Business
Page: 16
Record Store Day delivered another triumphant sales day to brick and mortar indie retailers with the hot sellers being Taylor Swift, Gracie Abrams and Charli XCX titles, while the Oasis and Wicked releases were among the most in demand — if only more copies had been manufactured for the event.
While this year’s Record Store Day (RSD) represented the usual sales bonanzas for retailers, merchants in some of the stores visited by Billboard reporters said that even with one of the stronger release day schedules in recent years, it was difficult for them to top last year’s RSD, which at the time many retailers proclaimed as their best day ever.
Trending on Billboard
However, there were other mitigating factors beyond the strength of last year’s performance that were felt by stores. For instance, in the Northeast, RSD was a miserable, rain-drenched day, which put a damper on sales. But that’s not all. As Ilana Costa, who co-owns the 12-year old Vinyl Fantasy Records and Comic Books in Brooklyn with her husband Joe, puts it, “A mixture of the weather, the economy and the news about tariffs” impacted the sales at their store, which were down about one-third from the prior year. Moreover, she said the recent economic turmoil — a chaotic tariff strategy by the Trump administration and the stock and bond market meltdowns and upward swings — had been impacting the store’s performance in the weeks prior to RSD.
Vinyl Fantasy
Ed Christman
Likewise at Pancake Records in Astoria, Queens, co-owner AJ Pacheco said sales at the two-year-old store were down about eight percent from the prior RSD due to the economy, tariffs and the weather, though he thinks the early date for RSD was also a factor in the sales decline. RSD is typically held on the third Saturday of April, but this year it was on the second Saturday.
The weather in New York didn’t stop customers from standing in line at Rough Trade at Rockefeller Center in Manhattan or at Pancake Records. At the latter, about 100 customers were waiting in line when the store opened at 8 am on Saturday morning. In fact, the “line started forming last night, right about when I was closing [at about 9:30],” Pacheco reported on RSD to Retail Track. “I was worried about the customer [who lined up at 9:30] because he was young, it was pouring rain and our store is not in the center of the town,” he said. “But things worked out.”
In Manhattan, Rough Trade Records had a huge line of customers waiting to get into the store all day, which lasted until about 3 pm, after which the store let customers come in and browse as usual.
Amoeba Music in Los Angeles also had a long line waiting to get in the store when Retail Track visited at about 11:15, shortly after the store’s 11 am opening. In fact, customers began lining up two days before RSD, floor manager Rik Sanchez told Retail Track.
With that kind of anticipation, the store “did a little better than last year,” Sanchez reported, though he added that last year was also very strong. While sales were up, “it wasn’t substantially more than last year,” he elaborated.
Sanchez dismissed another factor — Coachella — that one might think would have a sales impact, at least at California stores. “No, it happens around this time every year,” Sanchez said. “[RSD] always lands on one of the Coachella or Stagecoach weekends. I remember thinking, many years ago when we first started this, ‘Oh man, Coachella is going to really have an impact on us,’ but it didn’t.”
Besides, he added, “we also get business from the people who are leaving Coachella, passing through here on Monday.”
Back in New York, Rough Trade reported that sales were up 30%, and that within that, RSD titles were up 20 percent over last year. But Rough Trade had the bonus of a newly-opened second store in the Rockefeller Center complex, this one in the below-ground retail center. That store, referred to as Rough Trade Below and measuring 8,000 square feet, tripled the company’s retail space in the complex as the Sixth Avenue store, now referred to as Rough Trade Above, has 4,000 square feet of space.
Rough Trade
Brenda Manzanedo
Rough Trade co-owner Stephen Godfroy reports that the company used the RSD titles to introduce customers to the new location, which only opened on April 8, four days before the event. Consequently, the line that stretched down the block was funneled to the downstairs store where all the RSD titles were stored.
A few years back, Swift helped change the dynamic of Record Store Day, which used to be dominated by releases of legacy titles in colored vinyl that appealed to older, mainly male, customers. When Swift was named Record Store Day Ambassador back in 2022 and released a 7-inch single of a Folklore bonus track, “The Lakes,” young fans flocked to stores. Once record labels saw that young fans would go, it led to a steady stream of RSD releases in subsequent years with titles from younger stars like Olivia Rodrigo, Chappell Roan, Sabrina Carpenter, Noah Kahan, and this year, Abrams, among others.
Nowadays, Record Store Day’s main traffic driver is young female music fans, RSD co-founder Michael Kurtz says. In fact, store merchants report that the long lines waiting for record stores to open on RSD are largely made up of younger consumers, with the older customers showing up around midday. Along that line, Rough Trade’s Godfroy says two young ladies displaced longtime Rough Trade customer George West, who is usually at the front of the queue, as first in line for RSD this year, getting there the day before.
Retail Track’s View From Eight Indie Record Stores
Shoppers line up outside Rough Trade Below in Rockefeller Center.
Brenda Manzanedo
Rough Trade: Ponchos, Pastries and The Hives in RegaliaMidtown Manhattan
People who lined up early waiting for the Rough Trade store to open received free food and drinks from the different vendors who operate in the Rockefeller Center complex, Godfroy reported. “We look after people as much as we can,” he added. Along those lines, “We gave out 2,000 ponchos to those waiting in line in the rain.”
