Business
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As Spotify continues in its quest to remain top dog among streaming music brands, the business adds 11 new languages and dialects to its mobile app — bringing the total number of languages on its platform to 74.
With immediate effect, Spotify’s mobile app now also supports Spanish (Argentina and Mexico), traditional Chinese (Hong Kong), Arabic (Egypt, Saudi Arabia and Morocco), Basque, Bosnian, English (U.K.), Galician and Macedonian.
The latest rollout follows Spotify’s initial launch with 27 languages, and a second major expansion in March 2021 with 36 languages.
“This expansion will unlock an even more personal experience for our users,” reads a corporate statement, “giving them the ability to access Spotify in their native or local tongue.”
And the “more people who can use Spotify,” the message continues, “the more connections we can foster between creators and their audiences.”
Spotify already connects hundreds of millions of music fans with its catalog.
The Sweden-originated tech company ended 2022 with 205 million subscribers, up 5% from 195 million in Q3, with 295 million ad-supported listeners, up 8% from 273 million in the previous quarter.
Annual revenue for 2022 came in at 11.7 billion euros ($12.4 billion), up 21% from the previous year.
During an earning call with investors late January, CEO Daniel Ek admitted some shortcomings in the company’s strategy, and admitted that matters would “change” with regards to investment in podcasting and its recent “tightening” of spending.
“In hindsight I probably got a little carried away and over invested relative to the uncertainty we saw shaping up in the market,” he explained. “So we are shifting to tightening our spend and becoming more efficient.”
Click here to see all the languages supported by Spotify and head here to change your Spotify language settings.
Three NYPD detectives are facing criminal charges over allegations that they stole nearly $3,000 worth of Jay-Z’s Ace of Spades brand champagne from the VIP area during last year’s Electric Zoo festival.
Manhattan District Attorney Alvin Bragg announced Monday (May 15) that Jonathan Gonzalez, 33, and Wojciech Czech, 44, would each face a charge of grand larceny in the fourth degree and a charge of criminal possession of stolen property in the fourth degree — both felonies — over the September 2022 incident at the yearly electronic music festival.
Gonzalez and another detective, Warren Golden, 31, were also charged with official misconduct, Bragg’s office said.
“In addition to the alleged theft that occurred, none of the Officers working at the event stepped up and stopped this activity,” Bragg said in a statement announcing the charges. “Public confidence in the criminal justice system depends on members of law enforcement acting with the utmost integrity while on duty and following the same rules that apply to everyone else.”
In a statement, the NYPD told Billboard: “As a result of the continuing joint investigation with the Internal Affairs Bureau and the Manhattan District Attorney’s Office, two NYPD officers were arrested and subsequently suspended from duty today. The NYPD will continue to pursue the facts in this investigation and initiate further discipline where appropriate.” It’s unclear which two detectives have been arrested.
Gonzalez, Czech and Golden could not immediately be located for comment, nor could representatives for the officers.
According to prosecutors, all three detectives were working narcotics at the festival when they noticed that several VIP attendees had ordered bottles of Armand de Brignac — a pricey brand of champagne co-owned by Jay-Z that’s better known as “Ace of Spades” because of a giant spade on the bottle.
When the concertgoers stepped away, prosecutors say Gonzalez took two unopened bottles — valued at a whopping $2,900 total — and grabbed a backpack. Czech then allegedly handed him the bottles to place into the bag, while Golden allegedly stood by and did nothing.
Prosecutors say that when the trio left the VIP tent and forced their way into a staff-only area, they were pursued and confronted by two attendees who saw the theft and reported it to a security guard.
“Following a brief interaction between the attendees, the defendants, and the security officer, the two bottles were taken from defendant Gonzalez’s bag and returned to the attendees,” the official charging document reads. “The three defendants then left the area and returned to their command. The security officer notified his supervisors, who in turn notified the NYPD.”
It’s unclear exactly what kind of sentences the three could be facing if they’re convicted. Fourth-degree grand larceny and possession of stolen property charges can result in as much as four years in prison under New York law. But criminal sentences can widely vary based on many factors, including potential cooperation by defendants, and could potentially only include probation and fines.
