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Live Nation is not legally responsible for a deadly 2014 shooting backstage at a Young Jeezy concert, a California appeals court says, because such an attack was not the kind of event that the concert giant should have seen coming.
In a ruling issued Tuesday (Jan. 24), the California Court of Appeal refused to revive a wrongful death lawsuit filed by the family of Eric Johnson, Jr., an event promoter who was shot to death during an August 2014 stop at a San Francisco-area venue during Jeezy’s Under the Influence of Music tour.
Johnson’s family claimed that Live Nation had been legally negligent because it didn’t have enough security measures in place to prevent the shooting, but the appeals court ruled that the attack was not “foreseeable” — a key requirement in proving such allegations.
“A violent attack by and between artists and their guests in the backstage area of a performance is not a foreseeable occurrence against which Live Nation should have provided preventative measures of the nature plaintiffs suggest,” Justice Stuart R. Pollak wrote in Tuesday’s opinion.
In its ruling, the appeals court suggested that Live Nation likely had good reason to be worried about incidents involving the crowd, citing reports that fights had broken out at previous events. But the court said those same red flags did not exist for potential violence backstage.
“The reports did not … indicate that any of the artists or their entourages engaged in or posed any danger of violence during the tour,” the judges wrote in the ruling. “The head of security also indicated that in her more than 10 years at the amphitheater, there had not been any violent incidents backstage.”
Attorneys for Johnson’s family did not immediately return requests for comment on Thursday. A representative for Live Nation also did not return a request for comment on the ruling.
The ruling in favor of Live Nation came as the company is facing a similar case over the high-profile stabbing death of Drakeo The Ruler at the Once Upon A Time in L.A. music festival in December 2021. Filed by the late rapper’s family, that case also centers on security measures Live Nation took — or didn’t take — that might have prevented a fatal assault backstage.
Johnson, 38, was shot and killed backstage on Aug. 22, 2014, at the Shoreline Amphitheater in Mountain View, Calif., a venue leased and operated by Live Nation. According to his family’s lawsuit, Johnson had been at the event to “discuss his business arrangements for Young Jeezy to appear at a concert after-party” in nearby San Jose.
According to press reports at the time, Jeezy (real name Jay Jenkins) was taken into police custody in the wake of the shooting and charged with illegal possession of a weapon. But that charge was later dropped and no additional charges were ever filed against the rapper over the incident.
“Mr. Jenkins should not have been arrested and this case should not have been prosecuted,” Jeezy’s attorney told Billboard at the time. “We are pleased it has been dismissed, although frustrated that it took the police and prosecutors months to do the right thing.”
Court records indicate that no murder charges have ever been filed against anyone over Johnson’s killing.
Earlier versions of the civil lawsuit filed by Johnson’s family directly accused Jeezy of committing the shooting, but those claims were later dropped. They were replaced by allegations similar to those made against Live Nation, claiming the rapper’s allegedly negligent conduct was partly to blame for the attack taking place.
On Tuesday, in addition to rejecting the allegations against Live Nation, the California appeals court also dismissed the claims against Jeezy. The court ruled that the family had waited too long to bring the claims, and were thus barred by the statute of limitations.
Jeezy’s attorney declined to comment on the decision.
Read the full ruling here:
Zayn has signed with UTA for representation across music, film and television, among other areas.
Currently at work on his fourth studio album, Zayn launched his career as a member of One Direction in 2010 before departing the group in 2015 to embark on a solo career. In 2016, he released his debut solo album, Mind of Mine, which hit No. 1 on the Billboard 200 and was certified platinum by the RIAA. The album’s lead single, “Pillowtalk,” also topped the Billboard Hot 100 and has since been certified five-times platinum by the RIAA. He has garnered several accolades for his music throughout his career, including a Billboard Music Award, an American Music Award, an MTV VMA and two Brit Award nods.
Zayn’s catalog, which encompasses three studio albums (2018’s gold-certified Icarus Falls, 2021’s Nobody Is Listening and Mind of Mine), has earned 4.6 million on-demand official U.S. streams, according to Luminate.
Outside of music, Zayn has also ventured into the fashion world, having collaborated on capsule collections with the likes of Giuseppe Zanotti and Versus Versace while gracing the cover of numerous fashion publications including Vogue, GQ, ELLE UK, Highsnobiety, PAPER and The FADER. In 2017, he was named “Most Stylish Man” at the British GQ Men of the Year Awards.
Elsewhere, ZAYN has advocated for free school lunches for children living in poverty in the UK, penning an open letter to Prime Minister Rishi Sunak.
