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Ingram Entertainment, the second largest U.S. music wholesaler, has begun telling its accounts that it will begin shutting down its music operation, with plans to close by the end of this year, sources tell Billboard. Sources suggest that Ingram’s music operation generates about $200 million a year in revenue. Beyond music, there are indications that the […]
As the summer break comes to an end, the Spanish recorded music industry is celebrating a remarkable first half of 2023. PROMUSICAE (Productores de Música de España), representing over 95% of the Spanish recording industry, has just unveiled the numbers — and they are looking positive. The recorded music industry has generated a total revenue of 214.3 million euros ($229.2 million) during this period, reflecting an impressive growth rate of 11.53% compared to the same period in 2022 when the income stood at 192.1 million euros ($205.4 million).
Antonio Guisasola, president of PROMUSICAE, expressed his optimism regarding the industry’s performance in 2023. “To keep presenting growth figures over the world average is a satisfaction to us and encourages the Spanish recording companies to continue investing in Spanish talent, so that our artists succeed within and out our borders,” said Guisasola in a press release.
The digital market continues to be a driving force behind this growth, with a substantial increase of 12.82% compared to the same period last year. Digital formats now account for 88% of the industry’s turnover, totaling 188.6 million euros ($201.7 million). That’s nearly all streaming, which captured 87.8% of the total market and generated revenues of 188.2 million euros ($201.4 million) — up 13.26% compared to the first half of 2022.
Audio streaming represented 84.32% of all consumption and contributed 156.9 million euros ($167.9 million) to the industry. Video streaming, while representing over a third of total music consumption time, accounted for 29.1 million euros ($31.1 million).
Guisasola adds, “Numbers are not deceptive and consumption of recorded music is via streaming, though Spanish fans still want to have a bond with their favorite artists through vinyl, a format that follows the path of sales growth, offering very well cared for products that provide an added value to consumers.”
The physical market has also shown resilience in the first half of 2023, maintaining its share of the total market at 12% and experiencing a growth rate of 2.91% compared to the same period in 2022.
Sales of vinyl, in particular, have outperformed CDs, constituting 56.2% of physical sales and generating revenues of 14.4 million euros ($15.4 million) — up 6.32%. CD sales, meanwhile, declined 1.32%, contributing 11 million euros ($11.8 million), making up 42.9% of the physical market revenues.
Guisasola concludes in the press release, “Support the Spanish recording industry so that it does not lose its own boost and can seize the great momentum experienced by Latin music to consolidate its growth in our country and abroad.”
Courtesy Photo
The opening of a new 2,500-seat venue in the Inland Empire caught many by surprise earlier this year, but the signs of things to come had been in plain sight for months. Since January, those driving along the Southland’s busy interstates, freeways and thoroughfares have all cruised past a bombardment of billboards promoting shows by Missy Elliott, Janet Jackson, Dave Matthews Band, The Killers and Ed Sheeran.
These acts could easily sell out celebrated Los Angeles venues like The Hollywood Bowl or the Dolby Theater, but instead have elected to play a small theater 65 miles east in Highland, Calif., on land owned by the San Manuel Band of Mission Indians, one of California’s wealthiest tribal groups.
The billboard advertising campaign is part of an ambitious national marketing plan to promote the 20-year-old casino following a $750 million upgrade, a name change to Yaamava’ Resort & Casino in Highland (it was formerly called San Manuel Casino) and a first of its kind exclusive booking agreement with Live Nation Southern California aiming to bring 100 shows per year to state-of-the-art venue.
Yaamava’ Theater
Solaiman Fazel
The campaign is designed to be “something that gains much greater national recognition” says Drew Dixon, Yaamava’s vp of entertainment, “something that’s not just a play for these artists, but a tour destination where they want us to be part of something larger that they’re creating.”
Yaamava’ is already well on its way, as the largest of a half-dozen Southern California tribal casinos that are serving as the gateway for artists to access new audiences and lucrative guarantees in California’s fast-growing regions like Sacramento, East San Diego and Palm Springs/Coachella Valley. The location of Yaamava’ and other Southern California tribal casinos makes them convenient tour stops when routing acts to or from Los Angeles, with these facilities just far enough outside the city that they don’t run into too much red tape around L.A. radius clauses.
