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As the subscription streaming music model raises public performance royalties, the big collective management organizations are seeing their best years ever. On May 28, just hours after the Swedish CMO STIM announced a 14.2% increase in revenue, the UK CMP PRS for Music announced that in 2023 it took in £1.08 billion ($1.34 billion based on the 2023 average pound-to-dollar conversion rate), breaking the billion-pound barrier with a 12% increase. It also paid out a record £943.6 million ($1.17 billion).
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PRS also brought its cost to income ratio down to 9.2%, a particular focus for CEO Andrea Czapary Martin, who wants to keep it below 10%. Last year it was 9.3%.
Over the last decade, PRS has more than doubled its revenue, which went up by 111% since 2014. That’s an astonishing run for the organization, which turns 100 this year. Its membership also grew by 10,000, an unprecedented rise.
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“Our remarkable performance in 2023 is a testament to the team’s hard work behind the scenes of the music industry,” Martin said. “We’re not just surpassing financial milestones at the lowest cost-to-income ratio amongst our peers; we’re orchestrating a significant shift in the music business.
Like some of its counterparts, PRS received the most revenue from online licensing — £366.5 million ($455.5), up 8.5%; the distribution was £360.3 million ($447.8 million), up 23.2. Next came international, which generated £339.3 million ($421.7 million), up 25.9%. Public performance royalties, traditionally the core of a PRO, accounted for £251.7 million ($312.8 million), up 10%.
Although it’s hard to compare CMOs directly, PRS has had some strong years, and its cost to income ratio is enviable. For much of the last decade, it was above 10%. Over the last two years, it has been below that, partly because it can share some costs with the ICE joint venture it runs with GEMA and STIM.
STIM, the Swedish collective management organization (CMO) turned 100 last fall — and its results for 2023 are giving it another reason to celebrate. The organization took in a record-high 3.095 billion Swedish Krona (SEK) ($291.9 million, based on a 2023 average krona-dollar conversion rate), up 14.2% from the previous year, the CMO announced May […]
Warner Music Group’s revived Record Store Crawl returned to New York City last weekend after a five-year absence, complete with a bus full of music and vinyl fans — including Billboard’s Retail Track — that kicked things off at Tower Records’ Tower Labs space in Brooklyn with a rocking performance from 300 Entertainment recording artists Quarters of Change.
The crawl’s bus, transporting about 40 music fans, went on to visit Academy Records in Brooklyn, Audio-Technica showroom in lower Manhattan, Generation Records in the West Village; and finally, Rough Trade Records up in Rockefeller Center, all on Saturday (May 18).
Upcoming crawls are scheduled in Seattle on June 14; Austin on July 20; Nashville on Aug. 10; Chicago on Sept. 28; and Los Angeles on Oct. 19. Tickets for each crawl costs $77.45. Just like the New York Crawl, those cities will likely feature an artist performance and so far, Joe P has been lined up for the ones in Seattle and Austin; Knox for the one in Nashville; Deux Visages for Chicago; and Alicia Creti for Los Angeles.
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What’s more, vinyl and music lovers can visit the Record Store Crawl website to vote for which U.S. city will be the winner of a crawl slated for Sept. 7. All the crawls are sponsored in partnership with Audio-Technica and HeadCount. When fans vote on the WMG Record Store Crawl website for which city should receive the September crawl, the site asks if the voter is registered to vote in U.S. elections. If they aren’t, or are simply unsure, a link takes them to the headcount.org website where they can either check their status or register to vote.
The last time WMG had a Record Store Crawl was a year prior to the COVID-19 shutdown. Before the pandemic, the then-named WEA (now named WMX) held 40 Crawls in cities across the United States from 2016 through 2019, according to WMX senior director of retail & platform marketing (RPM) Gina Williams. In NYC, they were mainly held on Record Store Day. However, nowadays record stores have plenty going on that day, Williams said, so WMG’s team chose other days to bring a traffic boost to stores.
While the Record Store Day Crawl was happening in New York, WMX’s RPM team was hosting some 165 early listening events for Twenty One Pilots‘ new album, Clancy, out now on Fueled By Ramen. According to a statement issued by the company, “thousands of fans nationwide packed into their local record stores to hear the album early, connect with fellow fans and experience what independent record stores are all about: community and love of music. Moreover, in the prior year, 2023, the RPM Team hosted 972 listening party indie store activations in 2023 for 12 releases. The RPM Team and Atlantic Records were nominated for a 2024 Music Biz Bizzy for our Barbie, The Album listening events.”
