Business
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British prosecutors say they have been given a file of evidence from police about alleged sexual offenses by comedian Russell Brand and are considering whether to charge him. The Crown Prosecution Service said late Saturday (Nov. 2) that “we have been passed a file by the police to consider a charging decision in this case. […]
YG Entertainment shares gained 4.3% this week as “APT” by ROSÉ and Bruno Mars continued its hot streak. A week after YG’s stock gained 6.1% following the track’s blockbuster start on streaming services, the track topped both the Billboard Global 200 and Billboard Global Excl. U.S. charts. ROSÉ, a member of YG recording artist BLACKPINK, released “APT” through Atlantic Records in partnership with THEBLACKLABEL, a YG sub-label co-founded in 2015 by BLACKPINK producer Teddy Park. While YG continues to manage BLACKPINK, ROSÉ signed with THEBLACKLABEL for the management of her solo career.
Universal Music Group (UMG) shares fell 0.7% over the week but gained 1.6% to 23.45 euros ($25.52) on Friday (Nov. 1) following the company’s third-quarter earnings the prior day. Morgan Stanley raised its price target to 35 euros ($38) from 33 euros ($35.90). “Our conviction on UMG is as high as it’s ever been,” Morgan Stanley analysts wrote in an investor note. Guggenheim called UMG’s third-quarter results “encouraging” and maintained a 25.50 euros ($27.74) price target and its “neutral” rating on UMG shares.
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SiriusXM gained 4.7% to $27.65 after the company’s third-quarter earnings release on Thursday (Oct. 31) showed a net gain of 14,000 self-pay subscribers in the quarter. Despite the uptick, average revenue per user fell due to a “higher proportion of subscribers on self-pay promotional and streaming-only plans,” the company said.
Deezer shares gained 2.1% to 1.43 euros ($1.56) after the company’s third-quarter earnings showed 11% revenue growth and a 9% uptick in subscribers. New CEO Alexis Lanternier sounded upbeat about partnerships with MeLi+ and Mercado Libre, which has converted free trials at a rate “higher than our expectations,” in his words. Still, Deezer’s share price is down 32.9% year to date.
Reservoir Media fell 3.5% to $8.25 following its earnings release on Wednesday (Oct. 30) which showed solid 6% revenue growth. The stock did not get a bump from Reservoir’s slightly upgraded full-year guidance nor B. Riley’s increase of its price target to $12.50 from $11.50.
The 20-company Billboard Global Music Index (BGMI) was essentially flat for the week, rising 0.3% to 1,995.67 despite having just seven gainers as opposed to 13 stocks that lost ground. The small increase brought the index’s year-to-date gain to 30.1% and reversed the BGMI to the win category after it dropped 0.6% the prior week, breaking a streak of six consecutive weeks of gains.
Even a small gain outperformed many major stock indexes. In the United States, the Nasdaq composite fell 1.5% to 18,329.92 and the S&P 500 fell 1.4% to 5,728.80. Both indexes rose on Friday, however, as investors paid little attention to a weak jobs report and both Amazon and Intel jumped after reporting quarterly earnings. On Thursday (Oct. 31), Meta and Microsoft shares fell following their respective earnings reports, with Meta dropping 3% and Microsoft falling more than 5%.
Music streamer LiveOne was the greatest gainer of the week after jumping 32.8% to $0.77. The company announced on Thursday that it has engaged MZ Group to increase the visibility of PodcastOne in the investment community. LiveOne spun off PodcastOne in 2023 and retained an 81% stake. Investors may have taken note of MZ Group’s Chris Donovan’s statement that PodcastOne “owns intellectual property that can be sold for a significant return on investment.”
Outside of YG Entertainment, the other four K-pop stocks lost ground. HYBE fell 3.1% and increased its year-to-date loss to 20.0%. JYP Entertainment fell 4.2%. SM Entertainment slipped 0.7%. Collectively, the four K-pop companies’ share prices are down 28.6% in 2024.
iHeartMedia jumped 16.1% to $2.09 a week before the company reports third-quarter earnings on Thursday (Nov. 7). Another radio company, Cumulus Media, dropped 19.0% to $0.94 following its release of third-quarter earnings on Friday. The company’s revenue fell 1.8% to $204 million and it saw a net loss of $10.3 million, down from a net profit of $2.7 million in the prior-year period. “Looking forward, the advertising environment remains uncertain,” warned Cumulus CEO Mary Berner.
