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A Manhattan federal judge has denied a request by Adidas for an emergency order re-freezing $75 million held by Kanye West’s Yeezy brand, rejecting the sneaker company’s concerns that the disputed money might disappear.
Days after Judge Valerie E. Caproni lifted a months-long freeze on Yeezy’s accounts, she refused on Tuesday (May 30) to impose a temporary restraining order that would have immediately locked up the money again. Adidas argued that it faced “irreparable harm” without such an order as Yeezy was nearing insolvency, but the judge was unswayed.
“It is hereby ordered that … Adidas’s motion for a TRO is denied,” Judge Caproni wrote in her order, which was obtained by Billboard.
While still a loss for Adidas, Tuesday’s ruling only denied the emergency motion; Adidas can still win a more conventional order in the coming days reimposing an asset freeze on Yeezy. Both sides are due to file briefs on that request by Thursday.
Neither side immediately returned requests for comment.
Adidas, which operated a lucrative sneaker partnership with West for nearly a decade, was one of many companies to terminate its relationship with the embattled rapper (sometimes known as Ye) last fall in the wake of his antisemitic statements and other erratic behavior.
Shortly after the split, Adidas secretly filed a case in federal court to freeze $75 million in Yeezy assets. Adidas believes West’s company is contractually required to return the funds and has filed a private arbitration case to recover them. The company sought the court order to ensure that the money was not moved while those proceedings play out.
Newly-unsealed court records show that Judge Caproni quickly granted the asset freeze in November. But last week, after Yeezy’s attorneys challenged the order, she lifted it — ruling that Adidas had run afoul of procedural requirements and “deprived” Yeezy of a fair chance to fight back.
Just hours after that decision was issued, lawyers for Adidas filed their emergency request to re-freeze the assets. They argued that Yeezy currently holds $75 million “to which it has no legal right,” and warned that a court order was needed to maintain the status quo.
“Yeezy is likely to comingle the funds with an unknown balance of funds in its possession at other financial institutions, such that it would be more difficult if not impracticable to audit those accounts and determine which monies are owned by Adidas,” lawyers for Adidas wrote. “In addition, Ye faces a clear risk of insolvency, giving rise to a risk of irreparable harm.”
Tuesday’s ruling rejecting that motion came after a live hearing in Judge Caproni’s courtroom. According to a report by Bloomberg, the judge said during the hearing that while Adidas would likely win its arbitration case against Yeezy, it had not met the difficult legal requirements for a temporary restraining order. Among other things, the judge reportedly said that Adidas had offered only “tabloid speculation” about Yeezy’s risk of insolvency.
The newly-revealed litigation with Yeezy is just one piece of a messy breakup for Adidas. The split contributed to a loss of $655 million in sales for the last three months of 2022, helping drive the company to a quarterly net loss of 513 million euros ($540 million). Last month, CEO Bjorn Gulden said the company would begin selling $1.3 billion worth of unsold Yeezys, but would “donate money to the organizations that help us and were harmed by what Ye said.”
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: A messy legal battle between Adidas and Kanye West spills into the open; a YouTuber who defamed Cardi B declares bankruptcy to avoid a $4 million judgment; prosecutors call for a harsh sentence against Tory Lanez over the Megan Thee Stallion shooting; and much more.
THE BIG STORY: Adidas v. Kanye
Thanks to newly-unsealed court records, the messy legal fallout from Kanye West’s high-profile split with Adidas is now coming into view.
Federal court records obtained by Billboard last week show that Adidas launched private arbitration proceedings last fall, shortly after the company terminated its long-standing partnership with West and his Yeezy brand in the wake of the rapper’s antisemitic statements. As part of that case, the company secretly sought – and won – an “attachment” order from a federal judge, freezing $75 million in Adidas money that’s allegedly sitting in Yeezy bank accounts.
Secretly? Yes, this case is a treasure trove for legal procedure nerds. The case was not only filed under seal and kept that way for months, but also on a so-called ex parte basis — meaning the judge issued the freeze without giving West or Yeezy a chance to make counter-arguments, saying there was a risk the rapper would have moved the money if given advanced notice.
But now, the case is spilling into the open. In a ruling earlier this month that unsealed the record, the judge cited the fact that Kanye himself had once mentioned the litigation on social media. And in a ruling Friday, that same judge overturned the ex parte freeze entirely, saying Adidas had failed to meet procedural requirements and had “deprived” Yeezy of a fair chance to fight back.