In New York, Record Store Crawl fans lined up at noon outside Tower’s performance space in Williamsburg to get a bag of swag from the Warner family of labels. Retail Track’s bag contained the Keith Sweat Make It Last Forever limited-edition black ice vinyl album and a “Brother” 45 from Needtobreathe, plus stickers and other tchotchkes; as well as a raffle ticket, which would come in very handy on the bus ride between stops on the crawl.
Inside Tower, the crawlers were treated to a high-energy seven-song set from Quarters of Change, who performed tracks from its debut album, Into the Rift, and its just released follow-up, Portraits.
Quarters of Change perform at Tower Records’ Tower Labs space in Brooklyn on May 18.
Rita Vega
After the band’s set, the tour loaded onto the bus and headed to the next stop: Academy Records Annex in Greenpoint, where Retail Track scored a few singles: O.V. Wright’s “Precious Precious” on Hi Records; Arthur Prysock’s “I Wantcha Baby,” on Hy Weiss’ Old Town Records; and Shirley Brown’s “Woman To Woman” on Truth Records.
After that, the bus headed to Manhattan via the Williamsburg Bridge and the mother of all traffic jams, moving literally an inch at a time. That led to plenty of opportunities for WMX’s RPM senior manager Ross Srodo to show off his emcee prowess, while WMX RPM creative manager Eden Mili supplied pithy embellishments in her role as ace ticket number reader as the duo raffled off plenty of Record Store Day exclusives and other limited edition and/or deluxe vinyl records — all from the Warner Music family of labels, naturally. During that ride, Han Mu, one of the crawlers, said he heard about the Record Store Crawl through an Instagram post. He also hailed the crawl’s pricing, saying, “it is totally worth it.”
In Manhattan, the first stop was at Audio-Technica House, the audio equipment brand’s collaboration space in SoHo, where crawlers were treated to Banshee Winery wines and a music trivia game with the winner taking home a turntable. The rest of the crawlers got an Audio-Technica record cleaning kit.
Up next, a quick ride to Generation Records, where crawlers had the pleasure of flipping through the stacks while dining on Williamsburg Pizza. Retail Track hit the downstairs used records bargain bin and scored 10 vinyl albums, including ones by The Association, Dakota Staton, Gene Pitney, Jimmy Ruffin, Joan Armatrading and Renaissance — the latter on Warner Bros. Records.
The Record Store Crawl itself wasn’t the only attraction, as Hannah Tebo bought a ticket especially to see the performance by Quarters of Change, as did Ellen Cainsford, who flew in from Austin because she said she wanted to “see the band in a special venue for an intimate performance.” Besides her, two others traveled in from North Carolina for the Record Store Crawl, while two more music fans came from Philadelphia, WMX RPM manager Mel Hoch reported to Retail Track.
Finally, the day culminated at Rough Trade where Retail Track scored Quarters of Change’s Portrait LP. “It was great to have a busload of eager record fans of all ages pop in and take over our store briefly,” store manager George Flanagan tells Billboard. “It was a very good day already and then the music fans from the bus provided a nice spike. We sold a lot of music.”
Much like last month’s Record Store Day, Retail Track once again heard the siren call of (this time) a cold Budweiser, which was easily scored around the corner from Rough Trade at the Pig & Whistle pub. After all, Retail Track needed something to wash down the wine taste from back at Audio-Technica House.
Retail Trackback: Taylor Helps, But Olivia & Others Also Bring Big Sales to RSD 2024
When the United Kingdom votes on July 4 to elect its next government, business leaders around the world will be closely monitoring the outcome to see what it means for them. For the music industry, the upcoming general election — announced by Prime Minister Rishi Sunak on Wednesday (May 22) — could also lead to major change depending on who wins.
According to the latest opinion polls, the Labour Party is more than 20 points ahead of the ruling Conservative Party, which has been in power for 14 years. Unless Sunak achieves an extraordinary turnaround in the next six weeks, Labour leader Keir Starmer is widely expected to be the next resident of Number 10 Downing Street, most likely with a big majority of Parliamentary seats.
Should that happen, Starmer has said he plans to make a number of reforms that will impact the world’s third-largest recorded music market, touring and regulation of the tech industry, all of which will reverberate beyond the United Kingdom’s borders.
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Tougher Rules for Ticket Resale Platforms and Prospect of Future Arena Tickets Tax
In March, Starmer announced that a future Labour government will cap the resale prices of concert tickets and introduce tougher regulations for secondary ticketing platforms such as Viagogo, which has already been subject to numerous investigations and inquiries in the United Kingdom.
The Labour policy would limit the number of tickets individual resellers could sell on resale platforms and give the U.K. competition watchdog greater powers to take “swift” action against services and scalpers who break the rules, Starmer said.
