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Warner Music Cono Sur (which covers the Southern Cone of Latin America) and Lotus, the events production company behind Lollapalooza Chile, have launched a new label, booking and management company. Explore Explore See latest videos, charts and news See latest videos, charts and news According to both companies, this new division of Lotus also integrates […]
Happy December? It’s time for another Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the global music industry.
Italian music data platform Musixmatch appointed Rio Caraeff to chief business officer. In his new role, Caraeff will lead business and revenue-driving initiatives and will be responsible for managing relationships with clients, partners, IP owners and other stakeholders at the company, which offers multiple solutions for displaying lyrics in search results, in apps and elsewhere. Caraeff is best known as co-founder and former CEO of music video platform Vevo, where he worked from its 2009 official launch until late 2014. Prior to building Vevo into a video powerhouse, he held a bevy of executive roles at UMG, Sony Pictures and Capitol Records, among other places. In recent years, Caraeff has served as chief commercial officer at spacial audio firm Syng and chief content officer at AR Headset maker Magic Leap. Musixmatch has backing by TPG, Micheli Associati, P101 Venture, United Venture and Piton Capital. “Rio is deeply passionate about the entire music ecosystem and his energy and excitement about his work has enabled his success at some of the most innovative and influential companies in our industry,” said Max Ciociola, Musixmatch founder and CEO.
Jake Kozarec was promoted to partner at Fortress Talent Management, a leading agency representing elite composers and music supervisors including Howard Shore, Philip Glass and Gustavo Santaolalla. Kozarec has been a Fortress mainstay since 2016 and has overseen the careers of composers Lorne Balfe (Top Gun: Maverick) and Matthew Margeson (Kingsman: The Secret Service), among others. “He shares the same values we do – hard work for our clients, good taste and judgment, and integrity – and was a perfect fit from the moment he joined the company,” said Fortress founders Robert Messinger, Rich Jacobellis and Randy Gerston. “We are very excited to see what the future holds.”
Many Fortress clients likely belong to the Guild of Music Supervisors, which just announced their new board of directors and changes to its leadership team. Lindsay Wolfington and Heather Guibert are the guild’s new president and vp, respectively, replacing Joel C. High and Madonna Wade-Reed in the roles. Wolfington and Guibert’s board includes newcomers Jonathan Leahy and Robin Urdang, along with returning members Joel C. High, Howard Pair, Todd Porter, Aminé Ramer, Jennifer Smith, Andrea von Foerster and Wade-Reed, the former vp.
Radio, Radio: Lazy slouch Ryan Seacrest will carry on as host of iHeartRadio‘s On Air with Ryan Seacrest and America’s Top 40 with Ryan Seacrest until the end of 2027, according to a recently minted contract. He’ll also continue working closely with both CEO Bob Pittman and COO/CFO Rich Bressler on major initiatives and hosting several events, namely the iHeartRadio Music Festival … “Rude” Jude Angelini was let go from SiriusXM on Nov. 16 after 19 years as host of The All Out Show on Eminem’s Shade 45 channel. He had been at the satellite giant longer than Howard Stern, who joined up two years later. “I knew I wasn’t a fit for the channel anymore,” he told The Detroit News following his unceremonious firing. “I was in an impossible situation.” … NPR hired Collin Campbell as its new senior vp of podcasting strategy and franchise development. Based in Culver City, Campbell arrives from Gimlet Media, where he was executive editor for new show development. His public radio bonafides include a stint at WNYC, where he helped create The Takeaway and Freakonomics Radio.
ICYMI:
BBR Music Group senior vp of promotion Carson James and senior director of A&R Chris Poole had their positions eliminated by parent company BMG … Day After Day Productions announced the appointment of Christianne Weiss, former APA agent and vp and head of its adult contemporary music division, to serve as svp and head of touring … Diddy stepped down as chairman of REVOLT in the wake of three three sexual assault lawsuits … Former SM Entertainment chief Nikki Semin Han launched a new U.S.-focused K-pop company … and Atlantic veteran Riggs Morales joined the team at Def Jam Recordings as executive vp of A&R.
