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SoundCloud chief content & marketing officer Lauren Wirtzer-Seawood has departed the company after nearly two years, Billboard has confirmed. There is no word yet on her next moves.
Wirtzer-Seawood joined SoundCloud in June 2021 from UnitedMasters, where she served as president for more than two years. Prior to that, she worked as head of music partnerships at Instagram for over three years and head of digital at Beyoncé‘s Parkwood Entertainment for over two years; she has also held senior roles at Def Jam and Zynga.
“I came to SoundCloud to help transform the company and set it on a path toward success,” says Wirtzer-Seawood in a statement sent to Billboard. “After nearly two years of building teams, processes, priorities — and hiring some really stellar people — it was time to move on. I have no doubt that Eliah and the executive team will drive massive success for SoundCloud.”
During Wirtzer-Seawood’s tenure, SoundCloud has made efforts to differentiate itself as a more artist-friendly alternative to rival streaming services. Chief among these efforts is the fan-powered royalty payment system, first unveiled in March 2021, which has since been opted into by both Warner Music Group and Merlin. Unlike the traditional pro-rata model, under which streaming services collect all subscriber revenue and then pay out earnings based on each rightsholder’s share of total streams, fan-powered royalties direct a portion of every listener’s subscription or advertising revenue to the rightsholders for the specific tracks they listen to.
“Fan-powered royalties give us the ability to have specific data around who those fans are,” Wirtzer-Seawood told Billboard last year, “and we can now unlock those relationships with the superfans and communicate with them, to sell them something or whatnot.”
On Monday, SoundCloud unveiled “Fans,” a new SoundCloud for Artists product that’s being billed as the next evolution of the fan-powered payment system. Now in beta, the tool allows music creators to tap into the platform’s proprietary data and sort their most engaged listeners based on factors like comments, listening behavior, sharing habits and location — and then directly message individual fans to share previews of upcoming releases; sell tickets and merch; and more.
SoundCloud is bringing music creators even closer to their biggest fans with a new product that gives artists access to granular user data and facilitates direct, one-on-one interaction with their most loyal listeners.
Dubbed simply “Fans” and now available on SoundCloud for Artists, the tool allows artists to tap into the platform’s proprietary data and sort their most engaged listeners based on factors like comments, listening behavior, sharing habits and location — and even identify who among their listeners are fellow artists. Using SoundCloud’s pre-existing messaging feature, they can also directly message individual fans to share previews of upcoming releases via private links; sell tickets and merch; and/or just say thanks. (SoundCloud notes there’s an opt-out option for users who don’t wish to be contacted by artists.)
Tracy Chan, svp of creator at SoundCloud, says there’s a special power in fans receiving direct acknowledgment from their favorite artists that can unlock “real revenue opportunities” for creators.
“[It’s] one thing to blast out, ‘Hey, come attend my concert or my show,’ but actually asking specific people, like, ‘Hey, I know you’re a super fan, will you come to my show?’ is a very kind of different way to ask,” Chan says. “You can imagine the possibilities of commerce that open up between artists and fans once the communication lines are open.”
Prior to Monday’s announcement, SoundCloud had been running a six-week test of the tool, which is currently in beta, with roughly 10,000 artists. Starting now, the platform is opening up the product to an additional 50,000 artists who are part of its premium Next Pro tier.
Chan describes the tool as “the next step” in SoundCloud’s fan-powered royalties payment system first unveiled in March 2021, which has since been opted into by both Warner Music Group and Merlin. Unlike the traditional pro-rata model, under which streaming services collect all subscriber revenue and then pay out earnings based on each rightsholder’s share of total streams, fan-powered royalties direct a portion of every listener’s subscription or advertising revenue to the rightsholders for the specific tracks they listen to. Some of the user data SoundCloud artists now have access to under the new tool derives from that fan-powered royalties system.
As part of the unveiling, SoundCloud noted several successful individual use cases among the 10,000 artists included in the previous phase of the tool’s beta period. These include Lil West, a hip-hop artist from Delaware who used the artist filtering tool on Fans to connect with fellow artists 100 gecs and nothing,nowhere., leading to collaborative track releases. After gaining access to the tool, Def Jam artist Armani White worked with SoundCloud and his label to set up a listening party/meet-and-greet with his top fans at SoundCloud’s Los Angeles office on Thursday.
Fans is the latest effort by SoundCloud to differentiate itself as a more artist-friendly alternative to rival streaming services. Chan frames the tool in opposition to the limited functionality offered by other major streamers along with ticketing and merch platforms, which don’t allow artists to identify their individual fans or connect with them one-on-one.
“When artists are like, ‘Cool, I want to go connect with my fans’ [on other streaming services] … they see lots of charts and graphs describing their audiences, but the platforms will not tell artists who their fans are…so that means you can’t market to them,” he says.
