State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

State Champ Radio Mix

12:00 am 12:00 pm

Current show
blank

State Champ Radio Mix

12:00 am 12:00 pm


Business

Page: 55

Multiplatinum-selling and three-time Grammy-winning singer/songwriter Olivia Rodrigo will appear at this year’s Billboard Live Music Summit and Awards, in partnership with AEG Presents and Live Nation, for a Superstar Q&A and to receive Billboard’s Touring Artist of the Year award on Thursday, Nov. 14, in Los Angeles. In a keynote interview, Rodrigo will speak about […]

Chhris Moncada has been promoted to COO at MNRK Music Group, effective immediately. Based in Toronto, Moncada will oversee all day-to-day operations at MNRK, develop and implement business strategies, and drive strategic growth initiatives with a focus on A&R, artist development and catalog growth. He will work across MNRK offices in New York, Nashville, Toronto […]

After building a prolific career as a songwriter — having penned more than 4,000 songs and received multiple awards, including both SESAC and ASCAP Latina Songwriter of the Year prizes — Claudia Brant has launched a new venture called Cha Cha Cha Publishing. 
Teaming up with Warner Chappell Music, Brant’s agency aims to develop emerging songwriters and producers while also providing them with music publishing services, ranging from creative opportunities to administration support, to help accelerate their careers.

The idea was born after Brant taught a Latin songwriting course at Berklee College of Music in spring 2023 that focused on song formation and structure, lyrical concepts, melodic development and effective lyric translations. 

Trending on Billboard

“The exercises I gave my students were very difficult. If they want to be a songwriter, they have to be a chameleon because that’s who I am,” Brant tells Billboard. “I can write salsa, a bolero, a pop song, an alternative song, and I wanted to develop my students in that direction with challenging exercises. At this stage of my career, where I’ve practically worked with almost every artist there is and won all of these awards and recognitions, it’s time to give back and help the new generation.” 

During the course, the Argentine-born hitmaker ultimately hand-picked three aspiring talents and signed them to Cha Cha Cha Publishing: Agua García, a Música Mexicana composer; Laura Prías, who focuses on Latin pop, urban, indie, regional Mexican and boleros; and Fco. Chandia, a young Chilean engineer and producer. The former two already wrote a song for Chiquis that will soon be released.

“I’m making them work really hard, and at the same time, they’re learning a lot,” says Brant. “The good thing — which I didn’t have at the beginning of my career — are all the strong connections I made throughout the years. I got them into the rooms with Mario Caceres, Joel Enrique, Luis Salazar, Rolo from Icon Music, and I want them to write in every genre, create new material, and fight for it.” 

With a trajectory that spans over 25 years, Brant has written songs for Luis Fonsi, Ricky Martin, Camila Cabello, Alejandro Sanz, John Legend, Becky G, Calibre 50, Marc Anthony and many more. In 2008, “No Me Doy Por Vencido,” which she wrote with Luis Fonsi, topped the Billboard Hot Latin Songs chart for 19 weeks. She’s a nine-time Latin Grammy winner, including song of the year in 2009 for Fonsi’s “Aqui Estoy Yo.” In 2016, she was inducted into the Latin Songwriters Hall of Fame. 

“Claudia is a legendary songwriter and artist with a talent unlike any other,” said Gustavo Menéndez, president of Latin America and U.S. Latin at Warner Chappell Music, in a statement. “I’ve known her for years, and what I admire and respect most about her is how relentless she is. She has consistently stayed ahead and fought for what she believes in, all while being recognized at the highest of levels. I’m very excited to be working with her in this next phase of her career as she turns her talents towards helping develop other writers and artists.”

Brant explains that although she’s writing way less now than she did earlier in her career, she wants to ensure her mentees develop the kind of writing skills she’s honed over the years.

“I’m nurturing them with what I know and what I’ve learned throughout the years with this beautiful craft,” she says. “I tell them that they’re gonna have to write a song a day for the next 10-15 years, and to try to write in as many different genres as possible. That craft only comes from exercising and interacting with the artists. Creating music every day makes you grow. If you have the talent, the drive, and are willing to work, you’ll make it.”

Billboard Latin Music Week is returning to Miami Beach on Oct. 14-18, with confirmed superstars including Feid, Gloria Estefan, Pepe Aguilar, Alejandro Sanz, Thalía, Maria Becerra, and Peso Pluma, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.

You know the story: A superstar musician, dogged by rumors of abuse, is finally served with a sweeping federal criminal case – one that accuses him of running a criminal enterprise centered on his own sexual desires.

But are we talking about Sean “Diddy” Combs or about R. Kelly?