Amazon without Jillian Gerngross? That’s the new-normal after the respected exec vacated her role as general manager and director of Amazon Music for Europe, Australia and New Zealand after 12 and a half years at the wider company. “It is hard to believe that I have spent nearly 30% of my life with one company,” she observed in a LinkedIn post announcing the move, while thanking Paul Firth, Ryan Redingtoon and Steve Boom for their “unending mentorship and support.” Gerngross scored an Amazon internship in 2010 and soon made it official as a senior marketing manager of traffic for Amazon Fashion. After that dalliance in fashion, she moved over to Amazon Music in March 2013 and never left, taking roles in artist relations, customer engagement and marketing before nabbing her most recent title three years ago. For her efforts, Billboard recognized Gerngross as one of this year’s International Power Players. After her last day at Amazon, she joined tech firm Nothing as vp of marketing.
Entertainment company Neon Coast, founded by music industry entrepreneur and Kane Brown manager Martha Earls, has appointed Janie Whitefield as director of digital. Whitefield will oversee digital strategy for Neon Coast management clients including Brown, Restless Road, Dylan Schneider, Nightly and more. Whitefield previously spent four years as creative director at Venture Music.
Opus 3 Artists absorbed the staff and artists of Magnum Opus Artists into its vocal division, starting in the new year. Caroline Woodfield will hand over the reigns of the division to Nathan Wentworth in April, while MOA artist manager Trevor Newman will return in the same role. Opus 3 Artists’ roster includes instrumentalists, vocalists, conductors, composers, chamber music ensembles, and touring chamber and symphony orchestras. The firm is part of an alliance headed by the San Francisco Conservatory of Music which includes sister artist management company Askonas Holt and recording label Pentatone.
BBR Music Group senior vp of promotion Carson James and senior director of A&R Chris Poole have exited the company as part of a global restructuring at BMG, which eliminated their positions, Billboard has confirmed. Country Aircheck first reported the news of their exits.
Earlier on Thursday (Nov. 30), BMG revealed a new structure for its global staff, which BMG CEO Thomas Coesfeld stated is part of “a strategy for future growth” and “local where necessary, global where possible.” The restructure moves BMG’s catalog, sales and marketing teams in its recorded division into global roles, joining the already global purview of its investments, technology, rights and royalties functions. In local markets, artist relations and marketing campaign managers will have access to these global teams for analytics, content creation and media planning/buying, the company’s announcement noted.
James joined BBR in 2009, having previously spent nine years with Curb Records in a similar role. Prior to his work at Curb, James programmed country station WLWI in Montgomery, Ala.
Poole joined BBR in 2018 and previously worked at CTM/Writer’s Ink, where he served in artist development. Poole initially launched his career working in artist management at Paravel Management, which he co-founded in 2013.
James noted to Billboard in a statement, “I’m honored to have had such an amazing run.”
BMG’s restructuring announcement also outlined a new, Los Angeles-based global catalog team, as well as a “recalibration” of its presence in continental Europe as part of its local-global emphasis, which will focus on “functional centers of excellence within Europe.” This is in addition to the aggregation of budgets and expertise, the further acceleration of its investments in tech and the myBMG system for artists and the clarification of roles/structures, which the company says will make it “more accountable to its artist and songwriter clients.”
“Fifteen years after the emergence of streaming, music is going through another tectonic change,” Coesfeld said in a statement. “It is vital we now reengineer our business to make the most of that opportunity. BMG has challenged the conventions of the music industry ever since we began, bringing music publishing and recordings under one roof with a distinctive service-orientated and transparent approach. Now new ways of creating and consuming music and looming changes in streaming economics are challenging us to do even better for our clients.”
BBR Music Group’s artist clients include reigning CMA Awards entertainer of the year Lainey Wilson and new artist of the year winner Jelly Roll, as well as “Try That in a Small Town” hitmaker Jason Aldean, Dustin Lynch, Elvie Shane, Parmalee, Blanco Brown and Brooke Eden.
Online investigator and YouTube personality Spencer Cornelia — known for his investigative video series on the music industry, money in hip-hop and get-rich-quick social influencers — has prevailed in a long-running defamation lawsuit filed by Derek Moneyberg, the online persona of self-proclaimed wealth coach Dale Buczkowski.
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Buczkowski operates a number of big-ticket wealth management coaching services, including his “Mastermind Network” — which charges users a $20,000 initiation fee and a $5,000 annual renewal fee — and his “1-ON-1 Training,” which starts at $75,000 per year, according to his attorney Tamara Beatty Peterson.
