Business
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After netting a No. 2 debut on the Billboard 200 with his first album Wasteland, Brent Faiyaz solidified his standing as a critical cog in the R&B circuit, so much so that a year later, he and UnitedMasters agreed on an unprecedented partnership to form a new creative agency as a hub for his upcoming endeavors.
A source close to the situation tells Billboard that the deal is rumored to be valued at close to $50 million.
“Brent Faiyaz is one of the most prolific independent artists today, and we are extremely excited to embark on this new partnership with him,” UnitedMasters founder Steve Stoute tells Billboard. “It’s been inspiring to watch his journey as an artist over the years, and with this partnership we look to further amplify his creative vision and support his entrepreneurial ambitions.”
Along with his new partnership, Brent Faiyaz will embark on a world tour later this summer. Titled F–k the World, It’s a Wasteland, the multi-date trek will arrive in major markets, including New York, Chicago, Los Angeles, Miami, Paris, and Milan. Presale tickets will be available on Spotify through May 3 and open for the general public on May 5.
Faiyaz keeps momentum from his 2022 effort by releasing his latest visual, “Rolling Stone.” Channeling classic film noir elements, the video is presented as a cinematic thriller with black and white coloring. I still got demons from my younger days. “I wish I could shake ‘em, but they follow me,” he sings in the clip.
Check out video for “Rolling Stone” and the tour dates for F–k The World, It’s a Wasteland below.
TOUR DATES:
7/16 Landover, MD forthcoming
7/25 Denver, CO The Mission Ballroom
7/28 Chicago, IL The Salt Shed
8/1 Toronto, ON History
8/6 New York, NY Central Park Summerstage
8/9 Boston, MA MGM Music Hall at Fenway
8/12 Miami, FL James L. Knight Center
8/16 Orlando, FL Dr. Phillips Center
8/19 Sacramento, CA forthcoming
8/22 New Orleans, LA Orpheum Theater
8/23 Houston, TX 713 Music Hall
8/24 Dallas, TX The Factory Deep Ellum
8/31 San Francisco, CA The Masonic
9/1 Oakland, CA Fox Theater
9/3 Las Vegas, NV The Cosmopolitan of Las Vegas – Chelsea Theater
9/15 Los Angeles, CA YouTube Theater
10/16 Leeds, UK O2 Academy Leeds
10/19 Manchester, UK O2 Apollo
10/21 Glasgow, UK O2 Academy Glasgow
10/23 Birmingham, UK O2 Academy
10/25 London, UK Eventim Apollo
11/1 Utrecht, Netherlands TivoliVredenburg
11/3 Stockholm, Sweden Banankompaniet
11/5 Copenhagen, Denmark Vega
11/8 Oslo, Norway Rockefeller Music Hall
11/10 Berlin, Germany Tempodrom
11/12 Milan, Italy Fabrique
11/14 Barcelona, Spain Razzmatazz
11/17 Cologne, Germany Palladium
11/19 Paris, France Elysee Montmartre
11/20 London, UK Eventim Apollo
Live Nation chief executive Michael Rapino was in Washington D.C. over the weekend, hosting his own party around the White Correspondents Dinner on Saturday.
The Axios After Hours Presented by Live Nation party on Saturday was held at the National Building Museum with media partner Axios after the White House Correspondents dinner ended and included a private performance from rising country star Lainey Wilson.
Rapino, who received $139 million in salary and stocks last year, according to a SEC fillings, isn’t a major political donor and hasn’t appeared at a major congressional hearing in a decade. But with the Live Nation-owned Ticketmaster coming under fire from lawmakers in recent years over long-standing concerns about anti-competitor business practices and the Taylor Swift ticketing crash in November, Rapino’s presence capped off a frenzied lobbying effort over the last two years to build a political base for the company.
Financially, Live Nation had its best year ever in 2022, posting a record $16.7 in revenue last year and $732 million in income. But the growing music conglomerate has largely been politically inactive in the years following its 2010 merger with Ticketmaster.