The Black Music Action Coalition (BMAC) unveiled a tepid assessment of the music industry’s progress toward addressing historical racism and inequity on Monday (May 15). The organization expressed particular concern about Universal Music Group’s commitment to the cause and the live music sector’s lack of “attent[ion] to Black professionals.”
The BMAC established its “Music Industry Action Report Card” in 2020 “to keep tabs on the promises music companies made in the wake of The Show Must Be Paused” — noting that real progress is unlikely without some type of accountability mechanism. The latest edition of the report, authored by Naima Cochrane, concludes that the music business outlook was “not negative.”
“Why that phrasing?” the report asks. “Because it’s not ‘all good,’ either.”
The report notes that “for the most part, companies that outlined measurable goals and plans in 2020 and 2021 have either continued in forward progression or at least held the line.” But BMAC points out that “there is a history of music companies… being called out for unfair, unjust, or otherwise imbalanced practices.” In the past, when “public pressure rescinds… things revert to how they were before, if not worse.” The report wonders: Is history set to repeat itself?
The BMAC report assesses each music company’s commitment to a more diverse industry according to four criteria: Corporate commitments, partnerships and giving; company representation on a senior level; internal culture and business practices; and transparency and public accountability.
The BMAC praises Sony Music (which earned grades of A, B, B and B+ in the four categories, respectively) and Warner Music Group (A, B, B, B) for “sharing more info about the makeup of their staff by gender, age, and race/ethnicity.” But the report expressed “concern” about Universal Music Group (B-, B+, C+, C), the biggest of the major-label groups.
While the report notes that UMG’s “Taskforce for Meaningful Change was a strong presence in the conversation around justice and change” in 2020 and 2021, the BMAC states that “the group’s presence and visibility felt significantly diminished in 2022.” Why the sudden change? Firstly, the report questions the sudden departure of Ethiopia Habtemariam, “a significant leader,” who unexpectedly left Motown in November.
The BMAC also calls out Capitol Music Group’s “massive cultural blunder” and “especially egregious misstep” with the virtual rapper FN Meka, who was widely viewed as perpetuating racist stereotypes and subsequently dropped from the label’s roster. (“We offer our deepest apologies to the Black community for our insensitivity in signing this project without asking enough questions about equity and the creative process behind it,” Capitol said in a statement at the time.) “The project was a perfect illustration of how music companies have historically commodified a distilled or skewed version of Black culture without including Black decision-makers and/or voices in the process,” the BMAC writes.
In addition to evaluating the major label groups, the BMAC scrutinized the Recording Academy (B, B+, B, B) — which it praises for working “to increase diversity in the voting membership and remove the more opaque aspects of Grammy voting” — and streaming services: “Amazon Music stood out this year for its visible representation among senior staff and its partnerships.” The BMAC also notes approvingly that Spotify has been “diligent in the execution of [its] BLK 5-Star Strategy for diversity, inclusion, and combating inequity.”
In the live music business, where “Black people were systematically shut out for decades,” the BMAC observed that “the impact of that exclusion still reverberates both in offices and on tours.” Promoting diversity “needs to be as much of a concentrated focus at [live music] companies as it is on the record music side,” the BMAC argued. The talent agencies UTA, CAA and WME/Endeavor were all given grades of “needs improvement,” as was AEG Presents. Wasserman and Live Nation were deemed “satisfactory.”
Finally, the BMAC turned its attention to radio, which continues to adhere to “genre lines” that limit the “visibility and opportunity for both our Black artists and Black executives,” according to the report. “The media conglomerates that control the majority of the pop and urban airwaves still have an enormous impact on artist success but also still operate on often arbitrary and outdated music standards,” it continues. BMAC added that “radio is on watch.”
The latest Music Industry Action Report Card acknowledged that “racism, a 400+ year-old disease, will not be cured in 24 months.” “However,” it continues, BMAC hopes that “through music’s reach, power, and influence, the industry can set a new standard of inclusion, diversity, and equity.”