The defamation suit — filed on June 21, 2021, in U.S. District Court in Nevada — accused Cornelia of making false and defamatory statements against Buczkowski during two interviews with a former friend and associate of Buczkowski named John Mulvehill, whom Buczkowski also sued. During the interviews with Cornelia, Mulvehill questioned Buczkowski’s academic credentials and suggested Buczkowski’s success was due in part to criminal behavior. On a later broadcast, Cornelia openly mused about nominating Buczkowski for his annual “Charlatan of the Year” award.
Over the course of several months in summer 2023, U.S. District Court Judge James C Mahan dismissed the complaints against both Mulvehill and Cornelia. On July 23, Mahan ruled in favor of Mulvehill, finding that Buczkowski lacked jurisdiction to file his lawsuit in Nevada since Buczkowski couldn’t provide any evidence he lived in the state beyond “a handful of pieces of mail.”
Then, in late September, Judge Mahan tossed the defamation charges filed against Cornelia, ruling that Buczkowski was a public figure — a designation that requires a finding that Cornelia acted with actual malice, meaning “a statement is made with falsity or reckless disregard for the truth.”
“Here, all of the allegedly defamatory statements were uttered by Mulvehill, not Cornelia. Cornelia was simply interviewing Mulvehill,” Mahan wrote in his September ruling. “Regardless of this fact, the evidence in the record shows that Cornelia did not act with reckless disregard in conducting his interview with Mulvehill,” noting that “Cornelia published his videos based on reasonable information he received from reliable sources.”
That included a video from a former employee of Buczkowski “who corroborated claims about plaintiffs’ unethical business practices and their using young, unqualified people to write the instructional and promotional material for plaintiffs’ courses,” Mahan wrote. In his deposition, Buczkowski was asked about his claims that he had been interviewed by major magazines and television outlets seeking his financial acuity but was unable to name a publication he hadn’t paid to be featured in.
“Even if Cornelia were mistaken, his conduct is not remotely close to constituting reckless disregard. Thus, defendants did not act with actual malice, and the court grants their motion for summary judgment.”
Buczkowski has already filed an appeal of the ruling, and Cornelia has indicated he too plans to appeal Judge Mahan’s denial of Cornelia’s anti-SLAPP motion — a type of request that asks the court to dismiss a case on grounds that it attacks protected speech. Had Mahan granted the motion, Buczkowski could be found liable for Cornelia’s legal expenses.
“I feel incredibly relieved that the judge granted our motion for summary judgment on all claims. It was the correct ruling and another reminder to angry litigants that the legal system will deter those attempting to engage in lawfare,” Cornelia told Billboard in a statement.
“Because Moneyberg’s only interest is dragging this case as long as possible and attempting to defeat an underfunded litigant by spending his way to victory, he decided to appeal the judge’s ruling,” Cornelia continued. “I am excited for the finality of this case following the appeals process and seeing a judgment against Moneyberg for a significant amount of money. I will be pursuing him for 100% of my attorneys fees when this case is over.”
Billboard reached out to representatives for Buczkowski and did not receive a response.
Kelly Clarkson has won a legal ruling that her ex-husband Brandon Blackstock owes her more than $2.6 million in commissions she paid to him for procuring business deals while he served as her manager.
In a Nov. 21 decision, California’s labor commissioner ruled that Blackstock procured a number of deals for Clarkson, including her lucrative role as a judge on The Voice, that should have been handled by her talent agents at Creative Artists Agency (CAA).
By doing so, Labor Commissioner Lilia Garcia-Brower ruled that Blackstock violated California’s Talent Agencies Act (TAA), which bans anyone other than a licensed talent agent from procuring work for artists.
All told, Blackstock must pay back commissions earned on four deals: $1,983,155.70 for securing Clarkson’s role on The Voice; $208,125 for a deal to promote Norweigan Cruise Lines; $450,000 for an agreement to promote Wayfair; and $93.30 to host the Billboard Music Awards in 2018, 2019 and 2020.
Importantly, the commissioner rejected Clarkson’s claim that Blackstock was also required to pay back commissions he earned from helping to secure The Kelly Clarkson Show — which could have seen him owe much more. His involvement in that deal, including “strategizing” with her agents, was clearly “at the request of CAA” and thus not a violation of the law, the commissioner ruled.
“When a manager strategizes with the agent during a negotiation and does not approach the potential employer without the agent’s permission, they are doing exactly what the TAA demands of them,” Garcia-Brower wrote.