According to data provided by SoundCloud, the platform currently boasts more than 320 million tracks from over 40 million creators and operates in 193 countries.
LONDON — Mariah Carey, Lewis Capaldi and Sam Smith are among the recipients of the new BRIT Billion award, which recognizes artists who have surpassed one billion career streams in the United Kingdom.
U.K. labels trade body BPI, which also runs the Brit Awards, is naming the honorees, using the Official Charts Company to verify the data. Certification is based on tracks being streamed on music services like Spotify and video platforms such as YouTube where an artist has appeared either as the main performer or as a featured artist.
Around 140 acts have passed the one billion U.K. streams milestone to date, but BPI has only named 13 recipients of the award initially, a spokesperson tells Billboard. The other artists are ABBA, Coldplay, Whitney Houston, AJ Tracey, Headie One, Anne-Marie, Ellie Goulding, George Ezra, RAYE and Rita Ora.
BPI says the United Kingdom is the first country in the world in the streaming era to run a certifications scheme that recognizes an artist’s success across their entire career and multiple projects, as opposed to individual recordings.
Carey said in a statement that she was honored to be one of the first recipients of the BRIT Billion award and thanked her U.K. fans “for their endless and enduring support.”
Capaldi said in a statement that he was “buzzing,” adding that “never in a million years did I think any of this stuff would happen, but now [that] it is I will gladly accept each and every award.”
The new sales certification category recognizing one billion career plays reflects how streaming has completely upended the recorded music industry over the past decade.
Previously, the biggest sales awards issued in the U.K. were platinum, granted to albums that sell 300,000 chart equivalent units, and multi-platinum (multiples of 300,000 sales). Below that is gold (100,000 sales) and silver (60,000 sales). For singles, platinum recognizes 600,000 chart equivalent sales. Gold is 400,000 and silver is 200,000.
Those totals are, however, dwarfed by the huge number of streams that the world’s biggest artists increasingly generate with many acts racking up millions and, in some cases, hundreds of millions of streams every year. But artists must generate several multiples of more streams to make the same money they made per unit in the physical era.
In November, Capaldi’s “Someone You Loved” overtook Ed Sheeran‘s “Shape Of You” to become the most-streamed song of all time in the U.K. with over 600 million audio and video streams, according to the Official Charts Company. George Ezra’s “Shotgun” has been streamed just under 500 million times since its release in 2018, reports BPI, which first began certifying silver, gold and platinum-selling records in 1973.
The labels trade body says the number of audio music streams in the U.K. crossed 160 billion last year with streaming now accounting for more than 85% of all U.K. music consumption.
“For a recording artist, there can be few greater sources of pride than having a platinum or gold disc on their wall,” Sophie Jones, BPI chief strategy officer/interim chief executive, said in a statement. “But in an era when success in measured in the hundreds of millions and indeed billions of streams, it was clear that we needed a new and additional way to recognize and celebrate outstanding achievement in recorded music.”
Over the past few years, country superstar Luke Combs has succeeded in crossing over to a pop audience with a pair of Billboard Hot 100 top 10 hits: 2020’s “Forever After All” (No. 2) and last year’s “The Kind of Love We Make” (No. 8). Now he’s gunning for a third, with his cover of Tracy Chapman‘s 1988 hit, “Fast Car,” reaching No. 14 on the tally this week (it’s also sitting pretty at No. 2 on Hot Country Songs).
It’s rare for a country artist to record a cover of a pop hit, but as a fan-favorite staple of Combs’ live shows, “Fast Car” built up a head of steam that was undeniable, making the choice to get it on record an easy one (the song is included on Combs’ latest album, Gettin’ Old). But the decision to release it as a single — an even more unusual move — was part of a strategy to continue expanding Combs’ fanbase to a pop audience. And that helps Combs’ manager, Make Wake Artists founder Chris Kappy, earn the title of Billboard‘s Executive of the Week.
Below, Kappy discusses the choice to finally record “Fast Car” six years after Combs first released a snippet of it, the track’s embrace by radio programmers and how it ties into Combs’ success as a worldwide touring phenomenon. “Being able to have a hit that is globally recognized and accepted outside of country radio, and into the ears of CHR and Hot AC listeners, is very much the same thing as being able to do sold-out shows in places we have never been,” says Kappy. “The music is traveling and we want to be on the forefront in any way possible.”
This week, Luke Combs’ cover of “Fast Car” hit No. 14 on the Billboard Hot 100 and No. 2 on Hot Country Songs. What key decision did you make to help make this happen?
I got out of the way. I know that sounds weird, but it truly is what we do with Luke. He knows his fanbase so well, and he also knows what works. The song felt right when he sang it in the studio, and we all just nodded in the control booth.
Luke Combs performs onstage during Day 3 of the 2022 Stagecoach Festival at the Empire Polo Field on May 01, 2022 in Indio, Calif.
