State Champ Radio Business
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Republic Records: Kids & Family announced on Monday the signing of ARIA Hall of Fame inductee, singer, songwriter, actor and performer Sam Moran. His first single is to be released later this month.
“There is no other team that I would rather be working with than Republic Kids. The energy and creativity they are bringing to my debut project is exactly what I was looking for when venturing out on my own,” says Moran. “We have so many surprises in store that I know my fans are going to love so, get ready!”
Moran is an Australian-born performer best known for his work on the Wiggles television show, both as recurring characters and as Yellow Wiggle from 2006 to 2012.
“When launching Republic Kids I knew I had to sign Sam as an artist,” says Bree Bowles, vp of marketing and strategy. “He is the perfect complement to our mission of producing world-class music that can be enjoyed by both kids and their parents. Sam’s musical talents are beloved by so many and these new efforts will help to redefine the future of ‘kids’ music.”
Jonathan Shank from Terrapin Station Entertainment will manage Moran, telling Billboard: “We are so excited to be working alongside Sam and Republic for this release and know it’s the start of magical things to come.”
Moran said some of his material is meant to inspire kids who had a hard time emerging from the pandemic and that “there’s no better way to help them rediscover themselves than through music. I want to give them a voice that reflects how they see the world — with, of course, a bunch of fun along the way!”
LONDON — A proposed hike in U.S. visa fees, which could take effect as early as this November, would have a “deeply damaging” effect on touring artists from other countries by more than doubling their costs, says a leading British music industry trade group.
The proposal from U.S. Citizenship and Immigration Services, announced in early January, would raise the rates for O and P visas for working entertainers in the U.S., including musicians playing festivals, concerts or label events.
U.K. Music, which represents the country’s recorded and live music industries, is protesting the fee hike, including a $600 “asylum program fee,” a new charge USCIS has proposed adding for U.S.-based employers, which the U.K. group says would raise total visa fees by more than four times their current levels. The trade group, which says the U.S. visa process is “already long, complex and prohibitively expensive” for many musicians, has asked British officials to lobby against the increases.
“The visa process for U.S. musicians entering the U.K. to work is far simpler and less costly,” the group says in a statement, “and we believe that this should be reciprocated by the U.S.”
Under USCIS’s proposed new rates, a concert promoter who employs an international musician qualifying for an “O” visa to tour the U.S. would pay $1,055, rather than the current fee of $460, an increase of 129% — or 260% with the proposed $600 asylum program fee. For the “P” visa classification for touring musicians, the U.S. employer’s fee would jump from $460 to $1,015, or 121% — plus the $600 fee, which would add up to a 251% spike.
A USCIS spokesperson tells Billboard the increases would not affect musicians themselves, but rather their U.S. employers, including promoters, club owners, labels or festival producers. International artists reps say employers are likely to pass these fee increases onto the artists — and possibly to consumers as higher-priced tickets —making it more challenging to tour crucial American concert venues.
“It leaves our artists in a state of paralysis,” says Courtney Askew-Conti of Verdigris Management, which represents U.K. bands Hot Chip and Jungle, adding that the fee increase “feels like the final nail in the coffin” after Brexit and the COVID-19 pandemic.
The U.S. government is proposing the new fees to allow USCIS to “more fully recover operating costs for the first time in six years” and to “support the administration’s effort to rebuild the legal immigration system,” the agency’s director, Ur M. Jaddou, said in a January statement.
“For artists who are established, it’s an annoyance,” says Michael Lambert, whose management company A Modern Way represents Idlewild, We Were Promised Jetpacks and other Scottish bands. “There will be a lot of artists in that emerging to mid-level stage that just decide that they can’t afford to do it.”
While “some cases might be reasonable, this gigantic increase seems unreasonable,” says Rita Sostrin, a Los Angeles immigration lawyer who represents international artists trying to obtain O and P visas. “It’s just not the right way, to do this broad-brush increase for everyone.”
The USCIS rep stresses that the fee changes are not final, and the comment period is open through March 13. “If organizations have those concerns, that’s what they should be submitting,” the spokesperson says. “This is just a proposed rule.”
