Business
Page: 406
The Four Chord Music Festival is back with the announcement of its 2023 lineup, which will bring a stacked roster of punk and indie bands to Western Pennsylvania’s Wild Things Park on August 12 and 13 for a two-day, DIY celebration from across the punk rock spectrum.
This year’s headliners include Yellowcard — performing their 2003 album Ocean Avenue in full — as well as Taking Back Sunday, The Gaslight Anthem, The Interrupters and Alkaline Trio. Also on the bill are Andrew McMahon in the Wilderness, Waterparks, The Maine, Streetlight Manifesto, Face To Face, American Football, Magnolia Park and more.
“I started the festival because I got frustrated with some of the politics behind getting on tours,” says festival founder Rishi Bahl, a touring artist and college professor who first launched Four Chord Music Festival in 2015 as a local punk rock event in a 1,500-capacity club. Since then, the festival has grown into a massive stadium-sized two-day destination event featuring the punk scene’s biggest and brightest — while keeping its independent DIY roots intact.
“We have some of the lowest ticketing fees in any festival of this size in the whole United States,” says Bahl, noting that Four Chord uses the ShowClix ticketing platform. “We control the cost of beverages. We don’t price gouge for alcohol. We don’t price gouge for food. We have 30 and 50 local vendors on site. We have a DIY rate for small, independent companies, and we have a higher rate for more corporatized companies.”
Booking Yellowcard is a return to Four Chord’s roots, adds Bahl, noting that the band headlined the festival in 2015 before breaking up shortly afterward. “When we heard they were getting back together to play a big Ocean Avenue tour, we wanted to be a part of it,” he says. “If you grew up in the early 2000s and were in the punk rock, pop punk, emo scene, that was a seminal record.”
The festival is split into two days — a pop-punk emo day and a punk rock day — and there are no conflicting sets happening that will see one artist playing at the same time as another.
“Everything we do is focused around making it a good experience for the fans and the bands, without making it cost prohibitive,” says Bahl. “I put this festival on each year knowing what it is like to be a kid on a tight budget and we go out of our way to make sure the festival stays affordable and carries on the DIY tradition.”
Single-day general admission tickets for the festival start at $94, while single-day VIP tickets are priced at $196. More information and tickets can be found at www.FourChordMusicFestival.com.
South Korea’s HYBE said Friday (March 24) it will sell its stake in SM Entertainment, officially ending a bidding war between HYBE and the South Korean tech company Kakao for control of the K-pop agency that was key to the genre’s popularity and overseas expansion in recent years.
HYBE, home of superstar boy band BTS, said in a filing it will sell its roughly 15% stake in SM for nearly 564 billion won ($435 million) to Kakao, which earlier this month announced a tender offer aimed at acquiring up to 35% of SM Entertainment’s outstanding shares.
Kakao Entertainment owns Monsta X‘s K-pop record label, Starship Entertainment, as well as the South Korean music streaming app Melon, the North America-based webtoon company Tapas Entertainment and several media production companies. It’s a subsidiary of the tech conglomerate Kakao Corp.
HYBE acquired most of its shares in SM in February from SM founder Lee Soo-man, who was recently ousted from the company after shareholders called for changes in SM’s structure. For over a decade, Lee exercised top-down control of the company he started in 1995, and shareholders had raised questions over millions of dollars he received in producer fees annually.
Lee sold his shares to HYBE in retaliation for a move by SM to issue stock to Kakao, ultimately prompting HYBE’s attempt to secure a majority stake in SM through a tender offer. HYBE relented in mid-March because, it said, outbidding Kakao could have “a negative impact on our shareholders.”
Just days after canceling the company’s bid for control of SM, HYBE founder/chairman Bang Si-hyuk reiterated his desire to expand beyond Korea in an effort to eventually compete with the three major labels – Universal Music Group, Sony Music Entertainment and Warner Music Group — on a global scale, stating the company must have a “sense of urgency” in doing so.
Bang additionally signaled a desire for outside support for K-pop companies in their attempts to rival the majors, including possibly from the South Korean government, which has helped elevate Korean companies in other industries into global players. HYBE has already made strides on that front with two U.S. acquisitions — Scooter Braun’s Ithaca Holdings and QC Media Holdings, parent company of hip-hop label Quality Control Music, which Bang said are “just the beginning” in its bid for worldwide domination.