Amy Sussman/GI for Stagecoach
“Fast Car” was a popular staple at Luke’s live shows, but the decision to record the cover for Gettin’ Old — and especially to release it as a single — feels like an outside-the-box move. What was behind that?
The demand from our fans has been rabid for “Fast Car” since he first released a snippet of it more than six years ago. We also felt that it would help draw non-country fans into the genre and experience the wonder that is country music. This song is an iconic masterpiece and we all felt that it was the perfect song to crossover to a new audience that we didn’t particularly have.
It’s interesting to note that Luke kept the “checkout girl” lyric instead of changing it to “checkout boy.” What was behind the decision to stay 100% faithful to the original lyrics?
Luke is a songwriter too and Tracy is one of his favorite artists. So his goal was to never change the song. His goal was to honor the perfection that it is, and changing the gender never crossed his mind.
Was there a good-faith attempt made to reach out to Tracy and ask her permission to cover the song, even though that wasn’t required? If so, did you all track her down, and what, if anything, was her response?
At this level, our labels and teams have been in communication and we were always going to follow her lead. Luke, nor I, have spoken directly to Tracy. This is her song and we were going to live within any parameters she had for her song. We are just happy we were able to release it and see the response of fans enjoying it.
Are there plans to make a video?
If given the opportunity, we would love to be able to create a visual piece that would only enhance this already amazing song.
Are there any plans for Luke and Tracy to perform the song together?
As of right now, no. But we never say never to anything.
Big pop covers are a bit of a rarity these days — the trend has swung more toward interpolations recently, which allows songwriters to keep a bigger piece of the publishing pie. But are there advantages to trying to break a cover as opposed to an interpolation?
I don’t think we were looking to make money off of this, as much as Luke wanted to be able to deliver a great song, that has shaped his musical career, and give it to a new generation and genre of fans. Luke doesn’t think, “How can I make money off of this,” more so, how can he give the fans a look into the music that shaped him?
Is it tough going to radio with a big cover in 2023? There are so few conventional covers on the airwaves these days. Do you have to demonstrate a song’s strength at streaming before program directors will even start a conversation with you about putting it in rotation?
Luckily, this song has hit home with a lot of programmers. It has given them the opportunity to showcase a song they also love. We are having streaming success, very early out of the gate, but we are also having radio success running parallel with it. It’s fun to see the both running, hand in hand, with one another.
Luke already saw success with Billboard top 10 hits like “Forever After All” and “The Kind of Love We Make.” What could the success of “Fast Car” at pop radio mean in terms of exposing him to a new audience?
We have always wanted to bring our genre to the ears of more people. That’s why we play shows internationally and invest in Europe, Australia, and Canada. Being able to have a hit that is globally recognized and accepted outside of country radio, and into the ears of CHR and Hot AC listeners, is very much the same thing as being able to do sold-out shows in places we have never been. The music is traveling and we want to be on the forefront in any way possible.
Speaking of crossover success, Luke is at such a career high point all around, including as a global touring star — rare for a country artist. Do these kinds of big successes at pop radio help his act translate to an international audience?
Luke has already laid the groundwork for his global success before this release. What I think happens now, is that we are able to widen our focus so when we do come back to other countries, we can welcome more fans and give them the experience that is three chords and the truth. It’s all we have ever wanted to do.
Previous Executive of the Week: George Prajin of Prajin Records
For years, the major labels have been clamoring for streaming services to raise their subscription prices. The publicly stated position of leadership at Warner Music Group and Universal Music Group is that music is undervalued, in part due to artificially low subscription rates. Warner Music CEO Robert Kyncl was recently quoted as saying “We are the lowest (cost) form of entertainment; we have the highest …engagement, highest form of affinity and lowest per hour price. That doesn’t seem right. It should change in an orderly fashion.” As I noted in an April Billboard article looking at both sides of the issue, it’s astounding that I pay about the same amount for my monthly streaming subscriptions as I did for Rhapsody in 2003 — between $9.99 and $10.99 per month. Although Apple and Amazon recently raised prices, even those prices fall below the Rhapsody benchmark of $9.99 per month set in the early aughts once adjusted for inflation. There’s a strong case for price increases.
What if this thinking is wrong, though? Are there reasonable arguments for leaving prices where they are?
In the US music streaming subscription penetration is relatively high, at 41% of internet users over the age of 13. Many who might subscribe have access through family plans while some share account log-ins. Overall about 50% of internet users have access to a paid on-demand subscription music service through direct payment, sharing or trials and that number is even higher if you include SiriusXM.
These statistics are important for two reasons. First, they demonstrate that there is more room to grow music subscriptions in the US. They also reveal an underlying demographic divide. The half without access to on-demand services are older (59% over age 44), less invested in music and likely to be more price sensitive than earlier adopters.