Like other merchants, Godfroy told Retail Track that the demand for the Oasis boxset and the double LP Wicked: The Soundtrack on green/pink glitter vinyl “was ridiculous.” But like most stores, Rough Trade only got one copy of each, and he wishes more were produced. “While I realize scarcity is what drives people to the stores on RSD,” it’s not fair to the customers waiting in long lines for those titles produced in meager numbers, he added.
Similar to bestseller reports from other retailers, Godfroy said that the store’s bestselling titles were Taylor Swift’s “Fortnight,” followed by Charlie XCX’s two RSD titles — “Number 1 Angel” and “Guess” — and Gracie Abrams’ Live From Radio City Music Hall.
In addition to RSD titles and the new store, Rough Trade had another big traffic driver — iNDIEPLAZA — which each year sees the store host seven live bands playing throughout the day from noon until 9:30 p.m., headlined this year by the Hives. While he was waiting on final figures, Godfroy noted that he didn’t expect attendance to equal last year’s, when 89,000 people walked through the indie festival area, due to the rain. But he said each band drew healthy crowds during their performances, topped by The Hives, which he said drew a crowd of several thousand people.
As an added bonus for store customers, at one point earlier in the day, The Hives’ lead singer dressed up as a king in full regalia and walked around the new store signing things and in general “lording it up,” Godfroy said.
Amoeba Music: Smooth Sailing Amid ScarcityLos Angeles
Even Amoeba Music, one of the largest independent stores in the U.S., had to deal with the difficulty of obtaining the desired number of copies for the big in-demand RSD titles. Two of the titles everyone was asking for were the Wicked release and the Oasis box set, “but we only got one of those,” reported Amoeba Music’s Sanchez, regarding the British band. Another thing that doesn’t make for smooth sailing: “During the course of the week people called us all the time asking, ‘Are you going to have this [title]?’ Or ‘Are you going to have that [title]?’ It’s always the case, but we can never because we’re literally getting stuff right up until the night before.”
But other than that, Amoeba can handle whatever RSD throws its way because by now, the store staff isn’t surprised by what happens. “We’ve been doing this for so long, we have it literally dialed in; it’s like a science for us,” Sanchez told Retail Track, noting it’s generally the store’s biggest sales day of the year.
Of course, it wasn’t a science in the early days of RSD, Sanchez recalled. “When we first started this, we actually experienced … 300 people running in here, climbing all over each other, trying to get at the stuff,” he said. The staff realized they needed to handle the RSD rush a different way because that way was “freaking dangerous,” he said. “The way we do it now is smooth and it’s fair.”
So how does the store handle crowd control on RSD? “All the people that are lined up out there before we open get a menu,” Sanchez explained. “They check off what it is that they’d like to get; and then we literally, as they come in, fill their order right up in front of the floor. We just burn right through it.”
What’s more, a lot of preparation goes into prepare for RSD. “We start prepping in January for this,” Sanchez said. “We build up an inventory just for this day because, again, experience has shown us over the years that come Monday, after the weekend [RSD] binge we [would have nothing left]” to restock shelves with, because even the non-RSD titles fly off the shelves over the RSD weekend. Come Monday, if there are any RSD titles left, Amoeba Music will put them up for sale at its online store. “We wait for the weekend to be over,” Sanchez said. “The people who make the trip out get the first pick.”
For The Record: Pre-Noon Sellouts But Plenty of CoffeeGreenpoint, Brooklyn
The Brooklyn contingent of the Retail Track force first stopped by For The Record in North Greenpoint, which has been open for just shy of three and a half years. Owner Lucas Deysine said customers started lining up around 4:30 a.m. — the first person in line brought a beach chair, which he then left on the street outside the store — and the shop, which doubles as a coffee shop and cafe, first pre-opened at 8 am to allow customers to come in from the cold and rain and have some coffee and pastries while receiving a number corresponding with their spot in line.
For The Record then officially opened for RSD at 9 am, with an in-store DJ spinning while customers browsed the RSD stock in the order that they had lined up earlier — a process, Deysine said, which ran much smoother than last year. And it seems to have paid off for the shop. Deysine — who has a background in the hospitality industry but had never really set foot in a record store before opening For The Record — said the store outsold what it did last year before noon, with the hottest titles being Swift’s “Fortnight” and records from Charli XCX and Abrams. (While Retail Track was speaking to Deysine, he took a call from a customer looking for the double-LP Abrams live album, which the store had sold out of already.)
In addition to its coffee, records and used books and tapes, For The Record also holds events and early listening sessions at the store, as well as live vinyl auctions on the site Whatnot, which got its start in the trading cards business but has gotten more into vinyl record auctions of late. While there, Retail Track bought an RSD title, Sly & the Family Stone’s The First Family: Live at Winchester Cathedral 1967, as well as a used copy of UTFO’s “Roxanne, Roxanne,” single.