In many ways, the charges unveiled last month against Combs mirror those brought in 2019 against Kelly, a chart-topping R&B singer who was sentenced to 30 years in prison in 2022 after a jury convicted him of decades of abuse. There are key differences – most notably, Combs is not accused of victimizing minors – but the themes and charges echo those in the earlier case.

So to understand more, we turned to the best experts possible: Nadia Shihata and Maria Cruz Melendez, two of the lead prosecutors who tried the case against Kelly. Now in private practice, Shihata and Cruz Melendez discussed the Combs case with Billboard in separate interviews – about how a case like this is built, who else might face charges, and what the fight ahead will look like.

“Every case is different, but there are certainly parallels,” Shihata says.

What are the charges against Diddy?

Like with Kelly, prosecutors have built their case against Combs under the Racketeer Influenced and Corrupt Organizations Act – the federal “RICO” statute you’ve probably heard mentioned in mob movies or “Breaking Bad.” He’s facing other charges, too, like alleged violations of two different federal sex trafficking laws, but the core narrative is that Combs built a sprawling criminal enterprise – only one aimed not at illegal gambling or drug trafficking, but at facilitating his own sexual abuse.

“While most people associate racketeering with the mafia, the statute’s reach is not limited to what many may think of as traditional crime syndicates,” says Cruz Melendez, now in private practice at the top law firm Skadden.

Enacted in the 1970s, RICO allows prosecutors to target an entire illicit organization, sweeping up many seemingly unrelated crimes committed by multiple people over an extended period of time and charging them as a single criminal conspiracy. It was designed to help prosecutors target organized crime, where bosses often insulate themselves from the actual, individual crimes.

Unsurprisingly, the law has been used repeatedly over the years to target mobsters, including Gambino family members like John Gotti. It’s also been brought to bear against corrupt judges like those behind the “kids for cash” scandal, as well as white supremacist groups, drug cartels, terrorist groups and financial fraudsters.

But in the years since the start of the #MeToo movement, federal prosecutors in New York have begun turning RICO toward another target: powerful men who allegedly create such criminal enterprises around mass-scale sexual abuse.

In 2019, a federal jury in Brooklyn convicted Keith Raniere, the leader of a cult in upstate New York called Nxivm, of violating RICO by turning vulnerable women into sexual “slaves.” Weeks later, the same office filed their indictment against Kelly, alleging the star and his co-conspirators had worked together to “recruit women and girls to engage in illegal sexual activity with Kelly.”

That type of RICO case is novel but not altogether surprising, according to Shihata, who says its simply took an increased recognition of “how powerful men at the height of their success often commit and conceal these crimes.”

“They don’t do it alone,” says Shihata, who now runs her own firm Shihata & Geddes LLP. “It’s often with the help of an entourage of employees, sycophants, and yes-men willing to do their bidding and look the other way.”

In cases like those against Kelly and Combs, RICO provides powerful advantages for the government versus more traditional means of prosecuting sexual abuse. It allows prosecutors to cite years-old conduct that would otherwise be barred under statutes of limitations, and lets them tell a more comprehensive story to jurors — one that’s less susceptible to a ‘he said, she said’ defense narrative about individual incidents.

“It’s like the difference between watching a full TV series versus just one scene of one episode,” Shihata says.

How will prosecutors make their case?

To prove a RICO case, prosecutors needs to show that such a criminal enterprise existed and Combs participated in it by engaging in at least two of the so-called predicate acts they list in their indictment – the many individual crimes that make up the overarching pattern of illegal conduct.

Of course, those alleged predicates include the core claims of abusive sexual behavior, like the elaborate “freak off” sex parties that are repeatedly detailed in the indictment. But they also include everything else that enabled that conduct and prevented it from being uncovered, including allegations of arson, kidnapping and bribery, as well as obstruction of justice by pressuring witnesses to remain silent.

To support those claims, prosecutors say they’ve already interviewed more than 50 witnesses who have provided “detailed, credible, and corroborated information” against Combs, including “many of whom saw or experienced the defendant’s abuse.”  And the feds say they expect the witness list to “continue to grow” now that the case is public.

The government will back up that testimony with digital evidence, which it says it has already pulled from over 120 cellphones, laptops and other electronic devices, as well as with physical evidence — like the infamous thousand bottles of baby oil that made headlines last month. And then there’s the 2016 video of Combs assaulting his then-girlfriend Cassie Ventura, which prosecutors specifically cite in court filings.

That same approach is what worked during the Kelly trial, when jurors heard testimony from 45 witnesses over 20 days, including eight of his former employees and 11 of his alleged victims, backed up by plenty of evidence, including letters that prosecutors alleged Kelly had forced his victims to write.

