State Champ Radio Business
Page: 52
This week’s roundup of Publishing Briefs includes a rebrand for Sheer Publishing Africa, a pair of big deals for Warner Chappell Music and a renewal of Sony Music Publishing Nashville’s pact with Kane Brown’s creative company.
Warner Chappell Music signed a global administration and sub-publishing deal with veteran French DJ and producer Bob Sinclar, covering over 350 works from his catalog, including iconic tracks like “World Hold On,” “Love Generation,” and “The Beat Goes On.” The agreement also includes music from the influential Africanism label. Known for pioneering the French House (or French Touch) movement since 1998, Sinclar has built a successful mainstream and underground career through his label Yellow Productions, and over the years has collaborated with global stars such as Kylie Minogue, Sean Paul and Robbie Williams, and remixed tracks by Madonna, Rihanna, and Moby. “Bob Sinclar is a fervent representative of the French Touch, a true tastemaker who has always made a point of crossing borders,” said Valentin Zucca, senior A&R at WCM France. “His music, and what he did for the dance culture, had a major influence on a whole generation of listeners and artists.”
WCM also extended its joint venture with Lilly Raye Music, the publishing and management company led by Edward Matthew and Justin Martinez. Since its 2020 launch and 2023 expansion, the partnership has driven international collaborations across Asia, Europe and the United States. The venture is ramping up efforts in Germany and the Netherlands, particularly in dance and electronic music, while strengthening A&R in the UK. Achievements include Grammy recognition for work on albums by Summer Walker and Janelle Monáe, ten No. 1 hits in Sweden, and syncs with Apple and Acne Studios. They’ve also contributed to K-pop hits for LESSERAFIM and IVE, and support rising stars like Ayra Starr and RAYE. “We’ve built a really solid relationship with Edward and Justin over the past few years,” mentioned Guy Moot, co-chair and CEO of WCM. “They have an infectious enthusiasm for forging cultural connections between writers and producers from different parts of the world. The amazing results speak for themselves.”
Trending on Billboard
Sheer Publishing Africa officially rebranded as Downtown Music Publishing Africa (DMP Africa), marking a major milestone in its nearly 30-year history as a leading inie music publisher on the continent. Effective May 27, the rebrand aligns the company with Downtown Music Publishing’s global infrastructure, offering African creators enhanced access to royalty administration, tech and global services across 145 countries. DMP Africa will also introduce Neighbouring Rights Administration and Downtown’s royalty system to improve transparency and earnings access. With partnerships including Warner Chappell, Concord, and Saregama, DMP Africa is positioning itself as a global rights management leader. “This is a transformational moment,” said Managing Director Thando Makhunga. Downtown executives Emily Stephenson and Pieter van Rijn emphasized the strategic importance of Africa as a dynamic creative hub, with the latter calling it “a region rich in creativity, culture and talent.” Stephenson added that “through DMP Africa, we are investing not just in infrastructure, but in long-term relationships that will shape the future of the music industry.”
Sony Music Publishing Nashville renewed its partnership with Verse 2 Music, the joint venture founded in 2021 by Kane Brown and Kent Earls. V2 has quickly become a rising force in country music, representing top songwriters like Josh Hoge, Rivers Rutherford, and Dylan Schneider. Over four years, the venture has delivered more than 200 major label releases, 11 country airplay singles, and four No. 1 hits — including the award-winning “Thank God” by Kane and Katelyn Brown. Brown and Earls said they were “excited” and “thrilled” to renew the deal. SMPN chief Rusty Gaston added, “Kent and Kane are a creative and business dynamic duo. Just within a few years, they’ve gone from zero songs to celebrating four No. 1 singles, with multiple singles on the chart currently. Their success is just getting started, and we are so excited to continue this journey with them.”
PUB BRIEFS BRIEFS: Nick Autry inked a global publishing deal with Spirit Music Nashville. A former touring drummer, he’s now a Grammy-nominated engineer and producer who has worked with Carrie Underwood and Sam Hunt, and co-produced a chart-topping comedy album for Bobby Bones and The Raging Idiots … Sheltered Music formed a creative partnership with Crystal Pony Publishing and songwriter Roger Springer (“It’s a Little Too Late”). Their first signee is artist-writer Will Banister … Big Machine Music signed South African artist-writer Will Linley to an exclusive co-publishing deal. Known for viral hit “Last Call,” Linley’s catalog includes “Miss Me (When You’re Gone)” and EPs Kill All My Feelings and Magic. His new single “Cinematic” dropped May 16, launching a European pop-up tour.
