaping the company’s overall growth strategy.
Eftekhari brings two decades of experience in the music and entertainment industries to her new position, having most recently served as co-president of Universal Music Recordings, managing global artists such as The Beatles, Elton John, Amy Winehouse, The Rolling Stones and The Spice Girls at the label’s catalogue division.
Prior to UMG, Azi held a significant role at YouTube as head of label relations, where she spearheaded the launch of YouTube Music across Europe and secured a landmark partnership with The BRIT Awards, further cementing her reputation as an innovator in the intersection of music and technology. Additionally, she co-led Remedy Inc., a creative agency delivering projects across music, theatre and branding.
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Eftekhari’s career began at Mercury Records, where she collaborated with Iley as director of digital and publicity, contributing to campaigns for artists like U2, Justin Bieber and Rihanna. Her leadership extended beyond individual companies, as she also served on the boards of the Official Charts Company and the Entertainment Retailers Association, showcasing her influence within the broader music industry.
Iley expressed confidence in Eftekhari’s “depth of experience straddling the world of music, tech and culture combined with commercial acumen,” while Azi voiced her gratitude for the opportunity to work with Illey. “He’s built an exceptional, future-facing company and I look forward to playing a part in continuing to champion the incredible roster of artists,” she said. “In this rapidly changing marketplace, there are many exciting opportunities to harness, and I can’t wait to help drive the business into the next chapter.”
FACTOR Canada says it has fallen victim to serious cyber theft.
Court filings by the music funding body, The Foundation Assisting Canadian Talent on Recordings, reveal claims that $9.8 million was stolen from a Scotiabank account earlier this year.
FACTOR distributes millions in funding to thousands of artists and music organizations in Canada — last year, the organization dispensed $50 million. Now, it’s alleging that an amount equivalent to nearly a fifth of that annual distribution was transferred by a cyberthief to a numbered company.
James Campagna, shareholder for said company, then allegedly transferred $9.4 million to a cryptocurrency-owned account and converted the funds into crypto.
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Today (Nov. 29), a hearing took place at the Ontario Superior Court of Justice on the matter.
In a statement on the foundation’s website titled “FACTOR’s Response to the Scotiabank Cybertheft: The Facts,” the company clarifies its side of the story that was reported on in the media and says that it aims to “defend the baseless allegations being made by Scotiabank against our systems and staff.”
“It is true that FACTOR has been a victim of a significant financial crime that occurred on June 12, 2024, by way of a one-time fraudulent wire from our Scotiabank account on ScotiaConnect in the amount of $9,772,875.33,” the statement reads.
But the response from FACTOR adds new details to the story, particularly in regards to Scotiabank’s involvement.
The organization says it reported the crime to law enforcement on June 14, but that Scotiabank “has acknowledged it has never reported this financial crime to law enforcement.”
The statement also asserts that the money transfer was 300x larger than any transfer previously made from that account, “with no alerts to FACTOR of this highly unusual, suspicious, and illegal activity.”
If the funds aren’t recovered swiftly, there’s reason to be concerned that artists — who rely on FACTOR funding for recording, music video production, touring and more — could be affected.
More on this story as it develops – Rosie Long Decter
Drake Tells Interviewer to Turn Off The Weeknd and Put on Blink-182
Drake’s got a lot of enemies right now.
After Kendrick Lamar released his new album but before news broke of Drake’s two different legal actions against his parent label Universal Music Group and Spotify, the rapper joined Quebecois streamer xQc for a livestream on Kick on Sunday (Nov. 24).
You never know what Drake will say with a live mic, so many fans tuned in to see if he’d have words about the Kendrick beef or any other hot topics. Between confirming an upcoming Australia tour and giving an update on his collaborative album with PartyNextDoor, he also threw some subtle shade at his former friend The Weeknd.
As his song “Starboy” started playing, Drake quickly told xQc to “switch that one off.” When the host asked him why he doesn’t listen to it, he answered “we’re real 6ixers, we don’t listen to that.” He told him to turn on Blink-182 instead. “I want to hear that real sh-t,” he said over the sounds of “Dammit.”
The Weeknd was born in Scarborough, Ontario, a district of Toronto, a.k.a The 6ix. The Weeknd began his career affiliated with Drake, but the two have had their own long-simmering beef. The Weeknd was spotted in the audience at Kendrick Lamar’s “Pop Out” concert on Juneteenth, which included performances of all of the rapper’s diss tracks and multiple performances of the scathing “Not Like Us.”
Former Toronto Raptor DeMar DeRozan was also at that concert. That clearly upset Drake, who called him out on a recent game broadcast. Evidently, he still has beef with The Weeknd too.