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Spinnin’ Records president Roger de Graaf is retiring, a representative for the label has confirmed to Billboard. De Graaf co-founded the Dutch label in 1999 alongside Eelko van Kooten, maneuvering it through several eras of electronic music and quickly evolving consumption models, from CDs to DSPs. “In the beginning, we wanted to become the No. […]
The music business is getting back to basics.
In a few short years, the major labels have gone from investing in and partnering with speculative tech startups to pouring money into regionally focused music companies across Asia, Africa and Latin America. After a brief flirtation with NFTs and live-streaming businesses, anything resembling a faddish technology seems to be out of favor, judging from the deals and partnerships they’ve been making lately. Instead, the majors are targeting old-school music companies that own catalogs and develop artists — and can benefit from the majors’ global network of distribution and other services.
In 2024 alone, the three majors — Universal Music Group, Sony Music Entertainment and Warner Music Group — have acquired or invested in 11 record labels, music catalogs and service providers in small or developing markets. The flurry of deals — there were even more in 2023 and preceding years — provides the majors with more content for their ever-increasing distribution pipeline and more international artists to take to Western markets.
Take UMG’s run of acquisitions and investments in 2024: the remaining stake of European indie label group [PIAS], the remaining stake in the catalog of Thai music company RS Group, a majority stake in Nigerian record label Mavin Global and the outright acquisition of Outdustry, a multi-faceted company with an artist- and label-services arm that focuses on China, India and other high-growth emerging markets. Outdustry will be a division of Virgin Music Group, UMG’s fast-growing distribution and artist services company that includes distributor Ingrooves Music Group and Integral, formerly the artist services division of [PIAS].
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UMG, in particular, is letting the world know about its intentions. On Thursday (Oct. 31), UMG CEO Lucian Grainge dedicated much of his earnings call opening statements to the company’s efforts to expand into potentially lucrative markets that merited little attention before legal streaming services replaced digital piracy. UMG plans to make “several other investments” before the end of the year, CFO Boyd Muir said during the earnings call. In total, he said, investment spending in the second half of the year will be 350 million to 400 million euros ($380 million to $434 million).
The focus on emerging markets and artist services is a noticeable change from a few years ago. When NFT prices soared and fans were stuck at home during the pandemic, the majors invested in blockchain, virtual reality and live-streaming startups. Today, as the majors face slowing streaming growth in mature markets and the needs of an increasing number of independent artists, they’re focused on building a global network of service providers with an eye on up-and-coming markets.
The focus on emerging markets goes beyond acquisitions. In September, UMG launched a new company, Universal Music Group Greater Bay Area, that will be based in Shenzhen, making “the first time a major music company has established a division in China’s Greater Bay Area, the world’s most populous urban area,” the company said.
Another development mentioned on UMG’s earnings call was GTS, a global talent services business in Latin America. In October, GTS became a standalone company separate from UMG’s record labels. “By separating from our local labels,” Grainge explained, “GTS will now be able to also offer its services to artists outside of the UMG family.”
Grainge and Muir painted a picture of a global business determined to expand outside of the mature markets they know best and build a presence in high-growth ones. UMG’s competitors — including independent Believe — are doing the same.
WMG has also had a busy year investing in traditional music companies. In March, WMG purchased a stake in India’s Global Music Junction (India’s The Economic Times reported it was a 26% stake) and launched Warner Music South Asia in April. Last year, the company took a majority stake in Divo, an Indian digital media and music company. Earlier this week, CEO Robert Kyncl told The Economic Times that China and India are the company’s top markets for expansion. “We’re already doing great in India, but it can be a much bigger part of our story,” Kyncl told the paper.
The majors continue to buy catalogs, of course. This year, Sony Music purchased Pink Floyd’s recorded music catalog (in addition to merchandising and name and likeness rights) and UMG bought a minority stake in Chord Music Partners, which holds the rights to over 60,000 songs. Expensive song catalogs give the majors rights to assets with long, productive lives. But given the enormous size of these companies, artist catalog acquisitions barely move the revenue needle. A legendary artist’s catalog might cost $200 million but generate a steady $10 million a year — a healthy sum but a pittance to a company with annual sales exceeding $12 billion.
