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There’s definitely been moments where I wished I could be in two places at the same time,” says Brandon Creed, reflecting on a year filled with culture-defining moments across his company’s roster. He’s gotten close — in early March, he had to be on separate coasts within 48 hours.
On March 8, Ariana Grande released her critically praised seventh album, Eternal Sunshine. On March 9, she was the musical guest on Saturday Night Live in New York — Creed was there. On March 10, Grande presented an Oscar at the 96th annual Academy Awards in Los Angeles, where client Mark Ronson was also performing in the night’s biggest spectacle: a star-studded live debut of Ryan Gosling’s Barbie song “I’m Just Ken” — Creed was there, too.
“It was definitely a tiring weekend,” says Creed, 47. “Thankfully, I think my relationship with all my artists is such that we have a great team so they’re always supported wherever they are.”
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His Good World team is a tight-knit group of savvy managers — including Dani Russin and Tyler Reymore, both of whom have been by his side for over a decade, along with Anika Capozza, Chris Pepe and Emma Anderson (among others). In 2023, when Creed left his position at Full Stop, the superstar management firm his own Creed Company merged with in 2017, his crew followed. After six years, Creed craved the kind of company he had launched his management career with when he had founded Creed Company in 2010 and set out to create the newer, more matured version of exactly that.
In August 2023, Creed established Good World Management with a high-profile roster including Charli xcx (co-managed with Sam Pringle and Twiggy Rowley), Troye Sivan, Ronson and Tame Impala (co-managed with Jodie Regan). His first new signing was Demi Lovato, followed by Grande.
“I was excited by the challenge of it, honestly,” he says of launching a new venture. “Creed Company was born out of [necessity] — I was an executive at a record company and started managing on the side.” With Good World, Creed has much more experience, but the same drive. “We’re trying to keep it familial and small and build accordingly, based on what we need.”
Creed got his start in the industry as music executive Tom Corson’s assistant before becoming one of the first employees of Clive Davis’ J Records, which he describes as “like going to grad school.” From there, he says, “management found me” when he met Bruno Mars and his writing partner, Philip Lawrence. “I watched Clive launch Alicia Keys and position superstars,” Creed says. “What he did and what he looked for, I took it and applied it as best I could.”
Since its beginning, Good World has celebrated one industry-rattling moment after another, from Charli graduating to arena headliner with her and Sivan’s in-demand Sweat Tour to Grande conquering new territory with Wicked. Such year-defining victories have helped Creed and Good World earn Billboard’s first Manager of the Year honor. Here, he and his team reflect on what Creed calls “the longest fastest year.”
Joel Barhamand
When you think back to launching Good World, what stands out?
Brandon Creed: We were in the midst of Barbie summer with Mark, and that was an amazing experience. And Troye had just [released the single] “Rush.”
Dani Russin: It was a show-must-go-on sort of thing. We didn’t have the luxury of pausing. We were grateful that essentially our whole roster came with us, so we just had to keep working. This was a really welcomed exclamation point on the summer.
Anika Capozza: We’ve always been really small and mighty, so when we moved over here, it was all hands on deck on every level. Like, “What snacks are we getting?” Things that you don’t think about at a big company when you walk in and everything is all set up. But it made it fun.
Tyler Reymore: Coming back into a house and it feeling so warm and cozy and down to earth, you take a big breath. That was what Creed Company was years ago.
Russin: In a lot of ways, it feels like we were getting back to how we started.
Dani, you’ve worked with Brandon the longest, since 2009. What drew you to his management style?
Russin: Brandon is very keen. He can read people, he’s a great decision-maker, and he has a very diplomatic management style. In this office, and in every office we’ve worked in, it’s definitely like good ideas can come from anywhere. We’ve always fostered an environment where we promote within. And we don’t really have ranks, but to the extent that we do, it’s been somebody that’s interned with us.
Chris Pepe: I’d actually left management for a bit and was the one person who didn’t come along, and I always looked from afar like, “If I were to ever get back into management, this is the team I’d want to be on.” There’s a lot of trust here.
Capozza: I started as a receptionist and then was an assistant and then a manager, and I’ve really been with Brandon my entire career in the music industry. What drew me the most is it didn’t feel like there was ever a ceiling for any of us. He allows us the ability to grow and take charge and be assertive and have a presence in the room.
