Business
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Miranda Lambert is leaving her longtime label home at Sony Music Nashville, the singer-songwriter revealed in a social media post.
“Since I was 19 years old, Sony has been my home in Nashville. Over the last 20 years together we have released albums that allowed me to share my story with the world, and we’ve reached heights I’d never even dreamed were possible,” Lambert said. “I’m so thankful for our time together and everything they made possible for me, yet I wouldn’t be true to myself if I wasn’t constantly looking for the next challenge and a new way to stretch my creativity. With that in mind, I’ve decided to say goodbye to my Sony family. I can’t wait to see what the next adventure holds.”
A representative for Sony Music Nashville had not responded to Billboard‘s request for comment by press time. Lambert’s manager, Marion Kraft, did not immediately respond to a request for comment.
Lambert’s statement caught Sony executives off guard, according to sources.
During her time with Sony, since the release of her debut major label album Kerosene in 2005, Lambert has taken seven albums to the top of Billboard’s Top Country Albums chart and seven songs to No. 1 on Country Airplay as a solo artist or collaboration. The reigning ACM Awards entertainer of the year (and a coveted ACM Triple Crown winner) has won 37 ACM trophies, the most of any artist.
Lambert has also won Grammys in the country album of the year category for her projects Wildcard and Platinum, while her song “The House That Built Me” won a Grammy for female country vocal performance.
Annual revenues for French music company Believe grew 31.8% to 760.8 million euros ($723.5 million) in 2022 as the company capitalized on investments and expansion in Europe, India and China. Digital sales accounted for 92% of Believe’s revenue while non-digital sources represented just 8%.
The company’s premium solutions segment grew 31.6% to 712.6 million euros ($677.7 million). Automated solutions, which includes the TuneCore distribution platform, improved 34.5% to 48.2 million euros ($45.8 million). TuneCore’s launch of an “unlimited pricing” plan in 2022, which allows artists to distribute an unlimited amount of music for a fixed annual fee, was “extremely successful and translated into an acceleration of growth,” CEO Denis Ladegaillerie said during Wednesday’s earnings call.
“We ended 2022 strongly delivering above our IPO commitments both operationally and financially for the second year in a row,” Ladegaillerie said in a statement. “In 2022, as we have done each year since 2005, we did what we said we would do … or better. We grew our market share; we improved profitability; we generated significant cash flow from our operations.” Free cash flow was 52 million euros ($49.5 million), an improvement from negative 30.7 million euros in 2021.
Believe also revealed that it invested in French pop label Structure, which it called “a new French pop label partnering with two successful producers, behind the recent success of several multi-platinum French pop artists.” It additionally noted an investment in Madizin Music, “a German well-known brand managed by two renowned producers, composers, and entrepreneurs,” as well as an exclusive partnership with Panorama Music, a new Indian label founded by a Bollywood film producer.
Digital revenues improved 34.7% organically as Believe served an additional 200,000 artists, to 1.3 million, either directly or through record labels. In France, Believe was the second-largest music company in digital local repertoire in 2022. Believe was the third-largest recorded music company in Germany “on local repertoire in the streaming market,” and the market’s second-largest company in hip-hop. The company pointed to the chart success of TuneCore artist Theo Junior and Milky Chance, who amassed 1.2 billion streams in 2022 on the strength of the track “Stolen Dance.”
In Asia, Believe has invested in India and Southeast Asia and now has about 80 people spread throughout five offices in China. “The level of activity remained sustained throughout the year as the digital monetization increased in Greater China, which led to the signings in Premium Solutions of more than 300 labels and above 250 artists directly,” the company said.
Looking forward to 2023, Believe expects to post organic revenue growth of 18%, improve its adjusted EBITDA margin to between 5% and 7% and again be cash flow positive. “In 2023, we will continue our profitable growth strategy: invest in our teams to grow market share, innovate in audience development products for our artists and labels, and further drive operational efficiencies through technology and scale to increase profitability,” said Ladegaillerie.
Music business entrepreneur and EMPIRE founder/CEO Ghazi Shami announced the launch of a new, white-label distribution platform called Supply Chain today (March 15). The product, which is available now and is separate from EMPIRE, will allow brands, labels, distributors, service providers and retailers to make use of the platform to distribute music to any service provider and integrate distribution into their own products and offerings.