Having been at the center of that prosecution, Shihata says she expects Diddy’s prosecutors to focus on telling “the story of everything that happened leading up to the sexual activity,” including threats, isolation, financial dependence, blackmail and other actions that allegedly forced women to have sex when they didn’t want to.

“These are the tools of coercive control,” Shihata says. “In the R. Kelly case, we called it the ‘Predator’s Playbook’.”

How will Combs defend himself?

As in any American criminal case, the burden will be on the government to prove beyond a reasonable doubt that Combs actually committed the many things he’s been accused of. His lawyers don’t need to present their own sweeping narrative or prove his innocence; they just need to poke enough holes in the case against him that jurors aren’t certain he’s guilty.

One key way they might try to do that is to argue that his sexual behavior, while certainly weird and unseemly, was ultimately still consensual. At a bail hearing last month, Diddy’s attorney Marc Agnifilo hinted at that argument, telling the judge that the star and then-girlfriend Cassie had brought sex workers into their relationship because “that was the way these two adults chose to be intimate.”

“One of the central issues of the case will be whether the alleged victims engaged in some of the conduct at issue consensually with Combs and others,” says Cruz Melendez. “Counsel’s statements suggest that they intend to present their own witnesses who will counter victim narratives that they were forced or coerced.”

The issue of consent is actually a key point of distinction between the new case against Combs and the earlier case against Kelly. Since Kelly’s charges largely dealt with sex with minors – which is illegal under any circumstances – such a defense would not have succeeded.

With consent at play in the Combs case, Shihata says his defense attorneys will likely try to narrow the case down to specific incidents that undercut the prosecution’s broader narrative. “In all likelihood, the defense will try to focus the jury on snapshots in time,” she says, “arguing that on a particular day, a particular victim consented to sexual activity.”

Combs’ attorneys will also likely argue that the alleged misconduct simply doesn’t meet the definition of racketeering – and that prosecutors are abusing RICO to make their case. In appealing Kelly’s conviction, for instance, his attorneys have argued that the government is stretching the federal statute “to the point of absurdity” by using it in such cases, potentially turning things like college fraternities into illegal RICO conspiracies.

One crucial question ahead of any criminal trial is whether the defendant himself will testify in their own defense. It’s often a terrible idea – taking the stand can subject a defendant to withering cross-examination from prosecutors, and it can backfire badly if jurors don’t like what they see and hear. That’s probably why R. Kelly didn’t testify in either of his two federal criminal trials.

But according to Agnifilo, Combs himself currently plans to take the stand. In an interview with TMZ, the attorney said “I don’t know that I could keep him off the stand” and that he is “very eager to tell his story.”

“He has a story that I think only he can tell in the way he can tell it in real time,” the attorney said in the interview, seemingly referring to his relationship with Cassie. “And it’s a human story. It’s a story of love, it’s a story of hurt, it’s a story of heartbreak.”

Will others be charged?

By its very nature, a RICO case usually centers on allegations involving multiple people. And in their case against Combs, prosecutors repeatedly mention unnamed co-conspirators who allegedly helped the music mogul commit his crimes.

“The defendant arranged freak offs with the assistance of members and associates of the enterprise, including employees of his business,” prosecutors write in one such passage. “When the defendant faced the possibility that his violent and criminal conduct could become public, the defendant and other  members and associates of the enterprise pressured witnesses and victims.”

But despite those repeated references, only Combs is actually charged with committing crimes. That’s another similarity with the Kelly case, where prosecutors detailed years of alleged help by members of his entourage, but only charged the man himself with RICO violations. (Two Kelly associates were charged in a separate case filed in Chicago over different criminal charges.)

For a case that paints a picture of vast group of wrongdoers, the lack of co-defendants might seem strange, but Cruz Melendez says it’s not that unusual: “Prosecuting a single individual for racketeering is certainly not unheard of, particularly where the defendant is the alleged leader or a top-ranking member of the charged enterprise,” she says.

And, crucially, the lack of co-defendants in the initial indictment doesn’t mean nobody else will be charged at some point in the future. At a press conference announcing the charges against Combs, U.S. Attorney Damian Williams warned that the investigation was “very active and ongoing” and that “can’t take anything off the table” as the case moves forward.

“It’s very possible that other members of the enterprise have already been charged under seal and pled guilty pursuant to cooperation agreements, and are helping prosecutors build their case,” Shihata says. “It’s also possible that additional people will be charged in the future as the investigation is ongoing and the government continues to gather information and evidence.”

When will the trial take place? And what happens next?