Any change at Number 10 could also have big implications for the global touring business. Earlier this month, a Parliamentary committee called for a new voluntary levy to be added to arena and stadium tickets sold in the United Kingdom to support struggling grassroots music venues.
To stem the tide of small venue closures, the Culture, Media and Sport (CMS) Committee said the voluntary levy should be introduced “no later” than September. If progress is not made, the government should set up a statutory levy, advised the committee, which also called for a cut in sales tax (VAT) on tickets for grassroots music shows.
Whichever political party wins on July 4, it will be expected to respond to the CMS committee report on the grassroots music sector. As for the committees themselves, they all cease to exist after Parliament is dissolved on May 30, although a new bunch will be formed after the election made up of a cross-party selection of MPs. They can pick new topics or industries to investigate — or can choose to build upon the work of their predecessors, meaning Parliamentary interest in the music business is unlikely to go away.
Given the huge contribution the U.K. music industry makes to the country’s economy — £6.7 billion ($8.2 billion) in music sales, concerts, recording studios, touring and music tourism in 2022, according to trade organization UK Music — government leaders will be keen to be seen doing all they can to protect the sector.
Regulating AI and Big Tech
Following the general election, the hot issue of regulating the use of artificial intelligence (AI) is likely to be near the top of the legislative agenda and will continue to be a source of heavy lobbying from the tech and music industries.
The current Conservative government has spent the past several years consulting on the topic but has yet to deliver any firm plans and has generally pursued a light touch “pro-innovation” approach to the regulation of AI.
In 2023, the government quietly shelved a proposal by The Intellectual Property Office (IPO) for a new text and data mining (TDM) exception that would have allowed AI developers to freely use copyright-protected works for commercial purposes (albeit with certain restrictions) following fierce criticism from the music industry.
Since then, there have been repeated calls from music trade groups like labels trade body BPI for the government to follow the European Union’s lead and defend creators, musicians and rights holders from the potential risks of generative AI models.
Earlier this month, the All-Party Parliamentary Group (APPG) on Music called for a comprehensive “pro-creative industries” AI bill that protects the music business from the “threats” posed by the technology. Among its recommendations were banning AI developers from using copyright-protected music for training purposes without consent, as well as the requirement for tech companies to clearly label all AI-generated content.
If Sunak retains power, music executives will be keen to see him urgently press ahead with U.K.-specific legislation around AI and ensure the United Kingdom doesn’t fall behind other countries and markets in regulating the sector.
Labour’s position on AI, as outlined by Starmer last summer, is that they will bring in stronger regulations than the Conservatives, although details are thin on the ground and the party’s stance does appear to have softened in recent months as it attempts to court business leaders and tech executives by presenting itself as a “pro-innovation” government-in-waiting. Labour had been working on an AI strategy document ahead of the general election announcement, which it was expected to launch this month.
Addressing Artists’ and Songwriters’ Discontent Over Streaming Terms
Over the past four years, the United Kingdom has led the way in addressing artist discontent over low payments from music streaming. Since 2020, when the pandemic-enforced shutdown of the live industry brought the issue to the fore, there have been numerous Parliament-led inquiries into the record business, including a review of the major labels’ market dominance by the U.K. competition watchdog.
In December 2021, a bill was debated in Parliament that would have required record companies to pay musicians and songwriters a bigger cut of streaming revenue. It was defeated at the first stage, but the prospect of government intervention in the U.K. music business has seen record companies beef up their public policy teams and divert a huge amount of time and resources into dealing with the various probes.
The heightened scrutiny of the music industry has yet to result in any law changes, but it has increased pressure on labels to improve artist terms and contracts. A government-led working group focusing on creator remuneration recently launched (which insiders say is likely to continue post-election) and the noise around low streaming royalties for many artists is unlikely to die down anytime soon.
Last month, the Culture, Media and Sport (CMS) Committee published a report calling for government ministers to “do more to make sure music makers are paid fairly” and to press ahead with a package of sweeping copyright reforms. The committee’s recommendations included overhauling the revenue split between recording and publishing rights from music streaming, currently set at around 55% for recording and 15% for publishing, to better reward songwriters.
“It’s vital that any incoming administration ensures we deliver on recommendations made by the Culture Select Committee to reset the streaming market and support grassroots live touring,” says Annabella Coldrick, chief executive of the U.K. Music Managers Forum (MMF).
“More broadly, we need a government that values British music, puts it at the forefront of U.K. growth policy, and backs it with a credible music strategy to maximize our industry’s potential both domestically and internationally,” Coldrick adds.