That changed in 2019 when the Department of Justice recommended extending a consent degree governing the 2010 merger. Last election cycle, Live Nation spent $1.4 million lobbying Congress, more than it has ever spent before. That spending is expected to continue unabridged in 2023 as Live Nation continues to lobby for ticketing reform legislation to curb illegal scalping activities, floating its own FAIR ticketing proposal as as a possible model for legislation.
A group of investors has filed a class action lawsuit against Adidas, alleging the sportswear giant knew about Kanye West‘s problematic “personal behavior” years prior to ending its partnership with the rapper but failed to warn them about it.
The complaint — representing people who acquired Adidas securities between May 3, 2018, and February 21, 2023 — also names Adidas’ former CEO, Kasper Rorsted, and CFO, Harm Ohlmeyer, as defendants, alleging the executives “employed devices, schemes and artifices to defraud” investors and that the company “failed to take meaningful precautionary measures to limit negative financial exposure” in the event the partnership was terminated as a result of West’s behavior.
West is not named as a defendant in the suit.
Filed Friday (April 28) in U.S. District Court in Oregon, the lawsuit’s “substantive allegations” cite comments made by West (now known as Ye) dating back to 2018, including a notorious TMZ interview in which the rapper called slavery “a choice.” The complaint goes on to point out that Adidas “stuck by” West following his comments and includes excerpts from Rorsted’s 2018 interview with Bloomberg in which he said, “We neither comment nor speculate on every single comment that our external creators are making.” It also includes various offensive comments West directed at the Jewish community as well as his quote, “I can say anti-Semitic things and Adidas can’t drop me,” made during the rapper’s October 2022 appearance on the podcast Drink Champs.
On October 25, 2022, just days after the Drink Champs episode aired, Adidas ended the partnership.
The suit also alleges that Adidas failed to make investors aware that the rapper made “offensive remarks at Company premises” and that the company’s publicly released reports between 2018 and 2021 did not acknowledge “serious issues affecting the partnership” in their “Business Partner Risk” sections. The sections did, however, acknowledge that “improper behavior” from entertainers and athletes representing the brand could have a “negative spill-over effect on the company’s reputation.”
Pushing back on the allegations, Adidas said in a statement to The Associated Press on Monday: “We outright reject these unfounded claims and will take all necessary measures to vigorously defend ourselves against them.”
The suit makes mention of the initial “positive impact” of West’s partnership with Adidas, and the $1 billion worth of sales Yeezy shoes hit by 2019. The Yeezy brand — owned by West and licensed to Adidas — became a streetwear pillar and ushered in a new era of popular style. However, West’s insensitive comments and actions eventually overshadowed his artistic talent.
After the partnership ended, Adidas reported a $540 million loss in the fourth quarter of 2022, partially due to unsold Yeezy clothing and shoes. The company has also projected a total loss of $1.3 billion in “full-year revenue” for 2023 resulting from the unsold products.
HeadCount founder/executive director Andy Bernstein announced he will step down from his role in an open letter released Monday (May 1), kicking off a search for a new executive director to fill his seat beginning next year.
In the letter, Bernstein wrote that he intends to leave “to make room for new leadership, fresh vision and the type of innovation that only change can bring,” though he will continue on with the organization — a national nonprofit that works on voter engagement — in an advisory role. He continued that “constant reinvention has sustained HeadCount for all these years,” and that with the 2024 presidential election looming, “I believe it’s the right time for someone new to take HeadCount into the next era.”
Bernstein founded HeadCount with Marc Brownstein in 2004.
According to Bernstein’s letter, HeadCount has registered over 1.2 million voters over the past 20 years by engaging with music fans at concerts, festivals and more. The organization began working with politically minded acts like Dave Matthews, Phish and founding board member Bob Weir of the Grateful Dead and has since grown to work with more than 200 artists, including Beyoncé, Jay-Z, Dead & Company, Harry Styles, Lizzo, Ariana Grande and Billie Eilish. It has also integrated with Spotify and established a multi-year partnership with Global Citizen.