SM and HYBE have in recent years dominated South Korean and global pop charts. Together they accounted for nearly half of all albums sold in South Korea in 2022, according to Korean chart company Circle Chart.
HYBE’s planned stock sale could net the company $87 million, the equivalent of a 25% return on its purchases of Lee’s shares one month ago, Reuters reported earlier on Friday.
An R. Kelly victim who won a $4 million judgment against the singer will get first crack at pulling money from the singer’s royalty account with Sony Music — after the Illinois Supreme Court ruled that her claims should take priority over a Chicago landlord that’s also owed millions.
In a decision on Thursday (March 23), the state high court said Heather Williams was entitled to tap into Kelly’s account with Sony — valued at $1.5 million in 2020 — before Midwest Commercial Funding, a property manager that won its own separate $3.5 million ruling against Kelly over unpaid rent at a Chicago studio, can access it.
Williams filed a civil lawsuit against Kelly in 2019, alleging that when she was 16 years old, the singer lured her into his studio with promises that she could be in a music video and then repeatedly had sex with her as a minor. In 2020, she won a judgment of $4 million against Kelly on those accusations.
Thursday’s decision upheld a lower court’s earlier ruling that Williams — and not Midwest Commercial — should be given priority access to the royalties because she was the first to properly demand the money from Sony. That earlier ruling had ordered Sony to hand over to Williams “any funds currently in Kelly’s royalty account,” and to keep giving her his royalties until the judgment was paid off.
Disbursement of Kelly’s funds held by Sony has been paused while litigation has played out; it’s unclear how much money is now in the account. The company is not named in any lawsuits and is not accused of any wrongdoing. A rep for Sony declined to comment on the ruling or on the status of Kelly’s royalties.
Following Thursday’s ruling, Kelly’s attorney, Jennifer Bonjean, tells Billboard that she’s currently seeking to overturn the underlying $4 million judgment. She says the award to Williams — a so-called default judgment, meaning it was issued after Kelly failed to respond — “never should have been entered.”
“I’ve never in my career seen such a flouting of the rules to deny him even the opportunity to defend these civil cases, even when the courts were fully aware that Kelly was incarcerated, unrepresented at points, and facing multiple criminal indictments,” Bonjean says. “Indeed, much of these civil proceedings occurred without Kelly’s knowledge.”
But the $4 million judgment was already upheld once by an appeals court, and Bonjean said she faces an “uphill battle” to overturn the judgment because of the actions of Kelly’s prior lawyers.
An attorney for Williams declined to comment on the litigation. An attorney for Midwest Commercial Funding did not return a request for comment.
Though Thursday’s decision gave priority to Williams over Midwest Commercial Funding, it’s unclear whether she’ll enjoy similar priority over a slew of additional monetary penalties that Kelly owes to victims as a result of his federal criminal convictions.
After he was sentenced last summer to 30 years in prison for sex trafficking and racketeering in New York, Kelly was ordered to pay more than $480,000 in fines and restitution; after he was sentenced in February on child pornography charges in Illinois, another $42,000 was tacked on. Last fall, prosecutors confiscated nearly $30,000 in Kelly’s prison account in an effort to start paying those penalties.
A representative for the U.S. Attorney’s Office in New York declined to comment on the impact of Thursday’s ruling or the status of federal restitution efforts against Kelly. A rep for the Us Attorney’s Office in Illinois did not immediately return a request for comment.
So far this year, much of the discussion around the touring business has been about ticketing, with high-profile tours by the likes of Taylor Swift and Drake putting Live Nation and Ticketmaster in the spotlight. But underlining that throughline is one undeniable fact: three years on from the onset of the pandemic that shut down events across the world, the live music business is fully back, with the biggest stars in the world hitting the road for their first outings in years.
That has meant that all facets of the touring business are once again operating at full speed. Or, as UTA partner and music agent Mike G puts it, “Post-pandemic, the live business has been on fire.”
The longtime agent would know. This year, he’s booked a series of major tours and shows for some of the biggest acts in multiple genres, including Lil Wayne, Romeo Santos, Wizkid and The Kid LAROI, each with some significance: Wayne’s charting an underplay in anticipation of a broader tour around his upcoming album Tha Carter VI; Santos is playing stadium dates in four cities, almost a decade after he became the first solo Latin artist to sell out Yankee Stadium; Wizkid has a headlining arena tour on the way, after he became just the second Nigerian artist to sell out Madison Square Garden in November; and The Kid LAROI kicked off a college tour of secondary and tertiary markets this week. And all that activity has helped earn Mike G the title of Billboard’s Executive of the Week.