Whether that responsibility falls to Sunak or Starmer will be determined by the British public on July 4. If Labour does win the general election, there’s a chance that two high-profile figures from the music world could join them in government. Dave Rowntree, the drummer for Blur, is running as the Labour candidate for the Conservative-held Mid Sussex seat, while Tom Gray, co-founder of indie rock band Gomez and chair of songwriters and composers body the Ivors Academy, is the party’s chosen candidate for the Brighton Pavilion constituency.
When Sabrina Carpenter signed with the Universal Music Publishing Group (UMPG) in October 2023, she was coming off the critical and commercial success of her 2022 Island Records debut Emails I Can’t Send, a project that established her as a formidable pop hitmaker with a distinct voice and a captivating appeal. But since that album’s release, her career has launched into the stratosphere, with a string of singles — “Nonsense” off the original Emails; “Feather,” which was released on the deluxe of Emails in August 2023; and, most recently, April 2024’s “Espresso” — that have each reached higher on the charts than the last, building her into a mainstream dynamo with song-of-the-summer hitmaking potential.
It’s been “Espresso,” however, that has truly captured the zeitgeist. The song zoomed onto the Billboard Hot 100 with a No. 7 debut, eventually reaching No. 4, but has done even better globally, reaching No. 1 on the Billboard Global Excl. U.S. chart — where it spends its second week this week, establishing it as a bona fide international hit. And through the work of her label at Island and her publishing company UMPG, that’s marked the highest chart placement of Carpenter’s career — and help earned UMPG co-head of U.S. A&R and head of UMPG’s global creative group David Gray the title of Billboard’s Executive of the Week.
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Here, Gray discusses the work UMPG has done with Carpenter in the six months since bringing her into the pubco, what sets her apart as a songwriter and the company’s global outlook. “She has always had a vision for herself as an artist and songwriter,” Gray says. “It’s rewarding to see her succeed at a global level and get all of the credit she deserves.”
This week, Sabrina Carpenter’s “Espresso” spends its second week at No. 1 on the Billboard Global Excl. U.S. chart and its fifth week in the top 10 of the Hot 100. What key decision did you make to help make that happen?
Overall at UMPG, we work to support our songwriters’ ideas and decisions in any way we can, whether putting together strategic writing sessions or working to secure great synch opportunities globally.
Sabrina signed with UMPG last October. What were your first conversations like with her about her music and where she wanted to go?
Sabrina talked about how the Emails I Can’t Send album was a step up from where she was before and she was ready to take it up to the next level from there. She has always had a vision for herself as an artist and songwriter. It’s rewarding to see her succeed at a global level and get all of the credit she deserves.
What sets Sabrina apart from other pop stars as a songwriter, and how have you helped to emphasize that?
Sabrina has such a unique and brilliant songwriting voice, both lyrically and melodically. All the years of doing sessions, working hard, taking songwriting very seriously and perfecting her craft has made her not only the artist in the writing session… but she is also an A-list-level songwriter talent-wise.
For the past two years you’ve headed up UMPG’s global creative group. How has that changed how you work with songwriters, and in what ways does it help your global reach?
At UMPG, we have always recognized that there are amazing writing opportunities for songwriters outside of their own territories. The number and quality of these writing opportunities has accelerated in the last few years. The communication between territories that the Global Creative Group provides is essential to making sure our writers get the best of these opportunities.
How are you preparing to deal with AI in the publishing world?
It’s still nascent in the broader creative community, but we know AI offers opportunities and risks. We embrace AI, just as we have other technology innovations in the past, but only AI technology that is ethical and artist-centric — in other words, only if it supports songwriters and protects their rights.
When Amanda Rovitz met Megan Boni at a college study abroad program in Sydney, Australia in 2018, she says she “always had this feeling” that Boni had star power.
“She’s just always been the funniest person I know,” says Rovitz. “I thought she would definitely emerge in entertainment somehow, not as a musician or singer, but as someone in comedy.”
Fast forward five years, and Boni, who is self-admittedly not a musician, has a label deal with Capitol/Polydor/Virgin Germany, and Rovitz, who became a music manager at 1916 Enterprises post-grad, is the one who helped her put it all together.
It’s all thanks to Boni’s video, poking fun at cliched “song of the summer” TikToks, that made her 2024’s most unexpected viral signing. While Boni admits she was “just having fun” with making the video, known as “Man In Finance,” her signing is also indicative of how major labels are evolving to meet the current demands — and breakneck pace — of user-generated music creation.
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“Did I just write the song of the summer?,” she says to the camera in her viral video, which has been viewed 28.6M times since it was posted on April 30. “I’m looking for a man in finance, trust fund, 6’5”, blue eyes,” she says in a rhythmic vocal fry.
