Business
Page: 3
Music branding” does not involve stamping horses with band logos (at least not yet). But it does apply to just about anything else in which a commercial entity — from Taco Bell to JPMorganChase — partners with an artist or music company.
Which is why, at the beginning of last year’s Brat Summer, Charli xcx appeared as a 3D hologram activated by White Claw drinkers who aimed their phones at a product logo; why Nike spent in the low seven figures to license Led Zeppelin’s “Whole Lotta Love” for a Super Bowl LIX commercial; why Will Ferrell sang a PayPal jingle set to Fleetwood Mac’s “Everywhere”; and why Pinterest set up Coachella “manifest stations” filled with beauty products curated by singer Victoria Monét.
“It can be a tour sponsorship, a social media campaign, a tie-in with a brand’s philanthropic endeavor,” says Marcie Allen, president of MAC Consulting, who has been connecting artists with brands for 30 years and was one of 15 music industry experts who helped Billboard compile its first Branding Power Players list since 2019. “Brand partnerships are bigger than they have ever been because they give companies the ability to break through the noise.”
Trending on Billboard
There are no metrics that quantify the overall music-branding market, because it’s so multifaceted — from the multimillion-dollar advertising synch business to singer-songwriter RAYE performing intimate concerts at Hilton hotel rooms, footage of which appeared in commercials and social media posts. That said, a hint of its scale can be found in the financial filings of the industry’s largest concert promoter, Live Nation, whose worldwide sponsorship revenue has grown from $590.3 million in 2019 to $1.2 billion in 2024. (Advertising and sponsorship amounted to just over 5% of Live Nation’s total revenue last year.)
“We’re seeing brands spending more in music than ever before,” says Russell Wallach, the promoter’s global president of media and sponsorship. He adds that Live Nation research shows 80% of its customers are “interested” in participating with brands at live events. “What brands are doing from an experiential standpoint has been significantly elevated over the last few years.”
Post-pandemic, according to Allen, brands have returned aggressively to the live space — like T-Mobile sponsoring this summer’s Post Malone-Jelly Roll tour.
The synch business, too, has more than rebounded since the pandemic: Global revenue amounted to $400 million in 2020, mostly due to production shutdowns, but it hit $632 million in 2023, according to IFPI. That’s an increase of 58%, from 0.4% of global recording-industry revenue in 2020 to 2.2%. (These numbers don’t include publishing, but they do include film/TV synchs in addition to advertising.) For this year’s Super Bowl, licensed songs cost between $400,000 and $2.5 million on the publishing side alone, music industry sources say, not counting the separate fees for licensing master recordings. According to Brian Monaco, Sony Music Publishing’s president/global chief marketing officer, 50% of this year’s Super Bowl ads, which cost brands a reported $7 million to $8 million apiece, employed synchs.
In the streaming era, brands and music companies are more efficient than ever in using data to align artists’ fan bases with companies’ target demographics, says Rich Yaffa, Universal Music Group’s executive vp of global brands: “When we partner with a brand, our goal is to make fans of our artists fans of their brands.”
Stephanie Miles, Wasserman Music’s head of music brand partnerships, says brands recently have become more willing to work on elaborate activations with artists. One act she declines to name spent months negotiating a fashion shoot and a live event to ensure both artist and brand emphasized the same regional market. “The days of receiving an opportunity that has been completely conceptualized by a brand, and the artist taking it as is, are long gone,” she says.
“Deals are definitely becoming more complicated and sophisticated,” adds Andrew Klein, managing director of AEG’s global partnerships. “It used to be [when] Coca-Cola’s coming out with a new product, [it would] just hand out the can [at concerts] and do a sampling program. They’re now trying to get a lot more return on investment. Yes, they want to sponsor the tour, but they also want to use the music for that artist in a campaign, use [their] name and likeness or tap into their social media.”
Will the good times in music branding continue? It’s hard to say, given President Donald Trump’s unsettling of the economy with layoffs, deportations, tariffs and threats of tariffs in the first weeks of his administration. “We’re starting to see a bit of a spend slowdown,” says Toni Wallace, partner and head of music brand strategy and partnerships at UTA. “There’s no question the demand and opportunity is there; it’s just ‘Let’s see how this first quarter goes.’ ”
It wasn’t long ago that artists, fearing claims of “selling out,” avoided collaborations with major corporations: In the late ’80s, after Pepsi landed Michael Jackson, Madonna and David Bowie in commercials and Whitney Houston sang a Diet Coke jingle, Neil Young responded with the scathing “This Note’s for You”: “Ain’t singing for Pepsi/Ain’t singing for Coke/I don’t sing for nobody/Makes me look like a joke.”
But things have changed: In 1999, Sting refashioned his “Desert Rose” music video into a Jaguar commercial; Bob Dylan licensed “Love Sick” to a Victoria’s Secret spot in 2004; an instrumental portion of Vampire Weekend’s 2019 “Harmony Hall” — an upbeat-sounding tune that nevertheless is about antisemitism — was used in a Choice Hotels TV plug; and last year, Megan Thee Stallion’s colorful 2024 Amazon Music ad included the original track “It’s Prime Day.”
“You had rockers who never wanted to be seen associated with anything: ‘It’s too commercialized,’ ” says Jeff Straughn, Primary Wave’s senior partner/chief brand officer. “Today, it’s ‘How can I sell it?’ ”
This story appears in the March 8, 2025, issue of Billboard.