U.K. trade groups are particularly concerned about how the changes will affect artists during a period when gas prices, supply-chain issues and other lingering COVID-19 effects are making it challenging for club-and-theatre-level artists to tour international markets, including the U.S.
For U.K. artists, the U.S. is the second-largest touring market after Europe. Even before the proposed price hikes were announced, rising costs were already leading British artists to pull U.S. shows. In April, Mercury Prize-winning rapper Little Simz cancelled an 11-date U.S. tour, citing the financial unviability of the undertaking as an independent artist.
A survey conducted by two other U.K. trade bodies, Music Managers Forum (MMF) and the Featured Artists Coalition (FAC), found that 70% of their members believe the increased visa charges would mean they could no longer afford to tour the U.S.
With Country Radio Seminar just a week away, key showcases are taking shape, with three record labels unveiling their lunchtime performance lineups and CMT announcing a handful of acts appearing at the first evening’s opening reception.
Brad Paisley, making his first CRS appearance since signing with Universal Music Group Nashville (UMGN), will play during the label’s annual takeover of the historic Ryman Auditorium. Brantley Gilbert, Vince Gill, Sam Hunt and Cody Johnson are among the major acts officially in the mix during the three-day seminar March 13-15 at the Omni Nashville Hotel.
Newly announced entertainment lineups include:
• Warner Music Nashville sponsors the March 13 lunch that offers Johnson, Chase Matthew and Ian Munsick, with additional acts promised.
• The March 13 happy hour opening event will feature four acts associated with CMT’s Next Women of Country: Julia Cole, Ashley Cooke, Miko Marks and O.N.E the Duo.
• At least 14 acts are appearing at the lunchtime UMGN Ryman gig on March 14: Gill,Hunt,Paisley, Kassi Ashton,Boy Named Banjo,Brothers Osborne,Dalton Dover,Caylee Hammack,Tyler Hubbard,Parker McCollum,Kylie Morgan,Catie Offerman,Josh Ross and Darius Rucker.
• Big Machine Label Group hosts the March 15 lunch that will feature Gilbert, Danielle Bradbery, Mackenzie Carpenter, Riley Green, Chris Janson, Justin Moore, Shane Profitt and Conner Smith.
CRS previously announced the lineup for the closing New Faces Show: Priscilla Block, Jackson Dean, Jelly Roll, Frank Ray and Nate Smith.
SiriusXM told workers on Monday it is letting go of 475 employees, or roughly 8% of the company’s workforce, as it works to reduce expenses and invest in new technology, the company’s CEO said in a memo to staff.
“It is critical for us to take the right steps now to secure the long-term health and profitability of our business,” SiriusXM CEO Jennifer Witz wrote in an internal memo. “Investments we are making in the business this year, coupled with today’s uncertain economic environment, require us to think differently about how our organization is structured.”
The satellite radio company said it was exploring job cuts last November to deal with how a worsening economic outlook is impacting demand for ads and other areas of its business. The staff reductions announced Monday place SiriusXM alongside Apple, Microsoft, Spotify and Alphabet as companies that have announced layoffs in 2023.
More than 123,000 employees have been let go from technology industry jobs so far in 2023, with most job cuts reported in January, according to Layoffs.fyi, a website that track workforce reductions.
Last month, SiriusXM reported 2022 revenues grew by 4% to $9 billion, but Witz cautioned she expected a “a softer first half (of 2023) in terms of revenue … and subscriber growth” compared to last year.
The job cuts will hit nearly every department in the company, and employees who are being let go will start to receive notice today, Witz said, adding she is grateful for their work.
During Witz’s tenure as CEO, SiriusXM has hired about 1,500 new employees, bringing the company’s total headcount to just under 5,700, according to filings from 2022.
The company is in the process of updating the back-end technology and user-friendliness of its SiriusXM app, which Witz has said will enable the company to introduce new products to the app faster, a key part of the company’s growth strategy.
Sirius has also struggled in recent quarters with a slowdown in Pandora subscriber revenue and higher expenses from investments in podcasting and technology.
Primary Talent International has announced a surprise decoupling with Creative Artists Agency, less than a year after CAA acquired the UK booking agency through a blockbuster $750 million purchase of its parent ICM Presents in June.