“What’s always meant more to me than any number, though, is the human connection driving it all,” Bernstein wrote. “Collaborating with our board of directors and its brilliant chairs Peter Shapiro and Jessy Tolkan; seeing our volunteers form a community and hone their skills; working with a staff that feels more like a family — that’s what fueled me over the years. We built this thing together, one idea at a time.”
HeadCount has posted the executive director job description online. It calls for “a natural leader with a keen cultural radar, a track record of success in the nonprofit or private sector and a strong connection to the audiences we engage.” The job will entail leading a team of 22 staff members with an organizational budget between $4-5 million. Check out the full job description here.
Los Angeles punk/hardcore band Militarie Gun have signed with Roc Nation for management, Billboard can reveal.
The signing follows the announcement of the group’s debut album, Life Under the Gun, which is due out June 23 on Loma Vista Records. The 12-track project, engineered by Taylor Young at the Pit Recording Studio, will include the band’s previously-released single, “Do It Faster,” as well as its latest single, “Very High.” The album is available for pre-order on vinyl, CD and cassette here.
“When I first heard the demos for Militarie Gun’s forthcoming album, I literally couldn’t stop listening,” says the band’s manager Blaze James. “[Frontman] Ian [Shelton] has a knack for writing pop melodies layered into punk songs with an emotional pull. It was right in my wheelhouse.”
Life Under the Gun follows the release of several EPs by the band, including My Life Is Over and All Roads Lead to the Gun/All Roads Lead to the Gun II. Militarie Gun formed in 2020 amid the COVID-19 pandemic; influences include Guided By Voices, Fugazi and The Jesus Lizard. In addition to frontman Shelton, the current lineup includes guitarists Nick Cogan and William Acuña and drummer Vince Nguyen. The band, which played South by Southwest in March, is slated to kick off a run of North American and European tour dates on Saturday (May 6) in San Pedro, Calif.
Militarie Gun also recently scored a high-profile synch, with the band and Dazy’s single “Pressure Cooker” being featured in Taco Bell’s new “Build Your Own Cravings” commercial; the ad is part of the brand’s “Feed the Beat” program.
Talent manager Brendan Rich has opened the Nashville-based, boutique artist management company Rich MGMT.
New York native Rich began his music industry career with stops at Buddy Lee Attractions and Paradigm before joining United Talent Agency, where he signed Matt Stell, Chris Bandi, Jimmie Allen and Logan Mize. He followed his time at UTA by segueing into artist management and spending five years as a manager at Ash Bowers’s Wide Open Music.
Joining Rich at his new company are former Wide Open Music management clients Stell, George Birge and Bandi, as well as new signee Darren Kiely. Stell has notched two Billboard No. 1 Country Airplay hits with “Everywhere But On” and “Prayed For You.” Meanwhile, Birge’s song “Mind on You” is currently at No. 46 on Billboard’s Country Airplay chart.
Also joining Rich from Wide Open Music is Sarah Paravia, who will serve as day-to-day coordinator.
“Since my first days in the music business, I’ve always dreamt of opening my own management company, ” Rich said via a statement. “Those dreams have now come to fruition as we open our doors to manage world class artists, who we are honored to represent and guide in their careers.”
A statement from Rich MGMT notes the company’s mission “is to operate with integrity in every aspect of its business while helping its artists to build successful and long-lasting careers.”
Additionally, former Wide Open Music management client Jimmie Allen recently joined California-based firm The Familie, which also represents Machine Gun Kelly, Avril Lavigne and more. Wide Open Music’s Bowers did not immediately respond to a request for comment.
Live Nation CEO Michael Rapino’s total compensation package rose to $139 million in 2022, up from $13.8 million the previous year.
Rapino’s compensation included a base salary of $3 million, up from $2.6 million in 2021 (which came as Rapino agreed to take a pay reduction during the pandemic). Live Nation entered into a new employment agreement with Rapino in July 2022, ending Dec. 31, 2027, which meant he also earned a $6 million signing bonus.
The executive also earned a $12 million annual cash performance bonus for 2022 and stock awards of $116 million, some of which vest in early 2024, while others vest in four installments through 2027 if the company reaches certain stock price targets.