In the wake of that order, lawyers for Adidas are currently scrambling, seeking to have a new freeze imposed on the company. We’ll update you when we know more, so stay tuned.
Other top stories…
MORE KANYE PROBLEMS – Adidas isn’t the only former business partner in litigation with West. The Gap filed a case earlier in the week, alleging the rapper made unapproved changes to a Los Angeles retail location that resulted in an expensive lawsuit from the building’s owner.
B*TCH BETTER HAVE MY MONEY? – Eighteen months after Cardi B won a $4 million defamation verdict over salacious claims made by a YouTube host named Tasha K, the gossip blogger filed for bankruptcy, saying she has less than $60,000 in total assets to pay out.
FETTY WAP GETS SIX YEARS – The “Trap Queen” star was ordered to spend six years in federal prison, after pleading guilty last year to federal drug charges. His attorneys had asked for only a five-year sentence; prosecutors wanted as many as nine, citing music that they said had helped “glamorize the drug trade.”
GENIUS v. GOOGLE AT SCOTUS – The Department of Justice urged the U.S. Supreme Court to avoid a case alleging Google stole millions of song lyrics from the music database Genius, calling it a “poor vehicle” for a high court showdown.
TORY LANEZ SENTENCE LOOMS – Los Angeles prosecutors asked a judge to impose a harsh sentence against rapper Tory Lanez after he was convicted last year of shooting Megan Thee Stallion, arguing he behaved with “indifference for human life” at a moment when Megan was “particularly vulnerable.”
GOOGLE FACES $32M PATENT VERDICT – A federal jury ordered the tech giant to pay Sonos the huge sum for infringing one of its smart speaker patents, awarding the smaller company $2.30 for each of the more than 14 million Google devices that were sold incorporating the patented technology.
MIGOS ALLEGED KILLER INDICTED – A Texas grand jury formally issued a murder indictment against Patrick Xavier Clark, the man who was arrested and charged last year in the slaying of Migos rapper TakeOff.
Rod Stewart has backed out of a potential catalog sale to Hipgnosis after two years worth of negotiations with the company, a representative for the singer told Billboard.
Citing that he wanted to retain the ownership of his song catalog, Stewart said in a statement, “this catalog represents my life’s work. And it’s became abundantly clear after much time and due diligence that this was not the right company to manage my song catalog, career or legacy.”
Hipgnosis declined Billboard’s requests for comment, citing a non-disclosure agreement.
Further details about the potential catalog sale are not known, including whether he intended to sell his full catalog or just a smaller piece or royalty stream. Stewart’s team declined to comment further on the deal when asked for specifics.
Two music asset buyers independently noted to Billboard that Stewart’s public statement might be a “great way to drum up business for the catalog” and “to generate calls from potential suitors,” but another source noted it seems that a star of this magnitude would not need to speak out publicly in order to gain the attention of other buyers.
A two-time Rock and Roll Hall of Fame inductee, Stewart is one of the most celebrated and recognizable singers in pop music history. Some of his greatest hits across his more than five-decade career include “Maggie May,” “Tonight’s the Night (Gonna Be Alright),” “All for Love,” “Da Ya Think I’m Sexy?” “Baby Jane,” “Forever Young,” “One More Time,” and more. He first rose to prominence in the late 1960s as the lead singer for Jeff Beck’s post-Yardbirds effort The Jeff Beck Group and later as frontman for Faces, alongside fellow Beck alum Ronnie Wood.
By 1971, the raspy-toned singer had become a household name with his own solo album Every Picture Tells A Story and its surprise radio hit “Maggie May” which went on to simultaneously top the charts in the UK, US, Canada and Australia. From there, through the 1970s and 1980s, Stewart remained one of the mainstays on Billboard’s Hot 100 chart, continuing to earn hits as he experimented with daring elements of glam, disco, new wave, synth pop and more in his work.
His impact on music has continued into the 21st century, though mainly through covers. In the early 2000s, he found renewed success though a series of albums mining American pop standards and since then has released collections focusing on soul, rock classics and more, further cementing his legacy as one of music’s great vocalists.