Retail Track also walked past the not-yet-open Record Grouch — which, even though it was cited on the Record Store Day website as having signed the RSD Pledge, sported a sign in the window informing customers, “No Record Store Day, Just Music, 2pm.”
Captured Record Shop: No Oasis, No ProblemGreenpoint, Brooklyn
After that, Retail Track moved on to Captured Record Shop — the Greenpoint store that was called Captured Tracks until recently, changing its name after the owner got tired of being confused for the independent record label of the same name — and it was still buzzing at 1:30 p.m. The store opened at noon and had a big line well before 11:30 a.m., which remained out the door until around 1 p.m. as collectors came looking for Charli XCX, Taylor Swift and Oasis (though Captured, despite ordering five copies, didn’t stock the latter).
Store buyer Nyerah Thornton told Retail Track that last year’s line was longer, but that the store was selling more this year, with Wicked, Swift and Charli XCX having the hottest records and headlining a collection that was awash in great inventory. (Retail Track bought a live recording of The Meters from 1975). The first customer of the day zeroed in on the Grateful Dead box set, undeterred by its $120 sticker price.
Earwax: Jazz Gems and Hardcore CollectorsWilliamsburg, Brooklyn
By 2 p.m., Earwax in Williamsburg only had a small crate of RSD exclusives left given the rush that had occurred before Retail Track’s arrival. The store only got one copy of the Wicked soundtrack, but it was the first record to go, snapped up alongside the Oasis record by the first person in line outside the store, who had been there for a couple of hours before opening. Sales were slower and there were fewer customers this year than last, with store owner Fabio Roberti attributing much of that to the miserable weather — though the hardcore collectors, he noted, were largely undeterred.
Those RSD exclusives can be as expensive for stores as they are for fans, which is why the shop only had one or two copies of the most high-profile titles; though the shop’s staff was more excited about records by Pharaoh Sanders, Sun Ra and Charles Mingus anyway, wryly hoping that no one would buy those during the day so that they could buy them themselves later. Retail Track bought the RSD title from Orchestral Manoeuvres in the Dark, Peel Sessions 1979-1983, at Earwax.
Pancake Records: Sweet Sales, No TearsAstoria, Queens
Pancake Records
Ed Christman
Pancake Records co-owner Tanya Gorbunoca said she was “surprised” that the Wicked album was such a hot title this year because multiple versions of that album from the musical film have been released in the last year. Meanwhile, Pacheco, Gorbunoca’s partner in the store, said that besides Abrams and Swift, the store also received plenty of requests for Rage Against The Machine‘s Live On Tour 1993 and Post Malone‘s Tribute To Nirvana cover album, most of which couldn’t be fulfilled. “We never get enough” of the sought-after titles, Pacheco said. That particularly is hurtful when dealing with the younger customers, especially the ones who “come up with their list and we have to say, ‘Sorry, we are all sold out,’ on those titles; and then they get sad.” On the other hand, he added that this year, at least “there were no tears.”
More importantly, there were enough RSD titles this year so that everyone could get something. In looking at inventory after the weekend, Pacheco reported, “We didn’t have a lot of RSD records left over, which is different than last year. That tells me we did a good job of owning the right thing, and that we got the right amount.”
Before moving on to the next store, Retail Track bought two vinyl albums: a used copy of the Vibrations‘ Shout! album and Betty Davis’ Crashin’ From Passion.
Black Star Vinyl: Coffee and CurtisBed-Stuy, Brooklyn
At Black Star Vinyl, Retail Track found a small store that served coffee, had novelty knickknacks, what appeared to be self-printed books of various titles and a decent selection of used records, but no RSD titles. Nevertheless, Retail Track scored two Curtis Mayfield vinyl albums there: Honestly and Back To The World.
Vinyl Fantasy Record and Comic Books: No Line, No ProblemBushwick, Brooklyn
Vinyl Fantasy
Ed Christman
At Vinyl Fantasy, which caters to customers who are fans of punk, metal, experimental drone, industrial and electronica, the best sellers were Kelela‘s In The Blue Light and Earth’s Hex. Costa said that due to how the store’s inventory is slanted to the above genres, it got practically all the copies of the RSD titles it requested. When Retail Track stopped by at the store at 11:15 am, there was only one other customer, and, when asked if there was a line when she opened, Costa said no. The only other customer besides Retail Track piped in that according to Google, the store wasn’t scheduled to open for almost another hour; while Costa said she opened early just to throw a curve ball at customers.
The next day, Costa later reported, “We had a ton of new people coming into the store, and there were a surprising amount of people asking for Taylor Swift and Charli XCX, but we usually don’t do a lot of pop [sales].” The customers were disappointed that the store didn’t have music from either artist, leading Retail Track to suggest that maybe Vinyl Fantasy could explore getting more pop titles for next year’s RSD. But Costa was unconvinced. “I don’t think so,” she responded. “That’s not our jam.”
This story was prepared by Retail Track, otherwise known as Ed Christman, who deputized other Billboard staffers to take on the mantle of Retail Track for Record Store Day: Joe Lynch, Kristin Robinson and Dan Rys.