Tribal gaming in California is a $10 billion business, formally legalized by voters in 2000 after years of operating under a patchwork of local ordinances and supportive rulings of the U.S. Supreme Court. Proposition 1A legalized the operation of slot machines and card games like blackjack, poker and pai gow on tribal land, often in areas outside of San Francisco and Los Angeles that went on to explode in growth throughout the decades that followed. Southern and Northern California, according to a source familiar, are now the most competitive regions for tribal gaming in the U.S. alongside the Atlantic City/Philadelphia area.
As a result, California’s tribal groups are now among some of the richest in the country, with some properties generating hundreds of millions of dollars per year in revenue. While tribal groups are not required to disclose income, a 2004 agreement between then-Gov. Arnold Schwarzeneggar and the United Auburn Indian Community estimated the tribe’s Thunder Valley Casino in Lincoln, the third largest tribal gaming property in the state — about 30 minutes outside Sacramento — generated $350 million a year in revenue from its 3,000 slot machines. It’s a safe bet Yaamava’ is making even more as California’s largest tribal gaming casino with 6,500 slots. And its ownership group, the San Manuel Band of Mission Indians, is expanding outside the state: In April 2022, the tribal group purchased the Palms Hotel and Casino in Las Vegas for $650 million.
With access to millions in capital and a year-round need to draw customers, it’s no surprise that tribal gaming executives believe music and live entertainment can help drive more traffic to tribal casinos. But money alone isn’t enough, explains Seth Shoames, a former UTA agent who now runs his own company Day After Day Productions, which represents Ludacris (who opened for Jackson at her Yaamava’ performance), Staind frontman Aaron Lewis, Brian Wilson and Wayne Newton, and also owns Billy Brill’s Billy Alan Productions with Danny Wimmer Presents in a deal funded by Ron Burkle’s Yucaipa Companies and now books talent on behalf of the company’s casino clients.
“It’s all about how artist and casino can align,” says Shoames, noting that artists can benefit from being exposed to “millions of people in the casino’s database” that the artist might otherwise not have access to through email blasts and social media.
Booking big talent comes at a cost — and often casinos are willing to overpay for talent for strategic purposes, says Shoames. On May 13, for example, Missy Elliot performed at Yaamava’ Theater a week after playing Live Nation’s Friends and Lovers festival in Las Vegas — her only two shows of the year. For Missy Elliot, the Yaamava’ show was a chance to create a more intimate follow up experience; for the casino, the show was a chance to make a statement about Yaamava’ being the host site for unique experience in an intimate setting and worth paying a premium for. A source close to the matter estimates that Janet Jackson was paid $2 million for her June 14 Yaamava’ show and that Andrea Bocelli’s May 18 performance earned the singer between $2-3 million — fees that would exceed ticket sales for the venue.
Concert tickets at Yaamava’ do run higher than average, with tickets for Lionel Richie’s Sept. 16 show at Yaamava’ starting at $250 and going up to $1,050 plus fees. Meanwhile, tickets for Richie’s Sept. 15 show at the Kia Forum in Los Angeles top out at about $250. (A representative for Yaamava’ declined to comment on artist fees or ticket pricing.)
Besides underplays with major acts that boost a casino’s visibility, tribal leaders typically expect concerts to pay for themselves. “Twenty or 30 years ago, [shows at] casinos were a loss leader, but that’s no longer the case,” says Brill, who serves as a talent buyer at Thunder Mountain Casino and the Agua Caliente Casinos’ three locations in Rancho Mirage, Palm Springs and Cathedral City. “In Agua [Caliente’s] case, we want to make money on each show.”
Yaamava’s efforts are designed to attract younger crowds, developing a new generation of gamers while also serving as a convenient alternative to Las Vegas. Yaamava Theater was built with this younger demographic in mind, with its massive 3,800 square foot stage aiming to attract bigger and larger shows like its inaugural April 14 concert by Red Hot Chili Peppers, who performed a private show for Tribal members, journalists and other invited guests. The Black Crowes performed Yaamava Theater’s first public concert in late May.
Yaamava’ Theater
Solaiman Fazel
The property’s partnership with Live Nation helps facilitate the booking of some of its larger acts, which over the next few months include Ed Sheeran, Lionel Richie, The Killers, Kali Uchis and a co-headlining set from Nas and Wu-Tang Clan. Dixon, a former market general manager for Live Nation, also spent 12 years running nightclubs and restaurants in Las Vegas and directs a staff with both casino and music industry backgrounds.
