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Spotify, the world’s biggest music streaming platform, isn’t showing signs of slowing down. In the third quarter, revenue hit 3.99 billion euros ($4.32 billion) and subscribers grew by 6 million, the company announced Tuesday (Nov. 12).
The Swedish music streaming company has helped revolutionize how people listen to music but until recently, it didn’t have financial results to match its market power. Reacting to investors’ demands for both growth and profitability, last year Spotify tightened its belt and laid off about a quarter of its workforce, and this year’s quarterly financial results have shown marked improvements in margin and profitability without sacrificing all-important subscriber growth.
Although revenue was slightly below Spotify’s previous guidance of 4 billion euros ($4.4 billion), operating profit was a record high of 454 million euros ($500 million), exceeding guidance by 12%. After routinely posting operating losses in previous years, Spotify’s operating profit increased 70% from the second quarter and was up more than 14-fold from the prior-year quarter.
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Likewise, gross margin — revenue less cost of sales — reached 1.24 billion euros ($1.37 billion) and improved to 31.1% of revenue, up from 29.2%, 27.6% and 26.7% in the preceding three quarters. The margin improvement was attributed to gains from premium subscriptions as well as audiobooks and ad-supported gains.
Recent price increases in the U.S. and many other markets didn’t slow subscriber growth. Spotify finished the third quarter with 252 million subscribers, an increase of 6 million from the prior quarter and 11.5% higher than the prior-year period. Subscription revenue reached 3.51 billion euros ($3.86 billion), up 20.8% year-over-year. Premium average revenue per user increased 9% (at constant currency) to 4.71 euros ($5.18).
Advertising, a key ingredient to both Spotify’s freemium music model and podcasting business, continued to lag behind subscriptions. Advertising revenue of 472 million euros ($520 million) was up 5.6% from the second quarter and up 3.5% from the prior-year quarter. Music advertising was helped by growth in impressions sold and hampered by pricing weakness. Podcast advertising also suffered from pricing weakness and benefitted from growth in impressions sold.
The results sent Spotify’s share price price soaring in after-hours trading. Following the earnings release after markets closed, Spotify shares jumped over 9% to $459. Before trading closed, the stock hit an all-time high of $419.72 and posted its best-ever closing price of $419.48, up 2.3%. The stock closed above $400 for the first time on Friday (Nov. 8) and has gained 123% in 2024.
Ikenna Nwagboso, the co-founder/global head of label services and partnerships at emPawa Africa, will exit the company in January, it was announced Monday (Nov. 11)
Nwagboso launched the Nigeria-based talent incubation enterprise in 2018 alongside CEO/co-founder Mr. Eazi (real name Oluwatosin Ajibade). Since then, he’s overseen the signing and development of artists such as GuiltyBeatz, Joeboy, Tekno, Fave, King Promise, Minz, Xenia Manasseh, Nandy and Nezsa. In May, Tekno joined emPawa Africa as an investor and partner, and his Cartel Music label struck a joint venture with the company. Nwagboso has also secured crucial partnerships with Vydia, YouTube Music, Kobalt Music and Beyoncé‘s Parkwood Entertainment while spearheading the company’s flagship emPawa 100 and emPawa 30 campaigns, which are first-of-their-kind artist development programs that have launched the careers of 130 emerging artists across the continent.
“Ikenna has served emPawa with dedication over the past eight years, building some of the biggest new superstars in the industry,” Mr. Eazi said in a press release. “We look forward to building on the strong foundation he has established.”
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After Nwagboso leaves emPawa Africa at the top of next year, the Toronto-based executive will focus on developing artists through his new Image Ent./Exodus Music Group. Canadian artist Chrissy Spratt and British songwriter Geo are signed to the company, which is consulting on Rwandan artist Bruce Melodie’s upcoming debut album via S-Curve Records.
“I will continue to offer my advice to Eazi and the executive management team at emPawa, but it’s time to chart a new path. I am humbled and honored to have had the privilege to work with the artists and teams I’ve been fortunate to work with and lead. It’s all been a gift,” Nwagboso said in a statement.
Joeboy, whom Mr. Eazi and Nwagboso discovered as part of the emPawa 100 initiative, became the first artist to sign a publishing and distribution deal with the company in 2017. He left the company earlier this year to launch his own label, Young Legend, in partnership with Warner Records. In a statement, the “Sip (Alcohol)” singer credited Nwagboso with helping guide his career from an unknown artist to an international star.