@girl_on_couch
Can someone make this into an actual song plz just for funzies
♬ original sound – Girl On Couch
Boni, who posts under the handle @Girl_On_Couch, says she made the clip in just a few minutes. “Since COVID, TikTok has been a hobby for me,” Boni says. “I just thought it would be funny to make a video making fun of those single girls who are always complaining about being single, but yet they want an impossible laundry list of things in a boyfriend, and by the way, that’s myself included.”
It’s the sound that launched a thousand remixes. Producers including David Guetta, Alesso, Loud Luxury and Billen Ted immediately jumped on the sound, making it the top line to a number of different TikTok tracks. Now, with the help of Capitol/Polydor/Virgin Germany, Boni is licensing her TikTok vocal to the producers for official releases, the first of which was released May 17 as “Man In Finance (G6 Trust Fund)” with Billen Ted. In it, the producer duo splices together Boni’s vocal, original drums and a sample of “Like a G6” by Far East Movement.
Rovitz says that even before producers started remixing Boni’s audio, she texted her friend saying the video could really turn into something. Soon, she was proven right: The remixes became inescapable on TikTok, furthering Boni’s initial virality to even greater heights. Almost immediately, several major labels came calling, and Boni asked Rovitz to help her navigate the conversations. “I didn’t really know where to begin,” Boni says.
“Within four days, Amanda and Todd [Rubeinstein, music attorney] had me on calls with labels,” says Boni. “Two days after that we were talking with UTA,” who now acts as her agent as a creator/comedian. Boni says she went from being a totally DIY creator on TikTok to having a full-fledged team in about a week.
Zach Elgort, vp of marketing at Capitol, says it was a “perfect storm” to sign Boni. “It’s kind of a marketing dream,” he says. Unlike most songs, which start as completed masters and are then posted online in the hopes of gaining organic interest with listeners, this was the inverse. “It was an organic trend [already], which you always hope for. Now, it’s about pushing the actual song we released to DSPs and pitching it to our partners.”
This success is seemingly more akin to a TikTok “teasing” strategy, where an artist posts an unreleased song to gauge interest from fans first before committing to the release. But the difference with the “Man In Finance” phenomenon is that Boni made the video without the intention of making it into a real, release-worthy song. Still, Elgort says the official Billen Ted version has already been met with “exciting playlisting support” from streamers — it’s been added to Spotify’s New Music Friday and Teen Beats, among others — given that they could already measure listeners’ appetite from the original social media videos.
“Man In Finance” might have been made as a joke, but it serves as a clear indication of how people are creating and consuming music today, where some of the most culturally relevant songs are first (or only) available on socials. “This project shows an evolution of how social media meets music,” says Elgort.
The Kendrick Lamar and Drake feud, which played out simultaneously with the “Man In Finance” trend, acts as another example of how much music creation and consumption on social media has changed. All of the songs were dropped first on social media, with only a few making it to Spotify and Apple Music.
As MIDiA Research’s Tatiana Cirisano argues in a recent analysis, it’s a sign of the “continued shift in cultural value from streaming to social, which is bifurcating the music industry into two parallel consumer words: LISTEN, where streaming plays the role [of passive consumption]… and PLAY, where social platforms have a grip on culture.”
Moving forward, Elgort and the team at Capitol, along with Polydor and Virgin, are planning to license out Boni’s vocal to more producers who have been making remixes, anointing a few as official, DSP-worthy versions of “Man In Finance.” The plan fits perfectly with the current label strategy of releasing multiple versions of the same song to DSPs. It also shows how quickly and flexibly the majors are now working to sign viral songs and artists.
“Now, it’s really about figuring out a way to get SEO and search to tie back to the official release of the song… and as more official versions eventually get released to streaming partners, they’ll all be packaged together and help the greater visibility,” says Elgort.
Boni, whose label deal is only a licensing agreement for this one vocal, says she has no intention of writing more songs but is going to have fun with it while she can. “I won’t make more music unless it’s a parody… but I am definitely behind this song,” she says. She adds that she’s interested in appearing at producers’ shows, brand collaborations and more — anything to push the song she says changed her life “overnight” by allowing her to kick start her career as a creator and comedian, build her team and provide enough stability to quit her 9-5.
“I put in my two weeks last Thursday,” she says. “I’m really excited for what’s next.”
Sean “Diddy” Combs is facing yet another sexual abuse lawsuit, this time filed by a woman who claims that he drugged and sexually assaulted her 30 years ago while she was a college student in New York City.
In a complaint filed Thursday in Manhattan court, April Lampros alleges that the rapper subjected her to “an aggressive, coercive, and abusive relationship based on sex,” including four instances of sexual assault.