Rather than pour money into just catalogs, the majors are buying entire companies and building new businesses with growth potential. As Morgan Stanley analysts wrote in an investor note about UMG on Thursday (Oct. 31), earlier acquisitions have had “a negligible effect on revenue and a small impact on profit growth.” But in the future, they are likely to be a more important driver of revenue growth, and Morgan Stanley expects UMG’s financial reports will break out their impact (e.g. reported revenue vs. organic revenue).
In buying regional music companies and building artist-services business, the majors are also taking a defensive measure. Independents such as Believe have been investing in local markets for years. In 2024 alone, Believe purchased the remaining stake in Turkish record label DMC and acquired Indian label White Hill Music’s music catalog and YouTube channel. Independent distributors such as UnitedMasters, Stem, Symphonic Distribution and Create Music Group have given artists a viable alternative to major label-owned systems. The majors are simply changing along with the market.
In 2012, UMG acquired the recorded music assets of EMI Music and later sold some pieces to WMG to satisfy antitrust regulators. Opposition to greater consolidation in the U.S. and Europe means it was probably the last acquisition of its size in those regions. (WMG’s brief flirtation with buying Believe in April and May quickly drew opposition from French indie labels.) There’s less opposition to more gradual growth taking place elsewhere in the world, though. The majors are continuing to expand, but they’re taking many small steps, not single EMI-sized leaps — and they’re doing it through old-fashioned music businesses.
When Lee Greenwood released “God Bless The USA” in the spring of 1984, “it was not a massive hit,” the 82-year-old country music icon tells Billboard.
The song peaked at No. 7 in July 1984 on Billboard’s Hot Country Songs chart, but it has returned to the charts several times over the decades, including over Fourth of July weekend 2020, the first year of the pandemic — when it hit No. 1 on the Digital Song Sales chart.
The anthem’s enduring appeal has led to it being played in the wake of the Sept. 11th terrorist attacks and the assassination attempt on former President Donald Trump. It has been covered by Beyoncé, Dolly Parton, and on Friday (Nov. 1), Drew Jacobs released a rock version. And, of course, it is consistently played at political events, including every Republican National Convention since 1988 — Greenwood sang it live at the last one in July — and now as the walk-on music for former President Trump.
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“To be honest, having President Trump use ‘USA’ as the song he walks out to every single place he goes is a dream come true for any artist,” says Greenwood, who adds he wrote the song for all Americans. “Millions of people hear my song on a weekly basis all because President Trump uses it.”
So what is that worth? Billboard spoke with Greenwood and ran the numbers to estimate how much he stands to gain from the Trump bump.
STREAMING
Greenwood says he owns the writer’s and publishing rights to “God Bless The USA,” and that peermusic administers the publishing and synch licensing for it and other songs in his catalog.
Greenwood says he has never charged for the use ‘USA’ at rallies by the former president, whom he knows from his wife Kim Greenwood’s work with the Miss Universe Organization. He says that he did charge the Ronald Reagan campaign $1 to use the song in 1988, but “just because they wanted to have ‘paper on the deal.’
“I don’t look at money as the driver for my music,” he adds.
That said, “God Bless The USA” has earned Greenwood a nice bit of coin this year. The song enjoyed a noticeable increase in consumption, especially in the immediate weeks following Greenwood’s performance at the Republican National Convention.
In the 16 weeks since the RNC, “USA” has averaged over 4,100 song equivalents in the United States, according to Luminate. That’s an increase over the roughly 3,000 U.S. song equivalents it averaged in the 27 weeks of 2024 that preceded the convention.
That post-convention total includes an average of 568,000 U.S. primarily on-demand audio streams compared to 468,000 in the weeks leading up to the convention.
Compared to Greenwood’s “USA”, Sam & Dave’s “Hold On I’m Coming” has seen a smaller average bump. That song is currently the subject of a copyright infringement lawsuit filed in August by the estate of Isaac Hayes, who co-wrote the song. The complaint alleges that the song has been used multiple times during rallies without authorization.