French streaming service Deezer reported in a company blog post on Wednesday (April 16) that it is now receiving over 20,000 fully AI-generated tracks on a daily basis, amounting to 18% of their daily uploaded content — nearly double what it reported in January 2025.
Back in January, Deezer launched a new AI detection tool to try to balance the interests of human creators and the rapidly growing number of AI-generated tracks uploaded to the service. At the time of the tool’s launch, Deezer said it had discovered that roughly 10,000 fully AI-generated tracks were being uploaded to the platform every day. Instead of banning these fully AI-generated tracks, Deezer instead uses its AI detection tool to remove them from its recommendation algorithm and editorial playlisting — meaning users can still find AI-generated music if they choose to, though it won’t be promoted to them.
This tool might even be underestimating the number of AI tracks on Deezer. At the time of its launch, Deezer noted that the tool can detect fully AI-generated music from certain models. This includes Suno and Udio, two of the most popular AI music models on the market today, “with the possibility to add on detection capabilities for practically any other similar tool as long as there’s access to relevant data examples,” as they put it. Still, it’s possible there’s more AI-generated music out there than the tool can currently catch.
Trending on Billboard
Deezer’s tool also does not detect or penalize partially AI-generated works, which likely make up a significant portion of AI-inflected songs today. According to guidance from the U.S. Copyright Office, as long as “a human author has determined sufficient expressive elements,” an AI-assisted work can be eligible for copyright protection.
Deezer is one of the first streaming services to create a policy against fully AI-generated songs, and the first to report how often they’re seeing them uploaded to the service. As Billboard reported in February, most DSPs do not have AI-specific policies, with SoundCloud the only other streamer that has publicly stated that it penalizes AI music. Its policy is to “prohibit the monetization of songs and content that are exclusively generated through AI, encouraging creators to use AI as a tool rather than a replacement of human creation.”
Still, some other streaming services have taken steps to ensure some of the negative impacts of AI are policed, even though their policies aren’t specific to AI. For example, Spotify YouTube Music and others have created procedures for users to report impersonations of likenesses and voices, a major risk posed by (but not unique to) AI. Spotify also screens for users who spam the platform with too many uploads at once, a tactic used by bad actors who are trying to earn extra streaming royalties. This is often done by deploying quickly made AI-generated tracks, though that is not always the case.
“AI generated content continues to flood streaming platforms like Deezer, and we see no sign of it slowing down,” said Aurelien Herault, chief innovation officer at Deezer, in a statement. “Generative AI has the potential to positively impact music creation and consumption, but we need to approach the development with responsibility and care in order to safeguard the rights and revenues of artists and songwriters, while maintaining transparency for the fans. Thanks to our cutting-edge tool we are already removing fully AI generated content from the algorithmic recommendations.”
Believe intends to acquire the few remaining shares it does not own through a public buyout offer or “assimilation,” the company announced Wednesday (April 16). The offer will be launched by an entity named Upbeat BidCo that’s controlled by CEO Denis Ladegaillerie and private equity funds EQT and TCV.
Upbeat BidCo, which owns 96.7% of Believe’s outstanding shares, will offer 15.30 euros ($17.40) per share for the remaining 3.3% of share capital. The bid represents a 1.2% premium over the previous day’s closing price of 15.12 euros ($17.20).
The offer will be filed on Wednesday. Subject to clearance by the Autorité des Marchés Financiers (AMF), France’s securities commission, it’s expected to begin in the second quarter of 2025. After the closing of the bid, Upbeat BidCo will implement a “squeeze-out,” in which an acquiring company uses various tactics to pressure non-tendering shareholders to accept the buyout offer.
Trending on Billboard
Believe’s board of directors has established an ad hoc committee consisting of three independent directors: Orla Noonan, Anne-France Laclide-Drouin and Cécile Frot-Coutaz. According to the press release, the committee will “monitor and facilitate the work of the independent expert, and to prepare a draft reasoned opinion on the merits of the offer and its consequences for Believe, its shareholders and its employees.”
On Tuesday (April 15), Believe’s board of directors unanimously welcomed Upbeat BidCo’s intent to file the public buyout offer based on a preliminary recommendation of the ad hoc committee.
The Paris-based company was publicly traded for three years before a consortium led by Ladegaillerie, EQT and TCV took the company private in 2024 with a buyout offer of 15.00 euros ($17.06). The consortium did not squeeze out the remaining shareholders, however, and the small float remains trading on the Euronext Paris stock exchange.
Buying the remaining shares won’t come with much of a premium. Since the tender offer closed in June 2024, Believe’s shares have traded in a narrow band, reaching a high of 16.00 euros ($18.20) and a low of 13.70 euros ($15.58). Earlier this year, Believe shares had gained 5.0% before the announcement. On Wednesday, Believe rose 0.9% to 15.26 euros ($17.36), just below the 15.30 euros offer price.
In 2009, in between full-time shifts at a local factory, then-19-year-old musician Daniel Rosenfeld composed a score for an independent video game. “It was just a side hustle, maybe not even that. It was a hobby, really,” explains Rosenfeld, who records under the name C418.