Here, he talks about the strategy behind several of those outings, as well as the difficulties and opportunities that have arisen as the pandemic increasingly appears to be in the rear view mirror. “[The pandemic] created a demand,” he says, “and the live industry is healthy.”
This week, The Kid LAROI kicked off his college tour in Syracuse, New York, one of a number of big tours you’ve locked in in the last few months. What was the strategy behind this one in particular?
The strategy behind touring these college towns was to touch a significant fan base for LAROI in secondary and tertiary markets. The idea of going on a reputable college tour hasn’t been executed since Jay Z. So, we saw an opportunity to continue to build his live business with this run and market it in a specific way. The pop-up pep rallies on the day of the show have been a special touch by LAROI to connect with his fans on campus.
You also booked the upcoming Lil Wayne tour ahead of his next album, which sold out in presale and moved 70,000 tickets with a mix of theaters and arenas. What goes into the routing of a tour like this for a superstar like Wayne?
The idea behind Lil Wayne was to create an intimate touring experience for his fans by playing at venues like the Wiltern in Los Angeles and the iconic Apollo Theater in New York. The concept of playing these rooms was to leave tickets at the door for his more extensive run in the fall while pre-promoting Tha Carter VI with this tour as a marketing vehicle. It is an understatement to say this has played out the way we wanted it to. This tour will be such a great experience for the fans.
Last November, Wizkid became the second Nigerian artist to sell out Madison Square Garden, and now he’s set for an arena tour later this year. What do you see as the touring market and possibilities for afrobeats artists in the U.S.?
The possibilities will be arena and amphitheater tours with afrobeats artists as well as headlining crossover festivals. The potential is unlimited in the live space and we’ve seen such incredible success with WizKid being on the forefront and one of the very few artists leading the movement in the U.S.
In 2020, you guys signed Romeo Santos, his first time signing with a major agency. How did you convince him to come aboard?
The signing of Romeo Santos in 2020 was one of the most significant signings for our department. We presented the full-service models that we live by at the agency. Touring is an artist’s most important revenue generator, but in conjunction with live, the thought was, “Let’s build out other untapped business areas.” Film, TV, digital and brand opportunities should be part of those daily conversations. That generated Romeo’s interest and, ultimately, led him to signing with us. It’s about everything we can deliver, not just touring. He wanted to build out a 360 business in all areas of entertainment.
This year, he’s doing stadium shows in four U.S. cities, just shy of a decade after he became the first Latin artist to ever sell out Yankee Stadium. What continues to make him such a big draw?
His loyal fan base and consistency in delivering fantastic music and a spectacular live show. Romeo took Bachata music to new heights. He revolutionized and modernized the genre.
What goes into booking artists of all sizes in the right venues — especially those artists who may have emerged during the pandemic, and don’t have much of a touring history, if any?
We study and understand where that artist is in their career. For some acts, we can gauge and see if playing a 500-cap room is the right step to begin their touring career in the major markets. Finding the right support slot on tour for other acts can expose the artist to new fans and build a base. Each artist is different, but you must be strategically aggressive and not afraid to lose to make a live career.
How has the touring business changed as the world emerges from the pandemic? And how has it changed how you do business?
Post-pandemic, the live business has been on fire. It created a demand, and the live industry is healthy. The business will continue to thrive, but being conscious of ticket pricing will be instrumental in our current economy.
Previous Executive of the Week: Jesús López of Universal Music Latin America
Immersive audio has been available in the live sector for about a decade now, but growing interest in spatial audio is fueling increased demand from artists and their creative teams to find money and physical space to deploy the technology at concerts.
That includes global superstar Adele, who wraps up her “Weekends with Adele” residency at The Colosseum at Caesars Palace this Saturday. After a brief demonstration in London, Adele and her creative team decided to use L-Acoustics’ L-ISA system for the high-profile residency, creating an ideal showcase for journalists, creative teams and other music executives to hear the system’s “hyper real sound,” as L-Acoustics sometimes calls it, and how it compares to traditional stereo sound.