Sony Music Publishing signed electronic artist and remixer Purple Disco Machine (Tino Piontek) to an exclusive worldwide songwriting deal. This joint venture between SMP’s German and UK offices aims to expand PDM’s international creative reach. Since his 2012 breakthrough “My House,” Purple Disco Machine has earned 37 platinum and 14 gold certifications, with over 1.5 billion streams. His hits “Hypnotized” and “In The Dark” with Sophie and the Giants, from the Exotica album, have surpassed a billion streams. His latest album Paradise features the hit “Substitution” with Kungs and Julian Perretta, and the 2024 chart-topper “Honey Boy” with Nile Rodgers, Benjamin Ingrosso and Shenseea. He’s also known for crafting remixes for The Rolling Stones, Dua Lipa, Lady Gaga and Lizzo. “I began working with Tino a decade ago, just after his ‘Street Life’ releases, when he was flipping samples, making club bangers and experimenting with his sound,” said SMPUK director of A&R Adrienne Bookbinder. “It’s been a pleasure witnessing Tino’s defining moments to-date, and it’s an honor to continue the story together alongside his manager Matt Jagger as we welcome him to SMP.”
On May 5, 2015 when Mercury Records/Universal Music Group Nashville released Chris Stapleton’s solo debut album, Traveller, those close to the project knew it was a potent collection of heartfelt songs executed by a once-in-a-generation voice, yet no one could have imagined the career juggernaut it would become, including claiming the No. 1 spot on Billboard’s Top Country Albums of the 21st Century chart.
Stapleton was a well-respected talent, known for penning hits for Kenny Chesney, Luke Bryan and Josh Turner, as well as fronting Grammy-nominated bluegrass outfit The SteelDrivers and Southern rock band The Jompson Brothers. However, when Traveller arrived, the Kentucky native had yet to gain any traction as a solo artist, including with previous single, 2013’s “What Are You Listening To.”
Trending on Billboard
“Traveller came from a place of frustration,” former CEO/chair of Universal Music Group Nashville Cindy Mabe says. “Chris had written a lot of songs and done a radio promo tour only to find that he wasn’t getting any support. People knew he was this incredible vocalist, but they had no idea what to do with him.
“In the midst of all of that, his father passed away in October 2013. Chris decided to make an entirely different album based on the songs he had been writing over the 15 years he had been in Nashville,” Mabe continues. “He took a step away from everything. [His wife] Morgane bought Chris an old Jeep and they decided to take a trip across the country and drive the Jeep back. Along the way, Chris wrote the song ‘Traveller,’ which gave birth to one of the most iconic albums in the last 40 years. It helped frame the album Chris wanted to make for himself and his dad. It wasn’t chasing what was currently happening but bringing back what he loved about country music.”
The deeply personal and soulful Traveller has become a landmark album, and the story of that fateful drive from Phoenix to Nashville has become country music lore. “Our dear friend Becky Fluke is an incredible videographer and photographer, and it was something the three of us had talked about doing for quite a while,” Morgane Stapleton tells Billboard. “Becky said, ‘In 20 years you’re going to want to have this,’ but it was really mainly just three friends taking a trip and Chris getting some head-clearing space.”
In the summer of 2014, Chris and Morgane, along with co-producer Dave Cobb, Stapleton’s drummer Derek Mixon and bassist J.T. Cure, and special guests Mickey Raphael on harmonica and Robby Turner on pedal steel guitar entered RCA’s famed Studio A in Nashville. Armed with some of the most compelling songs in Stapleton’s catalog, they proceeded to record Traveller, while the studio was under threat of developers planning to take a wrecking ball to the historic site.
That November, Stapleton performed with Justin Timberlake on the Country Music Association Awards and their mesmerizing medley of Stapleton’s cover of David Allan Coe’s “Tennessee Whiskey” and Timberlake’s “Drink You Away” changed Stapleton’s career. “Tennessee Whiskey,” penned by Dean Dillon and Linda Hargrove, hit No. 1 on Hot Country Songs and Traveller finally reached No. 1 on Top Country Albums six months after its release (after initially debuting at No. 2). A decade later, Traveller is still on the chart, having logged more than 523 weeks on that list. By the end of the year, it will likely surpass Willie Nelson’s 1978 album Stardust’s record of 551 weeks as the longest run on the chart.
In all new interviews, those closest to Stapleton and the project recall the creative journey.
Courtesy Photo
Brian Wright, former executive vp of A&R, UMG Nashville: I was doing A&R and got Chris a few songwriting cuts [with] Josh Turner and George Strait. That’s how we became friends. Publishers would play me their latest and greatest songs, and somebody played me a Chris demo. I called Chris and said, “Hey buddy, do you want to go to lunch?” We talked about family, kids, life. We get up to leave and I have no idea why or what my intention, but I said, “It’s time for you to make a country record.” He said, “Are you offering me a record deal?” I said, “Yeah,” and that’s how the whole thing started. I just wanted to make a record. I didn’t care if it was commercial. I just wanted the world to hear Chris Stapleton.