“Hold On I’m Coming” averaged over 5,200 song equivalents in the U.S. since the RNC, just a smidge over the 5,000 U.S. song equivalents it averaged in the 27 weeks before the convention.
Looking at U.S. streaming and download revenue for the songs, the master recording rights for “Hold On” generated more revenue overall than “USA” after the convention — an average of $4,613.81 per week, compared to an equivalent $3,337.24.
However, the bump the songs’ master recording rights netted was bigger for “USA” than “Hold On.” Greenwood’s signature song’s master recording rights generated $744 more per week on average since the convention, compared to $148 for “Hold On.”
That adds up to an estimated Trump bump of an additional nearly $12,000 from the song’s master recordings over the past 16 weeks. These calculations are for label revenue, and Greenwood’s share of that figure would depend on his contract, details of which are not known.
On the publishing side, Greenwood song’s earned an average of about $675 a week from U.S. streams and downloads in the 27 weeks leading up to the convention and $845 a week after. That means the song produced an average of $3,267 a week — master recordings and publishing combined — leading up to the convention and $4,182 a week after the convention.
Billboard estimates Greenwood’s U.S. master recording catalog revenues, not including publishing, brought in $219,000 for his label so far this year compared to almost $184,000 in 2023 — a Trump bump of approximately $35,000 year to date.
THE TRUMP… SLUMP?
Not all songs used at Trump events enjoyed the same post-rally glow. The Foo Fighters‘ “My Hero” was played to introduce Robert Kennedy Jr. at an August rally for the former president in Arizona without permission, according to the band. At the time, a spokesperson for the Foo Fighters said any royalties gained from post-rally plays of the song would be donated to Trump’s challenger, Vice President Kamala Harris’ campaign. (A spokesperson for the band did not respond to a request for comment for this story.)
Since “My Hero” was played at the rally, it has declined in popularity, according to data from Luminate. Prior to the convention, the song’s U.S. streams and downloads averaged almost $10,100 in master recording revenue a week. But after the band denounced the song’s use by the Trump campaign, the audio stream counts average weekly plays fell by almost 200,000 from 1.668 million to 1.488 million. Consequently, revenue that had averaged nearly $10,100 a week fell to just below $9,200 a week, a weekly decline of approximately $900.
When Young Thug went free Thursday (Oct. 31) after more than two years in custody, it didn’t come out of nowhere. It was the crescendo of a series of events that started months ago, transforming an endless, oft-delayed trial into a moment of catharsis for the superstar artist.
In June, the trial against Young Thug’s alleged “YSL” gang had been churning along for more than a year, stretching across 10 months of jury selection and five months of testimony. As the prosecutors worked through a vast list of witnesses, there was no clear end in sight — the trial was expected to run well into 2025, but even that was just a guess.
By this week, the state was handing out plea deals to multiple defendants, including offering one to Thug that would have sent him home immediately. He refused to take it, and his attorneys felt bold enough to simply plead guilty and hope the judge would set him free — a gamble that paid off.
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After a whirlwind week, it’s worth asking the question: How on earth did we get here?
The story starts on June 10, when Thug’s attorney Brian Steel made a stunning revelation in open court. He said he had learned of a secret “ex parte” meeting between Judge Ural Glanville, prosecutors and a key witness named Kenneth Copeland, and claimed that it warranted a mistrial.
Up to that point, Glanville’s handling of the case had resulted in an exceptionally slow pace. Though a sprawling racketeering case against many defendants was always going take time, the Glanville approach — featuring an unprecedented 10-month jury-selection process, repeated “comfort breaks,” and other delays in testimony — had put the case on pace to be the longest in state history.
At the June hearing, Steel alleged far more than bad pacing by Judge Glanville. He claimed that during the secret meeting, Glanville had helped prosecutors coerce the uncooperative Copeland into testifying with threats of extended jail time, all without notifying defense counsel.
The revelation set into motion case-changing events. Rather than addressing Steel’s concerns, Glanville repeatedly demanded to know who had told him about the meeting. When Steel refused to do so, the judge held him in criminal contempt and sentenced him to jail time — a ruling that was later overturned on appeal.
In the weeks that followed, Glanville repeatedly maintained that the ex parte meeting had been proper. But amid a barrage of demands that he either declare a mistrial or step aside, he finally referred the issue to another a judge to decide whether he could continue presiding over the trial.