Zayn is also represented by Nicola Carson at ZenKai Management and Taryn Zimmerman.
Spain’s PROMUSICAE (Productores de Música de España), which represents 90% of the national and international activity of the Spanish recorded music industry, released its 2022 year-end report Thursday (Jan. 26), unveiling Bad Bunny as the “absolute leader” last year thanks to his record-breaking album Un Verano Sin Ti.
According to the report by PROMUSICAE, which represents more than 100 member companies, the Puerto Rican star was the No. 1-selling artist in the albums category for 23 consecutive weeks in the country.
Meanwhile, Spanish artist Rosalía crowned the list of top 100 vinyl releases of 2022 with her genre-bending Motomami, which won album of the year at the Latin Grammys. The “Despechá” singer came in second place after Bad Bunny on the overall album sales list.
Furthermore, the top 100 songs list was led by Bizarrap and Quevedo‘s global smash hit “QUEVEDO || BZRP Music Sessions #52,” also known as “Quédate,” which scored both artists their first entry on the Billboard Hot 100. Currently, the song has more than 400 million views on YouTube.
The report also notes that vinyl sales increased by 6% in 2022, CD sales decreased by 13% and streaming represented 85% of music consumption in the country. Sebastián Yatra‘s “Tacones Rojos” had the most radio airplay, while the most popular international artists in the country last year were Harry Styles, Rauw Alejandro, Taylor Swift, Camilo and Feid, among others.
“Throughout very difficult years, our music continues to show its ability to accompany us in more moments of our lives than ever,” said Antonio Guisasola, PROMUSICAE’s president. “This allows our market to return to the spotlight, while incorporating new styles and new ways of creating music that penetrates inside and outside our borders.”
See all of PROMUSICAE’s 2022 year-end reports here.
It’s the end of an era for a Kobalt Music original. Sas Metcalfe, the company’s first employee and longtime chief creative officer, will be stepping down effective Feb. 28, it was announced on Thursday (Jan. 26). The North Wales native possesses a creative taste that is “second to none,” commented founder and chairman Willard Ahdritz, who hired her in 2001, and has “built a great spirit in her team because she is happy to share success.”
The Metcalfe-led global creative team is almost 70% female, according to the company, and is responsible for signing a roster that currently includes such hitmakers as Max Martin, Lorde, Ozuna, The Weeknd, The Chicks, Finneas, Diplo, Gunna, Karol G and many more.
“When I look back, I’m in awe of how much great music the Kobalt creative team has ushered into the world,” said Metcalfe. “But what makes me most proud is working alongside so many talented music lovers and helping them develop into great creative and A&R minds – I’d argue they are some of the best in the music industry today.”
Metcalfe’s music business journey began in the early 1980s with a marketing assistant job at CBS Records in London. She later got the A&R bug thanks in part to working as a scout at Rocking Horse Records before a three-year stint as an A&R manager at Arista Records. Nine years at Warner Chappell followed, where she signed Radiohead and Dido as head of A&R, before taking a similar post at EMI Records in 1998. She joined Kobalt, again, as Ahdritz’s first hire, three years later. “It’s amazing how far we’ve come in over 20 years together,” he said.
Added Kobalt CEO Laurent Hubert, “Simply put, Sas is one of a kind. Her impact in the music industry and at Kobalt is undeniable, as she nurtured and managed not just amazing songwriters but also built one of the best global creative teams in the industry. The work that Sas has done at Kobalt will be felt for many years to come. We thank Sas for her extraordinary contribution to making Kobalt what it is today.”
Avex USA and Brandon Silverstein Publishing have jointly signed 23-year-old hitmaker Jasper Harris to a global publishing agreement. The producer behind Jack Harlow’s “First Class,” Post Malone and Doja Cat’s “I Like You,” and Baby Keem and Kendrick Lamar’s “Family Ties” and more, he will begin working with Avex and Brandon Silverstein Publishing later this year.
Harris is nominated for four nods at the upcoming Grammy Awards for his recent work, including best rap album (Come Home the Kids Miss You by Jack Harlow and I Never Liked You by Future), best melodic rap performance (“First Class” by Jack Harlow), and best pop duo/group performance (“I Like You” by Post Malone and Doja Cat).