Anyone accused of a crime in the U.S. has a constitutional right to a speedy trial, which in federal cases means a jury trial must start within 70 days. Though defendants often waive that right to give their attorneys more time to prepare a defense, Agnifilo has declined to do that so far – saying instead that he’s “going to do everything I can to move his case as quickly as possible.”

But that 70-day time limit has lots of exceptions that can still push a trial back, including pre-trial motions, appeals, or simply if the judge decides the case is too complex. The trial could also be delayed if prosecutors file charges against new defendants, or add additional charges against Combs.

Already, Judge Andrew L. Carter has “excluded” several weeks from the speedy trial clock – and both Cruz Melendez and Shihata say there’s little chance Combs’ trial happens in the next few months.

“I don’t expect a case like this to actually go to trial in 70 days or anywhere near that,” Shihata says. “Run-of-the-mill federal cases can take about a year to get to trial, assuming no superseding indictments are filed. But this case may well take longer, particularly given that there appears to be voluminous electronic discovery in the case.”

Until then, both sides will prepare for trial. The government will continue its investigation, potentially using what they find to add new witnesses, evidence, charges or defendants to the case. Shihata also expects the prosecutors to file a motion, like in the Kelly case, to allow jurors to remain anonymous and to let witnesses and victims to use pseudonyms when they testify.

Combs’ team, meanwhile, will continue seeking to have him released on bail while awaiting trial, a request that was twice rejected by lower judges. They’ve filed an appeal to a federal appeals court, where the question remains pending; the outcome of that appeal could play a key role in how fast his lawyers seek to take the case to trial.

In the meantime, Diddy’s attorneys will sift through the evidence prosecutors plan to use at trial, likely filing pre-trial motions asking the judge to dismiss aspects of the case and to exclude certain evidence and witnesses. They’ll also continue conducting their own investigation, seeking to find witnesses and evidence to use to rebut the government’s case.

Whether they can successfully do so – or whether Combs instead faces a similar fate as Kelly — will ultimately be decided by 12 jurors in a Manhattan federal courtroom.

“At the end of the day, the indictment is just the government’s allegations,” Cruz Melendez says. “The government will need to prove its case beyond a reasonable doubt at trial.”

As the Warner Music Group continues to reshuffle its executive ranks, the company has made two new announcements today (Oct. 7).
First, Eric Wong, who has been chief marketing officer at the major label since 2020, will shift into the newly-created role of global head of A&R, recorded music, and assume the presidency of East West Records, which was originally launched in 1955 as part of Atlantic Records.

As part of that transition, WMG’s executive vp of global marketing Jessica Keeley-Carter has been promoted to step into the role of chief marketing officer, recorded music. Keeley-Carter has been at WMG since 2019, when she joined as senior vp of global marketing, before being promoted to executive vp in 2022. Both Wong and Keeley-Carter will report to WMG CEO Robert Kyncl.

“Eric’s newly-created role leans into his long-standing relationships within the artistic community and his deep understanding of how music travels around the world,” Kyncl said in a statement announcing the news. “Jess is an expert marketer and an inventive leader, who will help us orchestrate best-in-class ways of cutting through the noise in an increasingly complex and cluttered world.”

These moves are part of the broader restructuring of WMG that Kyncl announced in August, which was in pursuit of what Kyncl said at the time was a “flatter structure” for the company. As part of those moves, WMG CEO of recorded music Max Lousada exited the company, and Elliot Grainge was named as the new CEO of Atlantic Music Group, while Kyncl himself took on direct oversight of the heads of global catalog, marketing, distribution company ADA and fan and merch division WMX. As part of the fallout of the moves, longtime Atlantic leader Julie Greenwald, 300 Elektra Entertainment chairman/CEO Kevin Liles and a host of senior Atlantic and Elektra executives also departed the company, among other moves.

Trending on Billboard

“I’m excited to build even closer relationships with our artists and put greater firepower behind our worldwide network to connect the dots, unlock new value and magnify opportunities for emerging talent,” Wong said in a statement. “I’d like to congratulate Jess on her promotion, and thank Robert for his trust in me to take on this new position.”

Wong, who years ago had served as a senior vp of marketing at Atlantic, returned to Warner in the global CMO role in 2020, after a decade at Universal Music Group that saw him rise to the role of COO of Island Records. With East West as well as his global A&R role, Wong will be tasked with “identifying local talents with global potential and accelerating their pathway to global success,” according to a press release. Keeley-Carter, prior to joining Warner, had worked at Meta overseeing commercial labor partnerships for Europe, the Middle East and Africa, and prior to that had also worked at UMG, where she spent eight years.