In one such allegation, she says Combs forced her to take ecstasy and have sex with his former girlfriend Kim Porter. Though she “vocally opposed” the idea, she said she feared that Combs “blacklist her in the industry.”
“Ms. Lampros knew that she had to comply because she had witnessed what happens when someone defies Mr. Combs,” her lawyers write. “She had also been threatened and victimized by Mr. Combs and did not want to cause a problem because she feared him.”
Thursday’s lawsuit also names Sony Music Entertainment as a defendant, claiming the company “enabled” Combs’ conduct. She claims that she worked for Sony’s Arista Records when at least one of the attacks occurred, and that Sony “knew or should have known that Combs was not fit to be in a position of authority.”
Representatives for both Combs and Sony did not immediately return requests for comment.
Lampros is the seventh alleged victim to file a lawsuit accusing Combs of sexual abuse over the past six months, including one filed just days ago by a model named Crystal McKinney who claims the hip-hop mogul forced her to perform oral sex on him following a Men’s Fashion Week event in 2003. The rapper is also reportedly facing a federal criminal investigation over abuse accusations.
In previous statements, Combs has strongly denied any wrongdoing. But after a video surfaced last week showing Combs attacking one of those accusers – then-girlfriend Cassie Ventura – he said he took “full responsibility” for that incident and was “truly sorry.”
In her complaint, Lampros claims that she met Combs in 1994 while she was a college student at New York City’s Fashion Institute of Technology. After she told him about her “dreams of working in the fashion industry,” Lampros says Combs promised to mentor her and help her find work in the industry.
But she says the relationship quickly turned sexual, including “four terrifying sexual encounters” and threats of physical violence. One such incident occurred after a night out in 1995, when she claims that she began to feel unwell after taking just “a few sips of one drink.”
“Ms. Lampros pleaded with Mr. Combs to stop, and he ignored her,” her attorneys write. “Ms. Lampros could not process why this was occurring and felt a loss of control. Ms. Lampros was being raped by Mr. Combs, and she soon passed out.”
Thoughout the relationship, Lampros claims that Combs exercised power over her due to his fame and influence: “She felt that if she disobeyed him, he would take away her dreams of pursuing a career in his world.”
Lampros also claims that Combs surreptitiously filmed one of their sexual encounters and then shared the video with others. She says she learned of the tape in 2023, when an unnamed man told her boyfriend that “he should reconsider dating her because he personally saw a video of her and Sean Combs having sex.”
The lawsuit alleges that all of the defendants violated New York City’s Victims of Gender-Motivated Violence Protection Law. The case also includes counts of civil battery, sexual assault and negligent infliction of emotional distress against Combs.
Read the entire complaint here:
The one remaining wrongful death lawsuit filed after 10 people were killed during a deadly crowd crush at the 2021 Astroworld music festival has been settled, an attorney said Thursday.
Jury selection in the lawsuit filed by the family of 9-year-old Ezra Blount, the youngest person killed during the concert by rapper Travis Scott, had been set to begin Sept. 10.
But S. Scott West, an attorney for Blount’s family, said a settlement was reached this week.
Blount’s family had sued Scott, Live Nation — the festival’s promoter and the world’s largest live entertainment company — and other companies and individuals connected to the event, including Apple Inc., which livestreamed the concert.
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“The family will continue its journey to heal, but never forget the joy that Ezra brought to everyone around him,” West said in an email.
Treston Blount, Ezra’s father, had said that during the Nov. 5, 2021, concert, his son was sitting on his shoulders when they were crushed by the crowd. Treston Blount lost consciousness and when he came to, Ezra was missing. A frantic search ensued until Ezra was eventually found at a Houston hospital, severely injured. The boy, who was from Dallas, died several days later.
The lawsuit filed by Blount’s family was one of 10 wrongful death civil suits filed after the deadly concert.
Earlier this month, lawyers had announced that the other nine wrongful death lawsuits had been settled in connection with the concert.
Terms of the settlements in all 10 lawsuits were confidential.
The settlement of the lawsuit filed by Blount’s family was first reported by the Houston Chronicle.
Attorneys for Live Nation, Scott and others have declined to comment in the case because of a gag order that limits what they can say outside court.
About 2,400 injury cases filed after the deadly concert remain pending. More than 4,000 plaintiffs filed hundreds of lawsuits after the Astroworld crowd crush.
During the crowd crush, attendees were packed so tightly that many could not breathe or move their arms. Those killed ranged in age from 9 to 27. They died from compression asphyxia, which an expert likened to being crushed by a car.