Beyond landmark deals that have helped it amass a catalog of over 65,000 songs and records, Hipgnosis Songs Fund, the portion of the Merck Mercuriadis-founded company that is publicly traded on the London Stock Exchange, has struggled since last summer, with its share price declining by 27% from a year ago to 81.85 pence. “I’m not going to pretend that the current share price is anything other than disappointing,” Mercuriadis told investors in December. SONG reported its 2022 revenues rose 7.5% over the year prior.
With few levers to pull to grow Hipgnosis Songs Fund — the fund has been fully invested, meaning it has no additional funds to acquire new rights, for more than a year — Mercuriadis has struck deals with companies like Timbaland’s Beatclub to open up Hipgnosis’s catalog to more synch and sample opportunities.
Hipgnosis’ Blackstone-backed fund does not disclose its financials. While heightened macroeconomic concerns and interest rates have increased investor scrutiny for big-ticket deals, Hipgnosis and Blackstone have so far acquired rights to Justin Bieber’s catalog for an estimated $200 million in the last year. Other recent deals for Hipgnosis in general include songwriter Tobias Jesso Jr. and TMS, the British songwriting trio behind hits like “Someone You Loved” by Lewis Capaldi.
With reporting by Elizabeth Dilts Marshall
Bitch better have my money?
Spoiler alert: She doesn’t.
Eighteen months after Cardi B won a $4 million defamation verdict over salacious claims made by a YouTube host named Tasha K, the gossip blogger has filed for bankruptcy – and she says she has less than $60,000 in total assets to pay out.
In a petition filed Thursday in Florida federal court, Tasha K (real name Latasha Kebe) filed for Chapter 11 bankruptcy, claiming she is unable to pay more than $3.4 million in liabilities that she owes to a number of creditors.
At the top of that list? Belcalis Marlenis Almanzar (Cardi’s legal name), to whom Tasha says she owes $3,380,642 for a “judgment.” That’s because Cardi won a verdict in January 2022 that Tasha had legally defamed the superstar by making false claims about drug use, STDs and prostitution in her YouTube videos.
Shortly after Cardi B won that verdict, she tweeted “imma come for everything” along with the acronym BBHMM – “bitch better have my money.” But Thursday’s petition makes clear that the star is unlikely to see much of that money any time soon.
Tasha lists just $58,595 in total assets to her name, and the vast majority of that comes from a 2021 Chevrolet Silverado that’s tied as collateral to an unpaid auto loan. She listed only $11,750 in other property, including two Louis Vuitton purses, and just $95 in actual cash in her bank account. She counts the trademark to her “UnWineWithTashaK” YouTube channel as an asset, but says the value of the brand is “unknown.”
Attorneys for Cardi B, who have been legally pursuing the money for months, did not immediately return a request for comment.
Cardi sued Tasha in 2019, over what the rapper’s lawyers called a “malicious campaign” on social media and YouTube aimed at hurting Cardi’s reputation. The star’s attorneys said they had repeatedly tried – and failed – to get her to pull her videos down.
One Tasha video cited in the lawsuit includes a statement that Cardi had done sex acts “with beer bottles on f—ing stripper stages.” Others videos said the superstar had contracted herpes; that she had been a prostitute; that she had cheated on her husband; and that she had done hard drugs.
Following a trial in January, jurors sided decisively with Cardi B, holding Tasha liable for defamation, invasion of privacy, and intentional infliction of emotional distress. They ordered her and her company to pay than $2.5 million in damages and another $1.3 million in legal fees incurred by Cardi. Tasha appealed the verdict last summer, but a federal appeals court easily rejected that request in March.
Tasha has vowed to keep fighting the case “all the way to the Supreme Court if need be,” even if it “takes years” to do so. But Thursday’s bankruptcy will impose an automatic pause on all litigation while the insolvency proceedings are carried out. And given her lack of resources, it seems unlikely that she will be able to afford the expense of continuing to seek to overturn the verdict.
Tasha’s company, Kebe Studios LLC, is solely on the hook for $500,000 of the judgment. It does not appear that the company itself has yet filed for bankruptcy, or if such proceedings will be handled as part of Tasha’s case.