ICM Presents bought the 30-year old booking agency in March 2020, just days before international concert touring was suspended for more than a year due to the COVID-19 pandemic. That acquisition — in which Primary would retain its name and office — came just months after ICM Partners sold a minority stake in the agency to private equity firm Crestview Partners.
When ICM acquired Primary Talent, ICM CEO Chris Silbermann noted that the 32-year-old company, with clients including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys and Patti Smith, “greatly enhances our ability to serve our clients on a global scale, through added resources, support and even greater opportunities,” noting the agency’s reputation for being “fiercely independent, which we love about them.”
Silbermann added: “We are honored that they believed we were the right partners to help take their clients and their agency to the next levels of success, while retaining their brand and management identity and philosophy.”
Primary Talent asked for a split from CAA in order to “re-establish Primary’s independent status,” one source tells Billboard. Shortly after closing the ICM deal last year, CAA laid off 105 ICM Presents employees from different parts of the company.
An agreement to terminate the coupling was finalized earlier this year in a deal led by Primary Talent managing partner and CEO Matt Bates along with former ICM founding partner and COO Rick Levy. Veteran agent Ben Winchester will continue to serve as a board member along with Bates and Levy.
As part of the new management configuration, the agency has promoted Primary agents Laetitia Descouens, Sally Dunstone, Martje Kremers and Ed Sellers to partner status. They will be joined by veteran agent Simon Clarkson, who will be based in Los Angeles. The agency, which currently numbers 35 employees, expects to announce additional agents to their growing ranks in the coming weeks.
“The pandemic changed the landscape of the music touring business, and we felt it was beneficial to return to our roots as the UK’s largest independent music talent agency,” said Bates. “Adding to the strength and experience of the original Primary agent team, we are excited to bring aboard the next generation of talented agents to join as founding partners. In this new incarnation, Primary will be even better positioned to support the evolving careers of our artists and guide them wherever needed.”
Morgan Wallen‘s new album, One Thing at a Time, is already breaking streaming records in its first day of release.
With 52.29 million streams on Friday (March 3), according to Spotify, the country star’s 36-song project has set the record as the service’s most-streamed country album in a single day by a male artist.
Wallen’s One Thing at a Time has also had the largest streaming debut of any genre in 2023 so far on Spotify.
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On release day, Morgan was the most streamed artist of the day in the U.S. and globally on Spotify.
Spotify additionally tells Billboard that on Saturday (March 4), 31 songs from the album are in Spotify’s Top 50 U.S. chart, including “Last Night” at the No. 1 spot with 3,143,730 streams.
Spotify partnered with Wallen to celebrate One Thing at a Time at the hitmaker’s high school, Gibbs High School in Knoxville, Tenn., on Thursday. Wallen surprised students with a concert on the school’s baseball field, featuring several songs from his new project. The students were treated to Wallen’s favorite concessions, plus a photo booth that transformed snaps into exclusive baseball cards, courtesy of Spotify.
Wallen presented the school’s principal with a check for $35,000 from the Morgan Wallen Foundation to go toward performing arts and sports programs.
Morgan’s previous album, the 30-track Dangerous: The Double Album, was released in 2021 and still remains in the Billboard 200’s top five.
Nicki Minaj is officially launching her own record label.
The superstar rapper announced the big news during her Queen Radio show on Friday (March 3), revealing that the new label’s artist roster includes Nana Fofie, Tate Kobang, Rico Danna and London Hill.
“I have a record label now,” Minaj said, teasing that the company’s name will be revealed at a later date. “When I get behind an artist, y’all know how I do s— for people that’s not even signed to me. Imagine what I’ma do for the ones that’s signed.”
Minaj said that her longtime affiliate Patty Lauren (aka Patty Duke) will serve in an A&R role at the new label.
The Queen of Rap’s first single of 2023, “Red Ruby Da Sleeze,” dropped Friday through Young Money/Republic. It marks her first solo song since last year’s Billboard Hot 100-topping smash “Super Freaky Girl.”
On Friday’s Queen Radio show, Minaj told listeners that she was texting with Republic Records co-president Wendy Goldstein, who was encouraging her to make the label announcement during the program.