Research that MusicWatch conducted on the economy and music highlighted that younger fans are more stressed about their personal financial situations as well as inflation. Respected music analyst Mark Mulligan of MIDiA Research noted that helping subscribers through difficult economic times might create goodwill for audio services. And he might have a point, especially for the younger demographic who make up a large part of the current subscriber base.
We need to be clear about how this price argument might apply to different consumers. Would services raise prices for current subscribers, who already rate the offer quite highly? What about new subscribers? As pointed out earlier, there is still growth to be had for subscriptions. In the U.S., trials are the primary feeders to paid subscriptions. According to MusicWatch’s Annual Music Study, released in March 2023, the likelihood of moving from a trial to a full paid subscription is slowing. The number one reason triers don’t expect to convert is “I’m watching my money more carefully due to inflation.”
For years the main barrier to converting from a trial to a full subscription has been not using the service often enough. According to MusicWatch surveys, subscribers to paid on-demand services spend 26% more time streaming music than people who are on a trial. They also consider music more important..They are nearly twice as likely to spend money on things like concert tickets, vinyl records CDs and merchandise. And keeping prices low could be more attractive to these potential subscribers now sampling the service through a trial.
There’s also a strong case to be made for increasing audio subscription prices, of course. Stagnant rate adjustments, high loyalty and usage, and outstanding value suggest that reasonable increases would meet modest resistance, if any at all. Those of us with long histories of paying for music subscriptions and passion for our favorite services are unlikely to churn out.
The question is not whether we can grow “ARPU” among current subscribers. It is whether the services can raise prices and continue to grow the subscriber base in the US, especially since that growth would come from later adopters who are older and less committed to music. There are segments of music fans struggling to manage inflation. That may argue for maintaining low prices. It could also argue for a SiriusXM-style strategy that combines low introductory prices with increases upon renewal. Whatever the argument, these questions should be resolved by testing, not proclamation.
Russ Crupnick is the principal at market research firm MusicWatch.
RuPaul’s Drag Race and We’re Here star Shangela has denied allegations in a civil suit filed by a former production assistant on the latter series claiming that the drag star (born Darius Jeremy “DJ” Pierce) drugged and raped him after a 2020 wrap party.
“I can’t begin to explain how hurt and disgusted I am by these totally untrue allegations. They are personally offensive and perpetuate damaging stereotypes that are harmful not only to me, but also to my entire community,” Pierce said in a statement to Billboard on Friday (May 5).
The statement came in reaction to a civil suit filed in Los Angeles Superior Court on Wednesday in which Daniel McGarrigle, a We’re Here production assistant, claimed that Pierce sexually assaulted him in February 2020 after a wrap party for the fifth episode of the HBO reality series featuring several Drag Race contestants, according to The Hollywood Reporter.
“An external investigation into this embittered individual’s claims previously concluded that they were completely without merit,” Pierce continued in the statement. The performer added of the new filing, “No one should be fooled: It has no basis in fact or in law, and it will not succeed.”
Pierce added, “As a hardworking and outspoken drag entertainer for more than a decade, I know that I am far from alone in battling ignorance, bigotry and prejudice, all of which played a role in the filing of this complaint. That is why I will fight this entirely meritless lawsuit and not allow it to destroy me and those I love, or harm the causes we all stand for.”
According to THR, McGarrigle alleges in the suit that during party at a Ruston, La., restaurant/bar, Pierce was “heavily flirtatious” with him and bought him several drinks before allegedly suggesting that McGarrigle accompany him to his hotel to help get ready for an early flight. The suit then claims that McGarrigle vomited in the toilet after arriving in Pierce’s room, at which point the performer reportedly offered to get him water and let him lie down until he felt better.
The production assistant claims in the lawsuit he woke up later that evening to a cold liquid that “burned his eyes and nose” being poured on him that was described as a kind of “poppers” (aka amyl nitrite) before Pierce allegedly pulled down his pants and “overpowered” him.
In a separate statement shared with Billboard from producers Buckingham Television and HBO, the representatives for the series said, “Buckingham Television, the production company for We’re Here, received a complaint late summer 2021 regarding an incident that was alleged to have occurred in early 2020. Buckingham and HBO take the safety and well-being of personnel on our shows very seriously, and Buckingham immediately launched an investigation. The investigation concluded that there was insufficient evidence to support these allegations.”
The suit claims that the alleged rape was an act of gender violence, and that McGarrigle suffered damages as a result, including “past and future medical expenses, past and future lost earnings and earning capacity, pain, suffering, emotional distress, mental anguish and embarrassment.” The legal action is seeking unspecified damages from Pierce and Buckingham.
Brooke Primont was promoted to executive vp of global sync at Concord Music Publishing, where she will lead the company’s 17-person synch team worldwide, the company tells Billboard.