“With the collective WMG team collaborating even more closely in our new structure, we’ll be set up to take our artists and labels to new heights,” Keeley-Carter said in a statement. “I’m grateful to Robert for this opportunity, I’d like to thank Eric for his guidance and partnership over the years, and I’m looking forward to continuing our work together.”

The U.S. Supreme Court has refused to hear an appeal from R. Kelly over his 2022 convictions on child pornography and enticement charges, leaving him with no further direct appeals from a verdict that saw him sentenced to 20 years in prison.
Kelly’s attorneys had urged the high court to take up the case, in which a federal jury in Chicago convicted him in September 2022, by arguing that the case should have been barred by the statute of limitations.

But in an order Monday, the justices declined to tackle the case. As is typical, the court did not explain its decision to reject Kelly’s case along with dozens of others. The Supreme Court receives thousands of petitions per year and only decides to hear a tiny fraction them.

Monday’s order dealt only one of Kelly’s two sets of sex abuse convictions. The other — a September 2021 guilty verdict on racketeering charges brought by prosecutors in New York that resulted in a 30-year prison sentence — is still pending on appeal before a lower appellate court.

In the current case, a different team of federal prosecutors from Chicago accused Kelly of violating child pornography laws, enticing minors for sex and obstructing justice by upending a 2008 criminal trial.

Though he was acquitted on certain counts, Kelly was convicted in September 2022 and later sentenced to 20 years in prison; the vast majority of that sentence will be served concurrently with the New York sentence. The conviction was affirmed by a lower appeals court earlier this year.

In asking the justices to consider overturning that ruling, Kelly’s attorney Jennifer Bonjean cited the statute of limitations. She said that an updated federal law extending the time limit, passed in 2003, could not be applied retroactively to Kelly’s alleged crimes, which occurred in the late 1990s and early 2000s.

“Retroactive application of the 2003 amendment not only fly in the face of congressional intent,” Bonjean writes. “It violates notions of fundamental fairness.”

Barring an unusual outcome at some point in the future, Monday’s decision effectively finalized Kelly’s convictions and sentencing in the Chicago case. The separate convictions in the New York case could still be overturned, however, either by the lower appeals court or by the Supreme Court.

Kelly’s attorney did not immediately return a request for comment.

Songwriters of North America (SONA) presented awards to songwriter activists RAYE, Ross Golan, Willie “Prophet” Stiggers, Thomas Scherer, and the late Andrea Martin at its SONA Warrior Awards ceremony on Sunday (Oct. 6) at the Skirball Center in Los Angeles.
Now in its fourth year, the SONA Warrior Awards has upgraded to a much larger room. This year, the event sat over 450 supporters from the worlds of songwriting, publishing, streaming and more — all of whom gathered together to honor the “often unsung, unsexy work of advocacy,” says SONA executive director and songwriter Michelle Lewis, who kicked off the program.

In her opening remarks, Lewis, touched on a number of key issues facing the writing community today. Pointing to recent cultural events like the Paris Olympics and the Democratic National Convention, she said: “Did you notice that each one of those shared experiences had an identifiable and memorable soundtracks?… the connection between those huge cultural moments were those huge fucking songs, right? Songs have never been more important and yet less valued.”

Trending on Billboard

“If you don’t pay the songwriters, who will write the song? And please don’t say AI. The nature of how people consume music through streaming and short form video clips puts songwriters last,” Lewis says.

The first award was presented to British artist/songwriter, RAYE, who has been a fierce advocate for songwriters since her song “Escapism.” broke her into the pop mainstream last year. Her award was presented by her co-writer and executive producer, Mike Sabath, and a tribute to her work was performed by Abby “Absolutely.” Kean, her younger sister and fellow artist. She accepted her Warrior award remotely from the U.K.

Throughout the night, honorees highlighted various issues that are top of mind for working songwriters today. When Golan accepted his award, presented by fellow songwriter Benny Blanco, he noted: “if an artist who doesn’t write sells their catalog for a couple hundred million dollars, why doesn’t the headline read, artists sells $200 million of extorted publishing from working songwriters? That is called coercion. That is not songwriting. If an artist has been showered with awards, even though they’ve stolen songwriting credit and publishing for decades, that is called vanity. That is not songwriting.”

Golan continued, “if you’re going to take credit for something you didn’t do, give some of your fee or [master] points [to songwriters], because we don’t owe you our publishing… It’s never too late to make it right.”

Advocating for non-performing, non-producing songwriters to receive master points was a common refrain throughout the night. It’s a growing movement in the music industry, which previously would not consider offering this to songwriters, unless the writer was an A-list hitmaker. In the last year, a number of independent labels, including Facet Records, The Other Songs, Nvak Collective and Good Boy Records, have made it a standard to offer this. With records released by major labels, however, this concession is still rare.