CFO Joe Berchtold also saw his overall compensation jump to $52.4 million in 2022, up from $5 million the prior year. His base salary increased slightly to $1.3 million from $1.1 million, and he also earned a signing bonus of $6 million and an annual cash performance bonus of $2.5 million. Berchtold received $42.4 million in stock awards.
These pay bumps come after a rocky year for the company.
The Ticketmaster, which falls under Live Nation Entertainment, has faced backlash since its site experienced errors and site slowdowns during its Taylor Swift presale for verified fans in fall 2022. Since then, the company has faced pushback from lawmakers over its merger of Ticketmaster and Live Nation and is said to be undergoing an investigation by the Department of Justice. At the same time, concert attendance has been on the rise, as has the company’s revenue.
This article was originally published by The Hollywood Reporter.
With studios in New York, Los Angeles, Nashville and Washington D.C., SiriusXM can now also call Miami “home.” The audio entertainment company has officially opened their “state-of-the-art” broadcast complex that will operate in South Beach. SiriusXM is also set to launch a new Latin pop channel, Hits Uno, on Friday (May 5) which will become the station’s 17th Spanish-language channel.
“I’ve been with the company 15 years and when they told me that we were opening a state-of-the-art in Miami, in the hub of Latin music, I got so excited,” says Bryant Pino, director of Latin music programming at SiriusXM, who hosted artists such as CNCO and Zion & Lennox during a soft launch of the studios in March. “As a company, we’re doing things that really matter and are important, especially with what’s going on with Latin music right now.”
Latin music revenues in the United States hit an all-time high in 2022, exceeding the $1 billion mark on the wings of 24% growth that outpaced the overall market. According to the RIAA’s year-end Latin music report for 2022, total revenue jumped from $881 million in 2021 to $1.1 billion, with Latin music’s overall share of the total music market lifting from 5.9% in 2021 to 6.9%.
Opening studios in Miami and launching a new Latin channel is an acknowledgment of the culture’s growth, says Azu Olvera, SiriusXM’s senior director of Latin talent and industry relations.
“We’re not thinking of Latin as a backseat but as a driver of success and engagement. And when were coming up with the concept for the new channel, we wanted put together all these hits in one single channel that reflects the genre’s diversity.”
During the days leading up to Hits Uno, SiriusXM will host special live shows, including an intimate performance by Carlos Vives, an interview with Pitbull and a Becky G town hall-style conversation.
“With Hits Uno, we’ll be able to represent today’s Latin music fan,” adds Pino. “Back in the day you were a rockera, or reggaetonero but not both. Now, it’s cool to be eclectic, to listen to everything. We’re not a local radio station, this is not a Miami station but rather a nationwide platform so we’re going to be exposing people to global hits across all genres.”
The Howard Stern Show is airing live from the new Miami studios on Monday, May 1 through Wednesday, May 3. Stern, who has been working from home in recent years, will be joined live in the studio by special music and celebrity guests.
“Miami is an incredibly rich center for music and entertainment,” Scott Greenstein, SiriusXM’s resident and chief content officer, said in a statement. “SiriusXM Miami will capture the city’s unique culture and character and bring it to audiences across North America. We’re thrilled to have Howard kick things off in the biggest way with three exceptional days of shows, followed by a star-studded lineup of programming that showcases the broad array of content we offer, including the diverse and vibrant music emanating from the Latinx community.”
Nearly nine years after Johnny Winter‘s death, a battle for control of the legendary blues guitarist’s music is being fought in court with allegations of theft and greed flying back and forth.
The legal fight pits Winter’s former personal manager and bandmate, Paul Nelson, against the family of the bluesman’s late wife, Susan, who died in 2019.
Winter’s in-laws say Nelson and his wife improperly took more than $1.5 million from Winter’s music business, including auctioning off some of the late musician’s guitars.
Nelson and his wife have countersued, saying Susan Winter’s siblings swooped in when she was medicated and dying of cancer and tricked her into giving them control of Winter’s music, stripping away Nelson’s rights as the beneficiary of Susan Winter’s estate.