After a marriage of seven years, Clarkson filed for divorce from Blackstock in June 2020. The case was finalized two years later, with the singer agreeing to pay her ex-husband monthly child support of $45,601 for their two children, plus a one-time payment of just over $1.3 million.
Attorneys for both sides did not immediately return requests for comment on this month’s decision.
The Nashville judge overseeing the bitter lawsuit between Hall & Oates sided with Daryl Hall on Thursday (Nov. 3) and ruled that John Oates temporarily cannot sell his share of the band’s joint venture to Primary Wave until a private arbitrator hears the case.
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Hours after attorneys for the two singers squared off in court, Chancellor Russell Perkins agreed to extend an existing restraining order that’s been blocking Oates from selling his share of their joint venture to industry heavyweight Primary Wave.
Without such an order in place, Perkins ruled that Hall might face the “irreparable harm” of the sale being finalized before he is able to prove his claim that the deal violates the terms of their partnership deal.
“If the transfer goes forward before the arbitrator has an opportunity to consider and rule upon plaintiffs’ application for interim injunctive relief in the arbitration, then it could, as a practical matter, render much of the relief Plaintiffs are seeking in the arbitration ineffectual,” Perkins wrote.
The new restraining order bars Oates from completing his sale to Primary Wave until February or until an arbitrator can decide whether to impose a similar restraining order — whichever comes first.
Neither side immediately returned a request for comment on Thursday.
Hall & Oates pumped out six chart-topping singles and four chart-topping albums during the 1970s and 1980s and continued to successfully tour as recently as last year. But in early November, Hall filed a private arbitration case against Oates, accusing him of violating their partnership agreement by attempting to sell his half to Primary Wave, a prominent music company that’s purchased catalogs and other IP linked to many iconic musicians in recent years.
Fearing the deal would close before the arbitration case was heard, Hall then filed the current lawsuit in Tennessee, seeking a court order to block the sale. Perkins quickly did so, blocking the Primary Wave sale from closing until Thursday when he could hear from both sides.
At a live hearing in Davidson County Chancery Court earlier on Thursday, a who’s-who of music attorneys battled over whether to extend the restraining order. Representing Hall was Christine Lepera of the law firm Mitchell Silberberg & Knupp, who argued that it would be “most efficient” to put the sale on ice until the arbitrator could weigh in. Derek Crownover from the firm Loeb & Loeb LLP, representing Oates, fired back that no additional injunction was needed — that Hall was “not entitled to any relief at all.”
Though the case started out under seal and shrouded in mystery, the legal battle between Hall & Oates has turned increasingly public — and increasingly nasty — over the last week.
On Wednesday, Hall said he had been “blindsided” by the Primary Wave deal and called it the “ultimate partnership betrayal” by his former partner. “Respectfully, he must be stopped from this latest wrongdoing and his malicious conduct reined in once and for all,” Hall wrote of Oates.
Hours later, Oates said in his own declaration that he was “tremendously disappointed” that Hall would make such “inflammatory, outlandish, and inaccurate statements” about him. “I can only say that Daryl’s accusations that I breached our agreement, went ‘behind’ his back, ‘acted in bad faith,’ and the like, are not true,” Oates wrote.
Following Thursday’s decision, the case will now head to private arbitration, for which an arbitrator has already been selected but an initial hearing has not yet been scheduled.
Jabari is taking his talents to Epic Records.
The multi-hyphenate, best known as the star of Peacock’s Bel-Air, is looking to showcase his skills on the mic as the label’s newest signee. On Friday (Dec. 1), he’ll embark on his musical journey with the release of his label debut, “Something Else.”
“With the creation of ‘Something Else,’ I wanted to give life to the grey areas of infatuation,” Jabari tells Billboard. “I wanted to share where I was in that time, and along with my team, we executed that well. Also very excited be to be taking this first step with Epic Records. Shout to Sylvia Rhone and Zeke Lewis for being headlights for the vision. I have a lot more to give. Thanks for being here on this journey.”
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“Jabari is a multi-hyphenate young superstar in the making. Artists like him represent the future of entertainment and we could not resist the opportunity to join and assist with his upward movement,” adds Ezekiel Lewis, president of Epic Records.
On Bel-Air, Jabari plays the lead role of Will Smith (named after the star of the original series, The Fresh Prince of Bel-Air). The show has given momentum to his acting career, though he has previously noted that avid fans of the original ’90s sitcom were initially skeptical about the show’s modern-day twist.