Welcome to a snug-fitting Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since the last edition, OneRepublic frontman Ryan Tedder signed himself, Deadmau5 sold his catalog, Kobalt launched a new platform targeting the creator middle class, a deal for the $uicideBoy$’ publishing catalog is being shopped, and Primary Wave signed a marketing and admin deal with “Wichita Lineman” songwriter Jimmy Webb.
Caught up? Here’s what else is going on:
Trending on Billboard
Reservoir Media paired with PopArabia to acquire the publishing and master rights to Egyptian star Omar Kamal‘s catalog. Kamal is a key figure in popularizing mahraganat, a genre blending Egyptian rhythms, electronic music and rap. His 2020 hit “Mahragan Bent El Geran” with Hassan Shakosh became a cultural phenomenon, earning over 700 million YouTube views, and subsequent hits, “Oud Al Batal” and “LGHBTITA,” have attracted over 500 million and 300 million YouTube views, respectively. PopArabia vp of A&R Wissam Khodur highlighted Kamal’s ability to “pivot into mahraganat with his own unique twist,” while Reservoir CEO Golnar Khosrowshahi called the acquisition “another key growth moment” for both companies’ efforts in the booming Egyptian market. “This deal builds upon our other recent strategic acquisitions and further supports our efforts to become a major tastemaker in the region,” she said.
A Lau inked a global publishing deal with Position Music, joining artists like Tinashe and Cannons. Known for his work with Ice Spice, Lil Tjay and French Montana, Lau is a rising executive producer in NYC’s hip-hop scene. His credits include Ice Spice’s “Butterfly Ku” and Lil Tjay’s “Bla Bla.” Lau owns Off Record Studio in Manhattan and leads the Off Record producer collective, focusing on artist development, and this year plans to executive produce records for Ice Spice, Megan Thee Stallion and Babytron. Position Music’s vp of A&R Delmar Powell and partner Mark Chipello praised Lau’s record-crafting skills and talent for building connections, with Powell calling him a “dynamic producer with a sharp ear and a relentless work ethic.” He’s managed by Peter Robinson of Olympus Projects.
Kobalt signed South Arcade to a global publishing deal, representing the band’s entire catalog. The Oxford-based group, formed in 2021, has quickly gained prominence with over 20 million streams on their debut EP and nearly 800,000 monthly Spotify listeners, leading to multiple sold-out headline shows and support slots for bands like Dead Pony and Yours Truly. South Arcade has received significant radio support, including BBC Radio 1 features. Kobalt executives praised the band’s talent and potential, with head of creative (UK and GSA) Kenny McGoff highlighting their music as brimming with “energy and life,” and svp of creative Melissa Emert-Hutner saying the group “embodies everything that draws me to an artist – immense talent, unwavering drive, and incredibly catchy songs.” Manager Ben Karter offered props to Team Kobalt, which “truly understood the band’s vision and music, rather than just buying into their data.”
Concord Music Publishing signed Wyoming rapper Ryan Charles to a global publishing deal, covering his full catalog and future works. Charles, whose style blends cowboy culture with 2000s rap, is known for standout tracks including “Gettin’ Western,” “Old Dirt Fancy” and “New Boot Goofin’,” which he performed on American Song Contest as representative of his home state. He also collaborated with Ian Munsick on “Cowboy Killer,” amassing over 37 million Spotify streams. In 2023, he released tracks like “Turquoise Stones,” “Cold Beer Diet” and “Heartbreak Rodeo,” surpassing 65 million global streams. Melissa Spillman, VP A&R at Concord, praised Charles for his crossover appeal to country and rap fans, adding, “I can confidently say Ryan is unlike anyone I’ve ever worked with.”
Concord Music Publishing ANZ, established after Concord acquired Native Tongue in 2022, signed a worldwide publishing deal with Melbourne artist Glass Beams. Led by a masked Rajan Silva, Glass Beams blends Indian and South Asian heritage with psychedelic soundscapes, leaning heavily on live instrumentation and DIY electronica sounds. Their debut EP Mirage and breakout EP Mahal have propelled them to international success, with the group set to perform at Coachella and Primavera Sound this year. Jaime Gough, Managing Director of Concord ANZ, praised Rajan as a “supremely gifted artist and songwriter, who through Glass Beams has created a unique brand of serpentine, psychedelic-tinged music, capturing a spirit that drifts between worlds; mystical, elusive, and endlessly mesmerizing.”
Downtown Music Publishing signed writer-producer Cameron Montgomery, who has contributed to hit songs for Morgan Wallen, Kane Brown, 24kGoldn, HARDY and more. Based in both Nashville and Los Angeles, Montgomery is also working on music for film, brands and collaborations in the visual arts space. Downtown Music Publishing also represents Jason Isbell, Sadler Vaden, Tommy Prine and is aligned with the John Prine Estate, which it represents along with Oh Boy Records. –Jessica Nicholson
Regalias Digitales, an independent music publisher specializing in both Latin and non-Latin music, has signed several notable talents to global publishing administration deals. Among them are Peysoh and Wallie The Sensei, both collaborators on Kendrick Lamar’s latest album GNX. The roster also includes Mexican hip-hop icon Dharius, hip-hop artist 03 Greedo, rising roots/bluegrass artist Lindsay Lou, popular EDM duo Bonnie X Clyde, Cypress Hill member Eric “Bobo” Correa, New Age act Beautiful Chorus, and Uncle Murda, a protégé of 50 Cent.