“I said, ‘Wendy, we got to do this big. I’m a female; you a female, mamma. You got to do this right. We gotta do it right. I don’t want no little itty-bitty ting ting. I want to do it right,’” the rapper said.
Minaj added that her new record label will feature a variety of musical acts. “Don’t think my label is just rap, or Black, or anything,” she said. “We got some other genres of music.”
Minaj also touched on the influential role Lil Wayne played early in her career, and how she hopes to do the same for up-and-coming artists on her label.
“When I came in this game I didn’t have no paperwork with Lil Wayne. But he had us on tour, he had us in a studio, he was getting on my mixtapes,” she said. “So I understand the importance of having somebody else doing the heavy lifting for you. I understand why people are coming out and they’re so, you know, microwaveable and they’re here today and gone tomorrow, because there’s no structure. There’s no real person that believes in them. That’s like, ‘Nah, I’m gonna make it my business to see you shine.’”
Listen to a replay of Queen Radio through Amp, and check out in-studio photos from Friday’s show on Minaj’s Instagram below.
The areas of the audio marketplace with the highest growth rates don’t involve music or young people. As online listening growth slows and smartphone ownership is nearly ubiquitous, podcasts and audiobooks stand out in Edison Research’s The Infinite Dial 2023 report.
In 2023, weekly podcast listening reached 40% of people aged 12 to 34, up from 33% in 2022; and 39% for the 35-to-54 age group, up from 31% the year before, the report states. The 55-and-over audience remained at 14% after falling from 17% in 2021. The average U.S. podcast listener averages nine podcasts per week, with 19% listening to 11 or more.
Those growth rates contrast with slowdowns in smartphone penetration (now at 91% of the U.S. population), social media usage (flat at 82% of the population for three straight years) and monthly online audio listening (up slightly from 73% in 2022 to 75% this year).
But podcasts appear to have room for more growth. The percentage of people who listened to a podcast in the last month was 42% — 28 percentage points lower than online audio listenership.
About 183 million people — 64% of the U.S. population 12 and over — has ever listened to a podcast. That’s up from 44% of the population five years earlier and 27% a decade ago.
Audiobooks are also growing. The percentage of Americans who listened to an audiobook in the last year rose to 35% of the U.S. population — up from 28% a year earlier — or about 100 million people. Still, there’s lots of room for growth, and companies will likely see that percentage as an opportunity to introduce the format to new listeners.
Podcasts and audiobooks are tangentially related to music in the streaming age. Digital platforms increasingly combine music and non-music content to keep listeners engaged and make the apps more attractive to subscribers. To improve both its product and margins, Spotify has invested handsomely in podcasts — from DIY tools like Anchor and Megaphone to content creators Gimlet, Parcast and The Ringer — as well as audiobooks, through the acquisition of audiobook distribution platform Findaway.
Streaming companies tend to obsess about young consumers, but the growth opportunity appears to lie in older age groups. Edison found that 89% of the 12-34 age group listened to audio online in the previous month, up from 87% in 2022 and 86% in 2021. The 35-54 age group’s monthly listenership rate improved from 72% in 2021 to 81% in 2022 and 85% this year. The 35-54 age group’s podcast listening improved from 43% in 2022 to 51% this year — a big leap, but still below the 12-34 age group’s 55% mark.
The often overlooked 55-and-over age group has significant room to grow. Its monthly online listening rate stands at just 53%, up from 52% in 2022 and 46% in 2021. The age group is also slow to adopt podcasts. Just 21% of people 55 and over listened to podcasts in the last month. Worse yet, the 55-and-over crowd is losing enthusiasm: Its monthly podcast listening rate was 22% last year and 26% in 2021.
The other major trends found in the report reflect smartphone penetration, the prevalence of mobile broadband and the use of mobile operating systems in cars such as Apple CarPlay and Google’s Android Auto. In the last decade, the percentage of U.S. consumers who have listened to AM/FM radio in the car dropped from 84% to 73%, while CD listening declined from 63% to 29%. SiriusXM satellite radio use in the car improved from 15% to 20% over that time, while online audio jumped from 12% to 37% on the same metric.