“With Supply Chain, we have built the most comprehensive distribution platform in the music industry,” Shami said in a statement. “Brands and services can now tap into the power of Supply Chain and offer a full set of distribution services to their customers.”
Supply Chain will offer SaaS and API solutions to allow companies to tap into digital tools to allow them to offer distribution to clients for service providers all over the world. The new offering comes at a time in the music business when there is a heightened interest in services and distribution, with new companies flooding into the arena to offer new solutions for independent artists and labels and existing companies pivoting their business models towards non-ownership services offerings. Unlike many of those services, which sign deals with artists or allow them to upload to digital service providers for a flat fee, Supply Chain will allow companies to integrate its distribution offering into their own services, providing a back-end basis for their own offerings.
“The new Supply Chain product provides a tremendous amount of power, but does so with a very simple approach that is both flexible and recognizes that many partners will not want to build out their own UI,” said chief product officer Stephen White. “We have focused on making the product easy to integrate while not sacrificing any of the powerful functionality.”
Colombian producer, songwriter and record engineer Julio Reyes Copello has inked a multi-year worldwide deal with Sony Music Publishing.
“I am thrilled to be starting this new phase of my creative life as part of the great Sony Music Publishing family,” says Copello, who won producer of the year honors at the 2022 Latin Grammys. “I am very grateful for the belief, respect, and enthusiasm that [Sony Music Publishing president and CEO] Jorge Mejia and his team have shown, which will be essential in order to find new outlets and homes for my music.”
“I have known and admired Julio for many years,” adds Mejia, who oversees Latin America and U.S. Latin territories as executive. “He is widely respected as a musician’s musician, with a deft touch at the piano and a sensitivity as a producer and songwriter, that makes all manner of artists and writers feel right at home whenever they work with him. It is a dream come true, therefore, to finally be able to work directly with Julio, as well as the artists and songwriters he’s developing. I can’t wait for what comes next.”
Reyes is currently working on upcoming releases with Colombian pop star Camilo, Spanish musician Pablo Alborán, Marc Anthony, Alejandro Sanz, among many others.
The four-time Grammy and seven-time Latin Grammy winner is widely considered one of Latin pop’s most important songwriters, producers and musicians. Since launching his career in 2001, the Cúcuta alchemist has also penned hits for the likes of superstars Ricky Martin, Jennifer Lopez, Thalía, Chayanne, Laura Pausini, Kany García and more. In total, he has earned 48 Grammy and Latin Grammy nominations; he also has more than ten ASCAP awards under his belt.
Aside from his songwriting Career, Reyes founded Art House Records, a talent incubator where he continues to discover and develop emerging artists, which includes Joaquina, Riza, Ela Taubert, and more. Additionally, he partnered with Abbey Road Institute — the first U.S. music production school, and an extension of the music production education program held at the legendary Abbey Road Studios in London. Together, both parties established the Art House Academy & Abbey Road Institute Miami, where they specialize in music performance, music production and sound engineering to develop and educate “the next generation of singer/songwriters, music producers and sound engineers.”
Lady Gaga originally released “Bloody Mary” way back in 2011, but it only cracked the Hot 100 for the first time this January. The revival was due in part to a sped-up remix that careened around TikTok, soundtracking videos of users pairing up the track with an eccentric dance sequence from Wednesday, Netflix’s hit Addams Family update.
The surprise success of “Bloody Mary” in altered form presented Matt Kelly, operations manager and on-air personality for WVAQ in Morgantown, West Virginia, with a dilemma. “What version do we play?” he asks.
“The original is 100 beats per minute — so slow, relative to the new version that people are more familiar with,” he explains. “The sped-up is 130 bpm, but I hated that it sounded like Alvin and the Chipmunks.”
So Kelly split the difference by making his own 120-bpm edit to play on the air. “It appeases the ear like it’s the sped-up version,” he says, “but I kept the pitch correction — so it sounds like Gaga, not Alvin.”