“Yamaava’ is making a substantial effort to rebrand themselves,” says UTA music agent Darius Sabet, who specializes in national casino booking for the agency. “That was obviously a strategic decision that they made, and I believe it’s starting to pay off for them in big ways.”
Monica Reeves who books shows for the three Agua Caliente locations says Yaamava’s upgrades have brought “stronger competitiveness” to the market, with new competition also coming from Acrisure Arena, a 10,000-capacity venue that opened in the Coachella Valley this past December and whose upcoming concerts include ODESZA, Sting, KISS and Madonna.
While all this competition is “great” for artists, says Sabet, the casinos are also competing for the crowds to come see them. Friday and Saturday concerts are most attractive for these properties, given that the fans who come for such events are more likely to stay the entire weekend, not only spending money at the concert, but on rooms, slots, blackjack, food, drinks, spa treatments, steak dinners and other add-ons. That’s a shift from past strategies when many of these casinos did the bulk of their business Monday through Thursday, at which point many locals would decamp to Vegas for the weekend.
Back in this era, performances at the former San Manuel would happen in a bingo hall that was converted into a concert space for shows. With this showroom shut down for years amid the remodel, Yaamava’ “wanted to come back to the market like a boss, and they are,” says Michael Scafuto, CEO of M&M Group, that bought entertainment for San Manuel before the remodel.
“The local casino market is getting to be a brute battle as most of the So Cal Properties are all fighting for the same guests and players,” Scafuto adds. “[Yaamava’] needs to ensure they appeal to SoCal guests and players, so they are dominating the market with a huge brand campaign that involves major stars.”
Three of the largest companies in live entertainment and sports — Oak View Group, Madison Square Garden Entertainment and its sister company Sphere Entertainment Co. — have announced the launch of a new company to manage their top sports and entertainment brand relationships. Crown Properties Collection is tasked with managing many of the companies’ most […]
Since the end of August, there have been reports that BMI is in advanced talks to sell itself to the private equity firm New Mountain Capital. A deal has yet to be signed but the possibility has raised concerns among songwriters about what it will mean for the collective management sector if one of its largest organizations becomes a business owned by private equity.
Such a move would take BMI in a new direction, away from the traditional model – based on non-profit and transparent operations—of the CISAC community. For CISAC and our global network of 227 Collective Management Organisations (CMOs, or societies), however, it also highlights the strength and value to creators of the global collective rights management system. The collective management model has been successful for over a century, remaining faithful to its core principles, while transforming and adapting to keep pace with the rapidly changing business environment.
BMI will stay connected to this community. In anticipation of the new direction it has taken in the last year, it has moved from being a full CISAC member to a CISAC “client,” a new category that was established in 2020 to accommodate the new types of rights management entities — including SESAC, Soundreef and Nextone – which have emerged.
Clients make up a very small group of “for-profit” entities that differ from the overwhelming majority of CISAC members, which operate on a non-profit basis. Clients are not subject to all of the traditional transparency and business rules that full CISAC members abide by, but still have access to CISAC’s systems and data exchanges that help the global music market function
By accepting for-profit entities as clients, CISAC maintains its inclusiveness and diversity, while not compromising on the core conditions of membership.
It is those core membership conditions which provide the unique value of the global network. Full members, such as ASCAP in the US, PRS for Music in the UK or GEMA in Germany, are required to meet key fundamental rules:
to operate on a non-profit basis or be controlled by their affiliates
to respect CISAC’s global standards of governance and professional rules
to be fully transparent in their financial reporting and share information with the rest of the CISAC members
As a global confederation, CISAC respects individual creators’ decisions on whom they entrust their rights to. It equally respects members and clients’ decisions on how they manage creators’ rights. The global song rights market is changing rapidly, with growing competition between different types of royalty collection bodies at a time when the cost pressures of managing digital collections and distributions has never been greater.
These changes are inevitable and they are good, if they have the end of result of better serving the creators who are at the center of our business.
In this transforming landscape, the vast majority of CISAC’s member societies remain non-profit entities which abide by all CISAC rules. Full CISAC members work only for creators and rightsholders, not shareholders. Their transparency obligations ensure high levels of integrity and best practice across the network. Creators and rightsholders, not financiers and investors, are assured a controlling role in their decision-making. Creators sit on our societies’ Boards of Directors. You’d be hard pressed to find other entities in the music industry which have music creators as their Board members.