“It just really came from a pure place. And honestly, it’s incredible, because we’re standing on the shoulders of giants,” Jabari told Variety last year. “The wingspan of this show is incredible, because it reaches for so many generations, and everybody knows it. And it’s such a beloved TV series, it’s a quintessential ’90s sitcom. And so it’s so it’s everyone’s baby, and they’re like, ‘We don’t touch that we don’t touch this.’ But I was definitely confident, I was like, ‘Just wait and watch because we got some great things cooking up.’”
Jabari will look to follow in the steps of his co-star, Coco Jones, who recently reeled in five Grammy nominations, most notably in the best new artist category. When asked how he will balance his music and TV responsibilities simultaneously, Jabari says: “Because God is good.”
Attorneys for Hall & Oates members Daryl Hall and John Oates clashed in a Nashville courtroom Thursday during the first showdown in an increasingly bitter lawsuit between the longtime musical partners.
At a live hearing in Davidson County Chancery Court, a who’s-who of music litigators battled over whether Hall was entitled to an order extending an existing restraining order that’s been blocking Oates from selling his share of their joint venture to industry heavyweight Primary Wave.
Representing Hall was Christine Lepera of the law firm Mitchell Silberberg & Knupp, who argued that it would be “most efficient” to issue a court order putting the sale on ice until a private arbitrator can hear the case and decide whether Oates was legally allowed to sell his stake to Primary Wave.
Firing back for Oates was Derek Crownover from the firm Loeb & Loeb LLP, who said that no additional injunction was needed — that Hall was “not entitled to any relief at all” — and the dispute should simply be allowed to play out in arbitration. Crownover said that at most, the judge should extend the restraining order by only a few weeks.
At the end of the hearing, the judge overseeing the dispute, Chancellor Russell Perkins, said he would issue a ruling later on Thursday on whether he would extend the restraining order.
Hall & Oates pumped out six chart-topping singles and four chart-topping albums during the 1970s and 1980s, and continued to successfully tour as recently as last year. But in early November, Hall filed a private arbitration case against Oates, accusing him of violating their partnership agreement by attempting to sell his half to Primary Wave, a prominent music company that’s purchased catalogs and other IP linked to many iconic musicians in recent years.
Fearing the deal would close before the arbitration case was heard, Hall then filed the current lawsuit in Tennessee, seeking a court order to block the sale. The case was filed under seal, shrouding it in mystery and leading to days of speculation about why the beloved singers were suing each other. The judge overseeing the case quickly issued a temporary restraining order, blocking the Primary Wave sale from closing until Thursday’s hearing could be held.
The live hearing came just hours after Hall and Oates directly attacked each other for the first time in court filings.
In a sworn statement on Wednesday, Hall said he had been “blindsided” by the Primary Wave deal and called it the “ultimate partnership betrayal” by his former partner. “Respectfully, he must be stopped from this latest wrongdoing and his malicious conduct reined in once and for all,” Hall wrote of Oates.
Hours later, Oates said in his own declaration he was “tremendously disappointed” about that Hall would make such “inflammatory, outlandish, and inaccurate statements” about him. “I can only say that Daryl’s accusations that I breached our agreement, went ‘behind’ his back, ‘acted in bad faith,’ and the like, are not true,” Oates wrote.
Generative AI music creation platform, label and publisher Boomy reached a distribution partnership with ADA Worldwide, Warner Music Group’s independent distribution and label services arm. Under the deal, Boomy’s A&R team will bring top artists and exclusively curated music from the Boomy roster to ADA. Select Boomy artists will be distributed and marketed across platforms including Spotify, Apple Music and YouTube Music. Boomy artists who will benefit from the partnership include rapper-producer Jelie, German harpist Katirha, Boston-based producer Lightfoot, rapper Paperboy Prince and techno/lo-fi music project Plague of Grackles. Boomy’s AI systems allow human creators to make original music even if they lack professional tools or a formal music-making education.