“I’ve worked with Ikenna since the start of my career and he is one of the most reliable people when it comes to making sure his artists are provided with the best opportunities,” said Joeboy. “He is definitely one of the major game changers and role players to the African entertainment sector to the world. He has also been a very integral part of the foundation of my musical progress and growth.”
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: The White Stripes end their copyright lawsuit against Donald Trump following his presidential election victory; prosecutors cite Lil Durk’s lyrics in his murder-for-hire case; the rapper Plies sues Megan Thee Stallion, GloRilla, and others over accusations of a sample-within-a-sample; and much more.
THE BIG STORY: White Stripes Drop Trump Lawsuit
Back in September, amid a wave of artists criticizing Donald Trump for using their music, the White Stripes went a step further. In a scathing copyright lawsuit, Jack White and Meg White accused Trump and his campaign of “flagrant misappropriation” of one of the “most well-known and influential musical works of all time.” In announcing it, White referred to Trump as a “fascist.”
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But it seems elections have consequences, even for music litigation.
Just days after Trump’s victory over Kamala Harris, attorneys for the White Stripes asked a federal judge to voluntarily dismiss their case. As is typical in such filings, the motion did not explain the decision to drop the case, and an attorney for the band declined to comment.
Why’d they do it? After all, Trump’s victory did not mean the lawsuit had to be dismissed. But following the end of the election, the juice may simply have not been worth the squeeze.
Other top stories this week…
RAP ON TRIAL, AGAIN – Federal prosecutors unveiled a new indictment against Lil Durk over allegations he ordered his crew to murder rival Quando Rondo. The new charges notably cited the rapper’s lyrics, claiming he had sought to “commercialize” the crime by “rapping about his revenge” in a 2022 track. The use of rap as evidence is controversial, as critics argue it threatens free speech and can sway juries by tapping into racial biases. Some states, like California, have restricted the practice, but it has continued largely unabated elsewhere, most notably in the recent criminal case against Young Thug in Atlanta.
PLIES SUES EVERYBODY – The rapper Plies filed a copyright lawsuit against Megan Thee Stallion, GloRilla, Cardi B and Souja Boy over allegations that the 2024 song “Wanna Be” features an uncleared sample from his 2008 track “Me & My Goons.” The lawsuit claims Megan and GloRilla stole Plies’ material indirectly – that they had used a legally-licensed sample of a Soulja Boy song, which itself illegally borrowed material from “Goons.”
ANOTHER TEKASHI PLEA DEAL – Tekashi 6ix9ine reached a deal with federal prosecutors to resolve his recent arrest over alleged violations of his supervised release stemming from his high-profile 2018 gang case. Under the deal, Tekashi agreed to serve one month in prison followed by several months of house arrest and other restrictions. The deal will also extend Tekashi’s supervised release, which had been set to expire in six months, to a full year following his upcoming prison term.
EDM ABUSE LAWSUIT – Electronic music producer Bassnectar asked a federal judge to dismiss a long-running lawsuit accusing him of sexually abusing three underage girls, arguing that all three alleged victims lied about their ages and had themselves instigated the relationships. The filing came more than three years after the three alleged victims filed their lawsuit, accusing the DJ of using his “power and influence to groom and ultimately sexually victimize underage girls.”
DIDDY UPDATES – The federal judge overseeing Sean “Diddy” Combs’ racketeering and sex trafficking case denied his request for a gag order against his alleged victims and their lawyers, ruling the demand “unprecedented,” “unwarranted” and a potential violation of the First Amendment. Elsewhere in the case, the embattled rapper renewed his calls for release on bail, cited the fact that former Abercrombie & Fitch CEO Mike Jeffries — another high-profile defendant accused of sex trafficking — was immediately released on a $10 million bond after he was arrested last month.
Sphere didn’t announce any new acts during its earnings call on Tuesday (Nov. 12), but the Las Vegas venue has enough interest from artists that the venue is “struggling with how to squeeze everybody in through the fall,” said CEO James Dolan.
Having a long line of artists waiting to perform is a good problem to have. Residencies by U2, Phish, Dead & Co. and The Eagles have changed how artists perform live and turned the state-of-the-art Sphere into a must-see for music fans. But running a one-of-a-kind venue presents unique challenges and requires on-the-fly learning.