A civil lawsuit filed in Tennessee federal court — first reported by Variety and independently obtained by Billboard — on May 11, 2023, accused Jimmie Allen of sexual assault. A Jane Doe, who was a day-to-day manager at Allen’s former management company Wide Open Music, alleged that the country singer had “harassed” and “sexually abused her” over 18 months from 2020 to 2022, and that she was fired after she complained.
“Plaintiff expressed in words and actions that Jimmie Allen’s conduct was unwelcome, including pushing him away, sitting where he could not reach her, telling him she was uncomfortable and no, and crying uncontrollably,” her attorneys stated in the complaint. “However, Allen made clear that plaintiff’s job was dependent on her staying silent about his conduct.”
Allen responded to the allegations in a statement shared with Billboard, admitting to a sexual relationship with his accuser, but denied all allegations of wrongdoing. “I’ve worked incredibly hard to build my career, and I intend to mount a vigorous defense to her claims and take all other legal action necessary to protect my reputation,” he said.
The complaint also names management firm Wide Open Music and founder Ash Bowers as defendants, claiming they did not do enough to protect their employee from Allen’s alleged abusive behavior. The lawsuit alleges that after she revealed she had been “raped and sexually abused” by Allen, Wide Open Music and Bowers fired her in retaliation.
In his own statement sent to Billboard, Bowers strongly denied Jane Doe’s assertion that her position was terminated in retaliation. He said that Wide Open Music learned of Allen’s abuse on Oct. 4, 2022, and “immediately ended our professional relationship” at that point, and that “any assertion she ever raised the existence of a sexual or physical relationship” with the country singer before then “is patently and objectively false.”
Since the allegations against Allen surfaced in the lawsuit, he has been suspended by his label, dropped from a performance slot at CMA Fest and more. See the timeline of the fallout since the lawsuit was filed against him.
May 11: Jane Doe Files Civil Lawsuit Against Allen
Artist management company WHY&HOW has merged with Red Light Management, effective immediately.
WHY&HOW CEO/founder Bruce Kalmick launched the company in 2020 after more than a decade in the music industry. The firm, which will keep its own branding following the merger, is now a full-service management operation, allowing it to collaborate across all areas of the industry and offer enhanced resources to its roster of clients. Under the deal, all 20 WHY&HOW staff members in marketing, creative and brand endorsements will join Red Light Management’s operations.
WHY&HOW’s artist roster includes Breland, Kaleo, Whiskey Myers, Danielle Bradbery, Drake White, Read Southall Band, William Clark Green and Chase Rice.
“With our new partnership, WHY&HOW is gaining the opportunity to learn from one of the most influential executives in the music business, [Red Light Management founder] Coran Capshaw,” said Kalmick in a statement. “We can’t wait to get started on this exciting new chapter.”
“We’re excited about our new partnership with WHY&HOW,” Capshaw added. “Bruce has put together a great group of artists as well as a very talented management team. We look forward to working alongside them to help enhance all aspects of their business.”
Capshaw founded Red Light Management in 1991 in Charlottesville, Virginia, while helping spearhead Dave Matthews Band‘s career from local club favorite to renowned touring group. In addition to Dave Matthews Band, Red Light Management’s roster includes Luke Bryan, Lionel Richie, Enrique Iglesias, Brandi Carlile, Dierks Bentley, ODESZA, Chris Stapleton and more. The company’s work also extends into the fields of touring, commerce, festivals, licensing, branded entertainment and artist-driven philanthropy.
Disco legends Village People sent a cease-and-desist letter to Donald Trump on Monday threatening legal action over a costume-clad tribute band at his Mar-a-Lago resort that’s allegedly been performing “Macho Man” and other hit songs without permission.
In the letter, Karen Willis (wife of Village People lead singer Victor Willis) warned Trump’s lawyers that such performances potentially violate federal trademark law by confusing consumers into thinking the real band was playing at the former president’s resort.
Since a video of the Mar-a-Lago performance was posted on Twitter last week, Willis said the band had been “inundated” with social media posts from people who thought it was the real Village People.
“The performance has and continues to cause public confusion as to why Village People would even engage in such a performance. We did not,” Willis wrote in the letter, obtained by Billboard. “Though my husband has tolerated your client’s use of his Village People music, we cannot allow such use by him to cause public confusion as to endorsement.”