Earlier this month, state District Judge Kristen Hawkins, who is presiding over the litigation, had scheduled the first trial related to the injury cases for Oct. 15. That trial was set to focus on seven injury cases. It was not clear on Thursday if that trial date would remain or be moved up with the settlement in the Blount lawsuit.
So far, no lawsuit has gone before a jury. One wrongful death lawsuit — filed by the family of 23-year-old Houston resident Madison Dubiski — was days away from going to trial earlier this month before it was delayed and then settled.
Lawyers for the plaintiffs in the lawsuits have alleged in court filings that the deaths and hundreds of injuries at the concert were caused by negligent planning and a lack of concern over capacity and safety at the event.
Scott, Live Nation and the others who’ve been sued have denied these claims, saying safety was their No. 1 concern. They said what happened could not have been foreseen.
After a police investigation, a grand jury last year declined to indict Scott, along with five others connected to the festival.
It’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. We also have a weekly interview series spotlighting a single executive, if that’s your thing.
Sony Hall, a tech-forward concert venue in midtown Manhattan, introduced a new booking team made up of senior talent buyer Jack McFadden, talent buyer Alli Vega and junior talent buyer Niko Murray. McFadden’s career arc spans three cities — Chicago, NYC and Austin — and several venues and festivals (Union Hall, Austin City Limits and others) where he helped book early shows for an indie rock murders’ row including The National, The Walkmen, St. Vincent, Fleet Foxes and Vampire Weekend, among others. No slouch, Vega spent years booking D.C. venues Songbyrd and DC9 before making the move to NYC, where she joined the team at Bowery Presents. Murray, meanwhile, hails from NYU and has already cultivated experience at the Cara Lewis Group and Sony Music. Blue Note Entertainment Group operates Sony Hall, which officially opened in 2018 but began life in 1938 as the legendary Diamond Horseshoe nightclub. The venue, which retains much of its original design and decor while incorporating the latest Sony technology, is located inside the historic Paramount Hotel.
“This is an exciting moment for Sony Hall and Blue Note Entertainment Group as we strengthen and bolster our booking program, further introducing this iconic New York City venue to the live music industry,” said BNEG president Steven Bensusan. “Jack, Alli and Niko each have different and diverse backgrounds within the industry to complement and enrich our talent buying team.”
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Meanwhile…
Loeb & Loeb hired Monika Tashman in the firm’s Nashville office, as partner in the Entertainment department. Tashman joins Loeb & Loeb from Manatt, Phelps & Phillips, LLP. Her expertise includes representing music talent in genres ranging from rock, pop, reggae, bachata and metalcore, as well as representing labels, entertainment-focused businesses and music production companies. She’ll also continue her New York-based practice out of Loeb’s Nashville office. –Jessica Nicholson
Galaxy Label Group, founded by country duo LOCASH, solidified its promotions team with the hiring of four. Joining the label, a partnership with Studio2Bee Entertainment with distribution by BBR Music Group/BMG Nashville, are Kerry Wolfe as vp of promotion, Cheryl Broz as the head of national field promotion, Kristen Brust to handle national promotion strategies, and John Lessard — who is LOCASH’s tour manager — lending his expertise on GLG’s promotion and touring work. All new hires are effective immediately. LOCASH, comprised of Preston Brust and Chris Lucas, is Galaxy’s first signed act.
BMI promoted Gabriella Natali to senior manager of media relations, an elevated role in which she’ll continue to spearhead PR efforts across most music genres (we’re talking pop, rock, hip-hop, gospel, classical, jazz and others). Natali is based out of BMI’s NYC headquarters and reports directly to Jodie Thomas, the PRO’s executive director of corporate communications and media relations. In addition to working on messaging for numerous marquee events, including BMI’s various award shows, songwriter showcases and dedicated stages at festivals like Lollapalooza and SXSW, Natali works with Thomas on PR efforts for BMI’s licensing and industry relations departments. Prior to joining BMI in April 2022 as a media relations manager, Natali spent two years as a publicist at boutique agency Big Picture Media, also in New York.
Lucy Pullin and Virgil Thomas joined UTA as agents in its music crossover division, which works with clients on projects that expand their careers to other mediums. Pullin, previously of ie: entertainment ltd, will be based out of the London office and Thomas, an Endeavor alum, is in Los Angeles. Recent wins by the crossover division include Post Malone’s dip into acting (Road House) and comic book writing, and Recording Academy chief Harvey Mason jr.’s behind-the-scenes work on biopics about Bob Marley and Michael Jackson.