Beyond her assets and liabilities, Thursdays’ bankruptcy filing includes other interesting information about Cardi’s nemesis. The blogger says that $10,000 in her “Google account” – a reference to YouTube’s parent company – was already garnished last year by the superstar’s attorneys. She also says that she and her husband earned a combined income from their work (both are listed as “content creators”) of $156,021 in 2021 and $134,861 in 2022, and that they make more than $30,000 per month currently.
An attorney for Tasha did not immediately return a request for comment.
James Vitalo‘s Gold Theory Artists has added managers Jack Babnew and Max Dubois, the company announced Tuesday (May 30).
Vitalo, who has helped steer the breakout success of Turnstile, founded the full-service boutique management company last year. Babnew, previously at TMWRK, will co-manage new client Beach Fossils alongside Vitalo, while Dubois, who launched his own management company in 2020, will bring Deafheaven and MSPAINT, co-managing both with Vitalo.
“When I set out to start Gold Theory, I knew I wanted to eventually expand beyond myself and my team to include other managers, but only those that felt aligned with the company’s ethos and possess the same all-or-nothing mentality,” says Vitalo in a statement. “I’ve seen both Max and Jack’s work over the years and deeply respect their knowledge of and passion for the industry, so it was a no-brainer to bring them into the fold when the stars aligned.”
The expansion comes at a great time for Vitalo, as Turnstile scored three Grammy nominations ahead of the 2023 ceremony. The punk band is currently on tour with Blink-182. Meanwhile, Gold Theory client Knocked Loose has taken on the festival circuit, with the hardcore band performing at Coachella and Bonnaroo this year. Gold Theory’s roster also includes Gatecreeper, Hana Vu, Harm’s Way, julie, Terror, SeeYouSpaceCowboy and Undeath.
Gold Theory’s growth signals a potential shift in the management space, with young managers opting to leave larger firms — or never sign with one to begin with — to either operate independently or work together at a company that operates independently.
“My whole life, I’ve been drawn to those who do things on their own terms — the risk-takers, the rule-breakers, the people who hear ‘you can’t do that’ and respond, ‘Watch me,’” says Babnew. “James and his roster at Gold Theory embody that spirit. As I grow my own career and define the terms for myself, I wouldn’t want to do it alongside anyone else.”
“Finding great people who happen to work with great artists is an incredibly difficult needle to thread,” adds Dubois. “I’ve always been excited about building something meaningful and impactful with people who push me to be the best version of myself. What James has done with the roster at Gold Theory has been undeniable and the people he’s brought in to drive the machine is exactly the combination I’m grateful to be a part of.”
Google has been ordered to pay Sonos $32.5 million for infringing one of its smart speaker patents, marking a significant development in a long-fought legal war between the two companies that’s spanned more than three years and multiple lawsuits.
Filed in a San Francisco court on Friday (May 26), the jury verdict awarded Sonos $2.30 for each of the more than 14 million Google devices that were sold incorporating the patented technology.
The jury found that Google had not infringed a second patent at issue in the case.
Sonos first sued Google in January 2020, claiming the tech giant had infringed multiple patents for its smart speaker technology after gaining access to it through a 2013 partnership under which Sonos integrated Google Play Music into its products. Just two years after that partnership was reached, Sonos alleged that Google then “flooded the market” with cheaper competing products (under the now-defunct Chromecast Audio line) that willfully infringed its patented multi-room technology. Sonos additionally claimed that Google had since expanded its use of Sonos technology in more than a dozen other products, including the Google Home, Nest and Pixel lines.
“We are deeply grateful for the jury’s time and diligence in upholding the validity of our patents and recognizing the value of Sonos’s invention of zone scenes,” said Sonos in a statement on the verdict. “This verdict re-affirms that Google is a serial infringer of our patent portfolio, as the International Trade Commission has already ruled with respect to five other Sonos patents. In all, we believe Google infringes more than 200 Sonos patents and today’s damages award, based on one important piece of our portfolio, demonstrates the exceptional value of our intellectual property. Our goal remains for Google to pay us a fair royalty for the Sonos inventions it has appropriated.”
In its own statement, a Google spokesperson said, “This is a narrow dispute about some very specific features that are not commonly used. Of the six patents Sonos originally asserted, only one was found to be infringed, and the rest were dismissed as invalid or not infringed. We have always developed technology independently and competed on the merit of our ideas. We are considering our next steps.”