On July 15, Judge Rachel Krause said that he could not. Though she ruled that the meeting did not appear to have been illegal, the judge ruled that Glanville would be removed from the case in order to preserve “the public’s confidence in the judicial system.”
That ruling punted the case to Judge Paige Reese Whitaker, a Fulton County jurist with a reputation for efficiency. She quickly showed why: On her first day on the bench, Whitaker said she wanted to pick up the pace, demanding that prosecutors be more organized in how they were presenting witnesses and testimony. “It should not take another seven months,” Whitaker said at that hearing.
By late September, Whitaker appeared to have reached her wits’ end with the prosecutors trying the case. Visibly frustrated at a Sept. 30 hearing, the judge blasted Chief Deputy DA Adriane Love and other government attorneys for “poor lawyering,” saying that their “haphazard” approach was making the trial more difficult for everyone involved.
“It is baffling to me that somebody with the number of years of experience that you have, time after time after time, continues to seemingly and purposefully hide the ball to the extent you possibly can, for as long as you possibly can,” Whitaker said. “I really don’t want to believe that it is purposeful but honestly, after a certain number of times, you start to wonder how can it be anything but that.”
Weeks later, that same “haphazard” approach led to an incident that set the stage for Thug’s eventual release
During witness testimony on Oct. 23, prosecutors were questioning a witness named Wunnie Lee (aka Slimelife Shawty), a former defendant in the YSL case who signed a plea agreement in exchange for testifying.
While on the stand, prosecutors asked Lee to identify certain defendants by showing him social media posts. While reading one of the posts, Lee read aloud the hashtag #freequa — a reference to a previous prison sentence for Marquavius Huey (aka Qua), one of Thug’s current co-defendants.
That was a crucial error by prosecutors. The jury was not supposed to know which defendants had previously been incarcerated, and defense attorneys argued that the government was supposed to redact the post and prep Lee not to mention it. After the admission before jurors, defense attorneys quickly moved for a mistrial. “We’re not going to be able to unring this bell,” one said.
The misstep quickly drew another sharp critique from Whitaker, who at one point told prosecutors that she was trying to find a way to “fix your sloppiness so that everybody won’t have wasted 10 to 12 months of their lives in this trial.” Though she refused to grant a mistrial that would permanently end the case, Whitaker warned that she might order that the massive trial be started over from scratch.
Faced with that disastrous prospect, prosecutors and defense attorneys quickly began talking about plea deals. Nobody wanted a mistrial: The DA’s office had already sunk years of taxpayer dollars into the costly case, and defendants had already sat in jail for years waiting for a verdict.
Days later, three of Young Thug’s co-defendants — Quamarvious Nichols, Marquavius “Qua” Huey and Rodalius “Lil Rod” Ryan — all reached deals with prosecutors. Two others — Deamonte “Yak Gotti” Kendrick and Shannon Stillwell — who are facing some of the most serious accusations in the case, refused to do so.
Like the other defense attorneys, Thug’s attorneys (Steel and co-counsel Keith Adams) hunkered down with prosecutors over the week to negotiate a potential deal. But at a press conference Thursday, Adams said the DA’s office did not approach the talks in “good faith” and appeared to only be trying to “save face.” Though they offered to let Thug escape the case with only 15 years probation and no prison time, Adams said they also insisted on onerous conditions in which Thug would affirm the state’s accusations against him.
With a judge that had shown herself to be highly skeptical of the prosecutors trying the case, Steel said Thursday that Thug and his legal team made the “excruciating” decision to plead guilty without a negotiated sentence — and to place their faith in Judge Whitaker for a lenient sentence.
“Negotiations totally broke down with the district attorney’s office, horribly broke down,” Steel told reporters. “At that point we believed that justice could be found with the honorable court. Jeffery just wanted to go home.”
The move was extremely risky. Prosecutors promptly told the judge that, in the absence of a negotiated plea deal, they were seeking a draconian sentence against Thug: a whopping 45 years, 25 of which would be served in prison and 20 more on probation.
After that, both Steel and Thug addressed the court, offering impassioned pleas for a light sentence. But before Whitaker handed down her sentence — just 15 years probation, allowing Thug to go home that day — she seemed most swayed by the conduct of the prosecutors themselves.
