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Rick Ross has officially brought his Maybach Music Group imprint to Larry Jackson‘s gamma with the release of his and Meek Mill’s latest collaboration, “Shaq & Kobe.” Though the rumor mill had been swirling regarding the nature of Ross’ tie-up with gamma, which was confirmed by Billboard last month, “Shaq & Kobe” signals the first release for the […]
There is consistency in an ever-changing industry — and there is what Rod Wave has been doing over the past three years. This week, his latest album, Nostalgia, debuted at No. 1 on the Billboard 200, making the Florida-based rapper and singer just the second artist to land three new albums at No. 1 on the Billboard 200 in the past three years, joining Taylor Swift. And it wasn’t a near thing — Nostalgia’s debut was Wave’s biggest first week of his career, with 137,000 equivalent album units, according to Luminate.
Being in the company of Swift is an achievement for anyone. But Rod Wave has always done things his way, with minimal press and minimal features on each release and, while he placed all 18 songs off Nostalgia on the Hot 100 this week, he’s had success largely with his complete bodies of work, as none of his Hot 100 chart entries have cracked the top 10 of the chart. It’s a relatively unconventional way to navigate today’s increasingly singles-driven music industry — and it helps earn his manager, co-head of Hit House Entertainment Dereck Lane, the title of Billboard’s Executive of the Week.
Here, Lane talks about the consistency of execution that has helped get them to this point. “Yes, Nostalgia is our standout album,” he says, “But we didn’t change the approach that we take when it comes to the music.”
This week, Rod Wave’s Nostalgia debuted at No. 1 on the Billboard 200. What key decision did you make to help make that happen?
The key to Rod’s success is his team. We’re grass rooted. Yes, Nostalgia is our standout album, but we didn’t change the approach that we take when it comes to the music.
This album also came in with his biggest week yet. How did you approach the rollout of this differently than other projects?
You’re in the industry so I’m sure you know that Rod doesn’t do a lot of album promo. The whole team felt that this album was definitely a special one. With that being said, I pushed him to do as much promo as possible to make sure we got the word out while also continuing to maintain and stay true to himself.
This is his third No. 1 album in the last three years, making him one of just two artists to have a new No. 1 album in each of the past three years, alongside Taylor Swift. How have you worked to build his career over that period to achieve something like that?
I’ve always told Rod from the beginning to maintain his integrity as an artist. As long as you stay true to yourself you’ll build genuine, long-lasting core fans. I feel when artists try to go with the new wave or fad they lose who they really are and, in return, lose fans. This business is all about the fans.
In a music business that’s often very singles-driven, Rod Wave has succeeded most through his albums, which is increasingly rare these days. Why do his albums work so well, and how do you make sure that you maximize their impact?
The key word is substance. Rod writes about life experiences. The good, the bad and the ugly. We aim to make real, timeless music that everyone can resonate with.
How has the music industry changed over the course of your time in the business?
I could take up the next couple hours answering this question. But let me say this: I have people in high places in the industry calling asking me for favors. But like Rod said on “Long Journey”: “Dear God, I thank you for everything you gave to us.”
Last Week’s Top Executive: Sandbox Entertainment’s Leslie Cohea
If it’s Friday that means another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the music industry.
Sony Music UK and Ireland‘s stalwart COO, Nicola Tuer, announced she is stepping down at the end of the month for family reasons. Tuer started her groundbreaking 28-year run at Sony in 1995 in the label’s sales division and rose to senior vp of commercial sales before her elevation to executive vp of the entire imprint in 2011. In 2014, Tuer earned the keys to the C-suite as the label’s first female chief operating officer — making her “one of the most senior women in the UK industry,” boasted Jason Iley, longtime CEO of SMUK&I. As COO, she has overseen the running of the U.K. and Ireland businesses, including frontline, catalog and label services, as well as sales, partnerships and other departments. “Nicola lives and breathes Sony Music,” Iley added. “She has, time and again, gone above and beyond to ensure not only that Sony succeeds, but more importantly, that our artists succeed.”
Tuer has been a near–constant presence on Billboard‘s various lists of influential executives, deservedly so, including this year’s roundup of International Power Players. The dynamic duo of Iley/Tuer were lauded for landing the top-selling single and album of 2022, with Harry Styles’ Harry’s House and his hit “As It Was.” And as head of Sony UK’s commercial group, Tuer got a shout-out for helping Wham!’s “Last Christmas” top the charts for the first time in 38 years.