Arden Records is expanding its artist-first lo-fi music label with a new publishing division. Founded in 2021 in partnership with Platoon, the label connects lo-fi artists, producers and songwriters. Co-founded by Nepalese artist sagun and executives Jordan Smith and Andrew Kwan, its roster includes sagun, clay house, DAVI JUNO and French WiFi. The publishing arm aims to create opportunities for lo-fi creators. Arden’s ethos, inspired by nature and tranquility, is reflected in projects like its Earth Day compilation. Smith stresses their commitment to community, while Kwan underscores their dedication to authentic musicianship amid the rise of AI-generated music. “We remain steadfast in championing our artists, ensuring their authentic musicianship receives the recognition it deserves,” said Kwan. “Now, through the launch of our publishing venture, we are excited to continue this mission from a fresh and dynamic perspective.”
Pixel Grip, a darkwave/club pop band, signed a co-publishing deal with Brill Building Music Publishing. Known for underground staples like “ALPHAPUSSY” and “Stamina,” the band’s next single, “Split,” drops on March 14, followed by their album Percepticide: The Death of Reality in May. Recently, they opened for HEALTH on a sold-out tour, further solidifying their presence in the scene.
MUSIC CITY MINUTES: Spirit Music Group renewed its co-publishing agreement with songwriter David Garcia and acquired rights to some of his catalog … The Warner Chappell Music Live Song Pitch Round is scheduled for March 13 at The Listening Room. Among the writers performing are Lydia Vaughan, Josh Kerr and Summer Overstreet … Finalists were revealed for the AIMP Nashville Awards, presented by the Association for Independent Music Publishers on April 8 at Marathon Music Works. Jordan Davis, Shaboozey and Carly Pearce are on the ballot, along with double nominees Tucker Wetmore, ERNEST, Laci Kaye Booth, Vincent Mason, Daniel Ross and Jessi Jo Dillon.
Last Publishing Briefs: ‘Cowgirls’ Co-Writer Finds Home at Range
Rimas Entertainment, home to Bad Bunny and the No. 1 label on Billboard‘s 2024 year-end Top Independent Labels chart, has acquired a “significant” stake in Dale Play Records, the maverick Argentine label that’s home to DJ Bizarrap, Rels B and rapper Duki, Billboard can reveal.
The partnership includes Sony Music Latin Iberia, which continues to own a stake in the label. Helping bring the deal to fruition were Rob Stringer, Sony Music Group chairman and Sony Music Entertainment CEO; Afo Verde, chairman/CEO of Sony Music Latin America, Spain and Portugal; and Brad Navin and Jason Pascal of The Orchard.
Trending on Billboard
Fede Lauria, the Argentine executive who founded Dale Play out of Argentina and grew the label to its current stature, will retain a smaller percentage of the company and continue as CEO. The Orchard will also continue to distribute Dale Play as it has for years. The company’s other business verticals, which include booking and management — including the management of Duki, Nicki Nicole and Bizarrap — are not part of the deal and will remain solely under Lauria.
The partnership brings together two indie companies that have redefined the way Latin music is made and promoted on a global scale, with both developing and capitalizing on a new wave of urban music in Spanish — one centered in Puerto Rico (Rimas) and the other in Argentina (Dale Play) — with international ambitions. Rimas has already expanded its roster beyond Puerto Rico, signing Spain’s Quevedo and Mexico’s Latin Mafia.
“From day one, our mission has been to support and develop artists with authenticity and respect for their identity,” said Rimas Entertainment CEO Noah Assad in a statement. “With Federico and Dale Play, we’ve built a relationship founded on trust and mutual admiration. This alliance will allow us to break new boundaries and create opportunities for our artists and teams.”
In an earlier conversation with Billboard, Assad noted that this is Rimas’ first major acquisition and that it follows a longstanding friendship and years of business dealings between him and Lauria.
“We’re working hand in hand and all we’re doing is adding more value to each other, him to me and me to him,” he said. “The collaboration already existed. We’re formalizing something that was already happening.”
Lauria was already an established concert promoter in Argentina with the company Dale Play (which currently sells over 1 million tickets per year, mostly in Argentina) when he created the label portion of his business, Dale Play Records, in 2017, focusing on a previously untapped rap and trap music scene bubbling out of Argentina. Sony Music came in as a partner in 2020.
“Afo and I have had a long-standing friendship for many years, united by a mission to elevate Latin music to the highest level,” said Lauria in a statement. The new partnership with Rimas, he told Billboard earlier, “reflects a journey we have been on for many years with Noah, Jomy and the RIMAS team. We share the same vision and values. Our companies are 360 companies with similar philosophies and origins. They’re rare in the global market. We do management, booking, label, publishing. The potential that these two ecosystems have together and the mutual collaboration that our artists and businesses can have is huge.”
Fede Lauria, Noah Assad and Afo Verde.
Afo Verde/Sony Music Latin Iberia
Added Verde in a statement: “I have great admiration for the achievements of both Fede and Noah. They epitomize the new generation of executives and label leaders, characterized by their independent spirit and innovative approach. It is a privilege to continue our partnership with them, and I love that they wanted to work together.”
Assad and Lauria’s working relationship dates back to Bad Bunny’s early days as an artist playing small venues in Buenos Aires, which Lauria booked. Today, he still promotes Bunny’s Argentina stadium and arena dates. The two have since worked together on multiple artist collaborations and started discussing a possible partnership three years ago, with conversations solidifying last year.