“It is not lost on the court that the state … was willing to entirely dismiss [several counts] and was willing to give a sentence that permitted Mr. Williams to walk out of the door today,” the judge said. “[The state] does not seem to be particularly worried that Mr. Williams, if on the streets, would be a danger to society.”
Following the sentence, Thug hugged his lawyers. By late Thursday evening, he had been released.
Ed Sheeran’s “Thinking Out Loud” did not infringe the copyright to Marvin Gaye‘s “Let’s Get It On,” a federal appeals court ruled Friday (Nov. 1), saying the two songs share only “fundamental musical building blocks” that cannot be owned by any single songwriter.
In a ruling issued more than a decade after Sheeran’s chart-topping hit was first released, the U.S. Court of Appeals for the Second Circuit rejected an infringement lawsuit filed by Structured Asset Sales, a company that owns a small stake in the rights to Gaye’s song.
The case argued that Sheeran’s song copied a chord progression and rhythm from Gaye’s, but the appeals court said the lawsuit was essentially seeking “a monopoly over a combination of two fundamental musical building blocks.”
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“The four-chord progression at issue—ubiquitous in pop music—even coupled with a syncopated harmonic rhythm, is too well-explored to meet the originality threshold that copyright law demands,” a panel of appeals court judges wrote. “Overprotecting such basic elements would threaten to stifle creativity and undermine the purpose of copyright law.”
Looking at the two songs more broadly, the Second Circuit also ruled that Sheeran’s track was clearly not similar enough to Gaye’s to amount to copyright infringement: “Neither the melody nor the lyrics of ‘Thinking Out’ Loud bears any resemblance to those in ‘Let’s Get It On.’ Undeniable and obvious differences exist between them.”
Sheeran has faced multiple lawsuits over “Thinking,” a 2014 track co-written with Amy Wadge that reached No. 1 on the Billboard Hot 100 and ultimately spent 46 weeks on the chart. He was first sued by the daughter of Ed Townsend, who co-wrote the famed 1973 tune with Gaye. That case ended in a high-profile trial last year, resulting in a jury verdict that cleared Sheeran of any wrongdoing.
The case decided on Friday is a separate lawsuit filed by SAS, an entity owned by industry executive David Pullman that controls a different one-third stake in Townsend’s copyrights — meaning a one-ninth stake in the rights to Gaye’s iconic track. In May, weeks after the big jury verdict, a federal judge tossed out the SAS lawsuit, ruling that it was seeking an “impermissible monopoly over a basic musical building block.”
In upholding that decision on Friday, the Second Circuit echoed the earlier ruling’s concern about overprotecting copyrights and threatening future songwriting.
The chord progression and harmonic rhythm at issue in the case are “garden variety” elements that had been used in numerous songs, the appeals court said, pointing to evidence that they had appeared in “Georgy Girl” by The Seekers and “Since I Lost My Baby” by The Temptations — two tracks that predated Gaye’s song by years. The appeals court noted that there is a “limited number of notes and chords available” and that “common themes frequently reappear.”
“In the field of popular songs, many, if not most, compositions bear some similarity to prior songs,” the court wrote, quoting from a treatise on copyright law. “So while a similar chord progression and harmonic rhythm may create a similar sound and feel, that is not enough.”
The ruling is a major victory for Sheeran, but the battle over “Thinking” isn’t quite over yet. SAS also has another lawsuit against Sheeran pending, advancing an unorthodox effort to cite a more expansive copyright covering the sound recording to “Let’s Get It On” rather than the written music. That case has been paused while the earlier lawsuit played out.
In a statement to Billboard following Friday’s decision, SAS owner Pullman criticized the appeals court for citing “two songs out of over 60 million registered songs” in its analysis. And he stressed that the decision had not addressed his company’s arguments relying on a recent U.S. Supreme Court decision about federal regulatory power.
Sheeran’s attorney, Donald Zakarin of the law firm Pryor Cashman, told Billboard that he and his clients were “gratified” by the court’s ruling: “This ruling is consistent with the jury’s rejection of any claim of infringement in the [earlier] case, finding that Ed and Amy independently created ‘Thinking Out Loud.’”