Beatport promoted Charles Morgan to chief marketing officer. Morgan joined the company in early 2022 as senior vp of strategy. As CMO, Morgan will oversee marketing strategy and execution across Beatport’s suite of companies, which includes the Beatport digital download store, the open-format DJ oriented Beatsource, sample pack provider Loopcloud, software platform Plugin Boutique, label management and demo submission platforms ampsuite and LabelRadar, along with Beatport Media Group. He’ll be based out of the company’s London office and report directly to Beatport Group CEO Robb McDaniels. “Since his arrival at Beatport, Charles has been instrumental in the transformation of our brand and creative teams, playing a pivotal role in repositioning the company’s leading products,” says McDaniels. “His work has been integral to the growth we’ve seen across our various products for DJs, producers and labels.” –Katie Bain
Universal Music Taiwan
Universal Music Greater China brought in William Hsieh as general manager of its Universal Music Taiwan unit, as well as senior vp of UMGC. Based in Taipei and starting immediately, Hsieh reports directly to UMGC chairman and CEO Timothy Xu. Hsieh joins UMG from fitness tech firm Fiture, where he served as vp of content. Prior to that, he was group vp for Space Cycle, a boutique wellness studio chain. He has also held senior positions at Electronic Arts Asia, and earlier in his career took on managerial gigs at EMI Music and Sony Music Greater China. The Taiwan-born, SoCal-raised Hsieh got his education in New York — at Columbia and NYU. Xu pegs Hsieh as being “perfectly positioned to spearhead our business expansion, innovation, and growth for the Taiwan market,” adding the island nation’s “pop music culture holds an indispensable value in the wider Chinese music scene.”
HFA/Rumblefish promoted Lauren Apolito to executive vice president of strategy & business development. She was previously senior vp at the synch licensing company, which is part of SESAC. Apolito joined HFA (The Harry Fox Agency) way back in 2001 and stayed on board when the venerable rights management agency was scooped up by SESAC in 2015. The company said that in the last year alone, Apolito’s efforts have “fueled revenue growth, client diversification, licensing opportunities and a new service offering” at Rumblefish. Apolito, a 2019 digital power player, has also focused on simplifying direct licensing deals between publishers and distributors. “She operates at the intersection of music, data and technology and has leveraged seismic industry changes into new revenue opportunities and streamlined administration for both rightsholders and music distributors,” glowed HFA/Rumblefish president Michael Simon. “We’re thrilled to expand her role with this well-deserved promotion.” Reach her at lapolito@rumblefish.com.
Big Machine Music has promoted Michelle Attardi to the role of senior director, publishing. Since joining Big Machine Music (a division of HYBE America) seven years ago, Attardi has been central in the signing of songwriters Daniel Ross, Matt Roy, Troy Cartwright and Geoff Warburton to the BMM roster, and has secured cuts with Jon Pardi, Lady A, Jason Aldean, Jake Owen and Mitchell Tenpenny, among others. –Jessica Nicholson
Oak View Group appointed Kristina Heney as executive vp of marketing, media & conferences. As evp of mmc, Heney will handle all marketing and communications for OVG and oversee its media and conferences division — which includes the Pollstar and VenuesNow media brands. She joins the OVG family following a five-year stint at Cirque du Soleil and before that, a 15-year tenure at MSG. Before that, she worked in merchandising at the NBA. “With her deep understanding of the live events and experiential industry, we are confident Kristina can continue our substantial growth momentum while transforming the OVG brand story and our Media and Conferences Division to support OVG and our growth vision,” said president of biz dev Francesca Bodie, to whom she’ll report along with OVG360 president Chris Granger.
SGPS/ShowRig elevated live industry veteran Ned Collett to president of the Las Vegas-based production company. Collett joined SGPS/ShowRig in 2022 following the passing of founder Eric Pearce. As president, he’ll oversee and direct all activities for the company’s global operations, which now includes its first European office, located in Utrecht, Netherlands. Collett was previously Midwest president of LiveStyle, and has also held roles at Oak View Group, Live Nation Entertainment and Base Entertainment, among others. “I am proud to continue Eric Pearce’s guiding principles of always demonstrating boundless creativity and providing exceptional client service,” Collett said. “I am honored to be the person charged with incorporating that philosophy while simultaneously bringing the company forward with new technologies, partners, European expansion, and domestic growth.”