“In a traditional stereo show, the sweet spot for sound as a mixer is probably pretty small,” explains Jordan Tani, project and technology marketing engineer for L-Acoustics, during a pre-show front of house tour of the Colosseum. In many venues, “the sweet spot” where the audience can fully capture the audio mix is as little as 5% of the venue. But immersive audio systems significantly expand the coverage area of a venue to more than 90% of the audience, thanks to innovations in loudspeaker configuration, algorithmic sound mapping technology and the processing power of the human brain to quickly calculate differences in time and amplitude to determine a sound’s location.
When delivered correctly through high-end lateral and overhead speakers, L-ISA creates a 3D soundscape that more evenly distributes audio to the audience and gives certain sound objects a distinct spatial position.
“And by having this type of coverage and this resolution, we can now pan things around, give spatialization, and give the instruments and the sounds, their appropriate space,” Tani says. “Immersive sound ensures all sounds are heard the way the artist wants them to be heard, not matter where the audience member is sitting.”
For Adele, that means the sound of her voice naturally moves with her as she walks around the stage and the venue, while greeting fans. It also gives her front-of-house engineers a chance to build impressive crescendo moments into her songs. As more instruments and audio elements are added, the soundscape is widened and given more depth, slowly immersing the audience for each track’s big musical moments.
For L-Acoustics, the pioneering sound company launched in France in 1984 and now headquartered in LA’s Westlake Village, The Coliseum is the most high-profile use yet for L-ISA. L-Acoustics is one of the largest premium loudspeaker and pro audio companies in the touring industry and one of only a few manufacturing complete audio systems for immersive sound at live entertainment venues.
The company’s founder Christian Heil is credited with inventing the modern line array, a system for stacking speakers familiar to live music fans used to seeing large, curved vertical arrays of loudspeakers hanging from the stage grid. Heil — a partial physicist and fan of Pink Floyd in the 1970s and 80s who wanted to improve the sound quality of the gigs he was attending in Europe at the time — noticed that many venues and sound techs tried to make up for sound coverage issues at concerts by increasing overall power, making it much louder in the front section than the rear. In 1992, he discovered that stacking speakers of the same frequency at a slight angle greatly expanded sound coverage, without additional power requirements, and gave way for a much more even listening experience from front to back.
Today, most loudspeaker companies have adopted the line array model into their touring systems, while the team at L-Acoustics have continued to innovate and develop new methods for how sound is delivered to an audience. Beginning in the early 2010s, the company began experimenting with immersive audio and object-based sound mixing, paving the way for the launch of L-ISA in 2016.
In order to expand adoption of the technology, L-Acoustics CEO Laurent Vaissié says the company has shifted its marketing and educational efforts away from production managers and front-of-house engineers toward artists, musical directors and sound designers that have creative input for a show.
“L-ISA opens up the creative process and you can see that with Adele show,” says Vaissié. “There are creative decisions that need to be made in terms of how the music should be heard. Is her voice front and center? Who wide do her backup vocals need to be? These are decisions increasingly being made by the creative director, the musical director, and sometimes even the artist themselves.”
By engaging directly with the creative teams, L-Acoustics has expanded the number of contemporary artists using its immersive technology, signing up Bon Iver, Odesza, Katy Perry, Lorde and more.
“It’s a slow burn,” says Vaissié who estimates that about 10% of the tours that work with L-Acoustics are now using L-ISA. In five years, he believes that immersive audio will account for 20-30% of his company’s business.
The challenges of building the system, which costs about 20% more than non-immersive products, are expected to improve as L-Acoustics shifts to a lower cost licensing model charging users based on how they use the system, lowering costs for smaller productions. He also added that the necessary gear is getting smaller and lighter, taking up less real estate on stage.
“And most importantly, fans are demanding it,” Vaissié says. “Once a fan hears it at one show, they come to expect it at other concerts they attend. Fans pay a lot of money for concert tickets, and they want to have the best experience possible.”
Maureen Loughran was named director/curator of Smithsonian Folkways Recordings — the nonprofit record label of the Smithsonian — effective Monday (March 27). Loughran, who is currently senior producer of the nationally distributed public radio series American Routes, will also oversee the Ralph Rinzler Folklife Archives and Collections. She succeeds Daniel Sheehy, the former director of Smithsonian Folkways, who had come out of retirement to serve as interim director for the past two years. Loughran can be reached at LoughranME@si.edu.