This week, one of hip-hop’s rising stars hit a new milestone in his career: With the release of his latest album, LYFESTYLE, Yeat landed his first-ever No. 1 on the Billboard 200 with 89,000 equivalent album units, following up on the No. 2 debut of his last album, 2093, back in February.
It’s a big achievement for Yeat, who has seen his career steadily project upward, reaching the top 10 of the Billboard 200 with each of the five albums he’s released since he began working with Field Trip Recordings in 2022. This one also came with another big milestone: In its first week, LYFESTYLE, released in conjunction with Capitol, sold 60,000 units, outstripping the entire sales volume of his prior catalog to date so far (35,000) due to a combination of vinyl albums, his first-ever CD release and exclusive songs on various digital variants. And the success of the album earns Field Trip founder/CEO Zack Bia the title of Billboard’s Executive of the Week.
Here, Bia — who has also served as Drake’s tour DJ for the past two years — discusses Yeat’s commercial glow-up since they began working together, what sets this project apart and why they leaned into a sales strategy for the first time with this new album. “Ultimately, it will actually just be the next stepping stone of an achievement that allows us to jump into even bigger live show experiences and wide-reaching ventures outside of just the music,” Bia says.
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This week, Yeat scored his first career No. 1 album on the Billboard 200 with LYFESTYLE. What key decisions did you make to help make that happen?
My main role is always just to help bring his vision to life. Making sure that all the elements between the music, the visuals, the live show and the world-building as a whole are synergetic. Creating unique eras for each project that his fans can bask in.
Over the course of his career, each of his albums has debuted higher than the previous one, with February’s release 2093 coming in at No. 2 prior to this new chart-topper. How have you worked to build his career steadily through the years?
The goal is always to elevate with every album. Learn from previous rollouts and apply and adjust to the next one. He’s so prolific and puts out music at such a high velocity it’s just about continuing to go bigger with every release but in a way that stays true to the core audience. Our goal has always been to just add to the burning core fan base and with every release this group just gets bigger and stronger.
What sets this project apart from the rest of Yeat’s catalog, and how does it help you build from here?
This project I think comes at a time where after a meteoric rise he finally decided to lean back into the “lifestyle.” Reaping the rewards of his hard work, and I think the fun he’s having translates into the music. This project is braggadocious and polished and sets him apart and into a next category after reaching No. 1. Ultimately, it will actually just be the next stepping stone of an achievement that allows us to jump into even bigger live show experiences and wide-reaching ventures outside of just the music.
With 60,000 units, this week was Yeat’s biggest sales week of his career and outsold the entirety of the rest of his catalog to date. What was your approach to the sales aspect of this? And why go down the CD road for the first time?
I think the demand was always there, we just didn’t always cater to it. We are so precious with the music oftentimes we didn’t even have the time to make physical product on such short timelines. After putting out a massive project top of the year, there wasn’t a rush necessarily to force this one out. We could finally take our time to build product around it and lean into giving people actual things to collect: large-format vinyl to listen to and hang in their collection, or collaborative merch with designers he’s admired. Also rewarding people for buying into it, exclusive songs and different offerings that only were available to people who really paid attention and wanted to collect them.
What is your approach to digital marketing? And how have you been able to leverage TikTok for Yeat’s singles?
Yeat is so prolific in music making but is reclusive as a human in general. The rest of the internet can do the documenting and interacting for him. We never try to spark anything on TikTok out of the blue; all we can do is let the people pick. It’s very democratic in that sense, whatever song they champion then we can go lean into [it] and try to spread it wider.
How has the music industry evolved over the course of your career?
To echo the answer from the previous question, I believe that every era of social media has been intrinsically tied to the popular music of that era. Whether the music blew up on the platform of that time or it was big culturally and then translated back to that platform. I think in my time we’ve seen the most digitally-native fandoms yet, so learning to balance both living online but then translating it to live experiences and vice versa, real-life moments that then live online. I think in a time of virality we’ve swam the opposite way and tried to just stay true to chipping away piece by piece at growing something. But granted, this is the time of the quickest evolution in music history. When else has it been possible to make a song on your phone, upload it that night, and go viral the next day?