NASHVILLE NOTES: Opry Entertainment Group promoted Anna Lemme to marketing manager for the Grand Ole Opry. In the new role, the Massachusetts native will plan marketing and promotional strategies to continue growing the Grand Ole Opry brand. Lemme has been with the company for five years, most recently serving as an artist & label strategy manager for Opry Entertainment Group … Leadership Music communications and events administrator Lindsay Doheney will leave the post on May 28 to join her husband in a job-related relocation. The organization is seeking a replacement for Doheney … Group Projects welcomed Emma Kiefer as director of A&R, working closely with co-founders Anthony Manker and Cooper Anstett on publishing and management business. She most recently served as A&R manager at Boom Music Group.
Buchalter beefed up its presence in Nashville, adding eight attorneys to its office in Music City — “a vibrant and dynamic legal market,” said Adam Bass, the firm’s president and CEO. Joining Buchalter are Lauren Spahn, Jay Bowen and Lauren Kilgore, from Shackelford, Bowen, McKinley and Norton, along with Rebekah Shulman, Jim Zumwalt, Jacob Clabo, Aaron Steinberg and John Baxter. The Laurens are regulars in Billboard‘s annual list of top music lawyers, and both handle a wide swath of legal and business transactional matters for artists, publishers, writers, labels and more. Shulman, Steinberg, Clabo and Baxter specialize in intellectual property issues, while Bowen’s experience is in high-stakes litigation. Finally Zumwalt represents entertainment clients on a variety of matters. “Jay, Lauren, and Lauren, along with their teams bring a wealth of experience, expertise, and dedication to our firm,” said Bass. “Together, we are poised to make a significant impact in Nashville’s legal landscape and beyond.”
Dom Wallace is the new label and marketing manager at Mahogany, where he’ll oversee release strategy for its label Mahogany Records and its flagship video channel, Mahogany Sessions. His appointment coincides with the launch of Mahogany Songs, the company’s new digital distribution and services platform. Wallace was most recently a senior editor at Spotify, where he helped launch several taste-making playlists, including “Our Generation” and “Fresh Finds UK & IE.”
GAME TIME: Cross-industry veteran Kimberly Knoller is the new chief marketing officer at Earn Alliance, where she’ll spearhead the platform’s mission to connect gamers to games, building fandoms and engaging communities. For the last 14 years, Knoller has built out her own music and tech marketing agency The Knoller Group, where she’s worked with artists, creators, record labels and other companies on brand and monetization-boosting strategies. In the aughts, Knoller put in three years at Warner Records, where she did trailblazing work as vp of direct to fan marketing, e-commerce and innovation. She has also held senior roles at unPaired and PIXELYNX … Metaverse studio Karta, which creates in-game experiential marketing across Fortnite, Roblox and other games, hired Morgan Evans as its new fashion and beauty director, and Sarah Richards as art director.
ICYMI:
Jared Cotter
Jared Cotter was promoted to partner at Range Music, where he manages Paul Russell (“Lil Boo Thing”) and co-manages Shaboozey (“A Bar Song (Tipsy)”) … Jason Miller is leaving operational responsibilities at ELA, the joint venture he launched with CTS Eventim in 2021 … and Tekno joined Mr. Eazi’s independent music company emPawa Africa as an investor and a partner.
Last Week’s Turntable: Texas Official Joins Big Loud
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The Justice Department and several states are joining together to sue Live Nation Entertainment in connection to Ticketmaster, whose side accuses the company of owning a monopoly on live entertainment. Justice Department officials are accusing Ticketmaster of blocking out potential opportunities for other companies by striking exclusive ticket and venue deals that essentially gave them the lion’s share of the market.
The New York Times reports that based on the accounts of unnamed invidious close to the matter, the federal government, along with a grouping of states that were not announced in the outlet’s report. The position that will be taken when the matter goes to court is the accusation that Live Nation struck exclusive ticketing contracts with certain concert venues and served as the main ticket hub for concert tours.
Further, the government will claim that other business factors such as venue management according to insiders, aided Live Nation in becoming a monopoly by passing on high costs to consumers and causing damage to any competitors’ efforts to enter the field. Further, the DOJ will state within the lawsuit that tours that were promoted by the entertainment company were more likely to play shows where Ticketmaster had exclusive rights to ticket sales.
Ticketmaster reportedly sells about 600 million tickets annually according to global tallies. It is estimated that the company’s ticketing business is responsible for between 70 and 80 percent of major concert venues domestically.
In 2023, a congressional hearing was held that was sparked by a frenzied Taylor Swift tour presale event which millions of fans were unable to participate in. Both Republicans and Democrats in the U.S. Senate called the company a monopoly
The lawsuit will be filed in the Southern District of New York.
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