Feed.fm, the business-to-business music streaming platform, hired Ryan Morris as its new director of engineering. At Feed.fm, Morris will lead expansion efforts as the company works to meet demand for a scalable, effective platform for providing music for businesses. Morris was most recently director of software engineering at Slack, which experienced massive growth during his six-year tenure as more businesses turned to remote work. Prior to Slack, Morris was an engineering manager at Pandora. “Ryan’s part of a new breed of technologist in the B2B music space who has a unique mix of high growth tech platform leadership experience alongside a deep understanding of the music industry,” said Jeff Yasuda, CEO of Feed Media Group. “His addition will strengthen Feed.fm’s position to become the leader in a new category of turnkey music solutions for the world’s top brands.”
Entertainment lawyer Zachary Bohlender officially launched Charta, a new company with a mission to modernize and automate the logjam-prone process of getting clearance agreements done quickly so that, ultimately, artists can release music faster. Bohlender’s platform, cofounded with Arash Rashidi, an engineer with a background in AI, aims to distill producer and side-artist agreements to a few key provisions that can be quickly negotiated and then slotted into standardized contracts. “There’s no single bigger pain point in the industry than clearance agreements,” Bohlender said. Charta investors and advisors include Che Pope, Matt Colon, Aloe Blacc, Boys Noize and Milana Lewis of Stem, who calls it “an incredibly powerful tool towards building a better future where artists can be paid more expediently and accurately.”
ASM Global‘s new vice president of live entertainment is Alex Bowen, a familiar player in Louisiana’s entertainment industry. In his new job, Bowen will oversee content and bookings for ASM venues in New Orleans, including the Caesars Superdome and Smoothie King Center, along with the new Thunder Ridge Nature Arena in Missouri’s Ozark region. He’ll also handle bookings for venues across the Southeast U.S. region. Bowen arrives from Live Nation, where he was a senior talent buyer in multiple markets.
Round, the creative digital agency with a client list that includes the Big Three labels and a slew of festivals and events companies, promoted Simon Friend to chief operating officer and Ray Uscata to managing director of North and South America. “The importance and power of digital marketing is growing exponentially and is now an integral part of the way in which consumer facing brands engage with their audiences; but it is a competitive marketplace that demands specialist expertise and tools to achieve cut through,” said Round CEO Aaron Sayer.
Last Week’s Turntable: Blue Raincoat Founder in Transition
Lizzo has lodged her first legal response to the lawsuit brought by three of her former dancers in August.
In what amounts to a 31-point rebuttal against claims that the dancers were subjected to sexual harassment and a hostile work environment while on tour with the singer, Lizzo and her Big Grrrl Big Touring company are requesting that the court dismiss the case with prejudice (meaning it cannot be refiled). In the event the court declines to dismiss it, the defendants are requesting a jury trial.
In the original complaint, filed Aug. 1 in Los Angeles court, dancers Arianna Davis, Crystal Williams and Noelle Rodriguez accused Lizzo (real name Melissa Jefferson) and Big Grrrl Big Touring of several allegations. Among them: that Lizzo pressured dancers to attend a sex show in Amsterdam and interact with the nude performers; that dance team captain Shirlene Quigley repeatedly engaged in behavior that made them feel uncomfortable; that Lizzo “called attention” to a dancer’s weight gain following a performance; that employees of the touring company singled out Black dancers by accusing them of “being lazy, unprofessional and having bad attitudes”; and that Lizzo denied dancers bathroom breaks during an “excruciating re-audition” process.
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The new document — filed Wednesday by Lizzo’s lawyers, Martin Singer, Michael Weinsten and Melissa Lerner — offers more than 30 wide-ranging defenses to the dancers’ complaint. They include:
That the plaintiffs “ratified, acquiesced, condoned, and/or approved of the acts or omissions of Defendants, in whole or in part, about which Plaintiffs now complain”;
That the defendants’ alleged conduct “was undertaken in good faith and with good cause” and “undertaken for legitimate reasons reasonably related to one or more lawful business purposes”;
That the plaintiffs are “guilty of unclean hands,” which in legal terms means they have done something unethical and should therefore be denied relief;
That the plaintiffs should be barred from pursuing the case based on the doctrine of estoppel, meaning they have acted unfairly or made false representations in bringing the lawsuit;
That the plaintiffs failed to “mediate in good faith pursuant” to their contract terms with Big Grrrl Big Touring and are subject to arbitration under those terms;
That the claims are preempted by California’s Workers’ Compensation Act and should therefore be decided by the workers’ compensation appeals board as opposed to the court;
That if the plaintiffs were harmed as alleged, the plaintiffs and/or others who are not listed as defendants “contributed, in whole or in part,” to that harm;
That the defendants’ alleged actions arose from the exercise of their rights of free speech and/or religion;
That plaintiffs failed to “avail themselves” of internal anti-discrimination and anti-harassment policies and complaint procedures while employed on the tour;
That plaintiffs’ claims regarding discrimination or retaliation should be barred because any employment decisions were made “for legitimate, non-discriminatory, non-pretextual reasons and Defendants acted out of business necessity”;
That the plaintiffs “have failed to plead and cannot establish facts sufficient to support allegations of malice, oppression or fraud”;
That defendants are not liable for punitive damages because they did not “engage in wrongful conduct,” “authorize or ratify any wrongful conduct,” or “have advance knowledge of the unfitness of any employee and employ that employee with a conscious disregard of the rights and safety of others.”