Before Traveller, Stapleton initially worked with producer Tony Brown, a Nashville legend who played piano for Elvis Presley and has produced The Oak Ridge Boys, Reba McEntire, Vince Gill and George Strait, among many others. Brown will be inducted into the Country Music Hall of Fame this fall.
Morgane Stapleton: Tony is an icon, but what was interesting is when Chris recorded with Tony, he did not play guitar, acoustic or electric. So much of his sound — and what people enjoy about Chris’ music is [his guitar]. I know him better than anybody, and when he sings without a guitar in his hand, it’s very different. He just embodies music differently. If he’s not holding a guitar or playing an instrument on a song, it’s almost like he’s not whole. [With Tony] we used Nashville session guys, and all those guys are brilliant, but I think what makes Chris’ sound unique to him is that musicianship that we share.”
Wright: What Tony cut was really, really good, but I think once we had Traveller it was like a wheel where you have the hub and you start making spokes. We weren’t just trying to cut four radio songs and we’ll just throw six other songs on there. Every song was thought through: “What do you want to say? What else do you want to say?”
Derek Mixon, drummer: Chris decided he wanted to put a band together and go out on the road and [try out songs for what would become Traveller] for about a year and then make a record. He called me out of the blue one day — probably based on J.T.’s recommendation — and we went from there. It was probably late 2013 or early 2014.
J.T. Cure, bassist: Prior to going into the studio, the band consisted of me, Chris, Morgane and Derek Mixon. We would get together at Chris and Morgane’s house and start working on the songs and arrangements that would eventually become Traveller. So, we were all pretty familiar with the songs going into it.
Dave Cobb, co-producer: The first time I heard Chris sing, I was living in Los Angeles at the time and this guy played me the SteelDrivers. I’m like, “Oh my God! What a voice,” and I always wanted to work with him. Then he heard Sturgill Simpson’s [Cobb-produced] High Top Mountain, and we had a meeting. We found out we had exactly the same bad habits — guitars, old cars and country music. We just hit it off. Brian Wright had been kind enough to give us a budget to cut some songs. I give so much credit to Brian of being the ultimate supporter. He came in, heard some stuff and said, “Keep going.” We felt like kids getting away with something we weren’t supposed to be doing. It was an amazing opportunity to get to go into the studio, especially RCA Studio A.
Mixon: No question that recording in that studio impacted what we were doing, just knowing all the music that had happened in that room. It’s really mind boggling when you think about all the great records that were recorded there and all the legendary artists, musicians and producers and songwriters that had passed through that room. It’s such a heavy feeling knowing that you are tied in with that now. It is a very magical place, and it inspires creativity.
Morgane Stapleton: We would’ve been the last record made in there, and I think that was part of the charge in the air for sure. How could [Nashville] be about to tear down this most sacred of places? That was definitely felt. It was like a presence in the room with us for sure. But then, of course, they came in and at the last minute saved the day.
Vance Powell, engineer/mixer: I believe Chris liked the sound of High Top Mountain and asked Dave to get me on [Traveller]. I appreciate every day that Dave, Chris and Morgane called on me to be a part of this. It’s two-and-a-half weeks of our life that changed our lives and the country music industry.
During recording, there was one day RCA Studio A wasn’t available, and Stapleton and crew moved to The Castle to record “Daddy Doesn’t Pray Anymore” and “Might As Well Get Stoned.”
Cobb: I remember very vividly cutting “Daddy Doesn’t Pray Anymore” at the Castle. I remember walking out and it was so pretty outside. I had a guitar in my hand and it sounded amazing out there, I remember convincing Chris and the guys to record outside. The lyrics and his performance are so incredible. Sometimes you hear things that sound like a record going down. That was one of them.
Mixon: “Daddy Doesn’t Pray Anymore” might have been a first take because I don’t think any of us could get through it more than once. My dad had just passed away about a year prior to that and so that was a tough one for me. It was a bittersweet memory recording that, but I remember the sound at the Castle was just incredible. I remember setting the microphones up on the porch out there for guitars and vocals. We decided to open up the doors and let nature in. On “Might As Well Get Stoned,” you can hear the locusts in the beginning when the guitar cranks up.
Morgane Stapleton: Recording “More of You” back at RCA was one of my most favorite moments. Chris played mandolin and we sat in a room together, all of us, and it was completely live. I had never done harmony vocals live with anybody in a recording studio and Dave was adamant that our vocals should go down at the same time. It was nerve-racking and it really pushed me out of what was my comfort zone at the time, but staring at Chris, it just felt like the most magical love song.
Mixon: [Album closer] “Sometimes I Cry” was recorded after the bulk of Traveller was recorded. We went back in a month or two later and recorded that song in one take in front of an audience at RCA Studio A. We had rehearsed it a few times before, but then the day of, we were in a circle in the middle of the studio. We set up and got levels. The audience came in and we played the song one time and that’s what you hear on the record.