To keep the venue busy and generate more revenue, last quarter Sphere increased the number of “side by sides,” the company’s term for running multiple events in a single day—a showing of “Postcards from Earth” before a music concert, for example. “A lot of this has to do with logistics, about about setting up the arena for one and taking it down and then setting it up for the other,” said Dolan.
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Still, a full year of operational experience didn’t lead to more business last quarter. Total Sphere revenue was $127.1 million in the quarter ended Sept. 30, down from $151.2 million and $170.4 million in the prior two quarters, respectively. Revenue from events such as concerts was $40.9 million, down from $58.4 million in the previous quarter. The Eagles began a residency in September, and the same month Sphere hosted its first live sports event, UFC 306, which become Sphere’s highest grossing single event to date.
The Sphere Experience, which covers showings of Postcard from Earth and V-U2: An Immersive Concert Film, generated $71.5 million, down from $74.5 million and $100.5 million in the previous two quarters.
Exosphere advertising and suite license fees totaled $8.5 million, down from $15.9 million in the previous quarter. Dolan said Sphere was experiencing “structural” issues in securing advertising on the venue’s 580,000 square-foot exterior. “I wish the day we lit it up that we knew exactly how to run it, and exactly how to sell it, and exactly how to program it, etc.,” he admitted. “But that’s just not the case.”
The company is also learning how to program its original content such as “V-U2,” which captures U2’s residency at the venue. “How we market it, how we just, you know, how we we schedule it, etc, that I’m not sure of,” said Dolan. “But I do think that the product is valuable. And I also think that it’s going to be evergreen. You’re not going to be able to see Bono 20 years from now.”
Sphere’s operating loss of $125.1 million improved to $16.1 million after adjustments to remove nearly $80 million of depreciation, $13.2 million of share-based compensation and other non-operational items such as amortization, restructuring charges and merger-related costs. The venue’s selling, general and administrative expenses totaled $105 million while direct operating expenses were $62.5 million.
Sphere shares were down 8.7% to $40.22 in morning trading.
MSG Networks, Sphere Entertainment Co.’s other division, had revenue of $100.8 million, down 9% from the prior-year quarter. MSG Networks owns regional sports networks and the streaming platform MSG+. The impact of a 13% drop in subscribers was partially offset by an increase in affiliation rates.
In October, Sphere Entertainment announced plans to build the next Sphere venue in Abu Dhabi, the capitol city of the United Arab Emirates. Unlike the $2.3-billion Las Vegas venue, which was entirely funded by Sphere Entertainment Co., the Abu Dhabi venue will be entirely funded by the government’s Department of Culture and Tourism and operate under a franchise model. Dolan said Sphere Entertainment will receive a franchise initiation fee that grants Abu Dhabi the right to use the company’s intellectual property.
Panamanian singer-songwriter Rubén Blades has signed a global partnership with Virgin Music Group, Billboard has learned. The indie artist, who releases music under his own label Rubén Blades Production, was previously with AWAL. This new deal with Virgin sets him up for the “next chapter in his legendary career,” states a press release. One of […]
Tencent Music Entertainment reported a 35% uptick in profit on Tuesday after the Chinese music streamer added 2 million subscribers over the third quarter.
TME reported net profit for the third quarter of RMB1.71 billion ($244 million), and total revenues of RMB7.02 billion ($1 billion)–increases of 35.3% and 6.8% respectively from the third quarter last year. Music subscription revenue grew by more than 20%, which offset the continued decline in social entertainment services revenue TME has seen for more than a year.
“This quarter’s robust music subscription performance, with better-than-expected net subscriber additions and an expanding ARPPU, highlights the effectiveness of our balanced approach to achieve growth, which is important to drive paying user base expansion in the coming years,” TME’s chief executive officer Ross Liang said in a statement.
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TME added 2 million new paying users during the third quarter to bring its total number of subscribers to 119 million, which drove a 4.9% expansion of the company’s monthly average revenue per paying user (ARPPU). That metric now stands at RMB 10.8 ($1.50). Music subscriptions revenue grew to RMB3.84 billion ($547 million) representing 20.3% year-over-year growth.
The company’s gross margin — the percentage of company revenue that remains after expenses are taken out — rose to 42.6% from 35.7% in the year-ago quarter, thanks to increased revenues from subscriptions and advertising.
Notably, TME said its number of SVIP subscribers — a premium tier that costs five times more than the regular version — topped 10 million in the quarter ending Sept. 30.
Tencent Music executives said partnering with Galaxy Corporation this quarter for K-pop icon G-Dragon upcoming tour boosted its content offerings with audiences.