Homemade remixes, often sped-up or slowed-down, have been a hallmark of the TikTok era. In recent months, they’ve helped rejuvenate years-old songs from Lady Gaga and Miguel and driven swarms of listeners to newer releases from Lizzy McAlpine and Raye. In some ways, the music industry has adapted — it’s become common to see artists release official tempo-shifted versions of songs that have started to bubble back up, for example. Streaming platforms, including Spotify and Apple Music, have playlists dedicated to these releases; SiriusXM launched TikTok Radio, which program director Marie Steinbock envisions as “completely reflective of exactly what is trending on TikTok.”
But much remains the same: Even if a sped-up remix is ubiquitous on TikTok, the original version of the track tends to get most of the exposure. There are no sped-up remixes in Today’s Top Hits, the most followed playlist on Spotify, for example. And even when labels decide to promote revived songs to radio, they push the original, so that’s usually what saturates the airwaves. The Weeknd’s “Die For You” topped Billboard’s Radio Songs chart in February, more than six years after its release, with the normal-speed version earned the overwhelming majority of its plays.
Can sped-up renditions thrive in the wild, or do they function primarily within the confines of TikTok? Homemade remixes will only become more prevalent in years to come, thanks to platforms that make it so easy to futz with audio. (Meng Ru Kuok, CEO of music technology company BandLab, is fond of saying that they “think everyone is a creator, including fans.”) In this environment, will the industry continue to prioritize originals?
Right now, the dominant school of thought in the music industry is that the sped-up versions are effective… as a conduit to drive listeners back to the version the artist released. “The sped-up versions are more attached to the medium in which people are consuming them than they are the actual song itself,” one senior label executive says. Listeners “are discovering a song through the sped-up version, but they’re consuming the original.”
And even as more acts put out sped-up and slowed-down reworks, there’s still a sense that the original version remains the truest reflection of artists’ intentions. “That’s their art and their creativity — that’s what they want the world to hear,” says Rich McLaughlin, program director at WFUV and a former executive at Amazon Music. “I’m focused on what the artists want to release to the world. That’s what interests me.”
That said, McLaughlin continues, “From a radio programming perspective, I want to be open to playing songs that our listeners want to hear. If there’s a version of a song that comes out that adds a dimension to the original that’s unique and something that I think our listeners are going to like, of course I would be open to playing that.”
Some radio stations are already experimenting with playing alternate versions. Josh “Bru” Brubaker, a TikToker (4.5 million followers) and radio personality for Audacy, often plays a mix stitching together songs that are trending on TikTok after his Today’s Top 10 countdown. The in-house DJs adjust the tempos to nod to the version that’s being incorporated into short video clips.
Kelly has been evaluating songs for WVAQ on a case-by-case basis. While he sped up “Bloody Mary,” he prefers to play the original version of Raye’s “Escapism,” not the faster rendition popular on TikTok. “I think that one loses some of what makes it a great song when it’s the sped-up version,” he says.
What about Miguel’s “Sure Thing”? Originally a hit for the R&B singer in 2011, it returned to the Hot 100 earlier this year after a sped-up remix took off on TikTok and has now climbed to a new peak of No. 28. “That’s one where I might gravitate towards the sped-up version if we needed it, because listeners are going to recognize that from TikTok,” Kelly says. “I could see making an edit where we can keep the timbre of his voice, what makes Miguel Miguel, but speed it up.”
It’s likely that no one is playing more sped-up remixes on the air than SiriusXM’s TikTok Radio, which launched in 2021. Steinbock currently has around a dozen uptempo reworks in rotation. “This has been my life lately: A song will trend on TikTok, and it’s sped-up,” she says. “And then I have to wait and see if the label is going to put out an official version or not.”
In some situations — she points to Justine Skye’s “Collide” and SZA’s “Kill Bill” — “people are consuming both [versions] at kind of the same rate,” so she can play the original without fear of alienating listeners. But when it came to The Weeknd’s “Die For You” and Mariah Carey’s “It’s a Wrap,” she waited until the artists released official sped-up remixes. “It’s kind of a dance,” she says. “Is the audience going to recognize it when it’s not that TikTok remix?”
The current iteration of remixes — the sped-up and slowed-down versions that can serve as rocket fuel for TikTok trends — is unlikely to be the last one. Ebonie Smith, in-house engineer at Atlantic Records, thinks fan-made remixing is only going to become more sophisticated and widespread in the years to come. Young listeners are “already changing expectations around what is normal to hear,” she says, pointing to the popularity of sped-up songs. But “once young people are able to parse out each element of a song, and that becomes somewhat gamified, we’re going to see remixing like we’ve never seen before.”
