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Live Nation’s next venture is less about staging rock, pop and hip-hop extravaganzas, and all about mindfulness.
The live entertainment giant today (July 6) launches the Mindful Nation app, an online space where music meets meditation for a necessary mental health break.
Mindful Nation goes wide with over 1,000 meditation classes featuring special beats curated by leading producers and independent artists, including Janax Pacha, Mose Musica and Chris IDH.
According to LN, users of the app can expect to tap into daily trainer-led classes tuned to “various vibes, on-demand classes for mind, sleep, and day-to-day life, music playlists” and “breathe with the beat” exercises.
Noel Gallagher, leader of the British rock outfit the High Flying Birds and Oasis co-founder, has tested the app and given it a resounding thumbs-up.
“Writing music and albums is one kind of meditation,” the legendary Manchester artist explains, “you have to go into a particular state to do it. Music is meditation to me so for Niamh to create Mindful Nation makes so much sense. Music is the gateway to finding that higher place of peace and this platform will allow for more people to access meditation in a way that makes sense to them. It’s really cool.”
The mindfulness platform is the brainchild of Niamh McCarthy, a former artist manager who worked for Madonna and U2’s management team at Maverick. McCarthy, like so many others in the business, experienced burnout on the road. She unlocked some of the solutions through meditation, breathwork, and yoga, and “made it her mission” to share those self-help gifts with the wider music industry.
The in-app classes “are like a timeless album, never out of date,” she explains. “Users can keep going back to these resources again and again to support themselves through the highs and lows of life.”
Mindful Nation is part of LN’s commitment to supporting mental health for music industry professionals, many of whom work long hours, well after dark, and spend long stretches on the road – a long way from their comfort zones. Factor-in the pandemic, and it’s a business that can take a toll.
“We first launched Mindful Nation as a program for our employees,” says Michael Rapino, CEO and president of Live Nation, “and it’s great to see Niamh now bringing the benefits of mindfulness to touring artists and crew across our industry, as well as music fans.”
Live Nation has also invested in mental health support for the broader industry, including Music Industry Therapist Collective and Tour Support, and by raising money for Support Act, Australia’s music industry charity.
Download the app via the Apple App Store.
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The Raine Group has raised $760 million for investments in fast-growing start-ups in the telecommunications, media and technology space, the London-based investment and advisory firm said on Thursday.
Raine Group raised the money for the new Raine Partners IV fund from public pension plans, sovereign wealth funds, family offices and others. The fund’s first investment was the mobile games developer Tripledot Studios, according to a statement.
With nearly $4 billion in assets under management, Raine Group has grown since its 2009 founding to serve as an adviser or investor in some of the biggest deals in sports, media and entertainment.
Earlier this year, it advised pro wrestling giant WWE on its $21 billion combination with Endeavor and on the estimated $300-million sale of Quality Control to HYBE America.
The Raine Group’s music investment and advisory team — Fred Davis, Joe Puthenveetil and Rob Frech — have invested in SoundCloud and Firebird Music Holdings, and also worked as advisors to Francisco Partners when it acquired Kobalt and helped Larry Jackson raise $1 billion in capital for his new venture, gamma.
The Raine Group also owns stakes in DraftKings, Moonbug, Imagine Entertainment, TelevisaUnivision and VideoAmp.
Similar to its predecessor funds, Raine Partners IV will invest in growth-stage media and technology companies, with a particular focus on sports, media, entertainment and gaming.
The Raine Group co-founder and partner John Salter said they chose Tripledot Studios for the fund’s first investment because it’s “one of the strongest (companies) in casual gaming.”
“As a highly profitable business with more than 400 staff and about 50 million monthly active users, we look forward to actively working with their team to drive continued growth in the casual gaming market,” Salter said in a statement.
R&B singer 6LACK has partnered with Endel to create alternate versions of his latest album Since I Have A Lover that is specially formulated to promote “restorative rest and mental balance” as part of BIPOC Mental Health Awareness Month. One alternate version is designed to promote sleep, out July 8, and the second will promote focus, out July 24.