G-Dragon released his first single in seven years, “POWER,” in October ahead of his tour of Southeast Asia, the Middle East, Hong Kong, Macao, Taiwan, Australia and New Zealand.
TME’s stock was trading at $10.46, down 9.48% at 10:25 a.m. in New York. TME’s stock has declined by nearly 18% in the past month, but is still up 19.7% year to date.
In calling for Universal Music Group (UMG) to move its stock listing and legal headquarters to the U.S. from Amsterdam by next year, board member and billionaire activist investor William Ackman argued the move could make the company more valuable. But financial sources are split on whether that would be the case.
On Friday (Nov. 8), Ackman said his hedge fund, Pershing Square Capital Holdings, which owns 10.25% of UMG’s stock, will exercise its right to require the company to register with the U.S. Securities and Exchange Commission following violent attacks on Israeli soccer fans on Thursday night (Nov. 7) in Amsterdam, where UMG’s stock is listed on the Euronext exchange. But would the move actually benefit the company, as Ackman seems to believe?
“It could noticeably increase UMG’s value because even though it will make your taxes a little higher and you’re going to spend a whole lot more on expensive securities lawyers, it gives you access to the giant U.S. retail market, and UMG is the perfect kind of company for retail investors,” says Erik Gordon, a professor at University of Michigan’s Ross School of Business.
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In the U.S., more than 62% of individual adults own stocks, a group referred to as retail investors. While big institutional investors, like Pershing, account for about three-quarters of the trading volume on U.S. stock markets, like the Nasdaq or New York Stock Exchange, retail investors are a powerful and growing group. Since the start of the pandemic, when retail investors on Reddit fueled a run-up in the share price of companies like GameStop and AMC, more than 30 million new investors have opened brokerage accounts, according to a University of Missouri study.
Right now, four institutional investors control nearly 60% of UMG’s current pool of stock. In his post last week, Ackman argued that lack of liquidity — in part because only a slim portion of UMG’s stock frequently changes hands — could improve if UMG listed in the U.S.
“UMG trades at a large discount to its intrinsic value with limited liquidity in significant part due to it not having its primary listing on the [New York Stock Exchange] or Nasdaq Exchange and not being eligible for S&P 500 and other index inclusion,” he wrote.
Ackman’s argument is essentially that if UMG lists and starts trading in the U.S., its value will make it an important stock in U.S. financial markets, which in a few years will earn it inclusion in a major index, says Gordon. Getting included in an index, like the S&P 500, creates more demand for a company’s stock because mutual funds and exchange traded funds that track the S&P begin to buy the stock.
Over the weekend, UMG stated that Pershing can request that UMG list in the U.S. if it sells at least $500 million worth of its own UMG shares as part of that listing.
“If I had to guess, Ackman will end up with the right to sell his shares in the U.S. public market and that the company will issue new shares in the U.S. so that Ackman isn’t the only guy selling,” Gordon says.
One equity analyst believes UMG would not become a more valuable company if it moved to a U.S. exchange because its shares already trade at a premium to shares of Warner Music Group (WMG). In a Nov. 1 investor note, J.P Morgan analysts wrote about the premium, arguing that “UMG should trade at a significant premium to WMG…to reflect greater scale, a better track record for growth and consistent margin expansion, best-in-class management and better governance.”
According to Billboard’s calculations, UMG shares were recently trading at a roughly 17 times multiple trailing 12 months adjusted EBITDA, while WMG shares were trading at about 11 times multiple.
UMG moving its stock to an American exchange also comes with another downside: the operational expense that U.S.-listed public companies face from shareholder lawsuits.
“One area U.S. issuers have to manage, unlike non-U.S. issuers, is the volume of shareholder litigation that gets brought in the U.S.,” says Michael Poster, a music industry lawyer at Michelman & Robinson. “It’s expensive to deal with litigation, there are a lot of fees associated with managing, settling and litigating the claims, and it’s frankly a distraction for management. Those things contribute to making trading in the U.S. more expensive from an operational point of view.”
Concert promoter Live Nation turned its busiest summer concert season ever into an all-time financial haul. With the number of shows up 13% and fan attendance up 3%, adjusted operating income (AOI) reached a record $909.8 million, up 4% from the prior-year period, the company announced Monday (Nov. 11).