In a statement to Billboard on Monday, Trump attorney Joseph Tacopina said: “I will only deal with the attorney of the Village People, if they have one, not the wife of one of the members. But they should be thankful that President Trump allowed them to get their name back in the press. I haven’t heard their name in decades. Glad to hear they are still around.”
Top artists have long chafed at the use of their music by politicians, particularly conservatives. Foo Fighters and John Mellencamp blasted John McCain for using their music during the 2008 presidential election, and Neil Young, Guns N’ Roses, Pharrell Williams, Rihanna and the estate of Tom Petty have all spoken out about their music being used at campaign events for Trump.
Willis has even already complained about it once. In June 2020, angered by Trump’s use of police force to clear protesters from Lafayette Square in Washington, D.C., Willis took to social media to request that the president stop playing his music at events.
Owing to the complex thicket of blanket licenses that govern the public performance of music, it’s actually more complicated than you might expect for artists to prevent politicians from playing their music at rallies. Many times, artists lack a clear route to take formal legal action, and instead are left to complain in the court of public opinion.
But in the letter this week, Willis says that a live performance by a tribute band dressed to look like Village People — a construction worker, a cowboy, a policeman and so on — crossed the line into a clearer violation of the law by suggesting that the band had endorsed him.
“Your client is hereby on notice that U.S. trademark law protects against the unauthorized use of the Village People image and trade dress,” Willis wrote. “To be certain, the use of the group’s image and likeness at Mar-A-Lago was unauthorized.”
If such performances don’t stop, Willis made a clear threat of legal action: “We shall be forced to bring suit preventing further use, not only of the Village People trademarked image and trade dress, but of the music as well (and we’d hate to have to do that) but such combined use causes public confusion and is suggestive of endorsement.”
The letter gave Trump 10 days to respond.
TOKYO — The traditional path to financial independence through music creation has been evolving for years. While there was once a clear-cut approach that included labels, publishers, touring, and CD sales, now the vast majority of artists need to find a different way to make it. The world is bigger now, and the borders and boundaries of music are being torn down piece by piece. Not only are more and more people listening to music from outside their markets, even in once more locally focused countries like Japan, Korea and India, but more and more people are watching how other music pros operate and taking notes.
This means that new markets are opening up to creators in the United States and that, simultaneously, Asian artists are rethinking their whole approach to the business. Together, these dynamics are leading to new career paths and new sounds.
In Japan, we’ve witnessed a huge change in the incentive structure. I’ve worked for years in the Japanese market as a producer and have watched things change firsthand. One of the biggest sources of change came not from our market, but from South Korea. BTS broke the world charts and now everyone’s looking outside of Japan. Korea opened their eyes.
BTS, BLACKPINK, and other K-pop groups set a precedent and demonstrated what’s possible. Before, everyone assumed you had to change for export, to sing in English, to adjust your look and feel. But these young Korean stars didn’t initially feel a need to sing in English; instead their fans learned Korean. Korean artists and producers were able to prove that an Asian person who doesn’t know English or even have perfect pronunciation can top charts and win a Grammy. The most important factor is entertainment. Are you entertained? If so, that’s all you care about as a fan.
Watching BTS take the world by storm, Japanese artists began to expand their ambitions, and the industry has had to respond. Music professionals used to be focused on monetizing this island and that alone, but now younger artists are looking outside and considering their options. The entire ecosystem of labels and publishers has come into question, as young artists are asking why they should sign to a label. Talented musicians who sign to a major are a huge deal now. Artists know they have to pull through all their fanbase themselves.
As young Japanese creators think globally, the market is starting to open up more and more to new global talent. Yet creating the relationships to make this openness work has proven a slow evolution, not a quick pivot. The first and foremost reason that there’s a disconnect is the language barrier, as not everyone in the Japanese industry feels comfortable conducting business in English. They can’t communicate the way they’d like.