Amazon is pausing construction of its second headquarters in Virginia following the biggest round of layoffs in the company’s history and its shifting plans around remote work.
The Seattle-based company is delaying the beginning of construction of PenPlace, the second phase of its headquarters development in northern Virginia, Amazon’s real estate chief John Schoettler said in a statement. He said the company has already hired more than 8,000 employees and will welcome them to the Met Park campus, the first phase of development, when it opens this June.
“We’re always evaluating space plans to make sure they fit our business needs and to create a great experience for employees, and since Met Park will have space to accommodate more than 14,000 employees, we’ve decided to shift the groundbreaking of PenPlace (the second phase of HQ2) out a bit,” Schoettler said.
Schoettler also emphasized the company remains “committed to Arlington” and the local region, which Amazon picked – along with New York City – to be the site of its new headquarters, known as HQ2, several years ago. More than 230 municipalities had initially competed to house the projects. New York won the competition by promising nearly $3 billion in tax breaks and grants, among other benefits, but opposition from local politicians, labor leaders and progressive activists led Amazon to scrap its plans there.
In February 2021, Amazon said it would build an eye-catching, 350-foot Helix tower to anchor the second phase of its redevelopment plans in Arlington. The new office towers were expected to welcome more than 25,000 workers when complete. Amazon spokesperson Zach Goldsztejn said those plans haven’t changed and the construction pause is not a result – or indicative of – the company’s latest job cuts, which affected 18,000 corporate employees.
The layoffs were part of a broader cost-cutting move to trim down Amazon’s growing workforce amid more sluggish sales and fears of a potential recession. Meta, Salesforce and other tech companies — many of which had gone on hiring binges in the past few years — have also been doing the same.
Amid the job cuts, Amazon has urged its employees to come back to the office. Last month, Amazon CEO Andy Jassy said the company would require corporate employees to return to the office at least three days a week, a shift from the prior policy that allowed leaders to make the call on how their teams worked. The change, which will be effective on May 1, has ignited some pushback from employees who say they prefer to work remotely.
Goldsztejn said the company is expecting to move forward with what he called pre-construction work on the construction in Virginia later this year, including applying for permits. He said final timing for the second phase of the project is still being determined.
When Virginia won the competition to land HQ2, it did so less with direct incentives, and more with promises to invest in the regional workforce, particularly a graduate campus of Virginia Tech that is currently under construction just a couple of miles from Amazon’s under-construction campus in Crystal City.
Still, there were significant direct incentives. The state promised $22,000 for each new Amazon job on the condition that the average worker salary for those new jobs is $150,000, annually. But those incentives — about $550 million for 25,000 projected jobs — are not supposed to be paid out until 2024 at the earliest. Goldsztejn, the Amazon spokesperson, said the company “has not received any incentives to date related to the construction of HQ2 and the 8,000 jobs that we’ve created in Arlington since 2018.”
Arlington County also promised Amazon a cut of its hotel-tax revenue on the theory that hotel occupancies would increase significantly once Amazon builds out its campus. That incentive, projected initially at about $23 million, is dependent on how many square feet of office space Amazon occupies in the county.
The county said in a statement it “values the ongoing partnership” it has with Amazon throughout the creation of the second headquarters, which it noted has always been a multiyear project.
“We’re confident Amazon remains committed to the second phase of the project – PenPlace – and its benefits to the community,” it said.
Amazon had previously said it planned to complete the project by 2025.
For the third consecutive quarter, Sony Music Publishing and Universal Music Publishing Group took their usual No. 1 spots on Billboard’s Publishers Quarterly ranking for the last quarter of 2022.
Sony topped the Top Radio Airplay ranking, while UMPG had the biggest share of Hot 100 songs.
Harry Styles and Kid Harpoon (birth name: Thomas Edward Percy Hull) were the top Radio Airplay songwriters, thanks to their collaboration on “As It Was” and two other hits from Styles’ 2022 album, Harry’s House — which Kid Harpoon also produced — that ranked in the quarter. Both songwriters are published by UMG.