The award for Thomas Scherer, president of global catalog recorded and music publishing at BMG and lifelong drummer, was presented by Eurythmics member Dave Stewart. “As a drummer and a genuine lover of music, Thomas gives me hope,” said Stewart in his stirring introduction, “and I’m proud to present him with this son of Warrior award, because he is a genuine warrior, a soldier for good, and a friend I can trust and rely on forever.”

An award was also posthumously presented to writer Andrea Martin for her contributions to the genre of R&B through her songs recorded by Toni Braxton, Monica and Leona Lewis, among others. The award was accepted by her family, including her two surviving children.

Introduced by his teenage son, Willie “Prophet” Stiggers closed out the night for the SONA Warrior Awards. As the Black Music Artists Coalition (BMAC) co-founder, president and CEO, Stiggers gave a rousing acceptance speech, describing his journey from experiencing police brutality first hand to becoming a top advocate for Black songwriters, artists and executives in the music business. “Four years [after BMAC was created,] our commitment is steadfast,” Stiggers said.

During his speech, Stiggers also announced the new BMAC Executive Training Program, which in his words “will invite 10 executives annually to participate in executive training and coaching program for one of the industry job firms. This will be a one year program for black executives to move to the next phase of their careers.”

Chinese music streaming companies had another big week after authorities unveiled an economic stimulus plan that will encourage the purchase of Chinese equities, with Cloud Music gaining 10.7% to 134.50 HKD ($17.32) and Tencent Music Entertainment rising 9.9% to $13.48. Last week, Cloud Music and Tencent Music gained 31.5% and 24.6%, respectively. 
The Billboard Global Music Index (BGMI) increased 0.4% to 1,964.44, a fourth-consecutive weekly gain and the third straight week the index set a new record high. With winners and losers evenly split amongst the index’s 20 stocks, the BMGI improved its year-to-date gain to 28.1%. 

Outside of China, where the Shanghai Composite Index rose 8.1% to 3,336.50, stocks were generally muted this week as investors were uncertain about how the widening war in the Middle East would affect the global economy. Oil prices increased 10% this week in part due to President Joe Biden’s comment that the U.S. was discussing possible strikes by Israel on Iranian oil production sites. Prices remained well below levels reached following Russia’s invasion of Ukraine in February 2022, however.

Trending on Billboard

In the U.S., the Nasdaq composite rose 0.1% and the S&P 500 gained 0.2%. In the U.K., the FTSE 100 fell 0.5% to 8,280.63. South Korea’s KOSPI composite index dropped 3.0% to 2,569.71. 

iHeartMedia was the BGMI’s biggest gainer of the week, rising 15.2% to $1.97; the radio company’s shares have fallen 3.9% year to date but have risen 142% since hitting a 52-week low of $0.813 on May 28. Elsewhere, the index’s most valuable companies had either modest gains or losses. Live Nation gained 2.0% to $110.87. Spotify rose 0.6% to $371.45. HYBE increased 0.3% to 173,500 KRW ($128.82). Universal Music Group fell 2.0% to 23.37 euros ($25.66). 

Sphere Entertainment Co. shares rose 4.4% to $45.26 as Wolfe Research upgraded the company on Wednesday (Oct. 2) to “outperform.” The company’s flagship venue, Sphere in Las Vegas, has added more shows to existing residencies. The Eagles will perform four additional shows in February, bringing its residency to 24 dates. In addition, Anyma added dates on Jan. 10 and 11 — the seventh and eighth shows at the venue for the Italian producer, who will break a string of legacy rock bands to become the first EDM artist to perform at Sphere.

Guggenheim reiterated its “buy” rating on Warner Music Group (WMG) and slightly lowered its estimate for ad-supported streaming revenue ahead of the company’s fiscal fourth-quarter earnings. BofA Securities downgraded WMG to “underperform” from “neutral” on Friday and lowered its price target to $30 from $33. WMG shares finished the week at $31.14, down 0.2%. 

LiveOne shares fell 35.8% after the company lowered its fiscal 2025 guidance following a revised partnership with Tesla in which the auto manufacturer will no longer subsidize some customers’ in-auto streaming platform powered by LiveOne’s Slacker Radio. The Los Angeles-based company’s stock has fallen 51.4% year to date. 

K-pop stocks, which have fallen sharply in 2024, were muted this week. HYBE, YG Entertainment, SM Entertainment and JYP Entertainment fell by an average of 0.1%, which nudged their average year-to-date loss down to 32.0%.