The game, Minecraft, turned out to be successful beyond Rosenfeld’s wildest dreams. In 2014, Microsoft purchased Minecraft’s Swedish developer, Mojang Studios, for $2.5 billion, and through 2023, it had sold 300 million copies of the game, making it the best-selling video game of all time. Now, it’s the latest one to receive a movie adaption, and even that has been wildly successful: A Minecraft Movie, starring Jack Black, is the biggest box office hit of 2025 to date, having already grossed $550.6 million since it opened on April 4.
Because no one anticipated the game’s whirlwind success, or had the budget to properly pay him back in 2009, Rosenfeld was compensated for his work with a small fee and 100% ownership over Minecraft’s now-iconic score. Then, when Microsoft came calling in 2014, Rosenfeld made a fateful decision: he refused to sell the score to the tech behemoth, opting instead to bring on game composer manager Patrick McDermott to help him navigate building a business as an independent composer of Minecraft.
Trending on Billboard
McDermott counts himself as one of the rare folks who understands how to navigate both games and music. He started his career at Captured Tracks, and from 2015 to 2020 he built Ghost Ramp, a label which specialized in releasing game soundtracks on vinyl. At the time he was brought in to help Rosenfeld, he was also managing a number of other games composers, too.
Though McDermott says deals like Rosenfeld’s, where composers retain ownership of their IP, are increasingly rare, his Minecraft soundtracks have proven to be big business. The score, Minecraft Volume Alpha, which is distributed via TuneCore, was certified gold by the RIAA in 2023, and this month, it was inducted into the Library of Congress by the National Recording Registry, which cited it as an “audio treasure worthy of preservation.”
Since its release on digital service providers, streams of Minecraft Volume Alpha and its companion Volume Beta have averaged 38% year over year growth, and they have been streamed 2.8 billion times worldwide, according to McDermott. McDermott and Rosenfeld have built a surprisingly formidable vinyl business, too. The album, distributed by Ghostly, has sold over 200,000 units to date globally. Rosenfeld even has fans of his own who often congregate in a Discord server devoted to talking about his work, which includes the scores for other games such as Catacomb Snatch and Wanderstop.
But it’s not all fun and games for Rosenfeld. He thinks that by not selling the score to Microsoft, he might have sacrificed his chance to make future soundtracks for the Minecraft franchise — and it’s true that since the sale, Rosenfeld has not written anything for the game, with Microsoft instead turning to other composers. But because many Minecraft players are nostalgic for his original soundtrack, the score for A Minecraft Movie, composed by Devo’s Mark Mothersbaugh, interpolates it — giving Rosenfeld some upside from the blockbuster’s success.
In the end, Rosenfeld feels he made the right choice. “I don’t want to be stuck with the same thing for the next 50 years,” he says of Minecraft, and now, he can turn his attention to the new scoring gigs that excite him.
Here, Rosenfeld and McDermott speak to Billboard about the strange business of scoring for games and building a living off of Minecraft. “I know it’s hard to believe, but there’s a real argument that Daniel’s music is up there for the most heard audio by humans in history,” says McDermott.
How were you compensated for the original Minecraft game?
Daniel Rosenfeld: I asked for a share of the game, and I didn’t get a share. I got a tiny, tiny amount of salary for the music itself. The good thing, though, is that I owned the rights to the music, and that’s still persistent to this day. At the time, like 2010, people liked doing [revenue] shares for indie games as payment — like the musician gets 10 percent [of the game’s IP], the visual artist gets 20, and then the main developer gets 40 or whatever. That’s usually what happened back then. Mine was a little different.
Back in the day, when you made this score, is this also how larger game scores worked? Would Nintendo, for example, offer a deal like this?
Rosenfeld: Absolutely not. Nintendo is a Japanese company and in that culture, it’s typical that you would likely not get ownership but you’d just be employed there for, sometimes, the rest of your life. It’s the expectation of a company like Nintendo that it’s like a family — we work together and stay together. The mindset of American video game companies is different. The usual deal is the composer writes a song, and they get a single fee. That’s it. No residuals are typical in a AAA [a term used to describe video games produced by large publishers] big game.
Patrick McDermott: The typical structure is to get paid a price per minute of audio.
Has the way composers are paid in the independent game industry shifted since Minecraft launched?
McDermott: The way I see it is that there was a big boom of independent games. The comparison I use to explain this is what happened to the music business when [digital audio workstations] and home recording got easier. We got a lot more independent musicians, right? Independent gamemaking was the same. It got a lot easier because you had new tools like Unity and Gamemaker that make it possible to start building your own games. I’d say the heyday of indie games was something like 2008 to 2012 or so. The upstart, scrappy indie game business that allowed for a lot of this shared equity model was really successful for a period of time, but it’s just one of the sad, prototypical things that as people see more success in a market, the more bureaucratic and standardized things become.
Minecraft was a surprise hit. Then, Microsoft came along and bought it. You’ve said before that they wanted to buy the music rights from you. Why did you decline that offer?