This further enhances local skepticism about working with foreign producers. Instead of a set deal, things change as the project evolves, terms change, as, say, three more writers start asking for advances out of the blue, all problems that I’ve heard about from A&Rs I’ve talked to. Relationships with people in Japan make project management easy. Because of the way publishing works in Japan, local producers cost less and everyone knows the terms of a standard contract. No negotiation is required. It’s safe and administratively simple, by comparison.
Yet if a Japanese A&R exec turns to a producer who isn’t big in Japan, they can feel shocked by higher prices and more complex terms, with international publishers and other parties involved. They have to put out their neck personally and that’s a major risk. As things change at home, however, and Japanese creators rethink their strategies, this risk can feel worth taking, and more and more tools and services are working to enable better communication and collaboration.
This has implications for artists far from our corner of the world. Artists in the United States are fighting for attention for percentages of pennies—this is not new information to anyone. In Japan, however, one play of an artist’s track in a karaoke booth can generate a hundred times as much revenue as a Spotify stream. Write, produce, or perform a hit that gets played regularly in karaoke rooms across Tokyo, especially if it’s a song that works for weddings, birthdays, or graduation, and you could receive a comfortable check for life. Yet even as artists continue to search for new ways to stand out from their peers, opportunities in East Asia often get overlooked as viable options. I see this changing, as both Japanese and non-Japanese players understand one another better, and it’s thrilling.
We’ve entered a space without borders, where business practices as well as sounds cross and blend. We can look at each other, communicate and share information any time, even across languages. The quicker that moves, the quicker the trends flow. We don’t go through decades of rock; it’s a one-month period of rock, until someone comes up with a new crazy sound. This is often happening on platforms with global reach, key gateways to new music and to what kids are making right now. How the next steps unfold–how labels, publishers, and established players react to this new global exchange–are still being determined. But once distant markets are growing closer, and the entire business stands to benefit.
Kenneth Kobori, CEO of SURF Music, is a songwriter and producer in Japan as 2SOUL. He achieved early success with “Story” by AI in 2005, which charted in Oricon’s top 10 for 73 weeks. He’s worked with Earth, Wind & Fire and Little Glee Monster, among others, and is also a former executive and startup member of Breaker, Inc.
Colombian star J Balvin has officially joined Roc Nation as a management client, where he will be overseen directly by Jay Brown and Chris Knight.
Balvin was previously managed by Fabio Acosta and Scooter Braun’s SB projects. He parted ways with the latter on June 30, 2022, after nearly three years together. He continued working with Acosta and his company, Akela Family Music, through March. Acosta had managed or co-managed Balvin in some capacity for the past decade. Sources say the two parted on amicable terms.
Balvin, one of the biggest Latin stars in the world, has had a series of management shifts over the past five years. In 2019, he parted ways with manager Rebeca León, who had managed him since the onset of his career in the United States, and signed with Braun. Throughout both deals, Acosta remained part of his management team and worked in partnership with SB Project, helping bring in groundbreaking deals and partnerships. These included his celebrity menu collaboration with McDonald’s — a first for a Latin act. Balvin was also the first Latin artist to collaborate with Nike and Michael Jordan on an Air Jordan collaboration, and in November of 2020, he performed in Fortnite, marking the first performance ever by a Latin act for a gaming company.
Last year, Balvin also briefly split with his longtime agency, WME, and went to UTA, after postponing his 25-date José tour. But after four months, he returned to WME.
Balvin is currently featured on the Fast X soundtrack with the track “Toretto.” He’s also announced a series of European tour dates, mostly festivals, beginning with a June 24 performance at the Solydays festival in Paris.
Balvin’s full touring schedule is below.
6/24 – Paris – Solydays 25th Anniversary Festival6/26 – Ibiza – Pacha Nightclub6/30 – Seville – Puro Latino Fest7/1 – Madrid – Puro Latino Fest7/3 – Ibiza – Pacha Nightclub7/8 – Liege, Belgium – Les Ardentes Festival7/9 – Constanta, Romania – Neversea Festival7/11 – Milan – Milano Latin Festival7/12 – Bern, Switzerland – Gurten Park7/14 – Tenerife – Ritmo del Mundo7/15 – Vila Nova de Gaia, Portugal – Meo Mares Vivas Festival7/21 – Byron Bay, Australia – Splendour in the Grass7/23 – Melbourne – Margaret Court7/25 – Sydney – Hordern Pavillion
Is there another $1 billion in global publishing royalties that rights holders can gain by using better technology? That’s what Kobalt CEO Laurent Hubert says.