To promote the collaboration, 6lack will host a live pre-listening session on the Endel app on July 6, and two in-person events will take place in LA and Berlin that same day.
Endel is a start-up that creates what it calls “functional sound,” a form of ambient music that supports listeners day-to-day wellness needs, including sleep, meditation and focus. While Endel’s proprietary music-making technology is powered by artificial intelligence, Endel does not create new songs out of thin air. Instead, it generates ambient soundscapes by rearranging pieces of music provided by artists in ways that Endel says promotes specific wellness goals.
6lack joins the likes of other artists like Grimes and James Blake who have partnered with the soundscape start-up in the past, however, the alternate version of Since I Have A Lover is a new kind of partnership for the wellness brand because it is the first full album Endel has remixed and released on streaming services.
In March, Oleg Stavitsky, co-founder and CEO of Endel, told Billboard he felt this was a way for the soundscape company to help major labels evolve. “We can process the stems [the audio building blocks of a track] from Miles Davis’ Kind of Blue and come back with a functional sleep version of that album,” Stavitsky said, adding that Endel was in talks with all the major labels about trying this at the time.
Since then, Endel has partnered with UMG to do just that, and Since I Have A Lover marks the companies’ first attempt. Their partnership came as a surprise to some, given UMG chief Lucian Grainge‘s negative recent remarks about AI and functional music. Lamenting that functional music drives streaming dollars away from pop music and towards rain sounds, white noise, and other ambient recordings, he said in a memo to staff in January that “consumers are increasingly being guided by algorithms to lower-quality functional content that in some cases can barely pass for ‘music.’”
But at the time the partnership was announced, Michael Nash, UMG evp and chief digital officer, praised Endel for “utiliz[ing] their patented AI technology” to create ambient music because it is “anchored in our artist-centric philosophy” and “powered by AI that respects artists’ rights in its development.”
Endel’s ambient soundscapes have been on streaming services since 2019, thanks to UMG competitor Warner Music Group. Known to be bullish in its investment and partnership strategy with emerging music tech companies, WMG signed Endel to a 20-album distribution deal.
“This is about letting people experience my music in a new way,” 6LACK says of his collaboration with Endel. “These sounds can be for rest and relaxation, or for helping you feel inspired and creative. It’s for finding a sense of balance in life. Since I Have a Lover has plenty of magical sounds, and combined with Endel’s AI and science, it was easy to create something that felt healing.”
“Using AI to reimagine your favorite music as a functional soundscape, designed to help solve the biggest mental health challenges we’re facing as a species, is our mission. 6LACK’s openness to experimentation and his ability to let go and trust the process was crucial to the success of this project,” says Stavitsky. “We’re extremely proud of the result and can’t wait for millions of people to experience the healing power of these soundscapes.”
LONDON — Global hit records by Harry Styles, Glass Animals and Ed Sheeran, coupled with the popularity of U.K. acts in emerging markets like the Middle East and Africa, helped British music exports climb to a record high of £709 million ($910 million) in 2022, according to new figures released by labels trade body BPI.
The London-based organization says 2022’s export tally is the highest annual total since BPI began analyzing labels’ overseas income in 2000. Last year also marked the ninth consecutive year of growth in U.K. music export trade revenues, which slumped to just over £200 million ($254 million at today’s exchange rates) in 2007.
BPI, which represents over 500 independent labels, as well as the U.K. arms of Universal Music Group, Sony Music Entertainment and Warner Music Group, says the consistent year-on-year rise puts the country’s record industry on track to exceed £1 billion ($1.27 billion) in annual music exports by the end of the decade.
Driving last year’s 20% growth was a combination of globally successful British artists and the strong value of the U.S. dollar and other foreign currencies against the pound sterling.