The case was scheduled to go to trial in a Connecticut court in April, but was rescheduled for September.
At stake is ownership of Winter’s music catalogue, proceeds from record and merchandise sales and authority to approve any commercial use of his songs, the value of which is uncertain.
“The case is about preserving Johnny Winter’s legacy and vindicating and making sure the Nelsons haven’t improperly taken the moneys rightfully owed to the plaintiffs,” said Timothy Diemand, a lawyer for the Susan Winter’s siblings, Bonnie and Christopher Warford.
Nelson wants to be reinstalled as the beneficiary of Susan Winter’s estate.
“The Plaintiffs orchestrated the wrongful termination of Paul Nelson during a difficult time in Susan Winter’s last year of life,” the Nelsons said in a statement released by their lawyer, Matthew Mason. They said it was clear that both Johnny and Susan Winter wanted Nelson to be responsible for Johnny Winter’s music and legacy.
John Dawson Winter III was born and raised in Beaumont, Texas. He burst onto the world blues scene in the 1960s, dazzling crowds with his fast licks while his trademark long, white hair flew about from under his cowboy hat. He and his brother Edgar — both born with albinism — were both reknowned musicians.
Winter played at Woodstock in 1969 and went on to produce albums for Blues icon Muddy Waters in addition to his own music. In 1988 he was inducted into the Blues Foundation Hall of Fame.
Rolling Stone magazine listed him as the No. 63 best guitar player of all time in 2015. He released more than two dozen albums and was nominated for several Grammy awards, winning his first one posthumously in 2015 for Best Blues Album for “Step Back.” Nelson produced the album and also took home a Grammy for it.
Winter, who spent two decades living in Easton, Connecticut, before his death, battled heroin addiction for years and credited Nelson, whom he met in 1999, with helping him get off methadone, according to the 2014 documentary “Johnny Winter: Down & Dirty.”
Before he got clean, bandmates and friends said they were concerned because of his frail appearance and trouble talking. Nelson also credits himself with reviving Winter’s music career.
The Winters and Nelsons became good friends. Paul Nelson played guitar in Johnny Winter’s band and started running his music company beginning in 2005. Nelson’s wife, Marion Nelson, did bookkeeping for the Winters and the music business, according to legal filings in the lawsuit.
Winter died at the age of 70 on July 16, 2014, in a hotel room just outside Zurich, Switzerland, while on tour. Susan Winter and Paul Nelson have said the cause of death was likely emphysema.
Susan Winter was the sole beneficiary of her husband’s estate, which she put in a trust in late 2016. She named herself as the trust’s sole trustee and Nelson as the successor trustee, meaning he would inherit the rights to Johnny Winter’s music after she died.
But in June 2019, four months before her death from lung cancer, Susan Winter removed Nelson as the successor and replaced him with her sister and brother.
The Nelsons allege in their lawsuit that Bonnie and Christopher Warford got control by lying to their sister, wrongly telling her the Nelsons were mismanaging the music business and her affairs.
The Warfords’ lawsuit accuses the Nelsons of improperly taking more than $1.5 million out of Winter’s business “under the guise of royalty income, commissions, reimbursements, fees, social media expenses and other mechanisms, while obfuscating and misrepresenting these dealings to Susan Winter.”
They have also accused the Nelsons of taking three of Winter’s guitars, worth about $300,000 total, and selling them at auction without permission. The Nelsons deny the allegation.
“In short, this is the classic case of a manager taking advantage of an artist-client, and worse here, an artist’s surviving family,” Diemand wrote in a legal filing.
It’s not clear why Edgar Winter, a noted musician in his own right, was not involved in his brother’s estate after his death. Edgar Winter and his representatives did not return phone and email messages seeking comment.
The Warfords’ lawsuit is similar to one the Winters filed against Johnny Winter’s former manager Teddy Slatus for alleged financial wrongdoing around 2005. Slatus died in late 2005. It’s not clear what happened with the lawsuit.