I would like to thank everyone on our team that works tirelessly and selflessly towards this common goal of uplifting a truly amazing artist. I know this is just a little small recognition that I received but I appreciate it and want to share my gratitude to everyone on our internal team and to [Capitol chairman/CEO] Tom March and the entire Capitol Records family. Also, new BNYX music soon.
Strategy, communications, integrated marketing and social impact consulting firm The Lede Company has launched a music division in Nashville, the company tells Billboard. It also has offices in New York, Los Angeles, London and Paris.
Cara Hutchison has been named head of Lede’s music division, which represents artists including Sabrina Carpenter, Post Malone, Rihanna, Pharrell Williams, Rosalía, Shakira and A$AP Rocky. Joining the division is veteran music publicist Jess Anderson, who will report to Hutchison and company co-founder/co-CEO Amanda Silverman.
Most recently, Anderson served as senior director of media at Big Loud Records, founding and building the label’s in-house publicity department and working with artists including Morgan Wallen, HARDY, ERNEST, Charles Wesley Godwin, Stephen Wilson Jr., Ashley Cooke, Dylan Gossett and Kashus Culpepper. Anderson’s prior career stops include Sweet Talk Publicity, The Press House and Big Machine Label Group. She also serves on public relations task forces for the Academy of Country Music and the Country Music Association.
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“With Nashville at the heart of the music industry, we are incredibly excited to be launching this division,” Hutchison said in a statement. “We’re thrilled to have Jess, a savvy music publicist with deep roots in Nashville, join us for this next chapter. We look forward to leveraging Lede’s relationships, storytelling, and communications expertise to help amplify the careers of such outstanding artists in this community.”
“Nashville has earned its place at the center of the conversation across entertainment because of the quality of talent and authentic sense of community that’s rooted here,” Anderson added. “The opportunity to help introduce a powerhouse agency like Lede to our town is a true thrill. Storytelling is the heartbeat of Nashville, and Lede crafts campaigns that elevate and highlight artistry in all of its forms. There’s no limit to what we’ll be able to accomplish with this partnership, and I’m honored to step into this role.”
Nile Rodgers was unanimously re-elected to serve a third term as chairman of the Songwriters Hall of Fame at its annual board of directors meeting held in New York City on Oct. 15. In a key change, the chairman, officers and board of directors will all serve terms of five years, up from the original three-year terms.
Rodgers, a four-time Grammy winner, was inducted into the Songwriters Hall of Fame in 2016 and the Rock and Roll Hall of Fame in 2017 (in the musical excellence category) and received a lifetime achievement award from the Recording Academy in 2023.
“Having Nile as a partner has been a very special and rewarding experience for me personally and professionally,” Linda Moran, SHOF president/CEO, said in a statement. “Nile is one of the rare ones who is respected and admired by his peers and his fans of all generations for being a musical pioneer with his multi-cross-genre music. With an ever-expanding list of credits and accomplishments and, more importantly, his eloquence in talking about and especially his love of songwriting and its process makes Nile the ideal voice for the songwriting community to the world at large as Chairman of the SHOF.”
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“Serving as the Chair of The Songwriters Hall of Fame has been one of the highest points of my career,” Rodgers said in a statement. “To be re-elected to serve another term makes me prouder than I could have ever imagined. This distinguished organization is one of the most brilliantly responsible groups I’ve ever had the pleasure to just sit amongst. Songwriters are the pillar of the music industry, and we recognize and celebrate these great creators. For this honor I’m beyond elated.”
Re-elected officers with Moran include CFO and treasurer Tom Kelly and senior vps David Israelite, Elizabeth Matthews and Mike O’Neill, secretary Mary Jo Mennella and deputy secretary Linda Buckley.
Elected members to the board of directors are SHOF inductees Desmond Child, Steve Dorff and Paul Williams, 2012 Hal David Starlight Award recipient Schaffer “Ne-Yo” Smith, Martin N. Bandier, Donna Caseine, Samantha Cox, Charlie Feldman, Fletcher Foster, Pete Ganbarg, Randy Grimmett, John H. Josephson, Jody H. Klein, Evan Lamberg, Carianne Marshall, Nancy Munoz, Jon Platt, Irwin Z. Robinson, Harold Stephan, Bob Valentine and John Titta. Barry Slotnick will continue as counsel.