“This is the first step of a legal process in which Lizzo and her team will demonstrate that they have always practiced what they’ve preached — whether it comes to promoting body positivity, leading a safe and supportive workplace or protecting individuals from any kind of harassment,” said Lizzo spokesperson Stefan Friedman in a statement. “Any and all claims to the contrary are ridiculous, and we look forward to proving so in a court of law.”
In response to the new filing, the dancers’ attorney, Neama Rahmani, released the following statement: “Lizzo’s answer merely consists of boilerplate objections that have nothing to do with the case. That said, the key takeaway is that Lizzo is agreeing to our clients’ demand for a jury trial. We look forward to presenting our case in court and letting a panel of her peers decide who is telling the truth, Lizzo and her team who continue to shame the victims or the plaintiffs and so many others who have come forward sharing similar stories of abuse and harassment.”
Though this is Lizzo’s first legal response to the lawsuit, the singer categorically denied the dancers’ claims two days after it was filed, stating on social media that the allegations were as “unbelievable as they sound and too outrageous to not be addressed.”
“These sensationalized stories are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional,” she added. Later that day, the dancers appeared on CNN This Morning to rehash their allegations and called Lizzo’s statement “disheartening” and “incredibly frustrating.”
Two weeks later, Lizzo’s Big Grrrls dance team released a statement in support of the singer, saying they “had the time of our lives” on the tour and continuing, “The commitment to character and culture taking precedence over every movement and moment has been one of the Greatest lessons and Blessings that we could possibly could ask for.”
The Aug. 1 lawsuit is the first of two that have been brought against Lizzo. Earlier this month, the singer — along with her wardrobe manager Amanda Nomura, tour manager Carlina Gugliotta and Big Grrrl Big Touring — were sued by clothing designer Asha Daniels, who alleged sexual and racial harassment, disability discrimination, assault, illegal retaliatory termination and more while working on Lizzo’s Special tour.
The second lawsuit dropped the same day Lizzo was due to receive the Black Music Action Coalition’s Quincy Jones Humanitarian Award at the organization’s 2023 gala.
While accepting the honor that evening, Lizzo — who was introduced by cast members from her Emmy-winning reality show, Watch Out For the Big Grrrls — gave an emotional speech in which she said, “I’m going to continue to be who I am, no matter who’s watching. I’m going to continue to amplify the voices of marginalized people because I have a microphone and I know how to use it. And I’m going to continue to put on, represent and create safe spaces for Black fat women because that’s what the f— I do!”
She continued, “This support right now means the world to me.”
Hipgnosis Songs Fund has set a date of Oct. 26 for its shareholders to vote on the proposed sale of some 29 song catalogs and a separate vote on whether to keep the fund going under founder Merck Mercuriadis‘ advisory, the company said on Thursday (Sept. 29).
Earlier this month, Hipgnosis announced its plans to sell a package of assets that includes rights to songs performed by Shakira, Barry Manilow, Rick James and others to its sister fund — the privately held Blackstone-backed entity, Hipgnosis Songs Capital — for $440 million.
Hipgnosis Songs Fund — or SONG, as it’s abbreviated on the London Stock Exchange — has struggled with a sagging share price that values the company at a discount to its assets’ worth. The Oct. 26 shareholder vote represents a key milestone in the young company’s five-year lifespan.
In its statement on Thursday, Hipgnosis Songs Fund’s board said it’s in talks with third parties to consider outside bids for the package of assets, with those discussions set to resolve by Oct. 23. The board previously said it would use proceeds of any asset sales to buy back up to $180 million of the company’s stock and pay down its revolving debt balance, two measures aimed at achieving a “re-rating of the share price.”