Better Noise Music promoted senior label manager Trish Sterling to vp of marketing; UK & Europe promotions manager Claudia Mancino to international director of press & promotion; senior vp of finance Harris Masood to CFO; and director of financial operations Chekesha McCalla to vp of finance. Also promoted was Dan Sears to director of production and Michael Filippone to finance manager. Additionally, the company hired Michael Lombardi as head of production and development; Paolo Bettaglio as senior director of digital marketing & audience growth; Elisa Nye — hired by Bettaglio — as senior manager of digital marketing & audience growth; Chandler Booth as marketing manager; and Liam Kay as production coordinator. Mancino can be reached at claudia@betternoise.com.
Kobalt named Lindsey Lanier as vp of creative and Desi O’Meara as director of creative. The Los Angeles-based Lanier most recently served as vp of A&R at Motown Records and the New York-based O’Meara was most recently director of A&R at Columbia Records.
Various Artists Management appointed Joe Etchells as head of A&R and artist development, effective April 2. Etchells will be based between the company’s London and Los Angeles offices, reporting to CEO David Bianchi and U.K. managing director John Dawkins. He will work across the company’s artist management, music publishing and label operations. Etchells joins from EMI, where he served as A&R director. He can be reached at joe@variousartistsmanagement.com.
Jon “Ando” Andolina launched The Francis June Group for management, bringing with him flagship client, Big Loud Records artist Larry Fleet (“Where I Find God”). Andolina was previously co-founder/partner at Good Company Entertainment alongside Jake Owen and Keith Gale. Andolina can be reached at ando@thefrancisjunegroup.com.
Jammcard — styled as a LinkedIn for the music industry — announced the launch of Jammcard Films. Filmmaker Jack Piatt, who was originally director of operations for Jammcard, will serve as president of the new division, while Caroline Hoste — a partner at Piatt’s Highway West Entertainment as well as a Jammcard advisor — will serve as vp. Meanwhile, Jammcard founder Elmo Lovano will fill the role of executive producer. Forthcoming Jammcard Film releases include the feature-length documentaries Immediate Family directed by Denny Tedesco and Trap Jazz directed by Sadé Clacken Joseph. Piatt can be reached at Jack@highwaywestent.com, Hoste can be reached at Caroline@highwaywestent.com and Lovano can be reached at elmo@jammcard.com.
On-air personality/podcaster/producer Ashley Eicher launched her own media company, AE Entertainment, which will provide story consulting, media coaching and content creation for clients. She can be reached at ashley@aeentertainment.co.
Nashville Notes:
International Bluegrass Music Association executive director Pat Morris resigned from his post effective March 24, allowing him to move out of state to address family medical issues. Former executive director Paul Schiminger will handle the role on an interim basis … T.J. Dula joined iHeartMedia/Raleigh-Durham, N.C., as senior vp of sales. She was previously Disney ABC Television Group digital sales director. The five-station Raleigh cluster includes country WNCB … Pandora senior director of country programming Johnny Chiang added SiriusXM country programming to his job description … Subscribe to our weekly Country Update newsletter for more Music City news.
After coming together with Adidas in 2018 to relaunch her athleisure brand Ivy Park, Beyoncé has parted ways from the sportswear giant, in a move that sources tell The Hollywood Reporter was mutual.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The split was reportedly due to creative differences between Ivy Park and Adidas, with Beyoncé excited to “reclaim her brand, chart her own path and maintain creative freedom,” The Reporter writes.
During what Adidas referred to as “a partnership of a lifetime,” Ivy Park launched several collections, with the first launching in April 2019. The drop was fully equipped with a massive PR campaign involving closet-size traffic-cone-orange boxes being sent to celebrities including Missy Elliott, Cardi B, Kendall Jenner, Angela Bassett, Ciara, Reese Witherspoon and Hailey Bieber.
Despite the glittery promotional content, Ivy Park apparently did not live up to the hype Adidas was anticipating when they initially promised Beyoncé “guaranteed annual fees and creative control,” according to a Wall Street Journal piece from February. Instead of producing the hundreds of millions in revenue that Adidas expected — the company hoped Ivy Park would perform similarly to Ye’s Yeezy brand — Ivy Park releases undersold, with roughly half of the merchandise from five of the six releases remaining on shelves.
The Wall Street Journal article also indicated differences in strategy between Adidas and Ivy Park when it came to marketing, with the German multinational corporation pushing for their own branding. At the end of 2022, Ivy Park was predicted to reach $40 million in sales, down from $93 million the year prior. Although Adidas was positioned to lose at least $10 million in 2022, Beyoncé was set to make the same amount in compensation as previous years: $20 million.