AI and metaverse technology and content company Futureverse signed with CAA for representation in all areas. The companies will collaborate to open up new opportunities for talent and intellectual property across Web3, the metaverse, AI, virtual games and experiences and more. The announcement follows the unveiling of Futureverse’s JEN 1, a “high-fidelity model” for text-to-music generation and research paper that proposes a strategy to pioneer a new licensing framework compensating rights holders, producers and artists. “Futureverse’s strategic collaboration with CAA has forged a strong alignment in fostering the development of mutually beneficial business models that empower creators with groundbreaking tools and lucrative revenue opportunities. As pioneers in AI, web3 and metaverse infrastructure, driven by a deep appreciation for art and humanity, we see an incredibly bright future for the world of entertainment,” said Futureverse co-founder Shara Senderoff in a statement. Futureverse’s other co-founder is Aaron McDonald.
Through an existing joint venture, CTS Eventim and Sony Music Latin Iberia acquired Punto Ticket in Chile and Teleticket in Peru, expanding the JV’s South American ticketing business, which launched in Brazil in 2016. The acquisitions will provide ticketing systems and related services to concert promoters and venues across both countries. Corporate leadership for the acquired companies will remain intact.
Spotify partnered with mobile provider Orange Middle East & Africa, which will now offer complimentary data bonuses for its customers to access Spotify’s service. “We are aware that data costs continue to be a hindrance for people who would like to stream music, that’s why we are actively working at Spotify SSA on partnerships like this one,” said Jocelyne Muhutu-Remy, MD for Spotify in Sub-Saharan Africa, in a statement. Brelotte Ba, deputy CEO of Orange Middle East and Africa, added that the deal will “contribute to the acceleration of digital inclusion on the continent.” Orange operates in a total of 18 countries across Africa and the Middle East.
HARMAN, a Samsung Electronics subsidiary that focuses on connected technologies for automotive, consumer and enterprise markets, acquired music management, discovery and streaming platform Roon. Described in a press release as “a music player for music enthusiasts,” Roon is available on all popular operating systems and also manufactures a line of hardware server appliances called Nucleus. Roon will operate as a standalone HARMAN business with its existing team remaining in place. HARMAN plans to grow Roon’s open device ecosystem that collaborates with more than 160 other audio brands, delivering audio to more than 1,000 high-performance devices.
Universal Music Group (UMG) signed a deal with Ethiopian streaming platform Sewasew Multimedia, which will now license and market UMG’s music catalog in Ethiopia. “UMG has a long and successful presence in Africa, and given Ethiopia’s rich and vibrant music culture, we are excited to work with Sewasew Multimedia to help grow the Ethiopian music industry to its full potential,” said Ulrik Cahn, UMG executive vp of Africa, Middle East and Asia, in a statement.
Independent digital distributor IDOL signed a global distribution and label services deal with Young Art Records, the L.A.-based label belonging to producer and DJ TOKiMONSTA. Under the partnership, IDOL will handle global distribution and marketing for Young Art Records’ catalog and frontline releases. In addition to TOKiMONSTA, Young Art artists include rapper Cakes Da Killa, Canadian R&B musician Rochelle Jordan and instrumentalist-songwriter duo Daktyl & Benni Ola.
Warner Music Group (WMG) struck a partnership with Ghana-based Small World Records, the label and publisher founded by music entrepreneur and streetwear connoisseur SmallGod. Under the new agreement, Small World will collaborate with teams from WMG, ADA and Warner Chappell Music to elevate Small World’s artist and songwriter rosters worldwide and discover, nurture and elevate a new generation of African talent. SmallGod will continue leading Small World’s operations.
SiriusXM unveiled a new collaboration with Europe’s Radio Monaco to launch the SiriusXM Radio Monaco channel, which will bring artists and DJs from Monte Carlo to SiriusXM listeners in North America. According to a press release, Radio Monaco (originally launched in 2006) is the only music stream originating from Monaco. The channel will broadcast live from Jimmy’z Monte-Carlo and air DJ sets from the parties around the Monaco Grand Prix while featuring exclusive interviews and content with stars from the country’s music scene. Radio Monaco will be available to SiriusXM subscribers across North America.
Spinnin’ Records signed a new joint venture with independent dance label and publisher Kanary Records, run by brothers Alex and Christopher Van den Hoef — also known as production duo DVBBS. Artists on Kanary’s roster include Arkade, Bad Nonn and Dayfive. “We are delighted to join forces with Alex and Christopher, reigniting our relationship from over a decade ago,” said Jorn Heringa, head of A&R at Spinnin’ Records, in a statement. “Both brothers bring deep expertise and knowledge to the table and will work harder than anyone else to develop and drive KANARY to new heights with us. Welcome back to Spinnin’!”