Emma Anderson: I started as his assistant and always felt like he trusted me, so that gave me confidence. When we were leaving Full Stop, a lot of my friends were like, “This is a huge risk.” And I was like, “Not really.” I never have felt like I’ve been put in a box here.
Reymore: Brandon has always exuded such a quiet confidence, and it’s something I’ve always admired. When I first started working with him at Creed Company, he was in the living room with the other managers. It makes you want to work harder for someone who really values and sees you peer to peer.
You named the company Good World. What’s a moment this year where, commercial success aside, you felt the positive impact?
All: Sweat.
Creed: It was a scary proposition at first because it’s two of our artists; if it doesn’t go right, that’s high stakes. But they have so much respect for each other, they wanted to build and create something really unique. They dove in and did that.
Russin: Brandon had the idea for Sweat, and it was definitely like, “Avengers, assemble…”
Creed: With some resistance. It took us a while…
Russin: Listen, you said it, not me.
Where was the resistance coming from?
Creed: It was an idea over the last few years [that] just never lined up. And then when we were planning Troye’s tour and talking about Charli’s, we pitched it and…
Russin: It was now or never.
Creed: And there was a lot of blind faith. Each artist questioned whether it was the right thing for them to do in this moment, and rightfully so. We had to move some things and plotted it out and gave the tour time to sell and then everything kicked in with Brat Summer, and it really took off.
Russin: And then how that impacted in the real world, when we would go to these shows and watch [our] friends, their friends, the wider industry enjoy themselves…
Pepe: I remember that video you sent in our group chat. The lights were on after the show ended and the energy on the floor of the crowd beaming, dancing, still having a party. It was one of those “Oh, this is why we do this” moments.
Creed: That’s another thread, and it might be corny, but there is so much positivity and light, especially now when we really need it. It’s an honor to help get that into the world. I mean, Mark on the Oscars. I remember Steven Spielberg walking into the room after and he was like, “I’ve never seen anything like that on this stage.”
How has it felt to watch Charli enjoy her biggest year?
Creed: We’ve been working with Charli since 2018. I remember going to see her at a rave in London and it was like a smack in the face. It was coming off the Pop 2 era, and then we went right into the Charli phase. But to see her grow, it’s so gratifying — and slightly vindicating, just because we knew it. To see the world jump in on this has been a career highlight for me because she deserves it, and to be doing it so unapologetically is just incredible.
Ariana Grande also had a major 2024. When you start working with an artist who is already a superstar, how do you find your rhythm?
Creed: We definitely hold and make space for that. We’re not [a company that’s] going to come in and be like, “This is how we do it,” and change everything. Right before [signing Grande] we had just signed Demi [Lovato], another huge artist that has been around for a long time with a lot of success. It’s really turning on the empath and figuring out how they work and how you fit in and just watching and learning. And Ariana had an existing team around her: Justin Adams, Ray Rock and Grace Segundo. I just fit myself in there and took cues from her and them and we got into a rhythm, but it takes a minute.
Will Good World sign more talent?
Creed: We are extremely discerning with any artists at this stage. We have room, don’t get me wrong, for the right thing, and we would build accordingly. I think the developing-artist space is extremely challenging right now, especially for managers. Especially for a young manager, it’s hard to make money. So our focus is definitely on the more established artists and ones that have built an audience. But, you know, there are no rules.
Would you sign actors to the roster?
Creed: I would absolutely be interested in that. It’s about the person. It’s about being inspired by what they want to do. What we love is all of our artists want to do more than be an artist. Most of them act; Mark is scoring soundtracks and writing a book. [Ariana] got a Golden Globe nomination. That [was] amazing to see her get recognized. Troye and Demi have their own acting credits. I do particularly love the film and TV space. Charli’s pursuing that with a lot of success right now. That is exciting and inspiring to me, getting to be in all these different scenarios.
How do you prepare an artist, and yourselves, for their biggest year?
Russin: We have an extreme amount of patience when it comes to not skipping steps and [having the] “This could take 10 years” conversation. We’re prepared for that. And I don’t know that we feel that there’s as much gratification in the instant moment. We really try to set things up so that we’re building the road to get there along the way. So when it comes, they’ve done their 10,000 hours — as have we.
What challenges do managers face today?