Brandon Silverstein Publishing is the re-branding of S10 Publishing. Over the last few years, the boutique publishing house and Avex USA, the American branch of Japanese music and entertainment company Avex Group, have signed talents like “Peaches” writer HARV, Jamaican singer Shenseea, The Kid LAROI collaborator and Internet Money member Cxdy, “Build a Bitch” co-writer David Arkwright, “Stunnin’” producer Declan Hoy, and Travis Scott, Bad Bunny and Future writer/producer KOSA. Since its founding, their joint publishing clients have earned three No. 1 Top 40 US radio hits.
“All of us at Avex have fallen in love with Jasper and his music. He’s an incredible talent,” says Naoki Osada, CEO of Avex USA. “We have a fresh and diverse team that is hugely excited and grateful to be working with Jasper and his management to support his vision globally through Avex.”
Brandon Silverstein, founder and CEO of Brandon Silverstein Publishing, says he is “incredibly excited to welcome Jasper to the publishing family. I’m grateful for his trust in the team and could not be more confident in his ability to become the biggest producer in the world. We look forward to making history alongside both Jasper and his amazing management team.”
Harris adds, “I am incredibly grateful to be joining the Avex and Silverstein publishing team. They’re such a strong and dynamic group, and their passion for my music combined with their global reach feels like the most natural combination as I enter the next phase of my career. We are so like-minded in our goals and I couldn’t be more excited for our future together”
“Jasper’s an exceptional young man with an endless dedication to his craft. We want to thank Brandon, Naoki, Lucas, and the whole Avex/Silverstein team for their belief in him. We couldn’t be more excited to be working together,” says Sam French and Mason Klein of Mixed Management.
LONDON — Madison Square Garden’s plan for a “next generation” 21,500-capacity concert venue in London won another key endorsement this week when a planning committee approved the development, despite strong objections from residents and rival live events company AEG.
On Tuesday, the London Legacy Development Corporation (LLDC) granted MSG a 25-year advertising license subject to a five-year review. Now, London Mayor Sadiq Khan needs to approve the project — called MSG Sphere London — before work can begin. In rare instances, government ministers can also intervene and suspend planning applications.
New York-based Madison Square Garden Entertainment (MSG) first submitted plans for the venue in March of 2019. Since then, the company has encountered sustained opposition from councilors and residents who are concerned it will blight the area with noise and light pollution.
MSG is proposing to build the arena on a five-acre plot of land in Stratford, East London, adjacent to the Olympic Park and would be located just five miles away from the 20,000-capacity The O2 arena, the U.K.’s top grossing venue, which is operated by AEG.
The MSG Sphere in Las Vegas, under construction.
Courtesy Photo
The design of the MSG Sphere London mirrors the spherical crystal ball design of the MSG Sphere at The Venetian in Las Vegas — due to open later this year at a cost of $1.8 billion — and measures 90 meters (295 feet) tall by 120 meters (394 feet) wide. Its exterior will be covered in a programmable skin of more than one million LED lights, which will primarily be used for showing videos and advertising.
The LLDC had provisionally approved the venue last March, but the committee still needed to sign off on several aspects of the planning process, including MSG’s strategy for managing the Sphere’s controversial advertising display.
The proposed arena still doesn’t have a price tag, and MSG said in its most-recent quarterly earnings, filed in November, that there is no “definitive timeline” for its construction.
Opponents of the venue are calling on Khan to block the development. AEG says it was “dismayed” by the committee’s decision to give MSG Sphere London the go ahead.
“We call on the Mayor of London to uphold his election promise to do what’s best for Londoners, including the residents of [the London Borough of] Newham who are having this huge development forced on them, by directing refusal of the planning application,” AEG says in a statement.
AEG says MSG Sphere London’s LED illuminated exterior “was conceived for the heart of Las Vegas” and is “at a wholly unprecedented scale for London and totally out of keeping with the surrounding area.”
Campaign group StopMSGSphere, who spoke at Tuesday’s meeting, and several local councilors have urged the Khan to quash the development, which would be MSG’s first venue outside of the United States.
Following the ruling, a spokesperson for MSG — whose portfolio includes New York’s Madison Square Garden, Radio City Music Hall and the Forum in California — said the company ”remains committed to bringing MSG Sphere to London” and promised the venue would create “thousands of jobs and [generate] billions of pounds for the local, London and U.K. economy.”
MSG says it will provide blackout blinds to homes located within 150 meters (492 feet) of the new London arena and will run a telephone line for residents to register any complaints.
Should it get the go ahead, MSG Sphere London will be one of the U.K.’s biggest indoor concert venues with a scalable capacity of up to 17,500 seated, or 21,500 with a mixture of seated and standing. That exceeds the U.K.’s two biggest existing arenas, London’s The O2, which has a maximum capacity of 20,000, and Manchester’s AO Arena, which holds up to 21,000 people.