The third quarter benefitted from a heavy schedule in Live Nation’s owned and operated amphitheaters, which can generate ancillary income from food, beverage and parking. As a result, AOI increased even though revenue of $7.7 billion was 6% short of the $8.15 billion generated in the third quarter of 2023. Net income fell 13.4% to $451.8 million.
“We wrapped up our most active summer concert season ever, our show pipeline has never been bigger, and brand sponsorships are accelerating,” said CEO Michael Rapino in a statement.
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The concerts division had a record AOI of $474.1 million, up 39% year-over-year, on revenue of $6.58 billion, down 6%. Venue Nation, the venue operation division, saw a double-digit increase in on-site spending per fan at major festivals and a 9% increase in per-fan spending at amphitheaters. Live Nation hosted 112 million fans globally in the quarter, up 3%, which more than compensated for a 30% decline in stadium attendance.
The change in venue mix — fewer high-priced stadium tickets, more lower-priced amphitheater seats — caused Ticketmaster revenue to drop 17% to $693.7 million and AOI to fall 33% to $235.7 million. Sponsorship and advertising AOI grew 10% to $275 million on revenue of $390 million, up 6%. That revenue growth came mainly from a 20% increase in the number of strategic partners that generated more than $1 million of sponsorship and advertising revenue. The division added such brands as American Apparel, Wrangler, Ultra Beauty and American Eagle in Mexico to global festivals.
“As we look toward an even bigger 2025, we have a larger lineup of stadium, arena and amphitheater shows for fans to enjoy,” said Rapino. “Momentum continues to build, as we expand the industry’s infrastructure with music-focused venues to support artists and reach untapped fan demand across the globe.”
Ticket sales in September and October were up 20% year over year, and Live Nation has already sold more than 20 million tickets for concerts in 2025, a double-digit increase. Recent stadium ticket on-sales — including Coldplay, Rüfüs Du Sol and Shakira — saw double-digit growth in gross sales compared to past tours.
Venue Nation expects to host about 60 million fans in 2024, up 8% from 2023; it will benefit from VIP enhancements at Northwell at Jones Beach amphitheater in New York, Estadio GNP in Mexico City and others. At Northwell at Jones Beach, for example, season seat and box suite sales are up 50%, VIP club sales are up 50%, and per-fan food and beverage spending is up double-digits.
Following the announcement, which came after the markets closed on Monday, Live Nation shares rose 5% to $130.00 in after-hours trading.
Less than a week after Donald Trump won the presidential election, the White Stripes have dropped their copyright lawsuit accusing him of using “Seven Nation Army” in a social media post without a license.
The case, filed in the September by Jack White and Meg White, accused Trump and his campaign of “flagrant misappropriation” of one of the “most well-known and influential musical works of all time.” In announcing it, White referred to Trump as a “fascist.”
But in one-sentence motion filed Sunday, attorneys for the rockers quietly dropped the lawsuit. The motion was filed “without prejudice,” meaning the White Stripes could theoretically refile their case at some point in the future, but it still likely means that the case is over for good.
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The White Stripes were one of many acts to sharply criticize the Republican candidate for using their music during the 2024 campaign. Beyoncé, Celine Dion, the Foo Fighters, ABBA and Sinead O’Connor‘s estate have all spoken out against the former president’s use of their songs.
White first spoke out on social media — blasting the Trump campaign over a clip, posted to Instagram and X by his deputy director of communications, in which Trump ascends the stairs of a plane as the iconic bass riff of “Seven Nation Army” plays: “Don’t even think about using my music you fascists.”
Two weeks later, he made good on those threats by filing a copyright infringement lawsuit in Manhattan federal court, claiming Trump infringed the band’s rights to the song and harmed the duo by suggesting they support his bid for another presidential term.
“The new association with defendant Trump that defendants have foisted upon plaintiffs through the infringing Trump videos is even more offensive to plaintiffs because plaintiffs vehemently oppose the policies adopted and actions taken by defendant Trump when he was President and those he has proposed for the second term he seeks,” attorneys for the White Stripes wrote.
But on Sunday, following Trump’s victory over VP Kamala Harris last week, attorneys asked the judge overseeing the case to voluntarily dismiss the band’s claims. As is typical in such filings, the motion did not explain the decision to drop the case, and an attorney for the band declined to comment.
Trump’s victory did not mean the lawsuit had to be dismissed. Presidential immunity – a much discussed concept when it comes to Trump’s high-profile criminal cases – would not have barred a case over actions he took before taking office. And even if Trump’s role as president made pursuing him personally more difficult, the case could have continued against his campaign (Donald J. Trump for President 2024 Inc.) and the staffer who posted the clip (Margo McAtee Martin).