The global collective management system gives creators a strong, united voice to lobby for creator-friendly legislation, develop modern systems for data exchange, adopt best practices and maximize collections and distributions. From turning around failing markets such as Greece, Turkey and India, this community continues to play an indispensable role for creators and publishers worldwide.
Our sector remains the only part of the music industry that puts the creator front and centre of everything it does. While more commercial ventures may be tested in our fast-evolving market, the fact remains that the collective management system is the most robust, reliable and fit-for-purpose model in serving creators.
Gadi Oron is the director general of the International Confederation of Societies of Authors and Composers (CISAC), a Paris-based rights organization.
Kanye West filed a lawsuit in California on Wednesday (Sept. 6) against the individual or entities responsible for taking and distributing copies of his music that have ended up on social media.
In the complaint, the artist, who now goes by Ye, alleges trade secret misappropriation and breach of contract due to the unauthorized leaks of copyrighted works on both Instagram and X (formerly Twitter), arguing they have caused “substantial harm” to his reputation.
Ye’s lawyers claim that starting on Mar. 3, 2023, the owner of the @daunreleasedgod_ handle on Instagram went on a leaking spree of unreleased tracks, including “We Did it Kid,” “Shy Can’t Look,” “NASDAQ” and “Mr. Miyagi,” as well as collaborations with artists including DJ Khaled and unauthorized video footage of a Donda listening party.
The rapper’s complaint goes on to cite the @daunreleasedgod_ account on X for similarly posting unauthorized leaks on dates ranging from mid-June to late August. “Ye has suffered significant financial losses and damages as a direct result of the Defendants’ actions,” the suit alleges.
The lawsuit does not name @daunreleasedgod_ or any of its other variations as a defendant in the case, only that it was the main distribution vehicle for the leaks.
Ye’s lawsuit indicates that he “does not know the true names or capacities” of the defendants who leaked the tracks to the Instagram or X user(s), but believes that those individuals were required to sign confidentiality agreements with him before they were given access to the compositions. By leaking and distributing the tracks, the defendants breached their contract with the artist and owe him damages and any profits generated, the complaint adds.
The filing continues that the “distinctive arrangement and unique elements” found in Ye’s music amount to a trade secret “due to its economic value, secrecy, and the efforts taken to safeguard it” and that the defendants violated their contract with Ye when they “knowingly and unlawfully acquired, disclosed, and distributed” those unique works.
The case, filed by Gregory K. Nelson of Weeks Nelson, seeks to restrain the defendants and “those acting in concert with them or at their direction” from further exploitation of Ye’s compositions and demands damages, fees and other costs. While the identities of the defendants are not yet public, “Ye will amend its Complaint to set forth the true names and capacities of these defendants when they have been ascertained.”
The management division of Kygo‘s Palm Tree Crew has partnered with Live Nation. The new partnership is intended to expand opportunities for Palm Tree Crew Management’s dance/electronic-focused roster, which currently includes Kygo, Dean Lewis, Gryffin, Sam Feldt, Frank Walker, Forester, Thomas Jack and Petey Martin. Palm Tree Crew Management was founded in 2018 by Kygo (born Kyrre […]
Rimas Publishing — home to renowned songwriters and producers such as Bad Bunny, Eladio Carrión, Mora, and Súbelo NEO — has inked a strategic partnership with music metadata Muso.AI, Billboard has learned. Focused on businesses, catalogs, and individual profiles, the new deal will provide a new standard for next-generation transparency that will directly benefit Rimas’ […]
September marks the 20th anniversary of the RIAA launching litigation against consumers in a bid to extinguish — or at least dampen — the flames of peer-to-peer (P2P) file sharing. The consumer litigation was part of a multi-pronged effort that targeted internet service providers, the P2P providers like Napster and Limewire and music fans. In early 2003, nearly 40% of internet users in the United States had used a P2P service to download music, or an estimated 54 million individuals. Upon the RIAA’s announcement of consumer suits, parents began asking their children what they were doing with those stacks of blank CDs; coverage of the pending litigation stifled file sharing before the first notice was filed.