Construction is currently underway in Manchester on what will be the U.K.’s biggest indoor music venue, the 23,500-capacity Co-op Live being developed by the Oak View Group, which counts Harry Styles as an investor. It is set to open in December.
A man whose back tattoo was unwittingly photoshopped into a Cardi B album cover is once again asking a federal judge to revive his failed case against the rapper, arguing that the star “engaged in theatrics” on the witness stand and deprived him of a fair trial.
Weeks after Judge Cormac Carney ruled there had been enough evidence to support Cardi’s courtroom victory, Kevin Brophy formally requested a new trial Wednesday, seeking another chance to convince a jury that she “humiliated” him with the risqué cover of her 2016 Gangsta Bitch Music Vol. 1.
Among other things, Brophy took aim at Cardi herself, arguing that the star (real name Belcalis Almánzar) had committed “misconduct” on the witness stand by sparring with Brophy’s attorney, A. Barry Cappello.
“Almanzar repeatedly engaged in theatrics, refused to answer basic questions, impermissibly disclosed privileged and confidential settlement communications, and generally acted with total disregard and disrespect for the jury’s time and formal nature of court proceedings,” Brophy’s lawyers wrote.
Citing supposedly calm behavior when examined by her own lawyers – “a switch in demeanor that puts Dr. Jekyll and Mr. Hyde to shame” – the filing called Cardi’s testimony a “a deliberate strategy to frustrate Plaintiff’s presentation of his case and improperly influence the jury.”
Brophy sued Cardi in 2017 for millions in damages, claiming he was “devastated, humiliated and embarrassed” by the cover of Cardi’s Gangsta Bitch. The image featured the then-rising star taking a swig of a large beer, staring directly into the camera with her legs spread wide, and holding a man’s head while he appears to perform oral sex on her.
The actual man in the image was a model who had consented to the shoot, but a giant tattoo on the man’s back belonged to Brophy. Unbeknownst to Cardi, a freelance graphic designer had typed “back tattoos” into Google Image, found one that fit (Brophy’s), and Photoshopped it onto the model’s body.
Brophy’s lawsuit claimed Cardi and others involved in the cover had violated his so-called right of publicity by using his likeness without his consent, and also violated his right to privacy by casting him in a “false light” that was “highly offensive.” Cardi’s lawyers called the allegations “sheer fantasy” and “vastly overblown,” arguing that nobody would have recognized a relatively unknown man based merely on his back.
During a four-day trial in October, Cardi took the stand to defend herself. When examined by Brophy’s attorney Cappello, things repeatedly got heated between the two – so much so that at one point the Judge Carney cleared the jury, told Cappello he had “totally crossed the line,” and threatened to declare a mistrial.
At the end of the trial, the jury agreed with the superstar’s defenses, clearing Cardi of all Brophy’s claims. Brophy later asked the judge to throw out the verdict for a lack of evidence, but the judge denied that motion in December.
In addition to criticizing Cardi’s testimony, Brophy’s new motion on Wednesday also argued that his lawyers had been denied the chance to properly cross-examine the star, and that the judge had unfairly refused to let jurors hear about Cardi’s earlier defamation trial in Atlanta.
Attorneys for Cardi will have chance to file a formal response in court in the coming weeks. The star’s lawyers did not immediately return a request for comment on Thursday.
Read the entire motion for a new trial here:
Madison Square Garden Entertainment chief executive James Dolan defended the use of facial recognition technology to bar entry to his company’s namesake venue to a handful of individuals on Thursday. In a televised interview on FOX 5 New York, Dolan also said he’s considering shutting down alcohol sales for a night at the Garden in response to lawmakers’ calls for the venue’s liquor license.
“Instead (of serving alcohol), where we serve liquor, we are going to put one of these up, which says, ‘If you would like to drink again, please call Sharif Kabir, chief executive officer’ … and tell him to stick to his knitting,” Dolan said, holding up a poster with the picture of the head of New York’s state liquor authority.
In defense of the Garden’s policy barring entry to a group of lawyers who work for a firm currently engaged in legal matters against Dolan’s company, he said, “If you’re suing us, we’re just asking you please don’t come until you’re done with your argument with us, and yes we’re using facial recognition to enforce that.”