Creed: It’s really hard for young managers. Artists are looking around at what others have and what others are doing, and they’re under a tremendous amount of pressure themselves. So when they feel that, they put the pressure on their person that’s right there — and that’s their manager. So I do think malleability is important and understanding how to shape teams around each artist and support them. And [more] humility and less ego is important.
Pepe: I work across Demi and she’s working on her album right now, and a key thing of our process has been allowing her to take that time that she needed and even encouraging it, because she is used to an industry that wants more and more and more. Encouraging that patience and investment in art, that has been honored this year in a big way after the pendulum swing of TikTok short form.
Creed: Impatience is a real challenge. One of our biggest challenges as well is the toxicity of fandom now. I feel like half the time we are being told how to do our jobs by [social media], and that is an exercise of our patience because our artists are also seeing it — not saying they react to it, but it’s a challenge across the board.
Russin: The sense of ownership over an artist’s body, their being…
Creed: Their decisions… Look, we are grateful for the fans; that’s why we’re all here. But there are boundaries that I think get broken quite often.
What would you tell someone wanting to enter artist management?
Russin: The barrier of entry is actually quite fuzzy. If you want to be a manager, you manage somebody. I’m not saying you’re a good manager… It’s a lot of head down, fly on the wall, behind the scenes, unglamorous, ungratifying work at first. If you don’t have a desire to be of service, this is probably not the area for you.
Reymore: As long as you are focusing on supporting artists and music that you care so deeply about, that’s going to make the late nights and the weekends feel like joy.
Pepe: [Get] as much hands-on experience as you can, even if it’s an artist that is local to your community, especially if you’re talking about someone in high school or college who’s wanting to do this. I didn’t have any connections. I started by working at CAA, and that led me to meeting managers, and that led me to my first management job. Our mindsets these days are quick payoffs. But it’s a lot like, “What are the first things you can do to get to where you want to be?”
Capozza: It’s the same philosophy we use for artists, I’m realizing: not skipping steps.
Creed: I was an intern, I was an assistant. I say this to every intern that comes here: Cultivate relationships with your peers because that’s who you’re going to grow up in the business with. They’re the ones that will be head of the label one day or whatever direction the person goes.
Russin: The assistant mafia… Don’t burn bridges, because everyone sticks around.
Creed: It is real, and you don’t think that when you’re trying to get into the business. You think you got to get to the top man or woman, but it’s really the support group that is going to let you enter — or you find a genius artist and grab on.
Capozza: I remember you saying that when I started: Don’t look up. Look around you.
Looking ahead, what goals do you have for yourself and the company?
Creed: Ariana’s [year] is pretty mapped out. We know where she is going to be and what she’s going to be doing for the majority of the year. Same with Charli; Brat Summer, Fall, Winter is going to continue. Troye is going to be in a creative year, hopefully making his next record. We’re in the planning stages for Tame Impala. Demi hopefully will be starting her next era midway through the year. Mark’s going to hopefully kick off a new artist era; hopefully the book he’s been writing will come out. Nothing is planned, but everyone’s going to be busy. And then we’ll map out 2026… The goal is to continue doing what we’re doing. I’ve been really fortunate to have a breadth of experiences over the years with such incredible artists and artistry and moments in time — that makes it fun. And there’s been times where it hasn’t been fun and I’m like, “Maybe I need to do something else.” And then something clicks and I get reengaged, and that’s what’s happened this year.
This story appears in the Jan. 11, 2025, issue of Billboard.
As wildfires continue to devastate Los Angeles, the Warner Music Group/Blavatnik Family Foundation Social Justice Fund is stepping in to help. On Sunday (Jan. 12), the organization announced a pledge of $1 million to support fire relief and rebuilding efforts in the region. The funds will be directed to organizations assisting the Los Angeles community, […]
If the Supreme Court upholds a U.S. law that would ban TikTok if its Chinese parent company ByteDance fails to sell it by Jan. 19, it would be bad news for the music industry, including the live events business – which has increasingly relied on TikTok as a marketing engine in recent years.
A decision by the court could be days, even hours, away, and it will have a major impact on dozens of U.S. industries that rely on the site for marketing, including the live music business during one of its busiest marketing months. TikTok’s popularity among concert and festival marketers has increased significantly in the last two years, explains FanIQ CEO Jesse Lawrence, as the event industry shifts to content-based marketing models.