Jessica Powell, CEO and co-founder of AudioShake, an A.I. music software company, expresses a similar sentiment. “We’re going to see the same shifts in audio that have happened in video and image,” she explains. “There will continue to be really professional uses of tools like Photoshop, but you also have the other end of it — me turning myself into a fish on Snapchat. That’s all coming to audio.”
If this proves to be the case, it’s likely that streaming services and radio stations will have to change their relationship with tempo-shifted remixes, or whatever else young listeners decide sounds good a few years from now. Steinbock will be ready. She recently made room in her rotation for McAlpine’s “Ceilings,” a love-drunk acoustic ballad. It came out roughly a year ago but exploded recently on TikTok thanks to a high-speed rework.
“We’re playing the normal one just because it’s so big,” she says. But “I’m just waiting for an official sped-up version.”
While working as a partner and manager at Emagen Entertainment Group, Ebonie Ward watched #MeToo gain momentum and #TheShowMustBePaused bring the music industry to a halt in the name of racial justice. In the wake of these movements, “there have been all these indications of putting women of color into leadership positions,” she says, but little in the way of sustained action.
“I’ve seen a lot of Black women, especially in hip-hop and R&B, who are the backbones at many companies. I’ve also seen a lot of women who are actually running these companies, but they’re still not the face,” adds the 2023 Women in Music honoree. “It was time to do something different.
“During COVID-19, I realized that I was limiting myself by not being forward-moving or thinking out of the box,” Ward recalls. So after five years at Emagen, she has opened the doors to her own full-service management firm, 11th & Co (pronounced “co”) — the first management company to be led entirely by women and, specifically, Black women.
In addition to Ward, who’s chairwoman/CEO, 11th & Co’s seven-member executive team includes CFO Alexandria Kindle, chief marketing officer Jenna Magee-Tyson, chief legal advisor Zita Brack, executive vp of lifestyle promotions Imaine Molo, executive vp of tour marketing Krishna Lee and head of A&R operations and administration Asha “DJ Osh” Holland.
“The one thing I love about the women on my team is that they’ve done a multitude of different things: from working in politics, finance, entertainment law and marketing to fashion, DJing, touring and restaurant ownership,” says Ward. “It was important to have a diverse group of experienced people who might not necessarily work with each other traditionally but would be able to come together and bring out the best in each other.”
Based in Atlanta and with plans to open a Los Angeles office, the 11th & Co roster includes Ward’s longtime clients Future, Gunna and Flo Milli, as well as its newest client, NBA player James Harden. “In its own way, sports is very similar to music because a lot of athletes want to get into lifestyle,” she says. “They want marketing.” Ward says she’s also looking forward to working with the Italian fashion house Pucci. (Ward and her executive team are all wearing Pucci in the group photo.)
What was the inspiration for your firm’s name?
My birthday is Sept. 11. And my executive board, staff and client roster now total 11. I’ve always had this synergy around the number 11; it has always felt powerful to me. Plus, I wanted something timeless. Something that would make people ask more about it.
What is your vision for the firm?
I want to do something that is very unorthodox, not one-dimensional. In addition to our music clients, we’ve just added James Harden of the NBA’s Philadelphia 76ers. James has an agent with whom I work very closely, but I’m more like James’ lifestyle manager. He’s his own brand. I went to him and asked if he’d thought about life after basketball. I wanted to help him understand and realize that he needed to pay attention to how he’s perceived off the court. People don’t know his story. He’s very humble and gracious. He’s a board member and minority investor in Saks Fifth Avenue’s e-commerce business [known simply as Saks] and is doing things in the alcoholic beverage world with wine and tequila. And there are other things that we’re helping him build and navigate.
Future, meanwhile, is touring the rest of this spring with Don Toliver and other artists and has a new album coming in 2023 [teased earlier by the rapper as a collaboration with Metro Boomin]. Flo Milli will be performing at Coachella, with her second album due later this year.
From left: Krishna Lee, Imaine Molo, Jenna Magee-Tyson, Ebonie Ward, Asha “DJ OSH” Holland, Alexandria Kindle, and Zita Brack photographed on February 22, 2023 in Los Angeles.