Much has been written about the P2P era, but one thing is for sure: The vast majority of downloaders knew it was illegal. If there was any uncertainty in consumer’s minds, the RIAA litigation helped to clear it up. Perhaps that is the greatest legacy of the consumer litigation, which ended in 2008. The actual law was contested for some time, with arguments about technological innovation and the promotion of that technology for purposes of copyright infringement.
By the 10th anniversary of the consumer litigation in 2013, the record labels had largely won the battle against P2P file sharing. After settlement of the Limewire copyright infringement case in May 2011, the number of people using the remaining services rapidly fell in the United States, and by 2013 had dropped 60% from the peak in 2003. Litigation was one of many contributing factors. The P2P file sharing experience was awful for users, fraught with spoofed files, pop-ups, malware, incomplete and incorrect files, and other maladies. iTunes downloads revived the singles era by offering $.99 tracks. Pandora had been at the top of app store charts for several years, and Spotify was gaining momentum. By 2013, half the U.S. internet using population was streaming, and a handful were beginning to pay for subscriptions. The RIAA moved on to other battles, notably the YouTube “Value Gap.”
As the 20th anniversary of the consumer suits approaches, there has been a stunning reversal in progress in the war to limit consumer access to unlicensed music. An estimated 55 million people in the U.S. acquired or accessed “free” music files in the past year, according to MusicWatch research — the same amount as in 2003. What went wrong? There is an abundance of apps and sites that permit consumers to obtain unlicensed music. Apps that permit YouTube stream-ripping are widely available. Mobile apps available with “free downloads” frequently contain unlicensed content. The very social platforms that the industry relies on to promote artists also harbor unlicensed content. Unlike in the P2P era, the law is clear when it comes to these forms of copyright infringement and licensing requirements, though the DMCA still provides a shield to services that rely on content uploaded by fans.
The problem is the consumer. The teenager who knew that they were committing piracy while downloading In Utero from Limewire is now an adult. Today, they can be easily confused. Their Google music searches may include content that infringes on copyright. Same for the app store on their phone. The recent spate of Taylor Swift Eras tour livestreams on TikTok, while technically the same as a stream-rip of “Cruel Summer,” does not register the same in fans eyes. On top of the unlicensed content, MusicWatch studies indicate 20 million streamers are sharing logins to music streaming services.
The industry has not been silent. The RIAA has litigated against stream-rippers. Mixtape app Spinrilla was successfully sued for infringement and shut down in May. Sony and Universal just sued the Internet Archive for copyright infringement. And as an alternative, streaming companies offer family plans, which raise ARPU and blunt the impact of unauthorized account sharing.
Unlike 2003, however, the industry isn’t paying much attention to the infringing consumer. And why should it? There hasn’t been a collapse in revenues as was experienced during the aughts. Most infringing consumers are active streamers and many pay for a subscription — and a vinyl record or two. There’s not much reason to target music fans. But that doesn’t mean that more shouldn’t be done to educate consumers and further protect the rights of artists and copyright holders.
Russ Crupnick is the principal at market research firm MusicWatch.
Exceleration Music formed a strategic partnership with Azadi Records, an India-based independent label co-founded in 2017 by Mo Joshi and Uday Kapur. Under the deal, which marks Exceleration’s first in Asia, Exceleration has made a financial investment in the label to help fuel its growth. Azadi will also benefit from access to Exceleration’s worldwide team and infrastructure, with Exceleration partner Charles Caldas joining Azadi’s board to help guide the label’s strategy, performance and development. Azadi Records artists include Indian hip-hop duo Seedhe Maut, producer Sez on the Beat and rapper Prabh Deep, who won a Toto Funds the Arts (TFA) award — a major independent music prize in India. Forthcoming releases on the label include Seedhe Maut’s mixtape Lunch Break, an EP from Ranj & Clifr and a collaborative album from United Kingdom-based rappers Sonnyjim and PAVAN.
Encore Luxury Coach Leasing acquired Nitetrain Coach Company in Whites Creek, Tenn., making it the largest entertainer coach leasing company in North America. The acquisition brings Encore Luxury’s fleet to more than 145 coaches. Under the deal, Encore’s leasing operations will have offices in Phoenix and Nashville, with over 25 maintenance technicians. Touring clients of the combined companies include Nickelback, Thomas Rhett, Bailey Zimmerman, Lauren Daigle, Ben Harper, Barry Manilow, Beck, Phish and Blink-182.