Mabe: Chris had fans that were lifelong fans even before this album. We filmed the fans telling their stories of why they loved the live shows and how far they’d drive. Chris drove a Ram truck, and Ram ultimately helped us tell the story through Chris’ own voice and words. His first performance of “Tennessee Whiskey” was on The View. It instantly translated to sales off that performance, and we knew he needed more TV, but were still convincing people because he didn’t have a radio hit. Despite that, [the album] debuted at No. 2 and sold 27,000 units, which made us know we were on to something big. That was a really big number to hit without a radio hit to drive it.
At the 2015 CMA Awards on Nov. 4, Stapleton won album of the year for Traveller, as well as male vocalist and new artist of the year. But more than the trophies he collected, he’ll be remembered for his performance with Timberlake.
Mixon: I remember this sort of electric feeling, even in rehearsal. I felt we were on the verge of something that was really cool. I don’t think anybody could have ever predicted the impact that it had.
Robert Deaton, CMA Awards executive producer: It’s arguably the most famous moment on the CMA Awards. There have been great moments from Dolly [Parton] doing “He’s Alive” to Martina McBride doing “Independence Day,” but what set this performance apart is we all knew who those people were. This was a coming out party for Chris Stapleton. Because he was in the SteelDrivers, people in Nashville knew who he was, but for the most part he was being introduced to a national audience. I’ve never experienced anything like this before in that it literally sucked the wind out of the room for an hour. It’s like we had to recover. We were not the same.
Mabe: Perhaps Chris’ biggest superpower was in how much he had been tied to everyone else’s success and story in Nashville. We are such a connected community; that’s the magic of Nashville. And he has written so many songs for our community and other artists. He had sung background vocal or played guitar on their projects. He really was the greatest artist that everyone knew and adored in Nashville, but the world just hadn’t caught up yet.
Sarah Trahern, CEO Country Music Association: The thing that I love with Chris is he’s such a great gateway drug. Chris is about great songs, great production and being true to who he is. You don’t have to be a country fan to like his music. If you are a country fan, you are going to love it because you’re going to hear Haggard and Jones and it’s still totally contemporary. People who think they may not like country music like Chris, and that’s one of the reasons why he works so well on television, whether it’s on our show or on a multiformat show like the Grammys.
Deaton: Afterwards, my phone started lighting up and I started seeing all the texts. People were going, “Hey Chris Stapleton is trending worldwide right now.” And Mike Dungan, my dear friend who was at the time the president of Chris’s record label, sent me a text that said, “Thank you Robert, I think I just recouped on Chris Stapleton.”
Mabe: Getting to be a part of the Traveller campaign is one of the favorite memories of my career because everything about it speaks to how much music impacts overall culture. The reason Traveller stands the test of time is because these songs had already been tested. They held up over 15 years before they were ever recorded. When you are striving for greatness and endurance, the songs have to reflect more than one moment. Chris and Morgane have a way of keeping their fingers on the pulse by hearing what cuts through the lens of time. Some were road tested, but all were heart tested. They have a clear understanding that past, present and future connect in songs and music and that’s what gives rise to enduring legacy. That and being able to sing like Chris Stapleton.
Cobb: It’s very cool that you can come from the most honest place and have such commercial acceptance and community acceptance. It’s really beautiful.
Hundreds of country artists, from superstars to new aspirants, will spend June 5-8 saying thanks to their fan base and working to build new audiences when an expected 90,000 daily visitors attend CMA Fest in Nashville.
But for most of those artists, there’ll be one or more people at their side who are likewise invested in making the most of the annual event. Managers benefit when their artists expand their fan bases and increase consumption, driving up ticket prices and boosting merchandise sales.
Thus, those managers are focused on maxing out the connection their acts make with consumers during CMA Fest, but they have other interests during the festival, too: evaluating the market, networking with industry contacts and checking out other artists they might want to sign.
Trending on Billboard
“I can go around town and see 20 things in a day instead of having to take 20 days to see 20 things,” says Play It Again Music GM Cade Price, who manages Dylan Marlowe, Faith Hopkins and Slater Nalley. “It’s not like we’re trying to go sign anything and everything, but it’s CMA Fest. I think we do ourselves a disfavor if we don’t go out there and see. You just never know who you’re going to stumble onto.”
Fans have a good idea of the artists they may see. Nightly concerts at Nissan Stadium are one of the primary attractions for CMA Fest, an annual event since 1972 that has generated a summer network TV special for more than 20 years. Keith Urban, Cody Johnson, Rascal Flatts, Jason Aldean, Scotty McCreery, Luke Bryan and Blake Shelton are among the nearly 30 artists slated for the stadium main stage this year.