Based in New York City, Primont will lead all of Concord’s publishing synch operations, managing teams in the United States, United Kingdom, Germany and Australia — along with the company’s global sub publisher network — while creating synergies across the Concord catalog. She will report to chief publishing officer Jim Selby.
Primont joined Concord more than five years ago as head of the North American publishing synch department. Recent achievements by her team include a Super Bowl ad for UberEats featuring Montell Jordan’s “This Is How We Do It”; Ericdoa’s “ >one (greater than one)” for the Valorant video game series; Night Ranger’s “Sister Christian” in the trailer for Air; and The Polyphonic Spree‘s “Hold Me Now” in the trailer for Everything Everywhere All At Once.
“I am excited to expand my role by bringing together Concord’s sync teams around the world, allowing us to broaden the scope and diversify the opportunities that we can offer our songwriters and composers,” said Primont in a statement. “The global Concord Music Publishing sync team is truly something special, we have developed unparalleled relationships across the entertainment industry, and it doesn’t hurt that our catalog is full of some of the best songs ever written.”
Selby added, “Brooke has already taken our sync division to new heights. I know that this new role will further expand her capabilities, bringing more opportunities to more of our writers and enriching our catalogue.”
Over her 25 years in music publishing, Primont has served in roles at BMI, Cherry Lane Music Publishing and Razor & Tie. She currently serves on the executive boards for the AIMP New York chapter and Kid Pan Alley.
The Paley Center for Media announced that Combs Global and REVOLT chairman Sean “Diddy” Combs and Warner Music Group CEO Robert Kyncl joined the entertainment industry nonprofit’s board of trustees alongside LinkedIn CEO Ryan Roslansky and Alibaba Group co-founder/executive vice chairman Joseph C. Tsai. Additionally, FOX Entertainment CEO Rob Wade joined the Paley Los Angeles board of governors. According to a press release, the organization’s board of trustees “offers guidance in support of the organization’s mission to lead the conversation around today’s rapidly evolving media landscape and provides critical input on strategy and operations, including public programs and exhibits, educational classes, workshops, and industry events hosted by the Paley Media Council.”
Recently formed multimedia platform gamma., founded by Larry Jackson, is expanding operations into Africa and the Middle East and has named Sipho Dlamani as president of Africa & Middle East and Naomi Campbell as special advisor of Africa & Middle East. The Africa operation will be based in Lagos, Nigeria and the Middle East operation will be based in Dubai, United Arab Emirates. Dlamini most recently served as CEO of Universal Music South Africa and Sub-Saharan Africa; Campbell, an internationally recognized supermodel and UN Commonwealth Ambassador, is the founder of Fashion For Relief and The Emerge Initiative, among other endeavors. In its debut in the region last Friday, gamma. exclusively distributed and marketed Rema‘s album, Rave & Roses (Ultra) in African territories.
AWAL announced the appointment of its U.K. executive leadership team, including Matt Riley as managing director; and Victoria Needs and Sam Potts as senior vps. Riley will expand his current oversight as the company’s head of A&R, working with AWAL president Paul Hitchman and CEO Lonny Olinick to sign new artists and develop the company’s roster. Needs will add the U.K. market to her existing international marketing duties for AWAL, while Potts will continue working with the executive leadership team to maximize audience development and growth strategies for AWAL artists across traditional and digital media.
Also at AWAL, Cami Operé was named vp/head of publicity. She joins the company from Sacks & Co., where she was vp of publicity and led public relations efforts for artists including Lizzy McAlpine, Jungle and Bruno Major. She can be reached at cami.opere@awal.com.
Sara Knabe was named senior vp of A&R at Big Loud, where she will work with both the Big Loud Records and Big Loud Publishing A&R teams. Knabe joins following a year spent founding and developing Cake Maker Music, her own music publishing, artist development and A&R consulting company; she previously served in roles at BBR Music Group and BMG, among others. Knabe can be reached at saraknabe@bigloud.com.
Steve Ziff was named chief business officer at Loud And Live, where he will oversee the company’s marketing services and enterprise-wide business development efforts, offering strategic guidance to grow the company’s portfolio. He joins the company from Thrill One Sports, where he served as chief marketing officer/chief communications officer. Ziff can be reached at sziff@loudlive.com.
Second Estate Records, a new label founded by A&R veteran and entrepreneur Mel Carter, appointed Katie Kay as general manager and Adise Bellille as president. Together, Kay and Bellille will oversee forthcoming releases from 2Rare and more acts in partnership with Warner Records, with which Second Estate has a joint venture. Kay most recently served as vp of marketing at Cinematic Music Group, while Bellille is an entertainment and hospitality entrepreneur who founded New York-based nightlife hub Carefree Nation, among other endeavors. Kay can be reached at Katie@secondestaterecords.com and Bellille can be reached at Adise@secondestaterecords.com.