“The music industry is finally getting away from the static lineup ad and embracing storytelling and lifestyle content,” said Lawrence, who notes that the the company is seeing a return of 15 to 20 times its ad spend on TikTok.
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Part of the appeal of TikTok, Lawrence said, is that the learning curve for posting and sharing ads on the platform is fairly simple. Customers are separated into two buckets: upper funnel, which includes essentially new customers who know little, if anything, about an upcoming event, and lower funnel, in which clients have gained awareness and are close to making a final decision on a purchase.
“Our whole approach is about matching upper funnel engagement, based on the user’s interests, with content we’ve created around the festival,” says Lawrence. That includes using beauty and fashion content to find potential customers for a summer country music festival, sneaker content for hip-hop festivals or skateboarding and surfing content to market a punk rock and action sports expo.
“Our videos have a watch time tracker and if someone watches the video for 15 seconds or more, the next video they’ll get is one with specific details about the festival and specific videos instructions on conversion,” meaning buying tickets, Lawrence said. He later noted, “it’s just about knowing where your audience is spending time and putting content in front of them on those platforms.”
A recent content piece FanIQ created for the Oceanfront Festival detailed rapper Key Glock’s extensive sneaker collection, featuring interview snippets with the Memphis rapper.
“That video is getting served to the fan from the festival’s account,” Lawrence said. “The whole idea is that we’re taking content that feels very organic and putting it into paid (content).”
Lawrence encourages his clients to use multiple social media platforms – Snap, Instagram, Facebook, Reddit and Spotify — for their marketing campaigns, noting that each platform is home to a different audience.
FanIQ is one of the new systems that “aggregates performance across every platform,” Lawrence explained. “We want to give them this access so they can easily understand what’s working, do more of it where we’re seeing performance, and scale back where we’re not.”
Will Franklin with UK marketing firm Round says the strength of TikTok as a marketing platform for the live music business comes from its early success helping artists go viral, starting with the release of “Old Town Road” by Lil Nas X in December 2018. In 2020, Meghan Thee Stallion’s tracks “WAP” and “Savage” — used in countless dance videos by contributors to the platform — made her the No. 1 most played artist on TikTok that year and helped her land headliner slots at a number of major festivals in 2021 including Lollapalooza.
Franklin also notes that fans are increasingly looking to TikTok for video and content from events, noting that searches for the Boomtown festival in the U.K. soared from 29.5 million in the month leading up to the event to 266.8 million during the festival, creating increased awareness around the band.
Many marketers are holding out hope that TikTok will receive a last-minute reprieve from the Supreme Court, but several news outlets covering the hearing reported that a majority of the court’s justices expressed a lack of support for overturning the current ban. If the site is outlawed in the U.S., Franklin says he believes YouTube Shorts will temporarily fill the void.
“I haven’t seen huge budget shifts from TikTok to YouTube yet, but a lot of my clients are experimenting and spending small allocations on different platforms in case they do have to make a shift,” Franklin explains. “There’s a hesitancy because no other platform has as many Gen Z users as TikTok, but the assumption is that if the site is banned, its user will go somewhere else. For now all we can do is guess which platform that may be.”
If the Supreme Court does not intervene to save TikTok, it will be removed from U.S. app stores on Jan. 19 but remain live on users’ phones, albeit without regular push software updates to fix bugs and glitches. ByteDance might be able to maneuver and keep the platform online for a few months after the cut-off date, but the company hasn’t unveiled any of its contingency plans.
“We’re advising client partners to be cautious but optimistic, and recommending they pause TikTok media spend starting Jan. 18 to avoid any unforeseen investment complications,” said Kerry McKibbin, president/partner at ad agency Mischief @ No Fixed Address, adding that advertisers should familiarize themselves with the shorts platforms on both YouTube and Meta if they are concerned about a TikTok shutdown.
HYBE and JYP Entertainment were among the few music stocks to make gains this week as markets stumbled globally. HYBE, home to BTS and its members’ solo projects, rose 7.2% to 215,500 won ($146.19), its best closing price since Nov. 20, thanks to Friday’s news that BTS member J-Hope willsoon release new music and commence a world tour starting in Seoul on Feb. 28. JYP Entertainment, which has had global success with Stray Kids and ITZY, rose 5.6% to 71,600 won ($48.57) after the company announced it will launch a new boy band, Kickflip, on Jan. 20.