Beyonce launched Ivy Park in 2016 with Top Shop owner Sir Philip Green. When the partnership ended in 2018, Bey’s Parkwood Entertainment acquired full ownership of the streetwear brand. Despite the breakup, Beyonce has much to look forward to considering the frenzy surrounding her upcoming Renaissance World Tour, kicking off in May. The mega-tour has already caused mayhem among fans eager to see the superstar IRL and will begin in Stockholm, spanning dates throughout Europe and North America.
Billboard has reached out to reps for Beyoncé and Adidas for comment.
The rapper Afroman is facing a civil lawsuit from several Ohio police officers who say he caused them “emotional distress” by using their images on social media and merchandise after they raided his home last year.
In a complaint filed March 13, seven members of the sheriff’s department in Adams County accused the rapper (real name Joseph Forman) of violating their rights by posting the images, which were snapped by surveillance cameras while they executed a search warrant with guns drawn on his home last August.
The deputies (Shawn D. Cooley, Justin Cooley, Michael D. Estep, Shawn S. Grooms, Brian Newland, Lisa Phillips and Randolph L. Walters, Jr.) claim they have been “subjected to threats, including death threats” because of Afroman’s posts.
“As a result of defendants’ actions, plaintiffs have been subjected to ridicule, even in the further performance of their official duties, by members of the public,” a lawyer for the officers wrote. “It has made it more difficult and even more dangerous for plaintiffs to carry out their official duties.”
In a response statement posted to Instagram on Thursday (March 23), the rapper said the officers were “criminals caught in the act of vandalizing and stealing money” who had “lost their right of privacy.”
“My video footage is my property,” he said. “I used it to identify criminals, who broke into my house, stole my money and disconnected my home security system. I use my footage of my property to raise money to pay for the damages they done and to identify the criminals operating inside of the sheriff department.”
Later in the same statement, an attorney for the rapper said she was “planning to counter sue for the unlawful raid, money being stolen, and for the undeniable damage this had on my clients family, career and property.”
According to a report by the Cincinnati Enquirer, deputies raided Afroman’s Winchester, Ohio home on Aug. 21, seizing $5,031 in cash and other evidence while executing a search warrant linked to suspicions of drug trafficking. No charges were ever filed and the money was later returned. At the time, the rapper publicly claimed that $400 was missing from the amount returned, but a state investigation eventually found that the discrepancy was due to a miscount, not missing cash.
After the search, Afroman repeatedly posted video and images of the raid on social media, using them to express outrage at alleged damage done to his property and at what he viewed as excessive use of force. One video showed officers searching his home under the title “watch cops steal money.” He later used some of those images on t-shirts and other merchandise, including one that compared one of the officers to an obese character from the animated sitcom Family Guy.
In the complaint filed last week, the officers claimed those posts and merchandise amounted to an unauthorized commercial exploitation of their likeness, as well as an invasion of their privacy.
“Some of defendants’ postings … gave publicity to matters concerning the private lives of Plaintiffs which were not of legitimate concern to the public,” the officers wrote. “As a result of defendants’ unreasonable publicity of the private lives of plaintiffs, they have suffered embarrassment, ridicule, emotional distress, humiliation, and loss of reputation.”
Read the entire complaint here:
Sony Music Nashville (SMN) has shuttered its Arista imprint, shifting the artist roster to SMN’s Columbia and RCA labels.
Old Dominion and Megan Moroney move to Columbia while Nate Smith goes to RCA. The other artists on Arista — including Brooks & Dunn, Ryan Hurd, Seaforth, Morgan Wade and Adam Doleac — will be reassigned when they have projects headed to radio. No acts are being dropped. Country Aircheck broke the news of Sony dissolving Arista Thursday morning (March 23).
In an exclusive interview, SMN CEO/chairman Randy Goodman tells Billboard the move was to realign better with radio’s needs.
“RCA, Columbia and Arista are really imprint names that we use for three different promotion teams because that gives you multiple calendars. We’re now targeting our approach to radio to be more strategic,” Goodman says.
That means bringing songs to radio that already have a story in terms of fan engagement and at digital service providers, so they don’t “languish in overnights” at radio, he continued. “What we said to radio is, ‘Give us dayparts immediately,’ and if it works, great. If it doesn’t, then we’ll move on because we’re going to be moving on things quicker in the DSP landscape as well. So based upon our more targeted approach, we just felt like this was a more efficient way to do it.”