Yuri Hasegawa
What are the challenges of being a Black, female C-suite executive in the music industry?
The first challenge is to be received and respected. Even working with my previous partner [Emagen founder/CEO Anthony Saleh], I’ve walked into rooms and not been addressed, let alone been respected, for knowing this business inside and out. You don’t want to say you didn’t get a deal because you’re a woman. And you don’t want to use your Black card. That’s something a lot of women in this business have to deal with. At the same time, you have to have a level of stamina to sustain yourself through the joys and pains, to be able to accept the word “no,” which can feel defeating. Many of us women don’t protect or advocate for each other. When someone invites you to something, go; get someone’s phone number and call them. Get real information and learn from it. Please tell me when I’m wrong or I didn’t do enough. And then we must be able to take that information gracefully. More women need to do that for each other, especially Black women, because we can be each other’s harshest critics.
Why are there still so few female managers and C-suite executives — especially those of color — in the industry?
More work needs to be done. Aside from holding other people accountable, we need to hold ourselves accountable. As soon as everything came back after the show was paused, a lot of those efforts stopped. Going back into our offices, we need to still have that same hunger and that same fight to hold the industry accountable for what they said they were championing.
In the wake of Gunna’s plea deal before the Young Stoner Life Records RICO trial, does he have new music projects in the pipeline?
Because of the ongoing trial, I really can’t speak to that. But the time will come. Having been incarcerated for seven months, he’s really just getting acclimated to being out of a cell. Sometimes people need to give people an opportunity just to be human. In the meantime, myself and all of my clients have signed [300 Elektra Entertainment chairman/CEO] Kevin Liles’ “Art on Trial: Protect Black Art” petition. People need to understand that this issue affects not just the people who are dealing with it personally, but all of us. It’s a very serious issue that we need everyone’s support to rally behind.
You moved into artist management after meeting Future while operating your own men’s boutique. And you were featured in Emilio Pucci’s recent collection celebration in Switzerland. Will 11th & Co be collaborating with Pucci on other projects?
I have built an amazing relationship with fashion house Emilio Pucci’s new designer, Camille Miceli. I was so honored to be a part of their collection celebration in Switzerland and look forward to us continuing our relationship. 11th & Co will be working with Emilio Pucci to integrate new life to the brand, and I cannot wait to share more once everything is finalized.
Universal Music Group has acquired the British indie classical label Hyperion Records, the company announced Wednesday (March 15).
The 43-year-old label — which is home to artists like Marc-André Hamelin, Angela Hewitt and Stephen Osborne and represents a catalog of 2,5000 recordings, some of which date back to the 12th century — will operate as a standalone label within Universal Music U.K. alongside Decca Classics. Terms of the deal were not disclosed.
Hyperion will now join Decca Classics and Deutsche Grammophon in UMG’s classical portfolio, while Simon Perry — who has overseen the label for more than 20 years, after taking over from his father, Hyperion founder Ted Perry — will remain as managing director.
“I’m thrilled to bring Hyperion to Universal Music Group, a company that shares Hyperion’s commitment to bringing the most distinctive and brilliant musicians to as wide a public as possible,” Perry said in a statement. “By being part of UMG, while keeping our artists and staff together, we can continue to build on my father’s legacy and that of everyone who’s been part of the Hyperion family over the past 43 years. My debt to all of them is huge and I look forward to leading this incredible label into an exciting new chapter.”
Hyperion is next set to release Vaughan Williams’ Sinfonia Antartica and Symphony No.9 with BBC Symphony Orchestra, a series it says is dedicated to the Masses and Magnificats of Cristóbal de Morales, as well as recordings from the London Haydn Quartet and Stephen Layton and the Choir of Trinity College, Cambridge, among others. In a statement, UMG president/CEO of global classics and jazz Dickon Stainer called Hyperion “a jewel of a label,” adding that “we are committed to continuing the magnificent work done by the Perry family and to preserving and building on the special place Hyperion occupies in the hearts of artists and music fans alike.”
The acquisition comes amid a veritable wave of news spilling from the world of classical music lately. In November, Deutsche Grammophon launched a new standalone streaming service, Stage+, catering to its own catalog and that of Decca Classics. And earlier this month, Apple Music announced its own standalone streaming app, Apple Music Classical, which will roll out later this month and stems from its August 2021 acquisition of Primephonic.