If a majority of shareholders vote “yes” on the company’s continuation vote, the board has committed to holding the next continuation vote in January 2026, followed by a third in 2028.
The board also said that if the discount between Hipgnosis Songs Fund’s share price and operative net asset value reaches 10% or more on average over the month of January 2025, it will terminate its investment advisory agreement with Mercuriadis’ Hipgnosis Song Management. The agreement with the founder as an investment advisor will be “terminable by the company on 12 months’ notice,” according to the statement.
The board added that chair Andrew Sutch will retire as a director before the next annual meeting in 2024, and that Andrew Wilkinson will retire from his director role by the end of this year. Cindy Rampersaud will take Wilkinson’s place after he retires. The departures mean Hipgnosis Songs Fund will have five directors in the future.
In a vote of support for retaining Mercuriadis’ Hipgnosis Song Management as SONG’s investment adviser, the board said its approach had led to a 44% total return on the 29 music catalogs that Hipgnosis Songs Fund proposes to sell to its private sister fund since the initial dates of purchase.
“The board and the investment adviser firmly believe that the company has a unique portfolio of iconic, culturally significant songs that will deliver strong long-term value as they benefit from the structural tailwinds in the music industry,” according to the statement. “Furthermore, the board believes that the investment adviser’s approach to song management should enable the company to outperform the wider music market.”
Since LiveOne announced plans to acquire Kast Media in May, CEO Rob Ellin has not budged on his offer to compensate the podcasters to whom Kast owes millions of dollars. Ellin’s best offer: one-third of the money Kast Media owes them in cash, one-third of what they are owed in promissory notes to be paid over two years and one-third of what they are owed in stock from LiveOne subsidiary PodcastOne. In exchange, the podcasters must sign a multi-year agreement with PodcastOne and agree to reduce their cut of ad sales from 80% to as low as 60%.
“We’ve spoken to every podcaster. We’ve offered really fair deals — equity in our IPO to help them,” Ellin told Podcast Business Journal on Aug. 11. (Technically PodcastOne wasn’t actually going public via IPO, but making its shares available through a direct listing on the NASDAQ.) Podcasters had a tough choice ahead, Ellin explained — dig in their heels or take the settlement offer. “No other platform is going to pay them for the past,” he said. “They’re only going to work with them in the future.”
PodcastOne and its parent company LiveOne were, however, willing to pay at least one podcaster what Kast owes them in full — even if it meant taking out a high interest loan. Records obtained by Billboard show that in early August, LiveOne borrowed $1.7 million from CapChase, an online bank based in Madrid. That money, Billboard confirmed, was borrowed to pay UFC fighter-turned-podcaster Brendan Schaub what he was owed by Kast Media, the Los Angeles-based podcast company launched in 2016 by founder and CEO Colin Thomson. Kast Media, like PodcastOne, is a podcast network that provides a variety of services to podcast creators like production assistance, show distribution and, most commonly, advertising sales. Among its top shows are Logan Paul’s Impaulsive and Theo Von’s This Past Weekend.
In February, Schaub and other podcasters noticed that Kast’s payments on advertising money were becoming irregular, before falling off all together by the end of the month. By August, Kast Media owed Schaub, an accomplished podcaster with three successful shows – the Golden Hour, The Fighter and the Kid and the Brendan Schaub show – a whopping $1.6 million in unpaid revenue. A month later, Schaub and his co-host Bryan Callen announced on the Fighter and the Kid podcast that they were leaving Kast Media and joining PodcastOne.
“Brendan spoke to a number of agencies, and the company that gave us the best deal when we were out this money was a company called PodcastOne,” Callen said at the time. “PodcastOne has been the agents of a lot of people we know, and they have been very happy with them.”
A rep for Schaub declined to comment for this story. LiveOne did not respond to requests for comment.
After announcing LiveOne’s plans to acquire Kast Media in May, Ellin revealed that the deal would only close if 70% of Kast’s podcasters would join LiveOne under the proposed settlement terms. To date, PodcastOne has not announced the closing of the Kast Media acquisition. On Sept. 8, the day PodcastOne was listed on the NASDAQ, LiveOne released a statement increasing its revenue and earnings guidance for the year that included Kast Media’s revenue and adjusted earnings and assumed “the previously announced Kast Media” acquisition “would have taken place at the start of the fiscal year,” which is April 1, 2024. On Wednesday (Sept. 27), LiveOne issued a press release saying that it “reiterates” its previous revenue guidance.