MSG has been under scrutiny for blocking entry to the lawyers, and in recent weeks, some New York legislators have called for an investigation into whether the policy is in violation of its liquor license. On Wednesday, the New York State Attorney General Letitia James requested the company disclose how they are using the technology, citing media reports that about 90 law firms and thousands of lawyers are affected by the policy.
Lawmakers including New York State Senator Liz Kruger expressed concerns that MSG appears to be using the technology in “discriminatory and retaliatory” ways, and New York State Senator Brad Hoylman-Sigal introduced a bill this week that would ammend an existing state law to add “sporting events” to the list of public entertainment places that cannot bar entry to people with valid tickets.
Dolan was steadfast in his defense of the ban and the use of facial recognition technology at his venues, which also include Radio City Music Hall and The Sphere, currently under construction in Las Vegas.
Dolan called the proposed bill illegal, and when asked if his company would back down in enforcing these policies, he said, “Not at all.”
“The Garden has to defend itself,” he said.
In a letter sent yesterday, NY AG James urged MSG Entertainment to reverse the policy.
“MSG Entertainment cannot fight their legal battles in their own arenas,” James said in a statement included in a press release from her office on the matter. “Madison Square Garden and Radio City Music Hall are world-renowned venues and should treat all patrons who purchased tickets with fairness and respect. Anyone with a ticket to an event should not be concerned that they may be wrongfully denied entry based on their appearance.”
While use of facial recognition technology is legal in the state of New York, and MSG discloses it uses the technology on notices posted outside its venues, individuals suing MSGE argue the venues’ use goes beyond what is legally allowed. The New York AG’s office requested a response justifying the policy and detailing attempts to abide by the laws outlawing discrimination and retaliation by Feb. 13.
EMPIRE Publishing, the publishing arm of independent distribution and service company EMPIRE, has announced its new joint venture with Surf Club, a collective of young artists, producers and writers founded by superstar producer Hit-Boy. Along with the news of the partnership itself, EMPIRE and Surf Club have also announced their first three signees: Gary “G Dav” Davis, Jesse “Dr. Blum” Blum, and Randy “Bandz” Holmes.
G Dav is a contributor to a number of major rap records, including Nas‘s King Disease, which earned him a Grammy for best rap album; Dr. Blum is an accomplished multi-instrumentalist, best known for his touring work with Twenty One Pilots and cuts with Big Sean and Rage Against the Machine; Bandz is a writing and production talent, bringing his West Coast-infused sound to YG, OhGheesy, Kamaiyah and more.
Though Hit-Boy himself is not working with EMPIRE for publishing administration and remains in his previous deal, the new partnership involves the EMPIRE Publishing team — run by industry vets Al McLean, Vinny Kumar and Brett Sweeney — providing publishing administrative services to the three new signees and helping Hit-Boy Surf Club identify and sign new talent in the future.
The Surf Club collective is led by Hit-Boy along with managing partner Nima Nasseri, president Jameel “Double” James, and head of a&r James Bentley.
EMPIRE’s directors of business affairs Benedict Paz and Sarah Beth Gerlecz negotiated and finalized the partnership.
“We want to build Surf Club up to be great, create outstanding pieces of work and music. I’ve been looking for a publishing situation for years, and Empire really made it happen,” says Hit-Boy, whose credits include “Sicko Mode” by Travis Scott, “Clique” by Ye, “Trophies” by Drake, and many more.
“Hit-Boy is a prolific record producer,” says Sweeney. “His resume precedes him and his team is composed of innovative entrepreneurs. We are excited to be in business with Hit and the Surf Club team and empower their writers.”
“EMPIRE has long been in the business of pushing the culture forward on a global scale, enabling recording artists to excel independently with its distribution and label services,” adds Paz. “This partnership with a talent like Hit-Boy and the passionate individuals of the Surf Club team mirror that same ethos at EMPIRE Publishing and we are excited for what this is set to accomplish in the music publishing space.”
Grouplove signed with Glassnote Records ahead of their sixth album, which is due out this year. “We just made the best album of our career and on our first call with Daniel, we could immediately tell that he agreed,” said the band in a statement. “Glassnote has so many amazing artists we respect and admire and we are so proud to call it our new home.”
B2B distributor FUGA, a division of Downtown Music, struck a distribution deal with Marathon Music Group that will see Marathon utilizing FUGA’s global digital and physical distribution offering for its own roster and all labels under the group’s umbrella, including Moves Recordings, New Soil, Mahogany and DMY. Marathon will also have access to other FUGA services including marketing, enhanced trends and analytics, synch and brand partnerships, YouTube services and audience strategy.