“We are enormously proud that Hyperion has joined Universal’s family of classical labels to sit alongside Decca Classics in London,” Decca Label Group co-presidents Tom Lewis and Laura Monks said in a statement. “Simon and his father have created a very important recorded classical catalogue that serves a dedicated global audience. And the label continues to work with artists who are the best of the best. We are determined to celebrate the label’s legacy and continue its extraordinary story.”
Nigerian Afropop singer Adekunle Gold has officially signed with Def Jam Recordings, the company tells Billboard.
“I’ve been following Adekunle Gold since I first heard his record ‘Sade’ in 2016. Over the years, everything in AG’s world has elevated — his songwriting has refined, the scope of his artistry has widened, his vocals have strengthened, his approach to fashion is more distinct, and his showmanship and performance ability have grown exponentially,” says Def Jam CEO/chairman Tunji Balogun in a statement to Billboard. “He’s stepped into stardom on his own terms and is completely comfortable being his true self.”
Balogun added, “When I started at Def Jam, I knew I wanted to bring the label into the Afrobeats space tastefully, with the right artists and partnership. Adekunle felt like the perfect fit – he’d already done so much work on his own to build a base, but I knew that we could scale his audience to an even bigger level if we combined our energies and worked together.”
Gold (real name Adekunle Almoruf Kosoko) describes his signing as a “full circle moment” after Balogun tried signing him years ago, prior to the executive’s 2022 arrival at Def Jam. The “5 Star” singer said that because he and Balogun share Nigerian roots, “he understands it, so signing to Tunji makes sense. He’s like my studio buddy that just comes everywhere I go. The day he doesn’t have time to be there, I know he must’ve been like stupidly busy. He’s great.”
When it comes to signing with Def Jam, Gold continued, “The track record is there. The history is there. They break artists, and they have niche, unique artists like me, so I think it’s the right move for me. All of the things that I’ve done for myself already, they know already and that’s why they’re on board.”
Balogun was in Lagos, Nigeria, says Gold, when he and fellow Nigerian singer Zinoleesky were writing and recording “Party Dey no Stop,” Gold’s new single featuring Zinoleesky that marks his Def Jam debut. “When we started to make the music, it was so easy for me to go in and just attack the song. I wrote my verse, I wrote the chorus, and it was a rap. I knew from then that this song was a jam,” Gold says of the track.
“Party Dey no Stop” arrives ahead of Gold’s fifth studio album due in June. In support of the project, he’ll embark on a four-month world tour that’s set to kick off in North America in September and run through the United Kingdom, Europe, Africa, Australia, New Zealand, South America and the Caribbean through next year.
Gold first rose to fame in 2015 with the single “Sade,” a highlife love song that samples instrumentals from One Direction‘s 2013 hit “Story of My Life.” “Sade” went on to win best alternative song at the 2015 edition of The Headies, a Nigerian music awards show. Gold eventually signed his first record label deal with Olamide‘s YBNL Nation and released his debut studio album, Gold, in 2017. It peaked at No. 7 on Billboard‘s World Albums chart.
After Gold’s YBNL Nation contract expired, “I didn’t quite know what to do,” he says. “I was signed for two years, fresh off the industry. I was just thinking, ‘What am I going to do from here?’ [And] I’m like, ‘You know what? I got this. Let me just start my own thing.’”
The Afrobeats star then started his own label, Afro Urban Records — “one of the best decisions I’ve made,” he says — and put out two albums: 2018’s About 30 and 2022’s Catch Me If You Can. He released his 2020 album, Afro Pop, Vol. 1, under EMI.
In a previous Billboard interview, Gold explained why he switched labels and the benefits of working with distributor Platoon, which helped with the rollout for his last album, Catch Me If You Can, featuring Davido, Lucky Daye, Fatoumata Diawara, Fousheé, Ty Dolla $ign and Stefflon Don. “When I was fully Afro Urban Records and no distribution label, me and my manager [Elizabeth Sobowale] had to do a lot of work. Platoon has the best hands in everything from PR to marketing,” he said at the time. “All I had to do was work on the music and they’re ready to take the rest upon themselves.”