British singer-songwriter Harry Styles’ hit single “As It Was” was the world’s most-streamed song in 2022, according to Luminate data cited by BPI, while Glass Animals’ “Heat Waves” was number two. Other songs by U.K. artists in the year-end global top 10 included Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” and Ed Sheeran’s “Shivers.”
In total, around 450 U.K. artists accumulated more than 100 million global streams last year, up from almost 400 in 2021, BPI reports. That list includes Adele, Arctic Monkeys, Calvin Harris, Coldplay, Dave and Sam Smith, as well as veteran acts The Beatles, Pink Floyd and Queen. Overall, British artists claimed more than a quarter of the 50 most-streamed songs on Spotify in 2022.
Worldwide, consumption of British music increased in every region last year, says BPI, with export revenues rising 11% in Europe and up 28% in North America (equivalent trade values were not provided). The fastest-growing regions for U.K. music exports were Africa (up 48%) and the Middle East (up 59%).
On a country-by-country basis, all but one of the U.K.’s leading music export markets recorded a rise in export sales, including the U.S. – the leading international market for British acts – where revenues grew 28% to £292 million ($371 million). The second biggest country for U.K. music sales is Germany, where revenues climbed 4% to £58 million ($74 million), followed by France (up 15% to $54 million).
In line with the past several years, the U.K.’s share of the global recorded music market remains around 10%, reports BPI, despite the growing international popularity of music acts from Latin America and Asia, particularly South Korea.
In a statement, BPI interim chief executive Sophie Jones said the continued success of U.K. labels and artists overseas was “an exceptional achievement in the face of unprecedented competition on the global music stage, both from long-established and rapidly-expanding new music markets.”
The U.K. is the world’s third biggest recorded music market behind the U.S. and Japan with sales of just over $1.8 billion in trade value, according to IFPI’s 2022 Global Music Report.
TikTok is launching a new “social music streaming service” in Indonesia and Brazil, the company announced Thursday (July 6).
TikTok Music is a premium-only service that users will be able to synch with their existing TikTok accounts in order to listen to, share and download the tracks they discover on TikTok. The service is available starting now in both countries; all new TikTok Music users will be offered a one-month free trial.
TikTok Music will launch with a “full catalogue of music from thousands of labels and artists,” according to a press release. That includes Sony Music, whose catalog hasn’t been available on TikTok’s existing streaming service, Resso, since September. The release adds that Sony’s catalog will become available on Resso again beginning Thursday.
Following Thursday’s launch, Resso — which launched in March 2020 in India and Indonesia before later being made available in Brazil — will cease operating in both Indonesia and Brazil on Sept. 5. Existing Resso users will be invited to transfer their accounts to TikTok Music “with the click of a button,” the release states.
TikTok’s pivot to a subscription-based streamer began in May, when its Chinese parent company, ByteDance, announced that Resso would become a premium-only service.
Among other features, TikTok Music subscribers will have the ability to swipe up and down on the app to explore personalized music recommendations; connect with “like-minded” music fans; sing along to real-time lyrics; co-create collaborative playlists with friends; import their music libraries from external playlists; and search for lyrics to discover songs, according to the press release. The service will include uninterrupted ad-free listening and a download function allowing users to listen to music offline.
“We are pleased to introduce TikTok Music, a new kind of service that combines the power of music discovery on TikTok with a best-in-class streaming service. TikTok Music will make it easy for people in Indonesia and Brazil to save, download and share their favourite viral tracks from TikTok,” said Ole Obermann, global head of music business development at TikTok, in a statement. “We are excited about the opportunities TikTok Music presents for both music fans and artists, and the great potential it has for driving significant value to the music industry.”
For more than a year, ByteDance has been signaling its intention to launch a music streaming service that would compete with Spotify, Apple Music, Amazon Music and YouTube. In spring 2022, the company registered the handles @TikTokMusic on both Twitter and Instagram; that May, it also filed a trademark application with the U.S. Patent and Trademark Office for a service under the same name. In October, Billboard confirmed that ByteDance was in conversations with all major music rights holders to launch its music streaming service in additional countries in Latin America, Southeast Asia, Australia and New Zealand.