Despite that duo’s strong showing, the No. 1 Radio Airplay song for the quarter was Steve Lacy’s “Bad Habit.” Five writers are credited, including Lacy as Steve Thomas Lacy Moya, Brittany Foushee, Diana “Wynter” Gordon, Matthew Castellanos, and John Carroll Kirby. The top 10 publishers that have a share in that song are: Sony, UMPG, Warner Chappell and Kobalt.
On the Hot 100 ranking, Taylor Swift, also published by UMG, was the top songwriter and scored the No. 1 song for the quarter, “Anti-Hero.” Thirteen songs from her album midnights, placed in the ranking; Swift co-wrote 12 of them and is the sole author of “Vigilante Shit.” Both Sony and UMPG have stakes in “Anti-Hero.”
Sony’s No. 1 showing on the Top Radio Airplay publishers ranking actually represents its seventh consecutive quarter and 40th time overall at the top of that chart. Its market share slipped to 28.89% from 31.60% in the third quarter of 2022, but its song count was up one, with the publisher placing 64 tunes on the ranking.
On the Hot 100 publishers ranking, Sony’s market share fell more than 7 percentage points, from 29.79% in the third quarter to 22.71% in the fourth, and its song count followed suit, dropping from 64 to 58. That said, the publisher is on a bit of a hot streak when it comes to the Country Radio Airplay publisher ranking: it took the No. 1 spot for the second consecutive quarter, improving its 27.60% third-quarter market share to 28.93%.
UMPG has emerged as a powerhouse in the Hot 100 publisher rankings. For the three consecutive quarters that it finished No.1, its market share has remained above 30% — a feat last achieved by Sony on the Top Radio Airplay chart in 2014.
UMPG’s quarter-to-quarter market share grew from 30.75% to 31.63%, and its song count rose from 60 to 63. The publisher also grew its market share in the Radio Airplay ranking from 23.98% in the third quarter to 25.66% — almost 10 percentage points over No. 3 publisher, Warner Chappell Music, despite a song count that fell from 56 to 52 in the fourth quarter.
On the Radio Airplay ranking, Warner Chappell, Kobalt, and BMG once again held the No. 3 through No. 5 spots, respectively, although Warner Chappell’s quarter-to-quarter market share grew 13.60% to 15.73%. Its song count fell, however, from 48 to 46 tunes.
Kobalt held on to its No. 4 berth despite a significant drop in song placements from the third quarter, from 43 to 34, and a market-share decline from 13.21% to 10.38%. Fifth-ranked BMG eked out a .05 percentage point gain from 3.12% to 3.17%, as a result of boosting its song count from nine to 11.
The success of David Guetta & Bebe Rexha’s “I’m Good (Blue),” the No. 6 song on the quarter’s top radio chart, resulted in a newcomer making the top 10: the Italian collection society S.I.A.E. Direzione Generale, which is credited as one of the song’s publishers by the Harry Fox Agency. As a result, S.I.A.E. ranked No. 7 on Radio Airplay, with a 1.38% market share, and No. 9 on the Hot 100 publisher ranking with a 1.24% share.
The remainder of the Top Radio Airplay top 10 consists of Concord at No. 6 with 2.19% share, up from the prior quarter’s 1.48% share when it ranked No. 8; at No. 8 for the fourth quarter was Higpnosis, with a 1.29% share, down from the prior quarter’s 1.77% when it ranked No. 6; Downtown held steady at No. 9 with 1.28%, down from 1.59% in the third quarter, and Big Machine at No. 10 with 1.25%.
Christmas music made its usual strong showing in the fourth quarter Hot 100 publisher ranking, vaulting St. Nicholas Music to No. 5 in the ranking with a 6.17% market share, thanks to “Rockin’ Around The Christmas Tree,” “Holly Jolly Christmas” and “Rudolph The Red-Nosed Reindeer,” all of which were written by Johnny Marks. Brenda Lee’s recording of “Rockin’” was the quarter’s No. 6 Hot 100 song.
The holiday season also boosted Dean Kay’s Demi Music to the No. 7 slot on the Hot 100 publisher ranking, solely on the strength of Andy Williams’ “It’s The Most Wonderful Time Of The Year,” which gave Desi a 1.91% market share for the quarter. A single song — OneRepublic’s “I Ain’t Worried” — also put Downtown in the No. 8 spot.