After his groundbreaking success with Wizkid and Tems during his tenure as executive vp of A&R at RCA, Balogun has been playing a monumental role in bolstering Def Jam’s roster with more talent from the African diaspora. In September 2022, the label signed an exclusive worldwide joint venture with Native Records to develop African artists.
“I think AG is a truly global artist, and a rightful ambassador for Nigerian music and the emerging Afrobeats scene,” Balogun says. “He has the talent, virtuosity, focus, work ethic and temperament required to be a worldwide superstar. I’m excited to work with him and the Def Jam team to bring more fans into his world.”
“Hear it from me,” Gold says. “Afrobeats is taking over the world.”
Facebook parent Meta is slashing 10,000 jobs, about as many as the social media company announced late last year in its first round of cuts, as uncertainly about the global economy hits the technology sector particularly hard.
The company announced 11,000 job cuts in November, about 13% of its workforce at the time. In addition to the layoffs, Meta said Tuesday that it would not fill 5,000 open positions.
“This will be tough and there’s no way around that,” said CEO Mark Zuckerberg.
Meta and other tech companies have been hiring aggressively for at least two years and in recent months have begun to let some of those workers go. Hiring in the U.S. is still strong, but layoffs have hit hard in some sectors.
Early last month, Meta posted falling profits and its third consecutive quarter of declining revenue. On the same day, the company said that it would buy back as much as $40 billion of its own stock.
The Menlo Park, company said Tuesday it will reduce the size of its recruiting team and make further cuts in its tech groups in late April, and then its business groups in late May.
Zuckerberg has invested tens of billions of dollars building out its metaverse, its virutal reality concept, and renamed the company Meta, signaling a new focus for Facebook.
“As I’ve talked about efficiency this year, I’ve said that part of our work will involve removing jobs — and that will be in service of both building a leaner, more technical company and improving our business performance to enable our long term vision,” said Zuckerberg.
The biggest tech companies in the U.S. are cutting costs elsewhere, too.
This month, Amazon paused construction on its second headquarters in Virginia following the biggest round of layoffs in the company’s history and its shifting plans around remote work.
Global inflation has remained stubborn and its made for more difficult decisions for both households and businesses in the U.S.
Fast growth companies, including many in the technology sector, are hunkering down for what may be an extended period of adverse economic conditions.
“At this point, I think we should prepare ourselves for the possibility that this new economic reality will continue for many years,” Zuckerberg said in a message to employees.
Meta shares rose nearly 7% Tuesday.
Johnny Chiang, Pandora’s senior director of country programming, will expand his role to also oversee country music programming at SiriusXM, the company tells Billboard. Chiang will report to SiriusXM/Pandora’s GM and senior vp of music programming Steve Blatter.
Chiang’s new role fills duties previously held by JR Schumann, who exited SiriusXM in July 2022. Darrin Smith, SiriusXM’s vp of programming, oversaw the satellite broadcaster’s country channels on an interim basis.
Before joining Pandora in July 2022, Chiang served as vp of radio promotions and artist development at Red Street Records following the announcement that the label had launched a country division. Prior to his work with Red Street, Chiang spent 18 years at KKBQ in Houston and was also the Cox country format leader.
During Chiang’s time at KKBQ, the station was named the Country Music Association’s major market station of the year three times (in 2014, 2016 and 2018), as well as the Academy of Country Music’s major market station of the year in 2017. It also won the Marconi four times (in 2013, 2014, 2016 and 2018). In 2016, Billboard named him the most influential country program director in the United States.
During Nashville’s Country Radio Seminar earlier this week, Chiang led a panel during CRS’ Digital Music Summit titled “Sweet Streams (Are Made of These),” which provided an overview of music streaming services. The panel also included Spotify’s Rachel Whitney and Amazon Music’s Michelle Tigard Kammerer, as each music service detailed their respective platforms’ tools for independent artists and discussed the role of playlisting in music marketing, how DSPs use data to make decisions and more.
Chiang’s role expansion comes on the heels of SiriusXM’s announcement earlier this month that it would be laying off 475 employees, or 8% of its workforce. In a statement that followed, CEO Jennifer Witz called the job cuts difficult but “the right thing to do” as the business grapples with lower ad sales, a still-delayed recovery in the automotive subscription business and major investments in its technology.