McDermott: We did have conversations about it. Honestly, beyond sheer dollar figures, there was a gap in our understanding of each other. This was the genesis of Daniel and my relationship — when these conversations with Microsoft started to happen. And Daniel was smart enough to say, “Maybe it would be good to have an intermediary to help with it.” We involved a really wonderful lawyer on our side, and we had a strong belief that this music really matters. We just never quite came to the same terms and understanding on it [with Microsoft]. Daniel’s music is doing incredibly well. Who knows? Maybe they’ll knock on the door again someday, but for now, we’re thrilled that Daniel maintained ownership through all this.
Rosenfeld: I’m still going to therapy for this whole process. [Laughs]
Do any of your peers have the rights to their music from popular games today?
Rosenfeld: I am in a unique position, but it’s a bit of a monkey paw. I think it’s still frowned upon by the Microsofts, Sonys and Nintendos of the world for an artist to have ownership like I do. I’m a proponent of keeping rights, but it comes with the problem of some people not liking you so much for it.
McDermott: A lot of these composers don’t have anyone to advocate for them in these deals. I’ve had a couple situations with clients that I’ve worked for that are less known than Daniel, and we’ve been able to secure some rights for them, just because video games lawyers typically don’t know the nuances of the music business language enough to iron some things out. In a number of cases, I’ve been able to get the full IP ownership [of the music for the composer] and give gaming companies the unfettered usages that they want, but we can still sub-license back the monetization of digital and physical royalties that the musician wants.
Patrick, when you go into a negotiation for one of your clients, what is the first thing you ask for?
McDermott: I always want artists to be able to maintain their digital royalties, their physical royalties and their autonomy to make those decisions where they can sign with a record label for the vinyl side of things — stuff like that.
I honestly wouldn’t expect someone to want a game soundtrack on vinyl, but it seems like you all have built a booming vinyl business.
McDermott: When we grew up, we would buy games, and we loved the physical boxes and manuals and keepsakes that came with it. Now, most things you buy you just fire up on Steam or on the PlayStation store. I think people are drawn to the idea of having something physical from the Minecraft game they’ve always loved. If I had to guess, probably like 75% of the people who buy it never put it on a turntable. Even beyond just Daniel’s music, there’s just a lack of physical collectibles in these digital spaces, so it just fills that need.
Patrick, you’ve mentioned before that there’s a lack of understanding, on both the music and gaming sides, of the other. What are some of the mistakes you saw musicians making in the gaming world?
McDermott: When I got into game audio, I would talk to these game composers and realize their sales numbers were so massive compared to the independent tier that I had worked on. It was akin to the top artists at a label like Captured Tracks [where I previously worked]. You’d find someone who casually had Mac DeMarco-level sales numbers. The biggest mistake I saw some game composers making is they would be selling 30,000 units on Bandcamp in six months, but they never registered their music with a PRO. They didn’t know about SoundExchange. They probably had not been receiving publishing royalties in a meaningful way. I realized I could at least bridge these gaps for these composers and help them capture the royalties that are out there for them.
Rosenfeld: Yeah, I wasn’t signed with a PRO [when I met Patrick]. There were a lot of back royalties that were owed to me that I didn’t know existed.
McDermott: BMI, to their credit, reached out to Daniel because there was uncollected money. Thankfully these PROs have a period of about three years for retroactive royalties. So some of his money was technically lost, but we were still able to garner three years of back royalties.
I imagine the streaming habits for fans of the Minecraft score are pretty different from traditional mainstream pop listeners. Patrick, can you explain what listening behavior you’re seeing?
McDermott: There are two main things that I find pretty wild about Daniel’s digital performance. One is just the sheer amount of organic listens that avoid any of the algorithmic and editorial playlisting. The other thing is Spotify started sharing streams per listeners, which obviously shows if listeners hear a single once and move on or if they are bingeing the track, and Daniel’s is quite high. It’s 15 streams per listener. That’s at least seven or eight listens higher than anyone else I have access to. It’s also very evenly listened to throughout the soundtrack.
How is Daniel’s score represented in the new Minecraft film?
McDermott: There’s a song that the film licensed from us for interpolation across the score. It’s in there a number of times. There’s one song called “Dragonfish” that’s from a separate composition Daniel did during his negotiation with Microsoft, and Microsoft actually owns the rights to that one — well, Daniel owns the royalty and monetization rights, but Microsoft owns the IP. They actually play that song in full in the movie. We have no idea if that was gamesmanship on their part, using one of the songs of Daniel’s that they have better access to, or if they creatively just chose that one.
Rosenfeld: To their credit, I find the way they interpolated my song to be quite respectful. I haven’t seen the movie. I don’t know if I want to see the movie. I still need to go to more therapy. [Laughs]
The movie is still very new, but has hype around it translated into more streams for Daniel’s original score?
McDermott: Since the release of the film, his three highest streaming days ever were consecutive. Like within a range of 10 percent to 20 percent higher than usual.
Patrick, have you seen a noticeable impact in the consumption for this soundtrack since you came on as manager?
McDermott: Since Daniel and I started working together, the catalog is probably about eight to 10 times [more] in terms of monthly [listeners]. Still, every year has been bigger than the last since we started working together. I think it’s just worth saying that Minecraft is obviously continuing to add players — I think that’s what separates this. It’s such a unique IP to be associated with — so different from traditional music or even film. It’s just getting bigger over time.