The 20-company Billboard Global Music Index (BGMI) slipped 1.4% to 2,126.33, marketing the fourth time in five weeks the index has lost value. Only five of the 20 stocks finished the week in positive territory. Other than HYBE and JYP Entertainment, only CTS Eventim (up 3.4%), Believe (up 3.2%) and Universal Music Group (up 1.1%) posted gains. Three stocks (Cumulus Media, Deezer and Anghami) were unchanged while 12 stocks had losing weeks.
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Music stocks were dragged down by numerous market forces this week. Stocks fell sharply on Friday (Jan. 10) following healthy employment numbers that investors likely interpreted to mean the U.S. Federal Reserve would not seek to lower interest rates at its meetings in January or March. Also, data from the University of Michigan released Friday showed consumers’ expectations for future inflation rose to 3.3% from 2.8%. In the United States, the Nasdaq composite fell 2.3% to 19,161.63 and the S&P 500 dropped 1.9% to 5,827.04. In the United Kingdom, the FTSE 100 rose 0.3% to 8,248.49. China’s Shanghai Composite Index dipped 1.3% to 3,168.52. South Korea was an outlier as the KOSPI composite index rose 3.0%.
Warner Music Group (WMG) shares dropped 5.4% to $29.33 after three analysts lowered their price targets ahead of WMG’s quarterly earnings release on Feb. 6. Guggenheim lowered its WMG price target to $40 from $44 after taking into account an expected 1.5% foreign exchange impact on the latest quarter’s revenue and a 1.7% impact on revenue for the full fiscal year ended Sept. 30, 2025. Guggenheim also dropped its recorded music licensing estimate while maintaining its recorded music subscription revenue growth forecast in the “high single-digit” range. Evercore lowered WMG shares to $35 from $36. UBS lowered WMG to $41 from $43 and maintained its “neutral” rating.
Spotify, which announces fourth-quarter earnings on Feb. 4, fell 1.5% to $459.53. Goldman Sachs raised its Spotify price target this week to $550 from $490. Spotify shares have fallen in five of the last six weeks and are 9.3% below the all-time high of $506.47 set on Dec. 4.
Music streaming company LiveOne had the index’s biggest decline, dropping 12.4% to $1.20. Radio broadcaster iHeartMedia fell 11.7% to $1.88. SiriusXM continued its losing streak, sinking 6.8% to $20.83. SiriusXM shares fell 58.3% in 2024 and have dropped 16.4% in the last three months. K-pop company SM Entertainment sank 5.1% to 68,900 won ($46.74).
According to Morning Consult, 57% of people born roughly between 1995 to 2010 aspire to become influencers and earn a living publishing their lives — or a fictional semblance of their real lives — on platforms such as TikTok, Instagram and YouTube. That means there has never been a greater need for simple solutions to license music.
Making synch licensing simple is key to capturing the potential in today’s creator economy, says Wendy Connell, vp of marketing at music synch startup Soundstripe. “How can we guide people through this complicated process and make it as easy as possible, and make sure that they know that they’re covered, it’s legal, and take care of all the complication for them?” she says.
Soundstripe has business customers, too, and its traditional synch (film, TV and movies) rose 87% in 2024. But personal users — influencers, hobbyists, students, etc. — account for 53% of its customers. With evidence growing that content creation is big business, there’s a huge opportunity for companies like Soundstripe that provide them with services — and the need for affordable music licensing could help grow a U.S. synch revenue market that was worth $411 million in 2023 (a number that includes only label revenue tracked by the RIAA) and probably more in 2024.
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The world is awash in content creators — the term for professional, semi-professional and amateur photographers and video makers who flood digital platforms with everything from cooking tips to travel videos to Amazon product recommendations. But making short videos for a living isn’t just an aspiration of the younger generations for whom Mr. Beast is the peak of celebrity and Kim Kardashian is the blueprint for turning fame into wealth. Morning Consult also found that 41% of all adults surveyed would choose the career: Across all age groups, millions of creators already operate at the sub-career level. And a November 2023 report by the Keller Advisory Group found there were 27 million paid creators in the U.S. aged 16 to 54. For a small group of them, being an influencer provides a six-figure annual income, but for most of the 27 million “micro-influencers,” annual income is less than $10,000. Regardless of how much they make, though, influencers are churning out content — much of it requiring music.