The legal battle between the two tech companies has been protracted, with both sides going on the offensive at different points. In June 2020, Google filed suit against Sonos, alleging the smart speaker maker had actually infringed several of its own patents. Sonos subsequently filed two more lawsuits alleging that Google had infringed several additional patents it held.
Sonos filed one of those two cases with the U.S. International Trade Commission, which ruled in January 2022 that Google had infringed a total of five of Sonos’ audio technology patents and barred it from importing the infringing products from China. However, the commission also found that Google had successfully redesigned its products to avoid the Sonos patents and could continue selling those reworked versions in U.S. stores — an allowance Sonos had fought to prevent.
In August 2022, Google fired another volley with two additional lawsuits, claiming the smaller company used seven different patented Google technologies to instill the so-called “magic” in Sonos software.
Stock markets ended the week on a positive note as investors showed optimism believing that Congress can negotiate a deal to increase the nation’s debt limit and avoid a historic default. The S&P 500 increased 1.3% to $4,205.45, up 0.3% on the week, while the Nasdaq composite climbed 2.2% on Friday (May 26) to finish […]
As 2023 heads into summer, multiple signs point to a healthy and growing live music business for the rest of the year. In recent weeks, executives from the publicly traded concert promotion and ticketing companies have signaled that surging consumer demand won’t slow down, and there will be enough tours to satiate music fans’ appetite for live events.
Demand has been strong “and is showing no signs of letting up,” said Live Nation CEO Michael Rapino during the company’s May 4 earnings call. Live Nation expects to sell more than 600 million tickets in 2023, up from 550 million in 2022. To date, the concert promoter has sold more than 100 million tickets to Live Nation events, a 20% increase from the prior-year period, and expects to host a record number of fans in 2023.
Vivid Seats, the publicly traded secondary ticketing marketplace, shares Live Nation’s sentiment. “Consumers continued to crave live experiences in the first quarter,” said CEO Stan Chia during a May 9 earnings call, “and we believe this trend will continue for many years.” Vivid Seats does business primarily in the U.S. while German promoter and ticketing provider CTS Eventim focuses on Europe. “Both in Germany and internationally, we are pursuing organic growth and anticipate that our business performance will continue on its successful course,” said CTS Eventim CEO Klaus-Peter Schulenberg in the quarterly results released May 24 that reiterated the positive outlook in its 2022 annual report of “moderately higher earnings” for the live entertainment segment 2023.
The concert business is meeting — and perhaps surpassing — some lofty expectations. In 2022, as the concert business exited the pandemic, the widespread belief was that pent-up demand for in-person experiences would drive the concert business beyond pre-pandemic levels. That turned out to be true. Concert promoter Live Nation posted record revenue of $6.2 billion in the third quarter that was 67% above the same period in 2019. What’s more, the volume of fans returning to concert venues was augmented by an unmatched willingness to absorb higher prices. Frenzied demand — and sky-high prices on the secondary market — for tours by Taylor Swift, Beyonce and Bruce Springsteen have showed A-list artists have yet to find their ceiling on prices.
Concert promoters have posted strong quarterly earnings that fit their narratives. Live Nation’s first-quarter revenue was up 71% to $3.1 billion. CTS Eventim’s online ticket sales increased 58% to 18 million as consolidated revenue improved 163% to 366.2 million euros ($393 million). At Vivid Seats, which also does business in major sports such as baseball and basketball, first quarter revenue grew 23.2% to $161 million and adjusted earnings before interest, taxes, depreciation and amortization doubled to $42.4 million.
Investors absorb past earnings history while figuring out what to expect in the future, and according to JP Morgan analyst David Karnovky they often ask two questions about Live Nation: First, is there enough supply to meet growing, healthy demand? Yes, Live Nation president and CFO Joe Berchtold said at JP Morgan’s Global Technology, Media and Communications conference on Tuesday. That’s because global streaming platforms such as Spotify and social media apps like Instagram and TikTok allow artists to build global followings in ways that weren’t previously possible, he explained. K-pop and other up-and-coming genres of music “that maybe once were regional are now going global,” he said, and artists that used to sell out mid-sized venues are now selling out stadiums. “So, you’re seeing that supply continue to build.”
The second thing investors want to know is how demand will respond during a softer economy. Live Nation closely follows the indicators — such as on-sales show closings — Berchtold said, “but we’re not seeing anything that gives us pause.” Separately, Berchtold noted that Live Nation’s research indicates getting back to concerts are one of fans’ top priorities after the pandemic and will be “one of the last things they’re going to cut back on.”