Goodman has been vocal about the tremendous amount of time, expense and manpower it takes for songs to climb the country airplay chart, with some tunes taking as long as 52 weeks to reach No. 1.
“That’s not a model that is an efficient or effective artist development model and so we thought, ‘How do we approach this with a better model in mind?’” he says. “Let’s not go to radio until we know we’ve got something that we can go to the major chains with and show them there is momentum and there is a reason other than us just saying, ‘We want you to play it.’”
Goodman stressed that SMN will not be sending fewer songs to radio and that the realignment strengthens Columbia and RCA by increasing the number of regionals on each team by one.
In the restructuring, Arista’s senior director of promotion and artist development, Lyndsay Church, has left the company. Ali O’Connell, director of promotion and artist development, is moving to RCA, as is specialist/promotion & artist development Amy Menz. Nicole Walden, former RCA specialist/promotion & artist development, moves to the national team. Lisa Owen, also an Arista director of promotion and artist development, shifts to Columbia.
Steve Hodges, SMN executive vp of promotion and artist development, called the managers of the artists on Arista’s roster on Wednesday to give them the news. In addition to his other duties, Hodges has been running Arista Nashvhille since Chris Schuler left his post as vp of promotion at the imprint in November after a seven-month stint at the label.
The moves come as SMN is having a banner year at radio. So far in 2023, Smith’s “Whiskey On You,” Kane Brown and Katelyn Brown’s “Thank God,” and Luke Combs’ “Going, Going, Gone,” have reached the top of Billboard’s Country Airplay chart, with both “Whiskey” and “Going” spending two weeks at the summit.
Goodman adds that the move is really business as usual. “Our job is artist development, our job is to break new artists, our job is to expand careers of the artists that have already broken through,” Goodman says. “And so, in this new world as things continue to change, we’re constantly evaluating what’s the best way to do that.”
The move comes a week after Miranda Lambert announced she was leaving SMN, her home for 20 years. Goodman declined to comment on her departure other than to “wish her well.”
Multimedia Music secured a $100 million investment “uplift” from its group of investors and lenders, including Metropolitan Partners Group, Bardin Hill, Pinnacle Bank and Regions Bank, according to a press release. That grows the company’s total funds raised to $200 million. Multimedia Music also announced a deal to acquire the catalog and income streams of Emmy-winning composer Sean Callery (Homeland, 24, Bones). Launched in 2022 and led by music industry veterans Phil Hope and James Gibb, Multimedia Music with the goal of acquiring catalogs of film and TV music rights from production companies, composers and other rights holders. The company says it has so far spent over $120 million on acquisitions, including the catalog of film composer James Newton Howard and the film music library of STX Entertainment, which it purchased in February.
Reactional Music, a startup specializing in music personalization for video games, licensed the catalog of Merck Mercuriadis‘ Hipgnosis Song Management. Reactional owns patented technology that allows any music to be brought into a video game, where it reacts live to various elements in the game, including visuals and sounds — thereby creating a “personalized” experience for gamers. Reactional tracks all music use across the platform, while its Reactional Engine does not alter, mix or edit the music master. It previously partnered with Tuned Global, Musiio and Blokur for music delivery, consistent tagging and rights management of all music and sounds. “The intersection of games and music is incredibly exciting,” said Reactional Music president David Knox in a statement on the Hipgnosis deal. “Commercially it presents opportunities for both industries with in-game purchases; creatively it is compelling for artists, composers, and games developers to work more closely. And it’s not just new game releases. Reactional’s platform enables curation and personalisation of music in existing games franchises as part of a seasonal refresh.”
Chrysalis Records signed a global agreement with Secretly Distribution that covers all physical and digital distribution for the label’s frontline releases moving forward, including new projects from Laura Marling, Emeli Sandé, Ben Harper, William The Conqueror, The Wandering Hearts and more. The first release under the deal is The Endless Coloured Ways – The Songs of Nick Drake.
Digital electronic music store Beatport struck a partnership with blockchain network Polkadot to launch Beatport.io, a digital collectible marketplace that will bring “electronic music culture to Web3,” according to a press release. Developed and designed in collaboration with Define Creative, Beatport.io will launch on Aventus, a Web3 solutions provider in the Polkadot ecosystem. The new platform will allow record labels and artists to create and sell digital assets and engage with fans. In addition to the launch, Beatport and Polkadot will collaborate on 10 events over the next 18 months, each held to celebrate the launch of a new NFT collection accessible via Polkadot-integrated wallets. The events will be produced by Beatport and “take place alongside major music and Web3 events,” according to the release.