Spotify added over 10,000 Arabic songs to its platform via a new licensing deal with Rotana Music for the label’s full catalog. The songs will be available to Spotify users in Algeria, Armenia, Azerbaijan, Bahrain, Chad, Comoros, Cyprus, Djibouti, Egypt, Georgia, Iraq, Jordan, Kuwait, Lebanon, Mali, Mauritania, Morocco, Niger, Oman, Pakistan Palestine, Qatar, Saudi Arabia, Tunisia, Turkey and the United Arab Emirates. Spotify will provide on-platform support by introducing “This is Rotana,” a destination that will serve as the home for some of the label’s most popular songs.
Music strategy and supervision agency Premier Music Group closed its second round of financing led by MEP Capital, which will join Premier’s board of directors. The investment will power Premier’s ongoing acquisitions, including, most recently, sonic identity and sound design firm We Are Listen. Premier, which did not disclose the dollar amount of the current round, was advised by Arnaud Levy at Qualia Legacy Advisors.
ASM Global‘s Tech Port Center + Arena in San Antonio has been renamed Boeing Center at Tech Port. Additionally, Boeing entered a seven-year partnership with the Kelly Heritage Foundation — an educational nonprofit affiliated with Port San Antonio, on whose behalf ASM Global manages the arena — to expand STEM learning and workforce development in South Texas via a $2.3 million investment from the aerospace company.
Music technology platform Orfium — which provides software, data and licensing solutions to the entertainment industry — acquired music cue sheet reporting and audio recognition company Soundmouse. “Over the past 20 years, Soundmouse has been building and setting the standard in cue sheet management and monitoring for the broadcast and entertainment production space,” said Soundmouse co-CEO Charles Hodgkinson in a statement. “Combine that with Orfium’s expertise in UGC tracking and claiming for publishers, labels and production music companies and we bring the worlds of digital and broadcast together in an integrated way.”
RECORDS Nashville, Barry Weiss‘ joint venture with Sony Music Entertainment, signed the James Barker Band. The group’s first single under the label, “Meet Your Mama,” drops Friday (Jan. 27). Comprised of James Barker, Taylor Abram, Connor Stephen and Bobby Martin, the band is signed with BOOM Music Group for publishing and Starseed Entertainment for management.
Live entertainment and concert production company Décibels Productions has acquired a majority stake in Olivier Gluzman‘s French talent agency Les Visiteurs du Soir (Rufus Wainwright, Angélique Kidjo, Pink Martini). The deal will allow Les Visiteurs du Soir artists to “tap into [Décibels’] production skills and global network,” said Gluzman in a statement. Morgan Production, the audiovisual company and festival organizer that first invested in Les Visiteurs du Soir in 2011, will remain a key stakeholder in the agency.
Sony Music and Todd Moscowitz‘s new artist and label services company Santa Anna signed a distribution agreement with indie label Listen to the Kids (Yeat, Alexander 23, Ericdo, Sally Bossa). Under the deal, Listen to the Kids’ roster will have access to Santa Anna’s marketing, distribution, legal and promotional support, among other services.
Big Loud Records artist Mackenzie Porter (“Thinking ‘Bout You,” “Pickup”) signed with CAA. She will be represented by the agency’s Bennett Beckner and Jeff Krones.
Riser House Records artist Meghan Patrick signed with WME for global representation and Make Wake Artists — where she will work with Chris Kappy and Randi McFadden — for management. Patrick released her new song “She’s No Good For Me” on Friday (Jan. 20).
Compass Records Group signed alt-country artist Robbie Fulks, who will release a new studio project on the label this spring. Fulks is ramping up for a U.S. tour that kicks off in April.
Kelsey Hart signed with Curb Records; he previously signed to Curb | Word Music Publishing as a songwriter for artists including Jake Owen, Dylan Scott and Trace Adkins. The label recently released two songs from Hart: “Forget to Remember You” and “My Daddy’s Fault.”
Nettwerk signed producer Donovan’s Playground, a new project from Fallen Roses member Donovan Ferra; Smile High, the solo project of Ben “Smiley” Silverstein of The Main Squeeze; and Malaysian alt-pop artist A Kid Named Rufus. The label will soon release Donovan’s Playground’s debut album To My Past Self, Smile High’s EP Snack Pack and Rufus’ single “Eighteen” featuring Cole Bauer.
Matador Records signed Brooklyn duo Water From Your Eyes and will release their new album in the first half of the year. Water From Your Eyes will host a weekly live residency in New York throughout the month of March leading up to the release.