Billboard

Billboard

Billboard

RBD‘s five members — Maite Perroni, Christian Chávez and Christopher von Uckermann — announced on Friday (Oct. 4) that “the matter has concluded.”
Rosas and RBD parted ways in January after the Mexican band’s ultra-successful Soy Rebelde World Tour. In May, RBD revealed in a statement issued by its lawyers that there were “significant irregularities” revealed in a forensic accounting investigation led by Critin Cooperman — a services firm that acted as a business manager for the tour and had also conducted a financial audit.

In a statement shared on Friday (Oct. 4) — known to fans as World RBD Day — Perroni, Chávez and von Uckermann wrote: “As set forth in the final agreement, T6H, through its owner Guillermo Rosas, was claiming that Guillermo’s company was entitled to $10,072,811.00 in connection with Guillermo and his company’s management of RBD’s live performance tour in the U.S., Mexico, Brazil and Colombia. Following our filing of a complaint against Guillermo and his company in both Federal Court and with the California Labor Commissioner, in addition to a thorough audit we commissioned, T6H agreed as part of the final settlement agreement to accept the sum of $4,723,591.00, an amount which is $5,349,220.00 less than what Guillermo was claiming to be owed.”

Trending on Billboard

Notably, RBD’s other two members, Anahí and Dulce María, did not sign on to the letter. An RBD representative did not immediately respond to a request for comment on their absence.

In December, RBD wrapped its massive world tour, which as of Nov. 30 had grossed $197.1 million since launching in August. Rosas also worked with the band as a concert promoter from 2006 to 2008. Under a new business model designed for RBD’s comeback tour, the group’s first trek in 15 years, the five members and Rosas were deemed equal partners in a new joint venture, splitting all new revenue, including for music.

The statement continues: “This is why we made the decision to take action in this situation. We felt a responsibility to address the challenges that can arise in the industry, with our priority being the protection of artists rights. This is a reminder for young artists to have the courage to stand up for themselves and demand respect. We are very satisfied with the outcome of our action and will continue to advocate for justice and respect in the artistic world.”

Billboard reached out to Guillermo Rosas but had not heard back at press time.

Read Perroni, Chávez and von Uckermann’s statement below in Spanish, Portuguese and English:

Despite the music business nearing a decade of consistent annual growth, thousands of people have exited music companies in the last two years in the biggest wave of layoffs the industry has seen since the early 2000s. Spotify, Universal Music Group, Warner Music Group and BMG, to name just the biggest examples, have undergone organizational changes that restructured the companies and will collectively save them billions of dollars annually.  
But the wave of layoffs of the ‘20s are vastly different than the cuts music companies made two decades earlier. The most obvious difference between then and now is the direction the industry was headed in the early ‘00s. From 1999, the year Napster introduced the world to peer-to-peer file-sharing, to 2003, the year Apple debuted the iTunes Music Store, U.S. recorded music revenues fell 18.5% from $14.6 billion to $11.9 billion, according to the RIAA. That’s a stark difference to the health of today’s business. In the last four years, the U.S. market has increased an astounding 54%.

The post-Napster years were “a matter of survival,” says Matt Pincus, co-founder/former CEO of music publisher SONGS, who at the time worked in EMI Music’s corporate development division. “That was a one-time elevator drop in the economics of the business caused by a technological innovation that fundamentally disrupted the way that people used our product.”  

Trending on Billboard

The sudden arrival of both file-sharing applications and widespread internet access caused CD sales to plummet, creating a vicious cycle of layoffs, consolidation and more layoffs. Take EMI, which laid off 1,800 of its 8,000 staffers in 2002. Still reeling five years later, EMI was acquired by private equity firm Terra Firma in 2007. Terra Firma’s restructuring of EMI resulted in another 2,000 layoffs in 2008. As industry revenues continued to decline, Terra Firma was unable to keep up with its obligations to lenders. Citigroup ended up taking EMI and selling its parts to Universal Music Group and a Sony Corp.-led consortium, resulting in even more layoffs.  

Continuously falling revenues created a need to cut expenses through consolidation. When labels acquired competitors or merged companies to help stop the financial bleeding, the elimination of redundant jobs created the desired cost savings. BMG laid off hundreds of staffers in 2003 when it acquired Zomba Music Group, for example, and another 50 people when it integrated J Records and RCA. The same year, UMG laid off 75 MCA employees as part of the label’s merger with Geffen Records.  

Retail was being purged, too. In 2003 alone, at least 600 chain stores and 300 K-Mart stores — accounting for 5% of the prior year’s album sales — closed their doors, and Best Buy sold the 1,100-store Musicland chain to a leveraged buyout firm. Retail’s problems sent shockwaves through already struggling record labels. When Tower Records went out of business in 2006, Universal Music Group Distribution (UMGD) had to immediately lay off a dozen people, says Jim Urie, former president/CEO of UMGD. 