Vivid Seats CFO Lawrence Fey also addressed the possibility of an economic downturn — a scenario becoming increasingly likely in the U.S. should Congress fail to find a compromise to raise the debt ceiling by early June. “[T]here’s a lot of chatter and concern out there” that demand will weaken “in the not-too-distant future,” said Fey, “but it continues to be the case that we’re seeing very robust demand across our event categories [and] across price points.” Beyond the consistently strong demand, Vivid Seats has “been pleasantly surprised by the supply calendar,” particularly a concert schedule that includes recently announced tours by Drake and Aerosmith, he added, “and [that] gives us optimism.”
The U.S. Department of Justice is urging the U.S. Supreme Court to avoid a case alleging Google stole millions of song lyrics from the music database Genius, calling it a “poor vehicle” for a high court showdown.
Genius — a platform that lets users add and annotate lyrics — wants the justices to revive its lawsuit, which claims that Google improperly used the site’s carefully-transcribed content for its search results, after the case was dismissed by a lower court last year.
But in a brief filed Tuesday (May 23), the U.S. Solicitor General told the Supreme Court to steer clear. It said the case was a “poor vehicle” for reviewing the issues in the case, and that the lower court did not appear to have done anything particularly novel when it dismissed the case against Google.
“In the view of the United States, the petition for a writ of certiorari should be denied,” the government wrote.
Genius sued the tech giant in 2019, claiming Google had stolen the site’s carefully-transcribed content for its own “information boxes” in search results, essentially free-riding on the “time, labor, systems and resources” that go into creating such a service. In a splashy twist, Genius said it had used a secret code buried within lyrics that spelled out REDHANDED to prove Google’s wrongdoing.
Though it sounds like a copyright case, Genius didn’t actually accuse Google of stealing any intellectual property. That’s because it doesn’t own any; songwriters and publishers own the rights to lyrics, and both Google and Genius pay for the same licenses to display them. Instead, Genius argued it had spent time and money transcribing and compiling “authoritative” versions of lyrics, and that Google had breached the site’s terms of service by “exploiting” them without permission.
But in March, that distinction proved fatal for Genius. The U.S. Court of Appeals for the Second Circuit dismissed the case, ruling that only the actual copyright owners — songwriters or publishers — could have filed such a case, not a site that merely transcribed the lyrics. In technical terms, the court said the case was “preempted” by federal copyright law, meaning that the accusations from Genius were so similar to a copyright claim that they could only have been filed that way.
In taking the case to the Supreme Court, Genius argued the ruling would be a disaster for websites that spend time and money to aggregate user-generated content online. Such companies should be allowed to protect that effort against clear copycats, the company said, even if they don’t hold the copyright. “Big-tech companies like Google don’t need any assists from an overly broad view of copyright preemption,” the company wrote.
Such petitions are always a long shot since the Supreme Court takes less than 2% of the 7,000 cases it receives each year. But in December, the justices asked the DOJ to weigh in on whether it should take the Genius case.
In Tuesday’s filing, the DOJ said firmly that it should not — arguing, among other things, that the lower court’s ruling for Google had been largely correct. Though the agency had quibbles with some of the lower court’s analysis, it said Genius was essentially using contract law to claim the same rights as a copyright owner — the exact scenario in which such claims can be “preempted” by federal law.
“In substance, petitioner asserts a right to prevent commercial copying of its lyric transcriptions by all persons who gain access to them, without regard to any express manifestation of consent by website visitors,” the agency wrote.
The Supreme Court will now decide whether or not to hear the case; a decision on that question should arrive in the next several months. A spokesperson for Genius did not immediately return a request for comment on the DOJ’s filing.
Read the DOJ’s entire brief HERE.
LJ Stoll was named GM/vp of A&R at The Hard Working Record Company, a new Nashville-based record label from Big Machine Label Group (BMLG) and management company Hard 8 Working Group. The venture was struck between BMLG president/CEO/founder Scott Borchetta and Hard 8 co-founders Dirk Hemsath and Rich Egan, along with partners David Conway and Mike Bachta. “Rich and I had been toying with the idea of starting a label again, since that’s the world we both came from,” said Hemsath in a statement. “We had been working closely with Scott and Big Machine on the artist Kidd G and Scott mentioned he wanted to start a more pop-leaning imprint and that’s the world we’ve been in heavily for the last few years, most recently building pop star Tate McRae.”