The launch of TikTok Music is a potential game-changer for the music industry, as rights holders have pressured the company to embrace a subscription model over an ad-supported one. Streaming subscriptions are a primary driver of music industry revenue, with paid subscription streaming revenue surpassing $10 billion in the United States for the first time last year, according to the RIAA. It accounts for 77% of all streaming revenue and nearly two-thirds of total revenue.
Neko Health, a medical technology company co-founded by Daniel Ek, said on Wednesday (July 5) it has raised 60 million euros ($65 million) from a group of outside investors led by European tech venture capitalist Klaus Hommels‘ Lakestar. Founded in 2018 by Ek and Hjalmar Nilsonne, this is the first time the Swedish health-tech company […]
TikTok is helping bring Tomorrowland 2023 to the world.
On Wednesday (July 5), the dance mega-festival announced the video-sharing platform as its official content partner for the event, which is taking place over two weekends in Boom, Belgium: July 21-23 and July 28-30.
The partnership will include TikTok LIVE broadcasts of headline performances from the festival’s main stage, along with behind-the-scenes footage and video-on-demand content from artists and other creators. TikTok will stream Tomorrowland content 24 hours a day across both weekends.
Additionally, the partnership encompasses in-app playlists, a search hub and activations designed to make it easier for TikTok users to find content from the festival.
“We’re delighted to be partnering with Tomorrowland, one of the world’s biggest and most iconic festivals,” TikTok business development lead of global music content and partnerships Michael Kümmerle said in a statement. “With its legendary line-up and global audience, Tomorrowland is the perfect festival partner for our flourishing community of #ElectronicMusic lovers who congregate on TikTok. As our relationship with the genre deepens, we’re incredibly excited to help grow the festival further by giving our community 24 live streams and a 360-degree experience of Tomorrowland on TikTok.”
Tomorrowland 2023 is set to host more than 600 artists across 14 stages. Performers include Afrojack, Alesso, Armin van Buuren, Black Coffee, the Chainsmokers, Claptone, Dimitri Vegas & Like Mike, Dom Dolla, Don Diablo, Eric Prydz, Hardwell, John Newman, Martin Garrix, Netsky, Nicky Romero, Oliver Heldens, Paul Kalkbrenner, Purple Disco Machine, Robin Schulz, Sebastian Ingrosso, Shaquille O’Neal as DJ Diesel, Steve Angello, Steve Aoki, Tiësto, Timmy Trumpet, Topic and W&W.
The festival is once again set to host 400,000 fans each weekend.
Rapper, producer and entrepreneur Sean “Diddy” Combs is asking the New York Supreme Court to enforce a 2021 agreement that requires spirits seller Diageo to treat his DeLeon tequila brand “at least as favorably” as its other tequila brands.
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Combs signed an agreement with Diageo — which owns more than 200 brands including Guinness beer and Tanqueray gin — after what he says were years of neglect for DeLeon, a brand he established with the London company in 2013.
Combs’ lawsuit against Diageo was filed in May. But many details, including the 2021 agreement, were redacted at the time. On Wednesday, those details were released after Judge Joel Cohen ruled that Diageo could keep only limited portions confidential.
Combs says Diageo’s treatment of DeLeon worsened after it bought two competing tequila brands: Don Julio in 2014 and Casamigos in 2017. Combs, who is Black, says Diageo positioned his tequila as an inferior “urban” brand and limited its distribution.
Diageo has denied Combs’ accusations. In late June, it asked the court to compel arbitration or dismiss the suit. It has also in the process of terminating a partnership between Combs and Ciroc vodka, a brand he had promoted since 2007.
The newly public documents detail what Combs says was Diageo’s repeated disinvestment in DeLeon. As of last year, DeLeon was distributed in 3% of possible outlets, for example, while Don Julio was in 36%. DeLeon has been listed as “out of stock” in major markets at least ten times in the past year, the lawsuit says.