“This alliance is key to expanding our global reach and connecting with talent wherever it may be,” said Jonathan “Jomy” Miranda, president of Rimas Entertainment, in a statement. “We have always been at the forefront of discovering new artists, and now, through this partnership, we will have ears in more corners of the world to support and develop the next generation of stars.”
“Rimas is still Rimas and Dale Play is still Dale Play,” said Lauria during his conversation with Billboard, when asked about the future management of the respective labels. But, he adds, both labels have been “an essential part of the development of a cultural movement, and we’re in the process of shaping artists in Spain and Mexico that aren’t Argentine or Puerto Rican. Being together gives us huge power.”
Everything aligned to make the partnership come together now, said Assad. “We want a partner that has a clear vision, knows what they want and knows their destination,” he adds. “Culturally speaking, we share a lot of the same culture, and that’s why we’re doing this strategic alliance.”
Jay-Z’s rape accuser says in court filings that she stands by her story, directly contradicting his recent lawsuit that claims she admitted to fabricating the allegations — prompting the star’s lawyers to offer testimony from private investigators and demand that the accuser sit for a deposition.
In Los Angeles court filings Monday (March 3), the unnamed Jane Doe stated that she had flatly refused to recant her story when approached last month by investigators for Jay-Z — an experience she said left her “intimidated and terrified.” She also denied that her attorney, Tony Buzbee, had pushed her to sue.
Those statements, which Doe made in a sworn affidavit, directly contradicted allegations leveled by Jay-Z (Shawn Carter) in a separate lawsuit filed earlier on Monday. In that case, he claimed Doe had “voluntarily admitted” directly to his team that her now-dropped lawsuit was premised on a false accusation.
“Although I ultimately chose not to pursue them, I stand by my claims in the New York action and believe that I had a meritorious claim against Jay-Z,” the woman wrote in Monday’s filing. “I ultimately decided to dismiss the [case] because I was frightened by the reaction of Jay-Z and his supporters, and the likelihood that I would have to be publicly named and subjected to public attacks.”
In the same sworn statement, the unnamed woman stressed that Buzbee had not sought her out, nor had he urged her to add Jay-Z to her allegations: “I told them that neither of those things ever happened, and I asked them to leave me alone.”
Monday’s statement from Doe quickly prompted a response from Jay-Z’s lawyers. In a flurry of new filings on Wednesday (March 5), they offered up sworn statements from the actual private investigators who allegedly talked to her, asking the judge for permission to add them to the case record.
In those statements, one of the investigators said, “Jane Doe stated to me that Mr. Carter did not sexually assault her.” At another point, the same investigator added: “Jane Doe stated ‘Buzbee brought Jay Z into it,’ and ‘he was the one that kind of pushed me towards going forward with him.’” Another investigator said Doe had told him that “lawyers at Mr. Buzbee’s law firm told her that, if she pursued Mr. Carter, she would get a payout.”
In the same filings, Jay-Z’s lawyers also made an alternative request: that the judge permit them to depose both the accuser and Buzbee under oath. “The new declaration only further reinforces the need for Jane Doe and Mr. Buzbee to sit for a deposition regarding their conversations, including her conversations with his colleagues who convinced Jane Doe to drop her lawsuit,” they wrote.
Depositions are not typically granted at the outset of such a case; instead, they are conducted during the later “discovery” phase as a case moves toward trial. But Jay-Z’s lawyers say Doe’s filing has opened the door to those issues and that the rapper is now “entitled to find out” what the woman knows.
In a detailed statement to Billboard on Wednesday, Buzbee strongly denied the various claims advanced by Jay-Z’s investigators in the new court filings. He said he believes they “flat out made all of this up” and that he “can’t wait to see what they have been paid and who is paying them.”
“Jane Doe’s case was signed up in October by another law firm to pursue allegations against Jay-Z and P. Diddy. Apparently it came in through Facebook to that firm’s page. After it was vetted it was sent to my firm weeks later,” Buzbee said. “The allegation that I sat with Jane Doe and suggested a suit against Jay-Z is not only a lie, it’s proveably and demonstrably false and is contrary to the documentation from referring counsel’s intake process and our own firm documents.”
The blockbuster case against Jay-Z, filed in December, claimed that he and Sean “Diddy” Combs drugged and raped a 13-year-old girl at an after-party following the 2000 MTV Video Music Awards. It represented a shocking expansion of the already-sprawling claims against Combs and came amid speculation that other stars might be implicated in Diddy’s alleged decades of abusive behavior.
Jay-Z forcefully denied the allegations, calling them a “blackmail attempt.” He accused Buzbee of trying to extort settlements from innocent celebrities by falsely tying them to Diddy and vowed to fight back and never pay his accuser.
Last month, Doe abruptly dropped the case — without explanation and without any kind of payment from Jay-Z. Two weeks later, Jay-Z sued both Doe and Buzbee for defamation, malicious prosecution and other wrongdoing, claiming they had carried out an “evil conspiracy” to extort a settlement from him by making the “false and malicious” rape allegations.
“Mr. Carter does not commence this action lightly,” his lawyers wrote in Monday’s lawsuit. “But the extortion and abuse of Mr. Carter by Doe and her lawyers must stop.”
The recent filing from Doe rebutting those allegations, also filed Monday, was lodged in a separate lawsuit in California in which Jay-Z is suing Buzbee for extortion and defamation over the same rape allegations. At a hearing in that case last week, a Los Angeles judge said he would likely dismiss the star’s extortion claims but likely allow the defamation claims against the lawyer to proceed.