Suzi Ibbotson was named director of communications at PPL; she joins from Unilever Global, where she held the same role. She will report to CEO Peter Leathem and join the company’s executive management team. Ibbotson can be reached at suzi.ibbotson@ppluk.com.
The board of Hipgnosis announced that Vania Schlogel stepped down as a director, effective April 30, to focus on her firm, Atwater Capital. “Vania is an exceptional executive and her experience in every aspect of investment and music has been invaluable in making Hipgnosis the market leader,” said Hipgnosis Songs Fund CEO/founder Merck Mercuriadis in a statement. “We appreciate her terrific contributions to Hipgnosis Songs Fund during her time on the Board and wish her every success in the future.”
Independent publishing company peermusic announced three promotions in its Canada office as well as its neighboring rights division, including Neville Quinlan to managing director of publishing & neighbouring rights, Canada; Cheryl Link to general manager of peermusic’s Toronto publishing operations; and Rachael Clark to head of administration at peermusic Canada. Quinlan can be reached at nquinlan@peermusic.com, Link can be reached at clink@peermusic.com and Clark can be reached at rclark@peermusic.com.
The U.K. office of independent record company Because Music and London Records has announced several senior appointments. They include Rhian Emanuel, promoted to managing director at Because Music UK; Laura Kelly, promoted to managing director at London Records; Ed Pearson, promoted to senior vp of marketing, dance & electronic at Because Music UK; and Junior Foster, hired as digital marketing & strategy manager at London Records, which he joins from Deezer.
Brian Celler was named senior vp of content and programming, Europe at ASM Global. He will be responsible for the company’s music, entertainment and sports content throughout its European and U.K. portfolio. The 25-year veteran has previously held roles at Q Prime, Sony Music, Universal Music Group and Principle Management. Celler can be reached at Brian.Celler@eu.asmglobal.com.
Ashley Gorley‘s publishing and artist development company, Tape Room Music, promoted all three members of its team. Blain Rhodes was named president, Kelly Bolton was named senior vp of A&R and Caroline Hodson was named manager of A&R.
Holly Schomann was promoted to senior director of program & project management at TuneCore, where she will now oversee a team of project managers to ensure proper execution of software development processes and internal reporting.
Todd Bonder joined Reitler Kailas & Rosenblatt‘s Los Angeles office as a partner in the firm’s litigation practice. Bonder focuses on intellectual property and general civil litigation, emphasizing entertainment, new media, trademark, copyright, rights of publicity and privacy and publishing matters, as well as unfair competition, trust, probate, contract, real estate and construction disputes. He can be reached at tbonder@reitlerlaw.com.
Veteran agent Stefanie Purificati joined The Feldman Agency in Canada, where she brings clients including Digging Roots, Aysanabee, iskwē and Tynomi Banks to the roster. She will be based out of the company’s Toronto office and can be reached at purificati@feldman-agency.com.
Found Objects, the music and sound collective founded by film/TV composers Jay Wadley and Trevor Gureckis, promoted Katt Matt to executive producer and Nick Chomowicz to senior producer. The collective specializes in sound design and music supervision for film, TV and brands.
Sue Ann Cordell joined Reliant Talent Agency, where she will be responsible for human resources, office administration and executive assistance. She has held roles at companies including WME and is also the owner of life coaching and event-speaking company Shineworthy Lifestyles, among other ventures. Cordell can be reached at sacordell@relianttalent.com.
Maria Eiliert was named account executive at Shore Fire Media out of its Nashville office, elevated from junior account executive. She joined the firm after graduating from Belmont University with a music business degree in November 2020.
Rachel Brittain joined The Neal Agency as a commercial and brand partnerships agent. She joins from FlyteVu, where she served as an account manager and was part of the talent team, connecting artists to brands. She can be reached at Rachel@TheNealAgency.net.
Labelcoin, a blockchain-based song exchange and investment marketplace “striving to end artist poverty with fan-supported investment in artists’ songs,” according to a press release, launched a business advisory council that so far includes Mark Dvornik, former head of U.S. distribution at Paramount Pictures; Hummingbird Productions founder/president Bob Farnsworth; G2G Enterprises founder/CEO Lee Guzofski; and MRSV Media CEO Loren Johnson.
It’s been nearly seven months since Adidas split with the rapper formerly known as Kanye West, and boxes of his popular Yeezy shoes are still piled up in warehouses.
The fate of 1.2 billion euros ($1.3 billion) worth of unsold Yeezy stock is weighing on the German sportswear company as it tries to engineer a turnaround from the loss of the lucrative sneaker line and the continued fallout over its former ties to Ye.