But following the end of the election, the juice may simply have not been worth the squeeze. Federal copyright litigation can take years to resolve and is incredibly expensive, particularly when handled by the kind of white shoe attorneys from an elite law firm (Manatt, Phelps & Phillips, LLP) that the White Stripes hired.
Jack and Meg could have pursued damages over the clip, including potentially more than $100K in so-called “statutory” damages or even more in “actual” damages that might have offset those costs. But the true goals of the litigation was likely to send a message and to bar further uses of the clip, both of which carry less weight now that the election is over.
Following last week’s vote, White took to Instagram to express his disgust with the outcome: “Trump won the popular vote. End of story. Americans chose a known, obvious fascist and now America will get whatever this wannabe dictator wants to enact from here on in.”
Trump and his campaign are still facing another pending music lawsuit from the estate of Isaac Hayes, which sued over his alleged use of the late singer’s “Hold On, I’m Coming” at rallies and in videos. The case remains in the earliest stages.
The campaign is also still facing a pending copyright case lawsuit from the 2020 election filed by Eddy Grant over the unauthorized use of his iconic “Electric Avenue.” In September, a federal judge ruled that Trump infringed the song by using it; a ruling on how much he owes in damages will be resolved in future proceedings.
A spokesman for the Trump campaign did not return a request for comment on the dismissal of the case.
Jerry Garcia‘s estate has partnered with AI voice company ElevenLabs to bring the late Grateful Dead guitarist, singer and songwriter’s AI-recreated voice to its Iconic Listening Experience on the ElevenReader app. Now, Deadheads using the app can hear Garcia’s voice read out audiobooks, e-books, articles, poetry, fan stories, PDFs and more in 32 different languages.
Garcia is the latest in a string of partnerships between ElevenLabs and famous estates. Already, the AI voice company has rolled out voice models for Judy Garland, James Dean, Burt Reynolds and Sir Laurence Olivier to its Iconic Listening Experience. According to a company spokesperson, ElevenLabs worked “in close collaboration with the Jerry Garcia Estate to ensure that the reproduction of Garcia’s voice was as authentic and true to his legacy as possible.”
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In addition to the ElevenReader, Garcia’s voice model will also be used in various upcoming projects associated with the Jerry Garcia Foundation. This could include narrated documentaries, audio art exhibits and more.
This announcement with the Garcia estate shows ElevenLabs taking another step towards infiltrating the niche of AI music. In May, the company’s head of design Ammaar Reshi gave a “very early preview” of an ElevenLabs AI music generator on X, formerly known as Twitter. For now, however, Garcia’s voice model is only available to read various texts.
The Garcia voice model is the latest instance of deceased or older musicians and their estates partnering with AI companies to market the artists’ catalogs and personas to the next generation of fans. Warner Music and the estate of “La Vie En Rose” singer Edith Piaf, for instance, partnered with an AI company to bring the late French singer’s voice back to life for an upcoming biopic, and last month, Universal Music Enterprises and Brenda Lee used AI to translate her Hot 100 No. 1 hit “Rockin’ Around the Christmas Tree” into Spanish, enabling Lee, who is now 79, recreate the youthful tone of her voice from the time when she originally recorded the song.
“My father was a pioneering artist, who embraced innovative audio and visual technologies,” says Keelin Garcia, daughter of Jerry and co-founder and vp of the Jerry Garcia Foundation. “In the 1990’s, my dad introduced me to the computer, digital art, and video games. When we traveled on concert tour, we played on Game Boy. At home, we’d have fun playing on the Macintosh in the studio where my father created his first digital art, and housed his MIDI guitar. Now, as technological landscapes continue to expand, ElevenLabs AI Audio technology will offer fans the first opportunity to hear and stream a replica of my father’s voice reading their favorite books and other written content.”
“At ElevenLabs, we’re committed to preserving and celebrating cultural legacies while pushing the boundaries of technology,” said Dustin Blank, Head of Partnerships at ElevenLabs. “By bringing voices like Jerry Garcia to our platform, we’re not just enhancing our app – we’re creating new ways for people to experience content.This project has been a labor of love, and we couldn’t be happier with how Jerry’s voice has been recreated. It’s a beautiful thing to bring his sound to life again for both longtime fans and a new generation of listeners.”