“Johnny and Susan have been battling lawsuits all their lives, and still can’t rest in peace,” said Mary Lou Sullivan, who wrote a biography titled “Raisin’ Cane: The Wild and Raucous Story of Johnny Winter” published in 2010.
Both the Warfords, of Charlotte, North Carolina, and Nelsons, of Weston, Connecticut, declined interview requests by The Associated Press.
The All Access Audio Summit 2023 began Wednesday, April 26, and ran through Friday, April 28. Bringing together leaders in radio, podcasting, production and more, the virtual convention sparked conversation aimed at optimizing the impact of audio in multiple commercial forms.
Here’s a rundown of highlights from the gathering’s third day, when panels were introduced by YEA Networks’ syndicated host Tino Cochino, who aptly summarized the event as “a whole lot of learning, and catching vibes.”
‘We’re for the Masses’
All Access president and publisher Joel Denver opened the day with a conversation with Dave Milner, Cumulus Media president of operations.
“There’s no silver bullet” to successful radio, Milner mused. “It comes down to great local content, and making sure that content is available in multiple platforms. We have to be available any which way people listen to audio. If you put out good content, they will find it and consume it.
“Individuals are spending more time with audio – the pandemic stretched that,” Milner said. “Whether podcast, streaming or broadcast, people want audio.”
Milner also discussed one of the summit’s recurring topics: artificial intelligence. “There’s going to be a place for it,” he said. “It provides opportunities, from writing copy to traffic reports … weather reports … promotions. I have a hard time thinking it will replace any prime-time, personality-based radio.”
Milner cited a recent episode of SiriusXM’s Friday Night Freak-Out With Drew Carey that surreptitiously used AI. “I violated a rule from Radio 101,” Carey subsequently confessed, adding, “The reason treasured radio stations still make money is because people like the personality of the DJs.”
“You can’t replace that human touch, that soul, that connection with the audience,” Milner said.
Milner additionally touched upon another of the summit’s most prominent angles: finding and nurturing future talent. “The biggest thing we can control is how we mentor,” he said. “We’ve had a couple models where we’ve been able to take the third, fourth, fifth people on a morning show and given them an opportunity to have a more singular voice,” as hosts of their own shifts in different dayparts. “It’s helped them grow, and helped the station cross-pollinate and create a more contiguous audience across the station.”
As for fostering hits, “Radio is not the new music discovery place it used to be,” noted Denver, as streaming services have sliced into that share. “They can go deeper than we do,” Milner conceded of DSPs. “We’re more of a mainstream box store – we’re for the masses. It’s harder for us to take chances on a music level. We’ve got to deliver for all people. But on a day-to-day basis, we have the ability to out-local them all day long. Personalities live in communities – that is something the DSPs will never be able to do in an effective way. They’re trying … they know that’s our advantage.”
Atlanta ‘Radio United’
“You have to be in the daily conversation with your audience,” said Jimmy Steal, vp of branding and content for Hubbard Broadcasting’s WMTX and WSHE Chicago, in the day’s second session.
The discussion led to a rare, but rewarding, occurrence in radio: competing stations working together for a common cause, specifically one spearheaded by panelist Terri Avery, director of branding and programming for Cox Media Group’s WALR Atlanta. In late 2022, Avery helmed Black Radio United for the Vote, encouraging listeners to vote in the then-pending run-off election between U.S. Senator Raphael Wornock (the eventual winner) and challenger Herschel Walker. The initiative – among 11 Atlanta area radio stations – helped prospective voters check their voting status, be informed about requirements for in-person voting, get acquainted with a sample ballot and more.
That Avery could create harmony among so many stations in the same market prompted the session’s panel to agree that she herself “should run for Congress.”
Trolling the Trolls
An All Access Audio Summit panel about social media, led by moderator Lori Lewis, president of marketing firm Lori Lewis Media, had fun taking on trolls.
“They’re just looking for attention,” said Jamien “Melz on the Mic” Green, brand manager and afternoon host at Townsquare Media’s KISX Tyler, Texas. “They’re looking to feel something.” His playful strategy: “I’m gonna give you a rise back!”