But while the football field garners the most attention, some of the most important work of CMA Fest occurs during the day at nine smaller festival stages, plus a bundle of unofficial adjunct performance spots. Those platforms help new and developing artists, in particular, showcase their talents to consumers in their target audience who may not otherwise be fully aware of them. This year’s participants on those building stages include Bryce Leatherwood, Charlie Worsham, Cooper Alan, Crowe Boys, Hudson Westbrook, Madeline Edwards and Tyler Braden.
It’s a massive opportunity for fans to experience artists they don’t know well and, in turn, a prime chance for artist managers to get a big-picture assessment of country’s most avid fans.
“It’s always kind of fun to observe the people that come in and get a good idea of what the country fan base looks like at that point in time,” says Champ Management founder Matt Musacchio, who counts Vincent Mason, Jessie James Decker, Dawson Anderson, Abbie Callahan and Sons of Habit as clients. “You see how the fan base differs from artist to artist and stage to stage, depending on who’s playing.”
Unlike their artists, most managers are able to blend in with the crowd, and it provides them a great opportunity to move across the Downtown Nashville footprint. Much of their day is spent shepherding their acts through their schedules, and they’re bound to encounter other executives and musicians they already know backstage. But most have some breakaway moments when they can check out other performances and new amenities, where they’re likely to run across industry contacts.
“For me personally, it was massive,” says Los Angeles-based Type A Management founder Alex Lunt, who attended his first CMA Fest in 2024 with Dasha. “It was an amazing opportunity to really just tap in with the entire country community because you have everybody. You even have all the coastal label execs there. They’re all going to come to CMA Fest.”
The scouting gives a better sense of the opportunities, too. That’s particularly valuable as their artists return year after year and their goals change. Lunt’s first experience a year ago, when Dasha’s single “Austin” was breaking out, was an overload.
“Last year, we were just kind of like a fire hose to the mouth and saying yes to everything,” he notes.
Dasha played two songs on the spotlight stage at the stadium, the first time she had performed for an audience of 50,000. But she also packed some of the smaller adjunct events in Nashville bars. For this year, they focused more on branding, creating a line-dance experience at the Whiskey Bent Saloon.
“She’ll have her Coyote Ugly moment, perform on the bar and do a couple numbers,” Lunt notes. “We just wanted to give her her statement, and we’re calling it ‘Dashville’ because her whole tour is basically called ‘Welcome to Dashville.’”
For managers with years of CMA Fest history, every iteration brings new perspective on the format and their clients.
“It’s fun to see the artist’s career grow incrementally with what they’re doing at CMA Fest every year,” Musacchio says. “It’s always, I think, a good gauge of how the last year has been and where things are going, and kind of where the artist sits in the grand scheme of things.”
It’s also a great motivator for manager and artist. The large turnout from the country audience invariably reminds participants how many consumers are willing to invest in the genre. But it also offers a physical reminder of how many artists are competing for those listeners. Hopefully, both the manager and the artist find motivation in that part of the experience.
“It makes you think about how much new music is being released each week,” Price says. “That’s allowing us to see that and gets our minds going: ‘What do we need to be doing to stand out in the crowd?’”
Former Red Hot Chili Peppers guitarist Josh Klinghoffer will avoid prison time after striking and killing a man with his car in Los Angeles last year, according to a new report.
In an Alhambra, California, courtroom on Wednesday (May 28), Klinghoffer pleaded no contest to misdemeanor vehicular manslaughter without gross negligence after hitting the man, 47-year-old Israel Sanchez, with his 2022 GMC Yukon on March 18, 2024, according to Rolling Stone. Sanchez, who was in a crosswalk when he was hit, was pronounced dead at a hospital later that day.
As a result of the no jail plea deal, Klinghoffer was sentenced to one year of informal probation and 60 days of community labor, Rolling Stone reports. Additionally, he must complete a driver safety class and pay restitution in an amount to be determined at a later date.
After Klinghoffer entered his plea deal, a prosecutor read a statement that warned against distracted driving, according to Rolling Stone: “If you continue to drive while distracted, and as a result of your driving someone is killed, you can be charged with murder.” Klinghoffer then said that he understood.
Also during the hearing, Sanchez’s only daughter, Ashley Sanchez, read a victim impact statement in which she called him “an extraordinary grandfather” whose “absence has left an irreversible void in our lives,” according to Rolling Stone. In addressing Klinghoffer, she said her father’s death had caused her “deep and lasting trauma” and called it an “avoidable loss.”
Klinghoffer still faces a wrongful death lawsuit over the incident. In the complaint, filed by Ashley Sanchez, her attorneys wrote, “Video of the incident shows that defendant Josh Adam Klinghoffer made no braking or slowing motion until after he fatally struck Israel Sanchez, indicating that defendant was likely driving while distracted.” The woman’s lawyers also claimed to have video evidence showing that Klinghoffer was “using a device mere seconds before” he hit Sanchez. The trial in that case is slated to kick off on July 1, according to Rolling Stone.