Adidas is “getting closer and closer to making a decision” on what do to with the sneakers and the “options are narrowing,” new CEO Bjorn Gulden said in a conference call Friday (May 5) after reporting 400 million euros ($441 million) in lost sales at the start of the year. But with “so many interested parties” involved in the discussions, no decision had yet been reached, he said.
Adidas is stuck with stacks of its flagship Yeezy brand shoes after ending its relationship with Ye in October over his antisemitic and other offensive comments on social media and in interviews.
Gulden, who became CEO in January after the Ye split, declined to say if destroying the shoes had been ruled out but that the company was “trying to avoid that.” He has previously said other options have drawbacks: selling the sneakers would mean paying royalties to Ye, restitching them to remove the brand identification would be dishonest, and giving them away to people in need could lead to resale because of their high market value.
Gulden would not say how many pairs of Yeezy shoes that Adidas is stuck holding “because then the consumer would know how many we have and that could have an impact on demand.”
Losing the Yeezy brand is “of course hurting us,” Gulden said in a statement. The breakup will reduce earnings by 500 million euros this year if Adidas decides not to sell the remaining Yeezy stock, the Herzogenaurach-based company said.
Net sales declined 1% in the first quarter, to 5.27 billion euros, and would have risen 9% with the Yeezy line, the company said. It reported a net loss of 24 million euros, a plunge from a profit of 310 million euros in the same period a year ago.
Operating profit, which excludes some items like taxes, was down to 60 million euros from 437 million euros a year earlier. Gulden said the results for the Adidas were “a little better than we had expected” as the company seeks to restart growth and move beyond the breakup with Ye. He called 2023 “a year of transition” on the way to “a better ’24 and a good ’25.”
The company faces other problems tied to the rapper. Investors sued Adidas a week ago in the U.S., alleging the company knew about Ye’s offensive remarks and harmful behavior years before the split and failed to take precautionary measures to limit financial losses.
The lawsuit — representing people who bought Adidas securities between May 3, 2018, and February 21, 2023 — pointed to 2018 comments where Ye suggested slavery was a “choice” and reports of Ye making antisemitic statements in front of Adidas staff.
The company said last week that it rejected “these unfounded claims and will take all necessary measures to vigorously defend ourselves against them.” Ending the Ye partnership also cost Adidas 600 million euros in lost sales in the last three months of 2022, helping drive the company to a net loss of 513 million euros.
An operating loss of 700 million euros is possible this year, Adidas said, mostly due to the 500 million-euro hit it would take if it doesn’t sell the existing Yeezy shoes.
After teeing up Wall Street for a difficult fiscal second quarter, the tech giant Apple beat analyst expectations for the quarter, delivering revenue of $94.8 billion (expectations were for $92.9 billion), down 3 percent year over year, and earnings per share of $1.52, flat compared to last year (expectations were for an EPS of $1.43).
Apple’s services segment, which includes Apple TV+, Apple Music, Apple Arcade and other offerings, continues to grow at a rapid clip, reporting revenue of $20.9 billion, a new record.
The company reported net income of $24.16 billion, down from $25 billion a year ago.
“We are pleased to report an all-time record in Services and a March quarter record for iPhone despite the challenging macroeconomic environment, and to have our installed base of active devices reach an all-time high,” said Apple CEO Tim Cook. “We continue to invest for the long term and lead with our values, including making major progress toward building carbon neutral products and supply chains by 2030.”
Apple also increased its dividend and announced an additional $90 billion in share repurchases.
This article was originally published by The Hollywood Reporter.
Grammy-winning singer and actress Toni Braxton inked a new, all-encompassing production deal with Lifetime and A+E. Under the agreement, Braxton’s Braxtoni Production will oversee and executive produce multiple projects for the network. The production company will be based at Lifetime’s Los Angeles offices. Braxton has starred in and executive produced multiple movies for Lifetime over the last decade; in 2016, the network premiered Toni Braxton: Unbreak My Heart, a biopic about Braxton starring Lex Scott Davis as the singer.
Primary Wave Music partnered with Indian record label and music publisher Times Music. Under the deal, Primary Wave will invest “significant capital” in the company while providing resources for additional Indian catalog investments and helping accelerate the growth of its existing regional, film and non-film music catalogs by assisting the Times Music team in uncovering opportunities in the United States, Europe and other markets in A&R, branding, synch, film/TV and digital marketing, according to a press release. Times Music is looking to make further investments in Bollywood and South Indian cinema music as well as “iconic Indian catalogs,” the release states. Times Music is a subsidiary of The Times of India Group.
Warner Music Singapore and Cross Ratio Entertainment, a leading Singaporean independent record label, signed an exclusive global distribution agreement. Under the deal, Warner Music Singapore will work closely with Cross Ratio on new releases, catalogs, brand partnerships, synchronization deals and marketing events as well as on identifying and upstreaming artists. The Cross Ratio roster includes Akeem Jahat, Alfred Sim, Belinda Lee, and Derrick Hoh; the label also distributes over 200 additional artists.