Virgin Hotels partnered with Sofar Sounds for Hear This!, a new monthly concert series that will showcase emerging Sofar artists. The series will be open to the public, with Virgin Hotels’ Know members receiving premier access to reserve tickets ahead of the public onsale. Attendees of the concerts will also have access to exclusive Spotify and Apple Music playlists featuring highlights and recommendations from Hear This! artists. Members of Virgin’s rewards program, Virgin Red, will also be able to redeem Virgin Points to join Sofar Sounds events at Virgin Hotels, including Hear This! Virgin Hotels will also offer preferred room rates to all Sofar Sounds artists to help alleviate the impact of the pandemic on touring artists. Hear This! kicks off on Sunday (Sept. 10) at Virgin Hotel Dallas, with future iterations in Chicago, Dallas, Nashville, New York City, Edinburgh and the recently opened Glasgow location. Get more details here.
One Media iP acquired the licensor’s income share — or the income that is generated from digital exploitation — of the “Entertain Me” catalog of rights, which includes more than 15,000 tracks performed by artists including Dean Martin, Gloria Gaynor, Judy Garland, Ray Charles and Louis Armstrong. The acquisition was undertaken by One Media’s Harmony IP asset release program, “which allows music rights holders advanced access to the future earnings of their intellectual property by purchasing a portion of their rights up front,” according to a press release.
Also at One Media iP, the company renewed its partnership with music distributor The Orchard; the deal includes a $1 million recoupable advance to One Media “to be used to enhance catalogue enrichment,” according to a press release. The advance is recoupable against future sales by One Media.
The Pennsylvania Convention Center Authority (PCCA) board of directors approved a five-year contract renewal for ASM Global as its venue management company. The new agreement commences on Dec. 1, 2023, and runs through Nov. 30, 2028. ASM Global is “planning to bring many of its most innovative designs to a leading group of convention centers beginning with PCCA,” according to a press release.
Allseated, which offers virtual tour technology and floorplan design tools for venues, raised $20 million in funding, including capital from Level Structured Capital (an affiliate of Level Equity) and existing investors Magma Ventures, Vestech Partners, NYFF and WGG. The money will be used to further scale Allseated’s space visualization and collaboration platform and fuel its global expansion. Along with the new funding, the company is spinning out its Meetaverse division; according to a press release, “this includes a brand-new entity with a dedicated mission: to pioneer immersive experiences, such as virtual events and corporate environments, within an emerging market landscape.”
Full-service artist management company and record label Red Music Rising, which is managed entirely by Indigenous individuals, struck an exclusive global distribution deal with Warner Music Canada/ADA Canada. The Red Music Rising roster includes Wolf Saga, Boogey The Beat, Logan Staats and Nimkish.
Grant Avenue Studio, a legendary recording studio based in Hamilton, Ont., that has hosted artists including Gordon Lightfoot, Johnny Cash, U2 and Sarah McLachlan, was sold to music and film industry executives Mike Bruce and Marco Mondano. Bruce is a musician who owns and operates film studios, including Aeon Bayfront Studios in Hamilton, while Mondano owns D.C. Music, a rehearsal, recording and live production studio in Toronto. Grant Avenue Studio was established in 1976 by Daniel Lanois and his brother Bob, who later teamed up with engineer Amy King to helm the studio until the spring of 2023. Under its new ownership, new offerings at the studio will include an artist lounge, a writers’ studio, film and photography location opportunities and artist development programs.
Deezer expanded its partnership with leading Latin e-commerce platform Mercado Libre, becoming the official music streaming partner for the company’s new retail and entertainment subscription program, Meli+, which has been introduced in Mercado Libre’s main markets, Brazil and Mexico. The program includes a full year of music streaming from Deezer, among other elements. Brazilian artist Ana Castela has been appointed as the official Deezer ambassador on Meli+ and will star in joint campaigns and promotion.
Symphony, an artificial intelligence-powered marketing operating system for artists, creators, managers and independent labels, closed a $1 million pre-seed fundraising round from investors including Spice Capital, GoldHouse Ventures, LVRN Records, Guin Records, former Motown Records CEO Ethiopia Habtermariam and artists including 21 Savage and 24kGoldn. The SymphonyOS platform uses artificial intelligence to analyze millions of data points in order to create music marketing strategies for artists and labels. Since its beta launch in April 2022, SymphonyOS has processed over $750,000 worth of advertising budgets.