Representatives for Klinghoffer and Ashley Sanchez did not immediately return requests for comment on Wednesday.
A touring guitarist for the Red Hot Chili Peppers in the late 2000s, Klinghoffer officially joined the band full-time in 2010 as a replacement for John Frusciante. After working on two studio albums with the group, he was fired in 2019 following Frusciante’s return. He has also served as a touring guitarist for Pearl Jam and released solo material under the name Pluralone.
Global success enjoyed by the likes of Central Cee, Charli xcx and Dua Lipa helped lift British music exports to a record high of £794 million ($1.72 billion) in 2024, according to new figures from the British Phonographic Industry (BPI).
The London-based trade body says last year’s total is the highest since it began analyzing labels’ overseas income in 2000, and that it’s more than triple the £243 million ($328 million) from 2013. The result also means that the U.K. remains the world’s second biggest exporter of music, making up around 8% to 9% of global streams, says the BPI.
Driving last year’s stats was a combination of established, globally successful British artists and a new generation of homegrown talent making waves on the world stage. In total, around 600 artists accumulated more than 100 million global streams throughout 2024, including high-charting releases from Central Cee, Charli xcx and Dua Lipa, alongside platinum singles for Myles Smith (“Stargazing”) and Good Neighbours (“Home”).
Trending on Billboard
Data by Luminate shows that the list of top revenue-generating artists also includes contemporary himakers Adele, Arctic Monkeys, Ed Sheeran, Harry Styles and Sam Smith, as well as icons who first rose to prominence in the 1970s, such as Queen and Elton John.
Consumption of British music increased in all but one of the main global regions in 2024, says BPI. This trend was led by an incrase of 29% in the Middle East and 12% in Africa. North America and Europe remained the biggest regions for export.
The BPI attributes many of these major gains to British record labels’ long-term investment in new talent and established acts. The organization reports that between 2020-2024, label businesses invested more than £2 billion ($2.7 billion) in artist A&R and marketing.
The rate of growth is declining, however. The BPI reports that income from the sales and streams of British music overseas increased by just 1.9% in 2024, compared to 7.6% in 2023 and 20% in 2022. In previous years, the consumption of British music globally was bolstered by extensive album and touring campaigns from superstars including Styles and Lewis Capaldi. Last year, however, no British artists ranked among the 20 most-streamed artists globally, according to the IFPI.
BPI chief executive Dr Jo Twist said in a statement: “It’s brilliant to see British artists, backed by their labels, continue to shine on the world stage, including a new generation of talent such as Charli XCX, Lola Young, and Myles Smith, among others. Their emergence shows we are on the cusp of future success.”
In her statement, Twist also stressed the importance of raising awareness around the government’s potential future approach to generative artificial intelligence training, as well as highlighting the need for further conversation around music education in the U.K.
Twist continued: “If we are to realise this potential in an increasingly competitive global market and keep British music a headline act, we need the right environment where the industry comes together to deliver growth to the UK. We have a Government that values not just the cultural power of British music but also the foundations of its success: creative arts education, labels that are supported and encouraged to invest in talent, successful programmes like the Music Export Growth Scheme, and a gold standard copyright framework that safeguards creativity and rewards human artistry.”
Donald Trump has pardoned YoungBoy Never Broke Again, the rapper confirmed on Wednesday (May 28). The news was first reported by CNN’s Jasmine Wright on X. “President Trump has also issued a full pardon to rapper NBA YoungBoy, one of the most streamed rappers, who was convicted of possessing weapons as a felon,” she wrote. […]
Smokey Robinson has filed a countersuit against four longtime housekeepers who accused him of rape earlier this month, claiming the allegations were part of an “extortionate scheme” by the women and their attorneys.
The new cross-complaint, filed in Los Angeles court Wednesday (May 28), came three weeks after the unnamed housekeepers filed a $50 million civil lawsuit over allegations that the legendary Motown singer repeatedly raped them over nearly two decades in his employ.
In filing the countersuit, defense attorneys for Robinson went on offense — accusing the four women and their attorneys (John W. Harris and Herbert Hayden) of defamation, invasion of privacy, civil conspiracy and even elder abuse over the “fabricated” allegations.
“The depths of plaintiffs’ avarice and greed knows no bounds,” Robinson’s attorney Christopher Frost writes, according to a copy of the submitted complaint obtained by Billboard. “During the very time that the Robinsons were being extraordinarily generous with plaintiffs, plaintiffs were concocting an extortionate plan to take everything from the Robinsons … and wrongfully destroy the Robinsons’ well-built reputations.”
Allegations made during court cases, such as those against Robinson, are typically shielded from defamation lawsuits by the First Amendment. But Robinson’s attorneys say the accusers and their lawyers stepped outside those protections by holding a press conference in which they “paraded themselves in front of the media” and created a “media whirlwind.”