In 2021, Combs said he was informed that all of Diageo’s agave plants were allocated to other brands, forcing DeLeon to scramble to find suppliers in the more expensive spot market. Combs says Diageo also made unilateral decisions that harmed the brand, including discontinuing popular 375-millileter “half bottles” and launching a redesigned bottle with no marketing support.
Combs claims Diageo’s decisions were often tinged with racism. He says he was adamant that DeLeon not offer flavored versions until customers had more time to learn about the brand. But Diageo went ahead and developed a watermelon flavor, even though Combs had previously warned the company to be careful about the racist history and negative connotations with watermelon in brands aimed at Black consumers.
Combs says internal Diageo documents also proposed downplaying Ciroc’s connection to Combs with the goal of rolling back its “image of being an African-American brand.”
In its own court filings, Diageo accuses Combs of resorting to “false and reckless” allegations in an effort to extract monetary damages. Diageo also says sales of DeLeon have doubled since the 2021 agreement.
When introducing myself as the vp of marketing and wellness at Guin Records, a title that doesn’t conform to the usual melody of the music industry, I’m often met with raised eyebrows and intrigued inquiries. This blending of roles — pairing the vibrant, creative world of marketing with the crucial, human aspect of wellness — might seem unconventional to most in our industry. Yet, this combination isn’t just possible. It’s essential and, I would argue, long overdue.
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The responsibilities of my role involve walking the line between two worlds. I champion and promote the music our artists create, steering the narrative to connect deeply with new audiences and core fans. Simultaneously, I cultivate an environment that nurtures the mental and emotional well-being of our artists and staff.
At Guin Records, we embed wellness into the very fabric of our ethos and values. We recognize that the creative process, while exhilarating, can also be emotionally taxing. We acknowledge the highs and lows, the euphoria and the vulnerability that come with artistic expression. Therefore, we prioritize the well-being of our artists, empowering them to create and share their music in a sustainable and healthy way.
Why is this important? Because music is profoundly human. The music that touches our souls, the lyrics that resonate with our experiences and the performances that captivate our senses — all are born from the hearts and minds of individuals. Artists, like all of us, require support, care and an environment conducive to their growth and well-being.
How do we accomplish this? By acknowledging that an artist’s well-being is not a peripheral concern but a core element that directly impacts their art as well as our bottom line. As a concrete step, we offer non-recoupable wellness stipends to our artists. This financial support allows them the freedom to invest in their mental and physical health without burden.
Moreover, we maintain a strong alliance with non-profit entities like Backline, ensuring our artists and team members have readily available mental health resources. We’ve proudly signed the “Breaking The Barriers” pledge, committed to helping knock down long-standing roadblocks that often keep BIPOC communities from getting the mental health care they need. To further our investment in our team’s well-being, we’ve instituted a “Mental Health Day Policy.” This grants our employees the liberty to take much-needed breaks for personal rejuvenation; fostering a culture of prevention against burnout. After all, in nurturing our people, we nurture the music.
So I call on my industry peers to turn the volume up on this crucial conversation. Let’s recognize that a healthy artist creates better music, and a team that feels supported performs better. Let’s shift our industry narrative to one that doesn’t just produce beautiful music but also upholds the well-being of the beautiful minds behind it.
By prioritizing wellness, we’re setting the stage for a more sustainable, empathetic and human-centered music industry. By championing the music we love while investing in the well-being of those who create it, we pave the way for a sustainable industry that supports everyone involved. It’s not just about the end product but about the process, the people and the passion that fuel it all.
Brandon Holman is vp of marketing & wellness at Guin Records, whose artist roster includes Asha Imuno. Holman is also co-founder of The Lazuli Collective, an experiential wellness agency that delivers wellness and mental health programming to audiences around the world through events, music and consultancies including the Coachella Arts and Music Festival.