Drake didn’t address Kendrick or his new album by name, but did reference Kendrick and his “false accusations” indirectly. “You need facts to take me out, fairy tales won’t do it,” he said. –Richard Trapunski
Universal Music Group’s Virgin Music Group struck a global distribution and marketing partnership with Brooklyn-born independent label Partisan Records, which is home to IDLES, PJ Harvey, Blondshell, Cigarettes After Sex, Laura Marling, Ezra Collective and more. Partisan also includes the imprints Desert Daze Sound and section1. The deal follows Universal’s acquisition of Partisan’s longtime partners [PIAS] and [Integral] last month. “The combination of the Virgin and [Integral] teams allows for Partisan to marry the best of the [PIAS] and [Integral] teams that helped get us here with the extra resources of Virgin required to meet our ambition to be the most trusted music company for artists of all genres, worldwide, said Partisan COO Zena White in a statement.
SoundExchange and the South African Music Performance Rights Association (SAMPRA) reached a reciprocal agreement that will see U.S. and South African performers paid royalties for the use of their recordings in the U.S. and South Africa, respectively. This will be the first time U.S. performers are paid neighboring rights when their music is used in South Africa. “This agreement is a result of SoundExchange’s efforts to ensure American creators are treated the same as their South African counterparts in the country,” states a press release on the deal. The multi-lateral agreement, which also includes the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, is retroactive to the 2022 distribution period and will also benefit non-featured artists including studio musicians and backup singers. Those non-featured artists will also see South African royalties deposited into the fund, which is administered by the American Federation of Musicians (AFM) and SAG-AFTRA. “This is similar to how, in its U.S. collections, SoundExchange distributes 5% of collected royalties to non-featured artists through the Intellectual Property Rights Distribution Fund, 45% to featured artists, and 50% to rights owners,” the release adds.
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Live Nation acquired a majority stake in Lisbon, Portugal’s 20,000-capacity MEO Arena, marking a major investment for the touring giant in the country. First opened in 1998, MEO Arena will soon be renovated to upgrade premium seating, skyboxes, dressing rooms and concessions. Live Nation also plans to build on the arena’s sustainability efforts to focus on reducing its environmental impact. Daily operations at MEO Arena will remain under its current leadership team. The acquisition follows formal approval by the Portuguese competition authority and is subject to closing conditions. The agreement is expected to be finalized late this year or early next.
Warner Music Group’s merchandise and fan experience division WMX has signed on as the official merch partner for Oasis‘ upcoming comeback tour, Oasis Live 25. The merch offering for the show will include pop-up stores, fan experiences, exclusive brand collaborations and event merchandise. The band is slated to hit stadiums in the U.K., Ireland, North Americ, South America and Australia next year.
Create Music Group acquired Manchester, England-based record label and music publisher Ostereo, which has worked with artists including Joel Corry, J.Fla and Shania Yan. As part of the agreement, Ostereo founder Howard Murphy will exit the company to focus on a new venture, leaving his longtime partners, Ramin Bostan and Nick Kirby, to oversee day-to-day operations.
Dallas-based Regional Mexican label Elegante Records signed a global distribution pact with Warner Music Group’s ADA. The Elegante roster includes Conjunto Rienda Real, La Pócima Norteña and Distinto Norte.
The American Association of Independent Music (A2IM) partnered with artist, songwriter, indie label and distributor funding platform beatBread, effectively providing A2IM members with beatBread’s data-driven funding solutions that enable artist or catalog acquisitions, new release funding and support for general operations and growth. Other benefits include free distribution via Too Lost, free OpenPlay subscriptions and discretionary A&R funds on top of any advances taken (up to 20% of the advanced amount).
Downtown-owned business-to-business distributor FUGA signed a partnership with L.A.-based independent label Mind of a Genius Records (MOAG). FUGA will provide MOAG with its suite of comprehensive services, including digital and physical distribution, synch and licensing opportunities and advanced data analytics. MOAG’s roster includes Mindchatter, Kwaye, Karnaval Blues, Peter $un, and Jordan Astra alongside its frontline releases.
Independent distributor IDOL struck a global partnership with London-based label Full Time Hobby and its alt-rock imprint Hassle Records. IDOL will handle global distribution, marketing and audience development for both labels’ frontline and catalog releases, excluding Germany, Austria and Switzerland. Over 21 years, Full Time Hobby has developed artists including GHOSTWOMAN, Michael Nau, Squirrel Flower, The Saxophones and Casey. Under the deal, IDOL will service new Full Time Hobby releases from artists including Bananagun, Canty and Tunng and new Hassle Records releases from BRUTUS, Dead Pioneers and Jools.