“While the law protects plaintiffs’ ability to concoct whatever fiction they may wish to create in a legal pleading … it does not allow plaintiffs to make gratuitous and slanderous allegations in media circus-type press conferences,” Frost wrote in the cross-complaint.
Attorneys for the accusers did not immediately return a request for comment on Wednesday. Frost confirmed that the cross-complaint was filed with the court on Wednesday but declined to comment otherwise.
Robinson was sued on May 6, accused of forcing the housekeepers to have oral and vaginal sex in his Los Angeles-area bedroom dozens of times between 2007 and 2024. The singer’s wife, Frances Robinson, was also named as a defendant over claims that she didn’t do enough to stop the abuse, despite knowing that he had a history of sexual misconduct.
In addition to the sexual abuse allegations, the lawsuit also claimed that the Robinsons paid their employees below minimum wage, and that Frances Robinson created a hostile work environment replete with screaming and “racially-charged epithets.” The accusers also filed a police report, leading the Los Angeles County Sheriff’s Department to open a criminal investigation.
In Wednesday’s countersuit, the Robinsons’ attorneys told a very different story. They said the housekeepers had “stayed with the Robinsons year after year” because the couple had treated them as “extended family,” including financially helping them and celebrating holidays together. The complaint quoted alleged text messages in which the accusers wished Robinson a happy birthday and told him “love you.”
“The Robinsons did not abuse, harm, or take advantage of plaintiffs,” Frost wrote. “They treated plaintiffs with the utmost kindness and generosity.”
According to Wednesday’s new filing, the housekeepers and their lawyers made “pre-litigation demands for $100 million or more” before filing their case. When that failed to work, the new filing says the accusers went public with the allegations as loudly as they could.
“The resulting media whirlwind was swift and severe, being picked up by virtually every major media outlet worldwide, and the harm to the Robinsons’ reputation [is] palpable,” Frost wrote. “The Robinsons are afraid to open the newspaper, read the internet, or even go out in public for fear of what they may hear or see next, no matter how fabricated.”
The filing focused on statements by Harris, the attorney, at a May 6 press conference calling Robinson a “serial and sick rapist” and a “serial assaulter” — statements that Robinson says are fair game for a defamation case: “Plaintiffs may be able to make slanderous statements in a legal pleading (for now), but they are not entitled to do so in gratuitous, self-serving press conferences.”
In addition to defamation and other wrongdoing, the Robinsons say the accusers tried to “hide, conceal, and destroy evidence exposing their illegal scheme,” including by taking Frances Robinson’s phone and deleting text conversations. The filing hinted that the Robinsons would seek additional penalties for such “spoliation” of evidence.
Former Mojo Music executive Alan Wallis has launched Dynamite Songs, a new publishing venture that boasts rights to songs performed by Ed Sheeran, Kendrick Lamar and Papa Roach, it was announced on Wednesday (May 28).
Described as a “specialist music publisher,” Dynamite Songs has acquired around 50 catalogs to date, including those of Ed Sheeran and Paolo Nutini songwriter Chris Leonard; Sly Jordan, whose songs have been performed by Lamar and Sean Kingston; Jim Sullivan of the English electronic music duo The Wideboys; Dan + Shay songwriter Danny Orton; and Papa Roach’s Anthony Esperance and Bruce Elliott-Smith.
With backing from Crestline Investors Inc., a Fort Worth, Texas-based investment manager with $16 billion in alternative credit assets under management that previously invested in Mojo, Wallis says Dynamite will focus on rights to enduring catalogs that are considered “smaller sized deals.”
Trending on Billboard
“The smaller end of the music rights market has been under-appreciated for too long,” said Wallis, who previously led the music transactions practice valuing catalogs at Ernst & Young LLP and will serve as Dynamic Songs’ CEO.
“Our experience with Mojo Music has shown that there are brilliant songwriters and catalogues to be found — you just need to know where to look. With one of the best teams and networks in the business behind us, we’re strongly placed to navigate this market segment, allowing us to support songwriters and honour their works and legacies,” Wallis said in a statement.
Started in 2018 by Wallis and two former Spirit Music Group principals, Mark Fried and Peter Shane, Mojo Music & Media grew to include some 40 catalogs and 30,000 songs before it was acquired by Concord in 2023 for an undisclosed amount. Mojo’s portfolio included portions of songs recorded by REO Speedwagon, KISS, Cheap Trick, Duran Duran and Earth Wind & Fire.
Wallis’s team includes former Mojo Music & Media executives Sophie Brown, who will serve as CFO/COO; Lisa Macy, who will serve as head of sync; and Tom Donovan, Dynamite’s head of business development. Dynamite’s investment manager is Naomi Riley, whil Peter Thomas, previously MD of Carlin Music, serves as chief catalogue officer.