His favorite online agitators? Those who take the time to craft an intricate post explaining … that they don’t care about your show. “You’ve helped my algorithm with your comment,” he noted.
Ultimately, he believes in the benefits of social media for radio. “You can lure in one listener at a time,” he said. “It’s free promo.”
Podcasting & Talk Radio (& Cheez-Its)
All Access vp of news, talk, sports and podcasting Perry Michael Simon chatted with Steven Goldstein, CEO of Amplifi Media. “We’re at a third of Americans listening to podcasts weekly – just under 90 million people,” Goldstein said. “I think that’s a giant success.”
Meanwhile, Todd Hollst, evening host on Cox Media Group’s talk station WHIO Dayton, Ohio, feels that the format doesn’t always need to be political-leaning. “There’s nonsense, serious moments … it’s not real-life, but it has that feel,” he said of his show, recapping a passion project of his combining fun and localism, and one not likely to stir a deep divide among listeners, depending on their stance on snacks: as Cheez-Its originated in Dayton in 1921, Hollst started a petition to build a statue in their honor. (No wonder he refers to himself as a wisecracker.)
VO & AI
Kelly “K3” Doherty, president and founder of Imaging House, posed one of the All Access Audio Summit’s most pointed questions, to voice-over and production specialists: Would you take a job recording AI, knowing it could ultimately result in a loss of further work?
“That’s a tough question,” pondered Scott Chambers, president of Scott Chambers VO. “Maybe, if my attorneys looked over the contract really well and I got residuals. The contract would have to be really good and lucrative.”
“I would probably prefer not to,” answered Donovan Corneetz, president of DonCo Productions. “I would not want to contribute to a tool to put me out of work. It wouldn’t serve the industry as a whole very well.”
Said Yinka Ladeinde, president of Yinka’s Voice, “I would like to say I would never do it. I would probably hold out until absolutely necessary.”
Doherty expressed caution that any recorded words could be stitched together to create audio considered offensive, or even incriminating, echoing the need for an airtight contract. Still, she noted that AI would be helpful when realizing a mistake had been made and the voice-over talent wasn’t subsequently available, or when copy is revised. “There are positives and negatives,” she said.
The panel also mused about its side of the business overall, and how sometimes factors are out of a talent’s control, regardless of how well a job is performed. Corneetz recalled once losing out on a gig because, he was later told about a client, “you sound just like her ex-husband … whom she hates.”
‘Our Superpower Is Human Connection’
In the summit’s final session, participants looked to the future of audio, and radio specifically, with another focus on AI.
Thea Mitchem, executive vp of programming for iHeartMedia, stressed the need not to dismiss AI, remembering that, around Y2K, certain executives for whom she then worked didn’t seem concerned enough about the rise of digital audio; even at the time, she thought that they should’ve been. “Technology has always moved things,” she said. “I think all industries have to embrace technology.” Still, she said about radio, repeating a common theme over the convention’s three days, “I think our superpower is human connection. There’s a trust level there.”
Said Kurt Johnson, Townsquare Media senior vp of content, “The concern with AI is no one knows where it’s going, and it’s going really fast. Copyright is a big issue. Like everyone else, were learning very quicky. We’re very big at generating local content. AI could contribute to that, but our people are what make our content.”
Added Keith Hastings, brand content director of Hubbard Broadcasting’s WDRV Chicago, of AI, “With rights come responsibilities. With opportunities comes responsibility. We have to study it and be careful with it.”
Agreed Jeff Sottolano, Audacy executive vp of programming, “All of us have a responsibility to experiment with it. I think there’s a lot of upside. Ask ChatGPT to write a 30-second script and I think you’ll be impressed – it might get you 80% of the way there.”
Johnson summed up his optimism about radio going forward (pointing out that the company’s name reflects how air talents in every market “are the town square”). “What radio provides hasn’t changed,” he said. “When you combine multi-platform – digital, radio, live events – you’re going to find people of all age groups. We have powerful tools to do it – that’s the exciting thing.”