Reggaetón icon Daddy Yankee filed a massive lawsuit on Tuesday (March 4) against his ex-wife, Mireddys González Castellanos, and her sister, Ayeicha González Castellanos, for financial mismanagement, defamation, irregularities and negligence in the management of his music companies El Cartel Records and Los Cangris.
The 23-page lawsuit, filed in the Tribunal de Primera Instancia in Carolina, Puerto Rico, amounts to $250 million and accuses the sisters of breach of fiduciary duties, breach of contract and more. According to the complaint, after Yankee regained control of the companies, his team discovered administrative and fiscal irregularities. One claim detailed in the lawsuit states that Yankee (Ramón Luis Ayala Rodríguez) found uncashed checks — some for royalty payments dating back to the early 2000s — that had expired because the defendants never deposited them.
“Due to this gross and stubborn negligence of the defendants’ administrative management, the plaintiffs lost thousands of dollars,” the lawsuit states.
Trending on Billboard
The lawsuit follows an injunction Yankee filed in December against his then-estranged wife, whom he officially divorced last month, claiming she had withdrawn $100 million from the companies’ bank accounts without authorization. According to that legal filing, the alleged theft of company funds occurred after Yankee had already revoked Mireddys and Ayeicha’s authority and “warned that they could not carry out any transactions on behalf of the companies.”
A few days later, both parties agreed that the Puerto Rican star would regain the presidency of El Cartel Records and Los Cangris, where his ex-wife allegedly served as CEO and her sister as secretary/treasurer.
Now, Yankee claims that after regaining control of the companies in December, his team discovered irregularities, including the “disappearance” of key documentation related to the companies’ finances and his successful La Última Vuelta World Tour. The lawsuit also alleges that between Dec. 26 and Dec. 30, just before the completion of the court-ordered administrative transition, the sisters “deleted or removed essential emails related to the operation of the companies and migrated the information to devices that have not been turned over or identified.”
Furthermore, Yankee alleges that the sisters’ “disorganized, unprofessional and irresponsible handling of matters related to Ayala Rodríguez’s career” and a “defamatory campaign promoted by the co-defendants and their agents and legal representatives with their endorsement” has caused him to lose income and damaged his “career, good name and personal prestige as one of the most important international Latin music figures.”
Billboard reached out to Mireddys González’s attorneys for comment but did not hear back at press time.
Growing up in Virginia, John Mlynczak, now president/CEO of the National Association of Music Merchants (NAMM), didn’t have much money to spare, but he always dreamed about the day he could take home a Martin guitar. In college, he says his now-wife and mom “plotted and saved up to both go in together” to buy him one as a gift. “I still have it,” he recalls with pride. “It was made in Mexico. I didn’t care. I would not have been able to hold that brand and that signature square headstock in my hand if it wasn’t for the affordability and quality” of what Martin was making in its Mexican factories.
Mlynczak’s story is a common one. Many musicians, whether they know it or not, are playing instruments that were made entirely (or in part) in Mexico, Canada or China. For example, 989,621 acoustic guitars were imported from China and 187,722 acoustic guitars were imported from Mexico in 2024, according to data from the U.S. International Trade Commission. Top guitar brands like Fender, Martin, Taylor and more create many of their moderately priced products in Mexico; popular drum kit manufacturers like PDP, Yamaha and Pearl all list instruments made in China on their sites. While Mlynczak says instrument brands “have so much strong manufacturing in the U.S.” already — more than most other industries — those American-made products are cost-prohibitive for a lot of musicians.
Trending on Billboard
So when the Trump administration enacted a new 25% tariff on imports from Mexico and Canada and added an additional 10% tariff for Chinese goods on Tuesday (March 4), Mlynczak and NAMM sprung into action to help members weather the storm — though really, the trade organization has been helping members with storm after storm over the last decade, which has been especially turbulent for the instrument market. Whether it was the tariffs during Trump’s first term in 2018, the stress on the supply chain during COVID-19, or this week’s latest action, NAMM has engaged in a never-ending effort to make the voice of music manufacturers heard.
Though there’s not much anyone can do to stop the tariffs, NAMM is creating working groups for its members to come together and share tips, including providing essential information straight from Washington, D.C.; encouraging members to submit comments to Congress about how tariffs affect business; and building alliances with other impacted industries.
“The global supply chain has allowed us to make high-quality, affordable products, and it’s taken decades to do that,” says Mlynczak. “When you start raising the price everywhere of what it costs to import goods, it’s challenging, and it really threatens everything we’ve learned to do as an industry.”
Now that these tariffs have taken effect, what is NAMM’s role in helping its members?
NAMM’s first job as a trade association is to represent our industry on anything that affects them, and research and get the facts and help our industry navigate any policy. NAMM has been involved in tariffs, especially since the 2018 tariffs were imposed. We did a lot of work on that, and we were monitoring all the pre-election coverage on tariffs last year. We were fully ready for this and have been heavily involved, not only with our NAMM members but also building alliances with other associations and industries that were also impacted.
What are the key differences about the tariffs in 2025 versus those during Trump’s first term in 2018?
There was a different mechanism used by President Trump at the time, and there was an exception process. So after the tariffs were imposed, we led efforts to try to get exceptions from tariffs for music product categories. It was a long process that we worked through with many associations. This round, however, the tariffs so far have been implemented with no exceptions and no process for exceptions.
Were you able to get any exceptions last time? If so, for what product categories?