That reiteration has not helped the company’s share price. In July, ValueScope, a third-party valuation firm hired by parent company LiveOne, valued PodcastOne between $230 million and $275 million, which came out to $8 to $12 per share, a valuation Ellin had hyped to podcasters considering joining PodcastOne.
That estimate ended up being overly optimistic — PodcastOne’s share price immediately dropped 46% after being listed on the NASDAQ and has since tumbled even further. Three weeks after being listed on the NASDAQ, the stock closed Tuesday at $1.91 per share with a $45 million market capitalization, a drop of more than 80% after less than three weeks of trading.
“I hope this serves as a wakeup call for creators, because long-term, they’re much better off doing everything themselves – they don’t need these big podcast networks,” says Bryan Last, president of Arcadian Vanguard and the on-air co-host of The Jim Cornette Experience and Jim Cornette’s Drive-Thru. While Arcadian Vanguard produces each episode, it started contracting its advertising sales to Kast Media in 2018, in 2023 it brought sales back inhouse.
“Any service a network offers, most podcasters can do themselves,” he tells Billboard. “When their model puts an entire community of creators at risk, there’s obviously something wrong with the model.”
Epic Games has sold Bandcamp to Songtradr, an online music licensing marketplace. News of the sale arrives as the Fortnite developer also announced plans to eliminate 16% of its workforce — around 830 jobs — and to spin off its SuperAwesome services division, according to a memo on Epic Games’ website.
“We’ve been spending way more money than we earn…We’re cutting costs without breaking development or our core lines of businesses so we can continue to focus on our ambitious plans,” explained Epic Games CEO Tim Sweeney in the memo.
Epic Games acquired the independent music platform for an undisclosed sum in March 2022. Though the purchase initially shocked the music business, several music executives explained to Billboard right after the sale that the motive behind buying Bandcamp might be to improve Epic’s relations with musicians or ease synch licensing. According to Epic Games at the time of the sale, “Bandcamp will play an important role in Epic’s vision to build out a creator marketplace ecosystem for content, technology, games, art, music and more.”
In the company’s latest memo, it continued to stress its desire to build itself into a wide-reaching “ecosystem for creators” but added that it needed to reach profitability.
In the past few years, Songtradr has been active in acquiring new businesses to expand its reach. In March 2023, it purchased B2B music company 7digital for a reported $23.4 million. It also recently acquired AI metadata and music search platform MusicCube in 2022, Massive Music and Song Zu in 2021, and Big Sync Music in 2019. Other companies in its expanding portfolio include Tunefind and Pretzel; it also invested $1 million in music credits database Jaxsta.
Bandcamp’s new owner says it will continue to operate the platform as a marketplace and music community with an artist-first revenue share, while the acquisition will enable it to expand its capabilities to support the artist community. In addition, Songtradr will now offer all Bandcamp artists the ability to have their music licensed to all forms of media, including content creators, game and app developers, and brands.
In a press release announcing the acquisition, Songtradr added that Epic Games is “exploring ways” to allow Bandcamp artists to opt-in to have their music licensed for use in Epic’s gaming and metaverse ecosystem via a partnership with Songtradr. Epic will continue to collaborate with Bandcamp on Fortnite Radio and “is investing in Songtradr to support Bandcamp’s successful integration into” the company, according to the Songtradr release.
“The acquisition of Bandcamp will help Songtradr continue to grow its suite of services for artists,” said Songtradr CEO Paul Wiltshire in a statement. “I’m a passionate musician myself, and artistry and creativity have always been at the heart of Songtradr. Bandcamp will join a team of music industry veterans and artists who have deep expertise in music licensing, composition, rights management, and distribution.”
“Songtradr shares Epic and Bandcamp’s values around ensuring artists are fairly compensated for their work,” added Epic Games vp/GM, store Steve Allison. “Bringing Bandcamp to Songtradr will make it easier for independent artists to connect with creators and developers looking to license their music and enable Epic to focus on its core metaverse, games, and tools efforts.”
YouTube recently launched an AI Music incubator with artists and producers from Universal Music Group. The purpose of the group, according to Universal CEO Lucian Grainge, is to explore, experiment, and offer feedback on the AI-related musician tools and products the Google team is researching — with the hope that more artists will benefit from YouTube’s creative suite.