Academy Award-winning composer Justin Hurwitz (Whiplash, La La Land) partnered with music-for-advertising and sonic branding company Score a Score to expand Hurwitz’s “creative energy to the world of advertising — applying his unique ability to create ‘earworm’ melodies on the big screen to short-form campaigns,” according to a press release. Hurwitz has previously worked with brands including De’Loghi, Heineken and Louis Vuitton.
Will Ward — head of the talent, music, production and incubator company, Fourward — launched Fourward Ventures, a $50 million, early-stage growth fund actively investing in sectors including health and wellness, sustainability and consumer packaged goods. The company has successfully closed half the fund and is on track to close the rest by September 15. “The company seeks brands that disrupt traditional consumer categories through innovation and aims to drive change in society through products or services,” according to a press release, and will help “to quickly scale cutting edge early-stage brands into world-class businesses.” The fund has already invested in nine companies: Audio Up, Goodles, Lomi by Pela, Mad Rabbit, Patrake, Samsara, Starface, Julie and Bryn Pharma. Ten percent of carry profits will be set aside for three different charities not named in the release.
Advertising, communications, technology and commerce holding company WPP has acquired sonic branding agency amp sound branding. Under the deal, amp will join WPP’s brand and design consultancy, Landor & Fitch, adding to the agency’s expertise in delivering immersive brand identities for companies. Amp has created sonic identities for brands including Mastercard, Mercedes-Benz, Kraft Heinz, Deloitte, Shell and General Motors.
The U.K. office of French music company Believe formed a partnership with underground dance music company Rinse to handle distribution and label services for its Rinse Recordings and Bad Music imprints. Under its new b:electronic global imprint, Believe will handle the global distribution for all Rinse and Bad Music frontline and catalog releases. Rinse will continue to handle day-to-day marketing for both imprints while benefitting from Believe’s audience development team across 50 countries, with a focus on audio and video plus editorial and marketing partnerships with digital service providers.
Warner Music UK and independent record label Brownswood Recordings formed a joint venture that will see WMUK “share its expertise in distribution, marketing, and promotion and give Brownswood Recordings access to a global network and a wealth of resources,” according to a press release. The first release under the deal will be Black Classical Music, the debut solo album from drummer/producer/artist Yussef Dayes, which is slated for release on September 8. Brownswood will continue to operate as an independent label, with its leadership team retaining creative control.
Credit Union 1 is the new name-in-title sponsor of the outdoor, 28,000-capacity venue formerly known as Hollywood Casino Amphitheatre at Tinley Park located in southwest Chicago. Now known as Credit Union 1 Amphitheatre, the Live Nation venue is described as the latest addition to Credit Union 1’s entertainment naming rights portfolio in the greater Chicago area.
Insomniac Music Group partnered with free creator-safe music platform Slip.stream to make its music catalog — which includes songs from over 120 artists — to be made available and claim-free via Slip.stream’s online subscription license. Through its integration with FUGA and its Licensease API technology, Slip.stream will protect Insomniac’s copyrights on YouTube while allowing creators to use the music and monetize their videos on all platforms. The Insomniac catalog is now available to Slip.stream’s Pro and Commercial subscribers, though creators can sign up free with access to the rest of the Slip.stream catalog.
ASM Global formed a partnership with London Stadium in the United Kingdom to create additional event content for the venue’s upcoming calendar while also developing new commercial opportunities. Originally built to host the London 2012 Olympic Games, London Stadium is home to the Premier League football club in West Ham United as well as U.K. Athletics. It’s the second-largest concert capacity stadium in London.
FIVE Hotels and Resorts has struck a joint venture with Warner Music Group for the Dubai-based luxury brand’s record label, FIVE Music. To kick off the partnership, FIVE Music — alongside Warner Music Central Europe, Dabruck Creative and FIVE Music’s exclusive music publishing partner, Warner Chappell Music — is in the midst of hosting a music writing camp from April 28 to May 14 at FIVE Palm Jumeirah in Dubai with artists including Robin Schulz, Space Motion, Franky Wah and Alle Farben and songwriters including KIDDO, Bully Songs and Gez O’Connell. Through the deal, FIVE Music has also committed to establishing a state-of-the-art music studio — dubbed FIVE Music Studio — at the FIVE Palm Jumeirah.
Dequency — described as “a web3-powered, decentralised marketplace for on-chain sync licensing” — partnered with artificial intelligence music tagging and recommendation engine Cyanite, which develops AI algorithms for music analysis, tagging, search and discovery to help clients including BMG, Nettwerk, UMPG Music Solutions and more unlock the full value of their repertoire. The new agreement with Cyanite “will make discovering new, original works on the Dequency platform for use in content easier than ever,” according to a press release.