Reservoir Media wrapped up earnings season on Wednesday (May 28) by announcing that its revenue rose 10% to $41.4 million in the fiscal fourth quarter ended March 31. Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA), a popular measure of profitability, was $18.2 million, up 14%.
“The music industry has a longstanding ability to weather broader macroeconomic headwinds as consumers believe in the value that music brings to their daily lives,” CEO Golnar Khosrowshahi said during the earnings call. “Our top-line growth is a testament to the demand and resiliency of our catalog.”
Music publishing revenue grew 6% to $27.9 million in the quarter. Digital, publishing’s largest revenue stream, rose 5% to $13.6 million. Sync revenue jumped 51% to $5.5 million due primarily to the timing of licenses. Performance revenue dropped 13% to $6.5 million and mechanical royalties fell 6% to $1.2 million.
Trending on Billboard
Recorded music revenue improved 7% to $12.0 million. Digital revenue jumped 19% to $8.8 million due mainly to price increases and subscriber growth at subscription platforms. Direct affiliations with collection societies helped neighboring rights rise 15% to $1.1 million. Physical sales fell 26% to $1.3 million due to a lighter release schedule. Sync revenue fell 29% to $700,000 due to the timing of licenses.
Full-year revenue of $158.7 million beat the high end of the guidance range of $155 million to $158 million. Adjusted EBITDA of $65.7 million also topped the high end of the guidance range of $64.5 million.
“Reservoir had a standout fiscal year, capitalizing on our opportunities to boost our organic revenue,” said CFO Jim Hindlmeyer. “Thanks to our value enhancement team, the deals we closed this year were substantial and delivered notable value to the company, and profitability was further aided by our internal efforts to control costs.”
In a busy year for signings, Reservoir Media inked songwriting deals with Snoop Dogg and Death Row Records, k.d. lang, Travis Heidelman and Aaron Zuckerman, among others. It also acquired the publishing catalog of Lebo M, Lastrada Entertainment, Big D Evans and Billy Strange, and purchased the produce royalties of Jack Douglas (Aerosmith, Cheap Trick).
While Reservoir Media has a roster of Western songwriters and recording artists, the company also focuses on emerging markets. This month, Reservoir Media announced its PopIndia subsidiary acquired the publishing and master rights of Musicraft Entertainment, which spans decades of Indian music. Khosrowshahi described the growth rate of India’s music business as “pretty significant given both the size of the population and the opportunity for the number of people to become streamers of music.”
Guidance for fiscal 2026 is revenue of $164 million to $169 million, which at the midpoint would result in 5% annual growth. Adjusted EBITDA guidance of $68 million to $72 million represents 7% growth at the midpoint.
Reservoir Media shares fell as much as 8.4% Wednesday morning but recovered to $7.69, down 1.4%, by early afternoon. The share price jumped 7.9% on Tuesday (May 27) on heavier than average trading volume.
K Music has signed a worldwide admin deal with Kobalt, the company announced on Wednesday (May 28). The agreement was done via the indie label’s K Music Publishing; Kobalt will administer future output and select tracks in the company’s repertoire.
The strategic partnership with Kobalt aims to provide K Music Publishing with the global reach and resources to “further elevate its artists, expand their presence worldwide, and drive continued success in the evolving music industry,” according to a press release. Founded in 2019 by Alfredo Becerra, Leonardo Soto and Carlos Santos, K Music is home to música mexicana star Luis R Conriquez.
“Freddy, Leo, and their team have built in K Music a modern music company infused with a passionate entrepreneurial spirit embodied by the music of its artists,” Nestor Casonu, president of Latin America for Kobalt, said in a statement. “We are thrilled to welcome K Music Publishing into the Kobalt global family.”
Trending on Billboard
“We are excited to join the Kobalt Family,” added Alfredo Becerra, CEO of K Music. “This partnership is a significant milestone for K Music and K Music Publishing. We look forward to the incredible possibilities that lie ahead. This deal is not just about securing the intellectual property of our songwriters but about offering new pathways to the talented creators we represent, helping them break through new markets, and achieving even greater success.”
The deal includes Conriquez’s runway hit “Si No Quieres No” with Netón Vega, which scored the Sonora-born singer-songwriter his first Hot 100 entry. K Music — previously Kartel Music — also includes acts such as Joel De La P, Tony Aguirre, Dinamicos Jrs, Novillos De La Sierra and Said Norzagaray on its roster.
“Kobalt partners with companies that are reshaping the future of music,” said Tere Romo, Kobalt’s senior creative director for Latin America. “K Music has consistently demonstrated its ability to discover and develop groundbreaking talent in the música mexicana community. This partnership marks an exciting new phase for both of our companies and we’re thrilled to support K Music Publishing as they continue to push the boundaries of the genre and bring their incredible artists to a global audience.”
K Music Publishing was represented in the deal by Christopher Navarro, partner at Singh, Singh & Trauben LLP.