When Kobalt was bought by Francisco Partners last September, the disruptive innovator known for its publishing administration clients like Karol G, Phoebe Bridgers and Max Martin said that a primary goal of this next chapter would be growing its little known and even less understood global digital rights collections society for compositions, the American Music Rights Association.
In the months since, Kobalt and its new owners have refined their strategy for scaling this “unpolished gem,” as Francisco Partners and Kobalt board director Matt Spetzler calls AMRA. Their first hurdle? Explaining what exactly the global mechanical and performance rights society focused on collecting digital-specific income can accomplish. “Too few people know what AMRA does,” says Hubert.
In an industry where, according to CISAC’s 2021 annual report, over 36% of global music publishing revenue royalties come from digital sources — a figure AMRA says will grow to 80% within five years — Kobalt believes AMRA can better leverage its technology and its direct agreements with digital service providers to streamline digital royalty collection across 212 countries, cutting out the friction or delays of a traditional performing rights organization (PRO). Their biggest licensees include some of the largest DSPs, like Spotify and Apple Music, but they are also working with promising new brands like China-based TikTok rival Kuaishou and others.
AMRA says it is a one-of-a-kind service, providing clients faster turnarounds for royalty collection (in six to nine months), more precise accounting for digital royalties and audit rights, and greater transparency that its executives say make AMRA clients and the wider industry a lot more money.
How much? AMRA CEO Tomas Ericsson estimates that clients can gain “as much as 30%” more royalties in certain regions. Hubert contends that if his companies can reduce the percentage of money that leaks from the $8 billion to $9 billion of royalties collected by the global music industry on the publishing side, excluding writer’s share — “leakage” that stems from high intermediary costs, poor matching, undercollection and underlicensing — AMRA and other players in the industry could grow the pie by another $1 billion for collection and distribution. AMRA could be a tool to help accomplish that, Hubert says.
Ericsson explains that AMRA can go to streaming services and “offer the entire catalog for Kobalt music publishing and an additional three publishers and an additional 180 writers to these streaming services, and we can give them those rights globally under one license. [The streaming services] report to us directly, and they pay us directly.
“In doing so, we can avoid a lot of noise, high fees, inefficiencies, poor technology and local issues,” Ericsson says.
Since its acquisition by Kobalt in 2015, AMRA has distributed almost $500 million in digital royalties on behalf of songwriters and rights holders. Managed as a separate entity under the Kobalt umbrella, AMRA generated $117.3 million in revenue in the fiscal year ending June 30, 2022, and the company currently expects AMRA will generate $150 million in revenue during this fiscal year. Hubert declines to provide specific financial targets but says he expects double-digit revenue growth this year from AMRA, and that its growth rate will substantially exceed Kobalt’s.
Apart from its DSP licensees, AMRA works with songwriters such as Julia Michaels, Lindsey Buckingham, Sam Hollander and independent publishers like Sundae Music Publishing, Anthem and Spirit. It’s also partnering with functional or mood-music companies, such as Strange Fruits, Vanity Snare Music, Lullify Music and Acrylic Records, whose music is popular on passive-listening playlists. Kobalt remains AMRA’s largest licensee, Ericsson says.
Kobalt, AMRA and its new owners are aligned on their aim to massively scale AMRA. Those owners are Francisco Partners, a California-based private equity firm that favors tech-forward music companies; MUSIC, the firm of music industry veteran and investor Matt Pincus; and Dundee Partners, the quietly influential family office of Stephen and Sam Hendel whose investments range from The Knitting Factory to the Fela! musical to music investing platform JKBX. Kobalt founder and chairman Willard Ahdritz and Hubert also have equity stakes in the company and have signed long-term contracts to remain in their roles.
Through interviews with all those stakeholders, AMRA’s emerging growth strategy has three prongs. The first is to expand its list of publishing clients, looking for small, medium and large indie publishers.