This partnership demonstrates the clear desire to involve the industry in the development stages of AI products and protect the human component of artistry. This desire is heightened in the face of deep fakes. Just last month, Google launched its Synth ID watermark meant to spot AI-generated images (Google DeepMind CEO Denis Hassabis cited the importance of deepfake detection ahead of a contentious election season). “Heart on My Sleeve,” the song created with AI-generated voices of fake Drake and The Weeknd kicked off the music industry’s scramble to shut down and stamp out any unauthorized use of artists’ voices. Most importantly, though, the viral track proved that AI voice models are here and only improving with each passing day.
As artists, labels, and other rights holders have grown more concerned about AI models learning and profiting from their copyrighted material, fans and creators have discovered new ways to engage with their favorite artists and imagine completely new musical works using their AI voice models. This is prompting other industry executives (myself included) to wonder how these models can continue to be used to explore this new creative frontier of music while protecting artists.
With all of this in mind, the industry needs to mull over a few philosophical questions and consider the distinction between voice cloning and voice synthesis. A singer is much more than timbre, the primary quality that voice models modify in a voice. AI voices are not the same as samples, where the whole vocal element is based on an underlying artist’s full performance which would include pitch, emotion, timbre, accent, tone, etc.
Regardless, AI innovations will only reach their maximum potential if the industry faces one foundational issue: artists and their labels need to control the ways in which their image, likeness and voice are used. Whether the industry decides to embrace these innovations or limit AI-powered cloning entirely, the next step begins with synthetic voice detection. Is the artist singing on any given track fake or the real deal?
In the early 2000s, music companies found themselves losing control of their content to the digitalization of music. The industry’s initial impulse to crush file-sharing networks like Napster led to the launch of Apple’s iTunes store in 2003 and, eventually, legal streaming. Other digital rights management tools, like ContentID on YouTube, were developed to detect unauthorized use of music. Once the industry learned to embrace digital music and formed a foundational infrastructure to support it, streaming revenues soared — breaking the $10 billion mark for the first time in 2022 and making up 84% of the industry’s total revenue, according to the RIAA.
The industry needs synthetic voice detection, but with 120,000 new tracks uploaded to streaming platforms daily (according to Luminate) on top of the already existing back catalogs, can it be done accurately and at scale? The short answer: yes.
As the industry begins to embrace the responsible use of AI for synthetic voice creation, I strongly believe there should be a corresponding willingness for artists and labels to collaborate in that training process. It’s in their best interests to do this now. AI applications are already scaling in a variety of categories. Well-engineered models are becoming exponentially more efficient and can increasingly manage massive computing tasks. Combined with strategic operational approaches, this is achievable today.
To honor each artist’s decision whether or not to participate in voice models, the industry needs an easy and accessible way for artists to build their own voice models and grant fans and creators permission to use it. This type of initiative paired with synthetic voice detection ensures that only the voices and works of those who want to be involved in voice cloning and other derivative AI tools are used. Artists who want to create their own voice models can work with voice synthesis platforms to establish the terms of where and how their voice model can be used–offering more control and even opportunities for monetization.
Geraldo Ramos is the co-founder and CEO of Moises, the AI-driven music platform that is transforming the way artists and businesses incorporate AI technology into their workflows.
Warner Chappell Music recently wrapped a Las Vegas-based songwriting camp, featuring 300 songwriters, artists and producers from around the world. The annual event was held in partnership with YouTube Music, Warner Records, Atlantic Records, and RCA Records, along with other label sponsors and included artists like Chlöe, Bebe Rexha, Yng Lvcus, P2J, The Proof, Lydia Night, Murda Beatz, Tay Keith, Amy Allen, Ian Kirkpatrick, Nova Wav, Benson Boone, and Leigh-Anne Pinnock.
Primary Wave Music has acquired the publishing and writer’s share of P.F. Sloan‘s catalog, as well as the late-singer’s master royalty income. Sloan wrote, performed, and produced for artists across all genres of music — from Barry McGuire to Herman’s Hermits to the Mamas and the Papas. Hits like “Eve of Destruction,” “A Must To Avoid,” “Secret Agent Man,” and “You Baby” were included in the deal.
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Primary Wave Music has acquired a stake in the works of singer-songwriter Eddie Rabbitt. With a dozen #1 country hits, including “I Love A Rainy Night” and “Drivin’ My Life Away” Primary Wave’s vp of business & legal affairs, Lexi Todd, says the Grammy-nominated talent “left a lasting impression in the country music community and beyond.”
Multimedia Music has acquired STX‘s music library. Called Millennium Media, the collection includes titles like The Hitman’s Bodyguard,” “London Has Fallen,” “Angel Has Fallen,” “Hitman Wife’s Bodyguard,” “Hellboy,” “The Outpost,” “Mechanic: Resurrection,” “Rambo: Last Blood,” “Blackbird,” and “The Expendables 4,” and more.