Mozaic.io, a global payments platform that allows co-creators to automatically send and receive split payments, closed a $20 million Series A funding round from Boston-based growth equity firm Volition Capital. Mozaic.io initially focused on payouts for music distributors, artists and collaborators before expanding to serve the entire peer-to-peer creator economy, with a goal of expanding further into the gig and freelance economy. The investment brings the total raised for Mozaic.io to $27.1 million, with existing investment from Rise of the Rest, Maverick Nashville and music industry executive Joe Galante. The funds will be used for new product development and expanding Mozaic’s sales and product teams.
Audoo — a music technology company that allows artists, songwriters, PROs and CMOs to see in real-time where their music is played via the use of proprietary audio meters, enabling them to better collect on public performance royalties — partnered with Abu Dhabi-based music rights organization ESMAA. Through the collaboration, ESMAA will incorporate Audoo’s “Audio Meter” and insights platform into its operational framework, allowing more accurate and transparent data collection and payment distribution for artists and rights holders. “ESMAA is at the forefront of building a modern rights company and through implementing the best technology from Audoo, we bridge the path of identifiable potential income with a system that optimises the use of music recognition in public performance spaces,” said Spek, founder/CEO of ESMAA, in a statement.
Canadian booking agency Paquin Artists Agency (PAA), a division of Paquin Entertainment Group, formed a strategic partnership with Louis Carrière, founder/president of Quebec-based agency Preste. The partnership will deepen PAA’s footprint in Quebec as it opens a new office in Montreal. PAA will also provide key resources to Carrière and his team to export Quebecian talent.
Believe-owned metal label Nuclear Blast announced an exclusive e-commerce partnership with Impericon, a provider of metalcore merchandise and music. Under the deal, Impericon will oversee all of Nuclear Blast’s European e-commerce activities starting in the first quarter of 2024.
Indie music conglomerate BMG announced a “new structure” for its staff across the globe today (Nov. 30), one which new CEO Thomas Coesfeld says is part of “a strategy for future growth.”
The plan, which BMG executives communicated to staff today, is part of a strategy that Coesfeld calls “local where necessary, global where possible,” and will move BMG’s catalog, sales and marketing teams in its recorded music division into global roles, joining its investments, technology, rights and royalties functions, which already have a global purview. In local markets, artist relations and marketing campaign managers will be able to tap into those global teams for analytics, content creation and media planning and buying, the company said.
“We are changing the way we do things,” Coesfeld said in a statement. “We will combine creative intuition with data-driven insights to deliver the best service for our clients and customers.”
Additional changes outlined by the company include a new global catalog team based in Los Angeles; a “recalibration” of its presence in continental Europe in line with the new local-global emphasis, which will involve focusing on “functional centers of excellence within Europe,” as well as aggregation of budgets and expertise; a further acceleration of its investments in tech and its myBMG system for artists; and the clarification of roles and structures that the company says will make it “more accountable to its artist and songwriter clients.”
“Fifteen years after the emergence of streaming, music is going through another tectonic change,” Coesfeld said in a statement. “It is vital we now reengineer our business to make the most of that opportunity. BMG has challenged the conventions of the music industry ever since we began, bringing music publishing and recordings under one roof with a distinctive service-orientated and transparent approach. Now new ways of creating and consuming music and looming changes in streaming economics are challenging us to do even better for our clients.”
The new structure is the latest move that Coesfeld has made since taking over from longtime CEO Hartwig Masuch in July. The biggest change involved ending its distribution agreement with the Warner Music Group’s ADA and bringing its digital distribution in-house, while striking a deal with the Universal Music Group for its physical distribution. Then, last month, BMG laid off around 40 employees, which involved discontinuing its international marketing department for recordings, its television, film and theatrical departments and the shuttering of its Modern Recordings label, and saw executives like executive vp of global repertoire Fred Casimir and senior vp of global repertoire Jason Hradil leave the company.
The news means that “a number of existing positions will end,” the company tells Billboard, while Los Angeles will now become the primary hub for catalog. The company says that the approach aligns recordings with its existing strategy in its publishing division.
“This is a strategy for future growth,” Coesfeld added. “But in a business in which change is a constant, we ourselves need to change to grow further. Standing still is not an option if we want to deliver for our artist and songwriter clients.”