At a faster and larger clip, AMRA also aims to exploit opportunities with other niche music genres in the Latin and African markets in a bid to replicate the success it had partnering with mood-music companies. It also aims to take on more clients on the “long-tail end of the business” — songwriters who may not be published or affiliated but have steady streaming income.
This last prong of the strategy reflects the influence of Francisco Partners. In the past two years or so, the firm has invested $2 billion in six music companies, five of which are geared toward music creators, ranging from audio production and DJ’ing software and hardware to a plugin platform with marketing, distribution and authorization services. Managed under the umbrella of SoundWide, Francisco Partners says these companies have a combined 7 million users.
“We have seen the marketplace has shifted and grown around the creator community,” Hubert says. “We have the capabilities from a scaling and tech stack perspective to go after that market.”
AMRA faces hurdles if it’s to maintain formidable growth. Tracking digital royalties is challenging, given metadata errors and fast-growing use cases. The association is also held back when it comes to nondigital royalties, where existing laws and collection societies prevent it from operating as swiftly or accurately as it can with digital revenue. Songwriters in particular are the most restricted: They can use AMRA to collect their digital performance and mechanical royalties, as well as offline royalties, but the offline royalties still pass through a traditional PRO before reaching AMRA, meaning the writer will be charged two fees: one from the traditional organization, then a “significantly lower” fee from AMRA. Also, although AMRA collects in 212 countries, two of the world’s most royalty-rich nations, China and the United States, are not part of their offering due to local laws.
Still, AMRA will bring all of its promised efficiencies to the digital side, which is what the company anticipates will far outweigh offline royalties soon. The company believes it to be uniquely positioned to collect those royalties. As it likes to say: “AMRA is a category of one.”
Artist Publishing Group has entered into a partnership with Makasound Records, Billboard has learned exclusively. APG CEO Mike Caren and Makasound co-founders Chrishan “Prince Chrishan” Dotson and Christian “Hitmaka” Ward are also announcing two new signees under the partnership: Grammy-nominated producer Rob Holladay (Nicki Minaj, Lil Wayne, Megan Thee Stallion) and Aye YB (French Montana, 2 Chainz, Big Sean).
“Hitmaka and Chrishan maintain a rare balance between talent, entrepreneurism, vision and work ethic,” said Caren in the press announcement. “They will continue to win as top creatives and mentors who can both coach and play. We’re excited to partner on their growing list of endeavors.”
The new partnership follows several years of collaboration between APG and Makasound’s co-founders. The relationship has yielded hits such as “Dangerous” by Meek Mill featuring Jeremih and PnB Rock, “Look Back At It” by A Boogie wit da Hoodie, “No Stylist” by French Montana featuring Drake and “Rule the World” by 2 Chainz featuring Ariana Grande.
“Mike gave me my first publishing deal as a writer and producer,” Hitmaka tells Billboard. “He really believed in me and took me under his wing, which has allowed me to open a bunch of different doors. Mike has since deepened the business relationship with me and Chrishan at Makasound. So this new partnership just made sense because he believes a million percent in what we’re doing. He’s like, ‘You are the guys. Let me get out of your way and support you in keeping the momentum you have going.’ It’s a seamless transition to a partnership I’m super excited about with Mike and Chrishan.”
Adds Dotson, “We’ve built Makasound from the ground up, focusing on the records first: what it takes to make a great song, a great piece of work. We take a boutique approach to artists and repertoire, a department in which a lot of the majors are lacking. Many times, these executives are experienced on the technical side, but not when it comes to record creation, understanding how to stay creative, stay motivated and stay hungry. We want to help guide the next generation of producers, songwriters and artists through what we’ve learned when we were at that point in our careers.”
Dotson and Hitmaka established Makasound Records in 2016. During that time, the pair has written and produced hits for platinum-selling artists such as Drake, French Montana, Chris Brown, Ty Dolla $ign, Meek Mill and Gucci Mane.
Artist Publishing Group, a division of Artist Partner Group, was founded in 2004. It has scored its by writers such as 24k Goldn, Taz Taylor, Don Toliver, Ava Max, Charlie Puth and YoungBoy Never Broke Again.