Position Music has signed BRIT-nominated producer and songwriter Joe Kearns to a worldwide publishing deal. A consistent collaborator of Ellie Goulding and cuts with Lukas Graham, Henry Moodie, Zara Larsson, IVE, Seeb, and MONSTA X, Kearns says he’s “very excited to get to work and make lots of records” with Position.
MusicBird has acquired the catalog of Greek-Swedish songwriter and producer Alexander “Alex P” Papaconstantinou. Included in the deal are Alex’s writer and publisher’s share of songs like “I Like How It Feels” by Enrique Iglesias, “C’est La Vie” by Khaled, “Live It Up” by Jennifer Lopez, “Boys Will Be Boys” by Paulina Rubio, and “Whip It” by Nicki Minaj.
Joie Manda’s Platinum Grammy Publishing has forged a new partnership with Photo Finish Publishing. Though Photo Finish, which is best known as a record label, has had previous publishing ventures with Warner Chappell and UMPG that were coterminous with their respective label deals, Atlantic and UMG, together with Manda Photo Finish Publishing is launching anew. Under the deal, Photo Finish with sign songwriters and producers and are “thrilled to be working with artists, writers, producers from a different perspective, other than the label.”
Warner Chappell Music, The Core Entertainment and Bailey Zimmerman have signed Dipper to a global publishing deal. A rising country singer-songwriter, Zimmerman calls Dipper a “raw talent” that he is “psyched” to work with.
Concord Music Publishing has signed country artist Clayton Mullen to an exclusive worldwide publishing agreement, including his full catalog and future works.
On Tuesday (Sept. 26), singer-songwriter Rick Astley settled the vocal impersonation lawsuit he filed in January against meme rapper Yung Gravy and his collaborators for an undisclosed sum.
Filed in Los Angeles court, the lawsuit had claimed that while Yung Gravy and his collaborators secured rights to re-record the melody and lyrics of his 1987 hit “Never Gonna Give You Up” for their track “Betty (Get Money),” they “flagrantly impersonated” Astley’s distinctive vocals from the original track, thereby infringing his so-called right of publicity. “Betty (Get Money)” peaked at No. 39 on the Billboard Hot 100 and No. 9 on Billboard‘s Hot Rap Songs chart.
Rights of publicity laws, which vary state by state, protect public figures from the commercial exploitation of their names, voices and likenesses without their authorization. Astley argued that by mimicking Astley’s voice in a “nearly indistinguishable” way, Gravy’s team “obliterated” Astley’s chance to “collaborate with another artist and/or producer to create something new with his voice from ‘Never Gonna Give You Up’” and take advantage of other commercial opportunities.
The lawsuit arrived just as emerging artificial intelligence (AI) tools had sparked new conversations around right of publicity protections for artists. The debate hit a fever pitch in April when an anonymous TikTok creator named Ghostwriter made headlines with his song “Heart On My Sleeve,” which employed an AI voice filter to deepfake the voices of Drake and The Weeknd without their knowledge or consent. Since then, some leaders, including Universal Music Group’s general counsel/executive vp of business and legal affairs, Jeffery Harleston, have called for a federalized right of publicity to protect artists against the seemingly growing issue.
Notably, Gravy’s song did not employ AI to mimic Astley’s trademark tone. Instead, “Betty (Get Money)” producer Nick “PopNick” Seeley recreated Astley’s voice the old-fashioned way: through trial and error in the studio. In a previous interview with Billboard, Seeley said he has “a knack for vintage stuff” and has also helped recreate older recordings for other songs, including “I Like It” by Cardi B and “Dirty Iyanna” by YoungBoy Never Broke Again.
In a previous interview with Billboard, producer Marc “Fresh2Def” Soto — half of the duo ClickNPress –said it’s common for producers to be asked to recreate older songs as closely as possible. “A record label will be like, ‘Hey we can’t get the clearance for the sample, but we can get an interpolation, would you be able to replay XYZ thing?’ I’ve been through that on several records with different labels,” Soto says. However, most of these so-called “replays” of old songs don’t end up being quite as exact as the one in Astley’s case.
Astley was represented by attorney Richard S. Busch, the same lawyer who represented Marvin Gaye’s family in the controversial “Blurred Lines” trial. Gravy and the other defendants were represented by attorney Michael J. Niborski.
Busch and Niborski did not immediately respond to Billboard’s requests for comment.