It seemed like the job cuts would never end. When Universal Music Group cut 1,350 jobs — 11% of its workforce — in 2003, CEO Doug Morris was open to cutting more if necessary. “It depends on how fast the [digital] market gains traction and how fast the CD market continues to erode,” Morris told Billboard at the time. “If [one] doesn’t gain traction and the other erodes faster, we’ll keep trimming, because you have to run a company that way.” 

Two decades later, the music industry is in a vastly better position. Many companies with solid revenue growth were still forced to reduce their staff, though, after over-hiring during the pandemic as digital platforms exploded in popularity. “People got drunk during COVID,” says one former major label executive. Digital businesses “started to have this burst,” he adds, “and we kind of caught a hangover across the business.”  

Public companies — in music but also technology leaders such as Meta and Google — facing investor expectations opted to thin down. UMG, which went from an average of 8,800 full-time employees in 2020 to just under 10,000 in 2023, began laying off staff in March as part of a restructuring that will save an estimated $270 million annually. Likewise, Spotify ballooned from about 5,600 in 2020 to 8,360 in 2022 before laying off about 25% of its workforce in 2023.  

Aside from the need to reduce bloat, recent layoffs reflect the normal course of business that sees companies constantly expanding, shrinking and re-tooling, says Pincus. “The music business goes through consolidation cycles where it becomes more fragmented, and then it consolidates, and then becomes more fragmented, and then it consolidates. We happen to be in a consolidation cycle at the moment. That’s the normal cyclical behavior of the industry. What was going on in the Napster time was not cyclical.” 

Recent layoffs are also about positioning labels “to move forward,” says Urie, “and there are new skill sets involved.” Bob Morelli, former president of RED Distribution, agrees. “As technology has changed, [the business is more about] social media and targeted advertising,” he says. “And now with AI coming in, and it’s harder to get bigger tours, these companies are going to make staffing adjustments.” When Warner Music Group announced in 2023 it would cut 4% of its workforce, new CEO Robert Kyncl described the layoffs as necessary “in order to evolve” and position the company for “long-term success” by hiring for tech initiatives and “new skills for artist and songwriter development.” 

Labels have also revamped how they discover new artists. The stereotypical A&R rep that scours clubs looking for the next big thing has been replaced — or at least augmented — by data experts. “Most of the A&R departments are more like a data analytics thing,” says David Macias, president of Thirty Tigers, an early adopter of the distribution and label services model. “They’re scrubbing data to find spikes that they can justify chasing.” The way labels and distributors pitch music to streaming services has also changed, Macias notes, from a people-focused process to one driven by automation. “How people find the music is going to have to do less and less with people with special relationships.” 

The Atlantic Music Group restructuring may reside in a different category. “That seems like a house cleaning,” says Urie, “because they blew out a lot of people that are perfectly capable.” That’s a sign of a youth movement happening at the label, says another former executive, rather than a reaction to over-hiring or a natural business cycle. Elliot Grainge, the 30-year-old founder of the label 10K Projects, took the CEO role on Oct. 1. Longtime label leader Julie Greenwald announced her resignation five days after Grainge was named CEO. Atlantic ended up cutting roughly 150 jobs — many of them experienced executives with long tenures at the company.  

Regardless of the era or business cycle, music executives — and the CFO making the strategic decisions — must answer the same questions, says Morelli. “What is my company going to look like? Are we going to go after developing artists? Are we going to go after legacy artists? Are we going to do a small amount? Are we going to win with volume? And how do you accommodate getting this message out to potential fans and consumers?”

The thousands of people laid off by music companies in recent years face better prospects than music professionals faced two decades ago. Back then, many executives and artists were still viable but needed the proper infrastructure around them, says Macias, who co-founded Thirty Tigers in 2002 after being laid off from Arista Nashville. Digital startups and the burgeoning digital distribution business gave some people a way to remain in music. But the post-Napster years were followed by another decade of industry contraction as downloads replaced CD sales.  

If the majors aren’t hiring in 2024, the growing independent sector could provide a refuge for the recently unemployed. In recent years, investment in independent music companies has exploded as entrepreneurs in streaming, digital distribution and social media loosened the major labels’ grip on the industry. The current No. 1 song in America, Shaboozey’s “A Bar Song (Tipsy),” comes from an independent, EMPIRE.

“It’s going to be independent labels, like it always has been, that figure out the new way to get new records in the hands of an audience that doesn’t know they like it yet,” says Pincus.