Do you attribute the growth in listenership to Minecraft’s continually growing popularity, or do you also think that the trend is due to your various marketing efforts?
Rosenfeld: This is actually my little source of pride: as long as I have worked on Minecraft, there has been next to no marketing help.
McDermott: We don’t have a marketing budget for ads or anything. This is just organic. We just let it ride and see where it goes. But I think the reason it’s growing is twofold. It’s new Minecraft fans, and I think there was a transition of game audio listeners leaving Bandcamp and becoming Spotify users. We saw a big drop in Bandcamp and a big jump in Spotify in the last few years.
What about YouTube? There are so many gamers who are streaming their game play on there and other sites like Twitch. How do you handle monetizing your IP versus letting users enjoy the soundtrack?
Rosenfeld: We don’t collect any Content ID stuff on YouTube. We just rejected the idea of claiming those videos.
Why?
Rosenfeld: Legally I wasn’t allowed to. It was part of the original first contract.
McDermott: It’s a pretty unique thing to gaming. You would never want to short-change the marketing of the game to monetize the music. It just wouldn’t make any sense to pull monetization from these streamers because then they will just start muting the music. The spirit of the arrangement is to let content creators play the game and even do things beyond the game and let the score be part of it. It’s definitely different. If my music was being used on a random stream, I would claim it, but that’s not how it works here.
How much does Spotify account for Daniel’s soundtrack income now?
McDermott: Nearly 70 percent.
Back when you had the opportunity, you decided to not sell to Microsoft. Since then, there have been more compositions made to build on the Minecraft universe that came from other composers. Do you feel that if you had done it differently then maybe you’d be part of the newer scores?
Rosenfeld: Yeah, I bet I would, but here’s the thing: If I would have said yes, I would probably be able to write so much more music for them, but I probably would not feel great about it. I chose not to sell it, and now, I get the different sadness of, like, a messy divorce [with Minecraft] — but in return, I get my mental health and my freedom.
This story is part of Billboard’s music technology newsletter Machine Learnings. Sign up for Machine Learnings, and other Billboard newsletters for free here.
SoundExchange and the National Association of Broadcasters (NAB) have reached a broad rate settlement that includes per performance rates rising from $0.0025 this year to $0.0032 in 2030 for non-subscription digital audio transmissions.
The expansive settlement, which covers the period of 2026-2030, allows SoundExchange and the NAB to forego the usually expensive Copyright Royalty Board rate trials, but the settlement still needs formal approval by the CRB.
Other aspects of the settlement involve gradually raising the current annual minimum fee of $1,000 per station by $50 each year, reaching $1,250 for 2029 and 2030. Additionally, the annual minimum fees will be capped at 100 stations, which means that the large radio networks will have annual minimum fees grow from $100,000 currently to $125,000 in the last two years of the settlement.
Trending on Billboard
“This settlement with broadcasters provides needed increases for the creative community we represent, and allows us to forego the costs, uncertainties, and distraction connected with any litigation,” SoundExchange president and CEO Michael Huppe said in a statement. “Striking a business solution that both parties can accept has many benefits over battling it out in court and allows us to focus resources on other efforts and services benefiting our creator community.”
Additionally, the settlement mandates shorter reporting and payment deadlines, requiring radio stations to submit data and payments within 30 days after the end of the month, down from the current 45-day timeframe. Furthermore, radio stations also must provide contractual access to performance data held by third-party vendors, which should enhance SoundExchange’s auditing capabilities.
On the positive side for radio stations, late fees for underpayments are reduced from 1.5% to 1% per month. This change, along with the predictability of incremental costs and the capping of minimum payments, offers additional financial relief.
In noting that the NAB is “extremely pleased” to reach the settlement with SoundExchange for the CRB Web VI rate setting period of 2026-2030, NAB president and CEO Curtis LeGety said in a statement that “this settlement provides critical certainty around streaming rates in a way that is sustainable for broadcasters large and small, ensuring that local stations can continue to deliver the experiences and connection that millions of listeners depend on every day.”
Furthermore, he said, “It also includes meaningful improvements in areas like audit late fees and minimum payments, helping broadcasters focus their resources on serving fans and supporting the artists who make broadcast radio so impactful, all while avoiding the high costs of litigation.”
The specifics of the incremental rate increases show that after rising from $0.0025 in 2025 to $0.0028 in 2026, the per performance rate will increase by 1/100th of a penny each subsequent year, culminating in $0.0032 in 2030.
The settlement will be published in the Federal Register so it’s available for public comment, although that doesn’t appear to have happened as of yet, at least according to a Billboard search of the Federal Register and the Copyright Royalty Board websites.
With his sex trafficking and racketeering trial looming next month, Sean “Diddy” Combs has beefed up his trial team by hiring Brian Steel – the veteran Atlanta defense attorney who won Young Thug’s release from prison last year.