The Orchard acquired Above Board, a dance and electronic music distribution and artist/label services company. Under the deal, Above Board’s roster will have access to The Orchard’s full suite of distribution and artist and label services. Above Board founder/managing director Dan Hill will report to The Orchard managing director Ian Dutt as he continues signing and developing global dance/electronic talent for the label. The Above Board team is now based in The Orchard’s U.K. headquarters. The Orchard’s roster of dance labels also includes Liquid State/Dimitri Vegas, Amtrac, TMRW Music Group and Rose Avenue.
Recently-launched live events company LiveCo acquired faith-based concert promoter Transparent Productions, which works with Christian and gospel music artists including Phil Wickham, CeCe Winans, Casting Crowns and For King & Country.
The Warner Music Group/ Blavatnik Family Foundation Social Justice Fund bestowed a $150,000 grant to Janelle Monáe‘s nonprofit, Fem the Future, which has a mission to create opportunities for under-resourced girls and non-binary youth of color in music, the arts and education. The grant will serve as a pilot for a longer-term collaboration between the two organizations. “This grant will enable Fem the Future to scale up its programming; elevate the power and brilliance of Black girls and non-binary youth; and ensure greater access to life-changing opportunities,” said Warner Music Group/ Blavatnik Family Foundation Social Justice Fund executive director Lorelei Williams in a statement.
Universal Music Central Europe partnered with Web3 music company Centaurify. Under the deal, Universal Music Central Europe will release a series of exclusive, limited-edition collectibles celebrating its artists’ achievements. As streaming numbers grow for artists included in the collection, the collectibles will “evolve,” according to a press release. The collectibles will also grant pre-sale access to future collectibles in the series as well as access to exclusive releases from artists. The first wave of collectibles will be available this year in Norway and Sweden, with more countries to be announced soon.
The U.K. office of digital music company Believe signed a long-term label solutions partnership with drum and bass label Hospital Records for Believe’s new b:electronic imprint. Believe will distribute Hospital’s entire catalog of more than 5,300 tracks to its global network of DSPs while offering audience development services to support growing Hospital’s international reach, including video channel management and strategic support from dedicated genre specialists on Believe’s label management and DSP editorial and marketing partnerships teams. Upcoming releases to be distributed under the deal include albums from P Money x Whiney, Metrik, Hugh Hardie and Flava D. Believe also boasts partnerships with other electronic labels including Metalheadz, Shogun Audio, Cr2 Records, Greco-Roman, Knee Deep in Sound and Southern Fried Records.
Warner Music Czech Republic renewed its partnership with and invested in local hip-hop label Mike Roft to help expand its roster’s global reach. Under the deal, Warner Music will become the sole distributor for Mike Roft’s roster, including Czech superstar Calin — also a shareholder in the company alongside fellow Czech artist D-Kop and video director/graphic designer Radim Zboril. All three will continue to lead Mike Roft as an independent label. Mike Roft is also home to artists including Conspira, KOJO, Indigo and STEIN27.
Voyage, a talent consultancy founded by music executive Spencer Moya, has been acquired by digital-focused talent management firm Select Management Group. In partnership with Select, Voyage will now expand its offerings to encompass artist management services across music, TV/film, creative and fashion. The Los Angeles-based Moya will continue running Voyage as a standalone enterprise within Select.
ASM Global and Frost Bank struck a multiyear deal that names Frost as a founding partner for San Antonio Boeing Center at Tech Port. As part of the agreement, Frost is now the official commercial banking partner for the 130,000-square-foot convention center, which has renamed the premium lux level at the arena as Frost Club.
Independent sales, marketing and distribution company Republic of Music signed a global delivery services deal with distribution management platform Labelcamp. Republic of Music’s label partners — including City Slang, Full Time Hobby and Ghostly — can now upload new releases, manage their catalogs and access daily trend analytics from Labelcamp’s white-label dashboard, while the company’s operations and marketing teams are using Labelcamp to manage release submission from partners and ensure their delivery to DSPs. Labelcamp’s other partners include [PIAS], Because Music, Concord Music Group and Ditto Music.