In 2018, very few exceptions were granted for musical instruments — those typically were granted to larger industries. We are actually a very small industry overall. While we work really hard for exceptions for music-making equipment, concerns about the furniture industry or the lumber industry, for example, can dominate the conversation… Unfortunately, we fought the good fight, but few exceptions were granted – but really that’s true for most industries.
What country or region is most popular for the manufacturing of musical instruments?
China is the largest manufacturing hub for products worldwide. Secondarily, there is a lot of instrument manufacturing in Mexico, U.S., Canada, Indonesia. We have lots of manufacturing in Europe too. But I think the thing to keep in mind is that this is important for the affordability of products and the level of musicians that can afford them. As an industry, you have people who are starting out playing music for the first time. They don’t know how much to invest, but they want a quality product and a price that is reasonable. They’re not ready to get a customized mahogany-backed instrument right away, right? As you progress as a musician, then you start spending more.
We have lots of companies that make musical products in the U.S. We are proud to have a substantial amount of high quality music products made in the U.S. — it’s an impressive number compared to other industries — but the way it works is you have your highest level custom products made in the U.S., then your mid level and entry level products are made by partners in Mexico, China and other countries.
One thing we’d like people to understand is the reason why we have companies that can afford to build their highest-end products in the U.S. is because they have the revenue from the mid-to-entry level products from overseas. Our supply chain is deeply interconnected. It’s not like an instrument is solely made in China or Mexico. What happens is you have certain components that are made really well in China that are then imported for final assembly. Or you have a factory in Mexico that has a specialty in making certain components that are imported. Then they are assembled in the U.S. This happens because this work is highly specialized.
What’s really devastating about this idea of “Oh, we’ll just move manufacturing elsewhere” is that it’s actually not that easy. What we’re building are not generic widgets that come off a line. These workers around the world are trained to understand how to test musical products, to buff the bell of a brass instrument perfectly, to tune the strings on a violin. There are handmade components to these instruments that take — in some cases — decades to do right. These factories often have multi-generational workers. This isn’t a skill set you pick up overnight.
Now that you know Trump’s tariffs are being enacted — and that there are no exceptions — what course of action do you take from here as a trade organization?
Our members are looking for the most factual information, so we have a lobbying firm and law firm in D.C. that allows us to get vetted, factual information. With all the news coming out, it’s difficult to get down to the actual nitty-gritty information that a brand needs. So we are a source for our members to come to. What we try to do is save them time — there’s thousands of companies impacted right now. We’re also creating a working group of members specifically who are impacted by tariffs and bringing them together every two weeks so we can feed them what we’re hearing, anything like “We think this might happen” or “There’s talks of this…”’ and they can share advice with each other.
I know this is not a support group, this is business, but in a tough time that impacts the whole industry, it almost feels like that.
Yeah, these are groups of competitors coming together, but they all are actually concerned for each other and their product categories. They’re concerned for music-making in general. It’s really sweet to see that, as an industry, people are literally sitting across from their number one competitor and saying, “What are you hearing? How can we work together?”
I know, as a trade organization, you can’t speak to individual companies and how they are reacting, but have you heard of any solutions that companies are turning to that seem helpful?
The challenge is that these tariffs are intentionally punitive, intentionally non-exemptible. The retaliatory tariffs actually make the impact harsher because we have so much strong manufacturing in the U.S., so not only do import tariffs cause problems, but export tariffs do too. American-made instruments are really coveted by musicians around the world. It’s a double whammy. The squeeze is really real.
Given tariffs often lead to an increase in the price of products, do you think this will lead to a surge in the used instrument market?
It could… we’re actually in a surge of used products right now because of COVID. In the pandemic lockdown, we saw a really big boom of musical product sales, and our industry is at the tail end of that now. Lots of instruments are being re-sold on the used market. So I don’t know how much more surging it can do, but that’s a perfectly good idea.
The instrument market has been hit with so many challenges over the last decade. From the 2018 tariffs, the supply chain disruption and surge in sales during COVID-19, and now this. Has this been a uniquely challenging decade for this market or has this market experienced this level of ups and downs before?
You’re right. It’s been a wild seven years. From NAMM’s perspective, there’s never been a more important time for us to be there as a trade association, to double down on policy work, and double down on working groups. I feel like now we are probably more united as an industry than ever.
We’re a 124-year-old organization. Historically, musical products are seen as a luxury good. Of course, I would argue music is essential to life, but we are a luxury, unlike bread or gas or housing. Luxury industries historically struggle with high inflation and rising costs… When that happens, traditionally, it becomes harder for us because people don’t buy a seventh guitar — they are trying to figure out how to feed their family. In these times, we as an industry have to come together because the last thing we want to see is companies going out of business.
NAMM members are resilient — we are very used to contracting businesses or experiencing booms, like during COVID. We have a lot of multi-generational companies and incredibly resilient people. This is probably a weather-the-storm situation, and our job is to help companies do that.
If there are less affordable, high-quality options for American families to help their children get interested in playing an instrument, what ripple effect could that have on the market long-term?
Every company recognizes that a user’s first touch point, when they buy an instrument at an affordable price, that if it’s not a quality instrument or the user has a bad experience, then we’ve lost a customer for life.
It’s important to remember that these truly are quality instruments coming from these overseas suppliers. In the instrument market, you need options at every level. Our customers’ buying habits are like a pyramid. There is a very, very small market for the highest tier, custom instrument models, but it is very wide at the bottom. You can’t have that custom shop model at the top without the support of a very wide entry-level bottom.