In a motion filed Tuesday in Manhattan federal court, Steel requested to be admitted as one of Combs’ lawyers ahead of the upcoming trial, which is currently set to go to jury selection on May 5. Such approval is necessary for out-of-state lawyers to practice in new courts.
The move marks a significant addition to the team representing Combs, the once-powerful rap mogul now charged with abusing women for decades. Steel will join Marc Agnifilo, a former federal prosecutor and longtime criminal defense attorney who has previously repped Martin Shkreli and Keith Raniere, and his law partner Teny Geragos.
Trending on Billboard
Steel made headlines with his recent work defending Young Thug (Jeffery Williams), who faced a slew of felony charges in Georgia over allegations that his “YSL” rap collective was actually a violent street gang that had wrought havoc on Atlanta. The attorney often took center stage during that case, which captivated the music industry for more than two years.
A well-regarded defense attorney for years in Atlanta, Steel is known for his unique demeanor in the courtroom – polite, calm and scrupulous, but also relentless. Case in point: In June, he accused the judge overseeing Thug’s trial of holding an illegal secret meeting with prosecutors and a key witness. When the judge demanded to know how he’d learned of the meeting, Steel refused to answer so steadfastly that he was eventually held in contempt and ordered into custody. Weeks later, that judge was removed from the case over the incident and Steel was later cleared of any wrongdoing.
In some ways, the case facing Combs is similar to the one leveled against Thug. Both were charged with violating RICO laws (Racketeer Influenced and Corrupt Organizations), accused of serving as the bosses of large criminal organizations. But Thug’s case was centered on accusations that his group committed drug dealing, carjackings and an alleged drive-by shooting; Combs is accused of using his fame and his sprawling business empire to sexually abuse numerous women and then keep them silent.
Differences aside, Combs is no doubt hoping for a similar result to the one Steel secured for Thug.
After botched testimony from a state’s witness in October sparked talk of a mistrial, prosecutors began reaching plea deals with multiple defendants. But Steel and Thug refused to take one, instead opting to simply plead guilty and hope the judge would set him free on probation rather than the 25 years the district attorney was seeking.
That gamble paid off: After sentencing Thug to only 15 years probation with no time to be served in prison, the judge urged the Grammy-winning rapper to use his platform to set a good example for young people in the future: “Good luck to you. And there better be no violations.”
Since he was indicted in September, Combs’ legal team has seen several shakeups. He hired Alexandra Shapiro, an well-known appellate specialist, in October. Anthony L. Ricco, another prominent New York defense attorney, withdrew from the case in February for undisclosed reasons.
Something went wrong with Spotify this morning, leading to a widespread outage of the streaming service that impacted its desktop and mobile apps, as well as its web player, on a global scale for several hours. According to the company, the issues were not due to a security breach. The platform appears to be returning […]
Billboard’s data partner Luminate has signed a new partnership with South Korean firm KreatorsNetwork, granting the company exclusive rights to distribute Luminate’s global music streaming data, consumer insights, and metadata products via its CONNECT platform in South Korea.
The agreement, announced on Tuesday (April 16), positions KreatorsNetwork as Luminate’s sole authorized reseller in the Korean market, providing localized access to global streaming analytics and music intelligence tools for labels, distributors, and music marketers.
“At Luminate, we are dedicated to working with partners across the entertainment industry at a global level, helping them to make data-informed decisions in an ever-evolving media landscape,” said Luminate CEO Rob Jonas in a statement. “We’re glad to enter this new partnership with KreatorsNetwork, which allows us to amplify our service within such an influential and forward-thinking international market.”
Trending on Billboard
Steve Shin, CEO of KreatorsNetwork, added: “After serving K-pop labels for the past five years via data-driven promotional strategies, we are confident that Luminate’s expertise will help us pave the way for the Korean music industry’s move to the next phase of global expansion.”
The deal comes at a moment of continued global growth in music streaming, particularly across Asia. According to Luminate’s 2024 Year-End Music Report, global on-demand audio streams reached 4.8 trillion last year — up 14% from 2023. While the U.S. saw a 6.4% increase, ex-U.S. markets grew by 17.3%, with Asia leading the way in premium (paid) streaming growth. South Korea, in particular, was among the top ten countries globally for premium streaming expansion, up 14.7% year-over-year.
For Luminate, the partnership strengthens its presence in one of the world’s most influential music markets, while offering Korean music companies more robust access to tools for analyzing streaming performance, audience behavior, and cross-border trends.
Luminate’s CONNECT platform — launched in 2024 — provides a centralized dashboard for global music data, consumer insights, and metadata delivery, and is designed to support music clients with real-time intelligence for campaign planning and market expansion.
Music agents Zach Iser and Caroline Yim have landed at UTA, where both will serve as partners and agents in the music department. Iser and Yim were previously at WME, which they joined in 2021 as partners and co-heads of hip-hop and R&B. Prior to that, they were with CAA for three years. Both have […]
Forest Hills Stadium in Queens says its 2025 season is officially on despite a long-running noise dispute with its neighbors. “As anticipated, we’re pleased to announce that the City of New York has given Forest Hills Stadium the green light for our 2025 concert season to proceed as planned,” reads a statement from a stadium […]