Hipgnosis Songs Fund global head of song management Nick Jarjour exited his role at the company “as I embark on an exciting new chapter in my journey,” the executive wrote on LinkedIn. “During my tenure at Hipgnosis, I had the honor of working alongside a visionary leader and mentor, Merck Mercuriadis who has achieved remarkable feats for songwriters and revolutionized the music industry for future generations,” he continued. Jarjour will continue serving as CEO of his label, publishing and creative agency JarjourCo.
Andrew Spence was promoted to general counsel at Sony Music Publishing UK, where he will oversee business and legal affairs strategies and initiatives on behalf of the company and its roster while also offering guidance and counsel on its legal and operational matters. The London-based executive will continue reporting to Sony Music Publishing UK president/co-managing director, UK/senior vp of international David Ventura and UK co-managing director Tim Major. He was previously head of legal and business affairs.
Edith Bo was named head of A&R at Rostrum Records, where she will oversee the overall direction of A&R strategy and develop strategic branding partnerships, working closely with Rostrum’s marketing team. Bo joins the company from SoundCloud, where she served as senior manager of publishing. She can be reached at edith@rostrumrecords.com.
Rob Segal joined The Feldman Agency (TFA) as partner/president of TFA Inc. Segal previously founded his own agency, Segal Communications, which became one of Canada’s largest promotional and licensing agencies, with clients including Sony, Ford, Marvel, HP and Dreamworks. In his new role, he will lead the agency in fostering new business, driving marketing campaigns and elevating its brand presence. Based at the company’s Toronto office, he can be reached at rob@feldman-agency.com.
Frederik Boutahar was named vp of A&R at Columbia Records Germany, Switzerland & Austria (GSA), which he will lead alongside vp Alexandra Falken. Boutahar will report to Sony Music Entertainment GSA CEO Patrick Mushatsi-Kareba. He joins the company from TwoSides, where he served as MD. He can be reached at frederik.boutahar@sonymusic.com.
Sebastian Mair joined digital rights management company Muserk as head of business development APAC. He will oversee the company’s business throughout the Asia-Pacific region. Based in Tokyo, Mair developed a relationship with Muserk via his company Music Solutions, which develops brand partnerships and VIP packages for artists touring Asia. He can be reached at sebastian.mair@muserk.com.
Metal label Nuclear Blast Records restructured its A&R department, promoting Nathan Barley Phillips and Shawn Keith to head of A&R, Europe and head of A&R, North America, respectively. Elsewhere, Tommy Jones was promoted to label manager, North America, which includes A&R responsibilities for Nuclear Blast’s existing roster in the region. A&R Jens Prueter was also named to the newly created role of head of catalogue/senior A&R. The label was acquired by Believe in 2018. Keith can be reached at Shawn@nuclearblastusa.com.
Jen Hubbard was appointed to the newly created role of director of sync A&R at Concord Music Publishing, where she will develop and manage Concord’s U.S. songwriter roster for the purpose of synch activity. She will serve as the bridge between the company’s A&R and synch teams. Based in Nashville, Hubbard reports to senior vp of A&R Brad Kennard with support from vp of publishing sync Kourtney Kirkpatrick and executive vp of global sync Brooke Primont. Hubbard previously served as director of A&R.
Avery King, formerly director of publicity at Elicity PR, formed her own public relations firm, King Publicity. She brings her longtime clients Carter Faith, Aaron Watson, Austin Burke and Anna Rose to the new operation. King can be reached at avery@kingpublicity.com.
Steve Eckerson was named GM at ASM Global’s San Diego-based venue Pechanga Arena. He joins from Mechanics Bank Arena, Theater and Convention Center, where he’s served as GM since 2016. Eckerson succeeds Steve Tadlock in the role. He can be reached at SEckerson@pechangaarenasd.com.
UTA announced the promotions of several staffers in its music division. Sean Hendrie was elevated to agent while Jack Benson, Eli Hanavan, Maria Kanatous, Elie Low, Cassie Trimble and Sydney Wilke were upped to coordinators.