I understand the reasoning given for being “America First,” but we’re not an industry that builds only in America and only for Americans, and every musical brand wants to sell in the United States. We are global and interconnected. It’s very hard to disrupt that. Our companies say that any change will take about three to five years to implement. We’re talking years of planning. The biggest issue right now is that this administration has been predictably unpredictable.
We need to remember that there’s an executive order that was signed that required departments to research tariffs on every other country by April, so we could see more and more and more of these. So even though the guidance is to stop making in China, Mexico and Canada, our companies don’t know where to move to because we don’t know where the tariffs could be imposed next.
Mercury Records has promoted Tyler Arnold to chairman/CEO and Ben Adelson to president/COO of the label, the company announced Wednesday (March 5). Arnold previously served as president while Adelson served as general manager at the label, which they relaunched in 2022.
Under Arnold and Adelson’s leadership, Mercury has released hit albums including Post Malone’s F-1 Trillion and The Diamond Collection, Noah Kahan’s Stick Season (Forever) and, via the label’s partnership with Big Loud, Morgan Wallen‘s One Thing At A Time and Dangerous: The Double Album. Most recently, Wallen’s single “I’m the Problem” debuted at No. 1 on Billboard‘s Hot Country Songs chart and No. 2 on the Billboard Hot 100.
Arnold and Adelson will report to REPUBLIC Collective founder/chairman/CEO Monte Lipman and founder/vice-chairman/COO Avery Lipman, who noted in a statement, “Tyler and Ben began their careers at Republic, and we’ve had a front-row seat to their incredible growth. It’s been nothing short of inspiring to watch. With Mercury, they are building a legacy that honors the label’s history by developing, breaking and supporting the next generation of career-defining artists.”
Trending on Billboard
“The last three years at Mercury have been incredibly special,” said Arnold. “I could not be prouder of our artists, our team and the culture we’ve created. Ben and I set out to build a label that supported artist development with time, patience and a real commitment to A&R and creative marketing. I’m very grateful to Monte and Avery for their continued support of our vision and am so excited for this next chapter of Mercury Records.”
Adelson added, “I am honored to continue building the legacy of Mercury Records. More than anything, I’m most proud of our authentic and dynamic roster and the team we have brought together. Thank you to Monte and Avery for their continued support and guidance.”
New York-based Arnold started as an intern at Republic Records and, after joining the label as an A&R assistant, signed Malone. He ultimately rose to the role of vp. In addition to Malone, he’s also signed such top acts as Metro Boomin and Bo Burnham and partnered with Big Loud to build Wallen into a superstar. He has been named to Billboard‘s Power 100, R&B/Hip-Hop Power Players, Country Power Players and 40 Under 40 lists.
Los Angeles-based Adelson also started at Republic as an intern and was hired as an assistant to Avery Lipman in 2008. He subsequently managed Young the Giant, kickstarting the band’s rise to an arena-level act, before rejoining Republic as director of A&R and rising to become executive vp of A&R in 2018. He has signed artists including Kahan, James Bay, Stephen Sanchez, Conan Gray and Lord Huron. He has been named to Billboard‘s Power 100, Country Power Players and 40 Under 40 lists.
The Mercury Records roster also includes AJR, Chelsea Cutler, Bay, Jeremy Zucker, Huron, Sanchez and ZAYN.
Street Mob Records, the indie label founded by Fuerza Regida frontman Jesus Ortiz Paz (JOP), and which has seen impressive gains on the Billboard charts in the past year, has hired veteran music executive Gustavo López as its new president. The move signals Street Mob’s intention to become “the next big Latin music label,” says JOP, and is part of the label’s significant expansion and its intention to grow further.
In addition to López, Street Mob has also appointed Cindy Gaxiola as its vp of commercial affairs, Niria León as vp of booking and Jesús Amezcua as its vp of marketing. They join an executive team that already included COO Cristian “Toro” Primera and CFO Luis López. Both are partners on Street Mob with JOP, who launched the label as a rookie artist in 2018 and has seen it grow exponentially, especially in the past two years, expanding a roster that now includes Chino Pacas, Clave Especial and Armenta.
Trending on Billboard
“We got The Avengers,” says JOP quite seriously. “The whole point of this is we’re going to the next level with Street Mob Records. We got the avengers. We got Gustavo Lopez as the president. We got two incredible female senior VPs who are running the company on the touring and management side. That’s why we’re calling it the avengers. Now we have the best of the best.”
Street Mob ended 2024 at No. 6 on Billboard’s year-end Top Latin Imprint chart and the labels’ publishing division — Street Mob Publishing — won publisher of the year at the 2024 Billboard Latin Music Awards. According to López, in this week’s Billboard regional Airplay chart, Street Mob is represented in some way — whether songwriting, producing or artist — in 44% of the chart’s top 25 songs.
For all those successes, bringing in López signals JOP’s seriousness about growing and expanding his business. As part of his long trajectory, López launched maverick reggaetón label Machete Records under Universal in the 2000s, distributing stars like Daddy Yankee and Wisin & Yandel, and was later president of regional Mexican powerhouses Fonovisa and Disa Records. Most recently, he served as CEO of Saban Music Latin until its acquisition by Virgin last year, and launched entertainment company Globalatino Music Partners.
Although López will continue to oversee Globalatino’s overall operation, he will be devoted full time to Street Mob, which is based in Los Angeles. “When I had the opportunity to meet JOP and saw how integrated he is in the business, and how young he is, it was an inspiration for me,” says López. “I thought, ‘If I’m going back to Mexican music, I’m going to do it with the best.’ There’s a lot going on at Street Mob that maybe the industry is not aware of. These guys are more than just the label. And now it’s just formalizing the team.”
JOP founded Street Mob in 2018 “with the hopes of one day being a big record label,” he says. At the time, he was already a fledgling artist, and he wanted to learn how the business worked. In 2020, when things got tough and many in his circle deserted him, Primera and Luis López stayed by his side and JOP made them partners in Street Mob.
“Together with them, we learned the business,” says JOP today. “And little by little, with all our creativity, I think we know. We know how to make a hit.”
Though managed by Street Mob, Fuerza Regida is not signed to the label. Instead, they have a joint venture with indie powerhouse Rancho Humilde and are distributed by Sony.
The group — a juggernaut that won Top Duo/Group at the 2024 Billboard Music Awards, beating international stars such as Blink-182, Coldplay, Linkin Park and Stray Kids — placed three titles in the Top Latin Albums top 10, including Pa Las Baby’s Y Belikeada, which peaked at No. 1 for three weeks.
But since its inception, JOP has been signing new artists, songwriters and producers to Street Mob and has different deals with each, with distribution in place with Cinq, Universal and Warner Music Latina, with whom Street Mob inked an exclusive partnership last year for its artists Armenta, Clave Especial and Calle 24.
Since last year, JOP has been looking for someone to head the label because “it was finally too much for us. But we needed to find the right person. Gustavo is perfect.”
Street Mob currently has 10 artists signed to the label, plus its own publishing company, management and touring division. The company just purchased a 35,000 square foot facility in Rancho Cucamonga, near Los Angeles, with a goal to build an office that will house everybody in the Los Angeles area, says López.
“You can’t mess with the secret sauce,” he says. “The A&R is where it needs to be. We just need to get some finer points aligned and it will continue to expand.”
For JOP, a big part is nurturing artists from the ground up.
“We’re like a school,” he says, citing emerging artist Jorsshh, who started as a writer and now has over nine million listeners on Spotify. “We show them the business and try to open doors for them to go to the next level. We’re trying to make this a big record label within Latin culture.”
Ryan Tedder has signed a global publishing agreement with Runner Music, a new music publishing company he co-founded with Ron Laffitte and Andrew Sparkler in 2023. While plenty of hitmakers have launched their own publishing joint ventures or companies over the years, it’s still relatively rare for a hitmaker to sign to their own outfit.
Under this new agreement Tedder’s catalog from 2021 onwards, including songs like “I Ain’t Worried” by OneRepublic, “II MOST WANTED” by Beyoncé and Miley Cyrus, “greedy” by Tate McRae and “Rockstar” by LISA. (Runner’s publishing administration for frontline talent runs through Downtown).
“My first gig in the music industry at 19 was working for a publishing company in Nashville, I never dreamed one day I’d be signing to my own,” says Tedder of the deal.
Trending on Billboard
Runner Music is a fast-growing publisher, interested in both acquiring top catalogs and signing frontline publishing deals. With Melody Holdings, an affiliate of Blackstone Group, as an equity partner, the company has already signed a number of top writers, including Alexander 23 (Renee Rapp, Megan Thee Stallion, Olivia Rodrigo) and Tyler Spry (Bad Bunny, Tate McRae, OneRepublic). Now, Tedder himself joins Runner’s ranks.
Since he started his career as frontman for OneRepublic and a songwriter, Tedder has partnered with a number of publishers and conducted multiple of catalog deals. In 2016, he sold some of his publishing rights for 170 songs to Downtown, and in 2021, he sold a majority stake in the publishing of all songs he wrote for other artists released after Jan. 1, 2016 to global investment giant KKR. This KKR deal also included a majority stake in all songs he wrote which were released by OneRepublic, regardless of the date of release. Most recently, he was published Sony Music Publishing.
News of the deal comes just days after it was announced that Tedder was teaming up with HYBE’s Bang Si-Hyuk and Scooter Braun to launch a global search for the next boy band, and the release of Tate McRae’s So Close To What, featuring Tedder cuts like “Sports car” and “It’s ok I’m ok.”
“Signing to Runner feels like the culmination of a dream I’ve had for years — not just about music, but about finding the right people to make it all come to life. With Amanda Hill, Andrew Sparkler and the team they’ve assembled by my side, I’ve got a community of music-obsessed operators that share the same vision, passion, and relentless drive. I’m blown away with what Runner has accomplished in such a short period of time and I’m ecstatic about what’s to come,” adds Tedder.
“I am extremely proud of the accomplishments of each of the Runner writers in such a short period of time. Welcoming Ryan to the Runner roster further shares our story as the greatest new destination for songwriters, and personally, it is a true joy to get to continue working with one of my favorite songwriters in the world,” says Amanda Hill, co-chief creative officer of Runner.
Runner CEO Andrew Sparkler says, “The momentum at Runner is truly exceptional right now. We’re not only collaborating closely with Ryan to nurture emerging songwriters, but we’re also thrilled to partner with established hit-makers. Ryan joining our roster is a powerful testament to our growth and success.”
YouTube now has 125 million subscribers across YouTube Music and YouTube Premium, according to an open letter from Lyor Cohen published on Wednesday (March 5). Cohen called this number — which includes trial users — “an incredible milestone that many laughed off as impossible when we first launched. This momentum is critical to our goal […]