This supply of content exists because there is a massive, eager audience for creators’ videos and photos. Young consumers are spending their time on smartphones, not TVs: 60% of American teens spend four or more hours each day on social media on average, and nearly 30% are on social platforms for more than six hours per day. Older age groups also spend time on social media — the 55-64 age group logs two hours per day on average, according to eMarketer — but younger people skew toward short-form videos on TikTok while older consumers bank most of their social time on Facebook.
In the past, TV shows and movies provided a constant source for synch royalties for the use of a sound recording and its underlying musical work. Today, those traditional synch opportunities still exist, but influencers and other content creators are eroding legacy media’s viewing time. In July, YouTube accounted for more than 10% of TV viewing, according to Nielsen, becoming the first streaming platform to surpass the 10% threshold. That was more than Netflix, a TV juggernaut that commanded an 8.4% share, and Amazon Prime, a distant third amongst streaming platforms at 3.4%. All streaming platforms accounted for 41.4% of TV viewing, well ahead of cable (26.7%) and broadcast (20.3%).
But influencers need easy-to-use, affordable licensing options to stay out of legal trouble. Last year, companies such as Marriott, Bang Energy and OFRA Cosmetics were sued by music rights holders for using unlicensed music in influencer marketing. (Sony Music and Marriott ended their lawsuit while Bang Energy lost separate court cases against Sony and UMG in 2022.) While TikTok’s licensing deals allow users to incorporate music into their videos, they stop short of allowing corporations and the influencers they — or third-party firms — hire to use music for commercial purposes. Outside of influencer marketing, there are numerous other instances of companies using music without permission when simple, legal and affordable licensing options exist.
Aside from Soundstripe, platforms such as Epidemic Sound, PremiumBeat, Artlist and, most recently, The Rights provide royalty-free music, typically through a subscription model, that provide a wide range of mostly anonymous production music, though professional musicians and songwriters working under their stage names are largely absent from these platforms. While Soundstripe currently has in-house musicians to build its catalog, Connell says the company is working on bringing in record labels’ catalogs to offer to their customers. That would benefit artists and songwriters whose music isn’t available at Soundstripe and similar platforms and who would otherwise miss out on the rise of influencer culture — and the financial benefits that can come from tapping into it.
K-hip-hop star Jay Park is asking a U.S. court to force Google to unmask an anonymous YouTube user so he can sue in Korean court, citing allegedly defamatory internet videos linking him to drug traffickers and disparaging Korean-Americans.
Attorneys for the American-born Park say a YouTube account transliterated as Bburingsamuso has subjected the artist to a “malicious” campaign of videos, including one claiming he works with Chinese mobsters to import drugs and another suggesting Korean-Americans like Park “exploit” the country with illegal activities.
Park’s lawyers have already filed a defamation lawsuit in Korea, but in a petition filed Thursday (Jan. 9) in California federal court, they say that the foreign lawsuit “cannot proceed” without a U.S. subpoena forcing Google to hand over the user’s identity.
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“The defamatory statements falsely accuse Jay Park of being involved with organized crime, drug trafficking, and unethical conduct, all of which have caused significant harm to his reputation and professional endeavors,” the singer’s attorneys write. “Despite extensive efforts to identify the anonymous YouTuber through publicly available information, Jay Park has been unsuccessful to date. Consequently, Jay Park now seeks the assistance of this court.”
Google could legally object to such a request, including by potentially arguing that the subpoena would violate the First Amendment and its protections for anonymous speech. But Park’s attorneys say the U.S. Constitution simply doesn’t apply since they “strongly” believe the poster lives in Korea.
“Jay Park is not attempting to infringe on the anonymous YouTuber’s First Amendment rights because the anonymous YouTuber appears to be a citizen of Southern Korea,” the filing says. Park’s lawyers cite an earlier precedent that says U.S. legal protection for free speech “doesn’t reflect a U.S. policy of protecting free speech around the world.”
As K-pop and other Korean music have exploded in global popularity over the past decade — and with it an intensely enthusiastic online fan culture — numerous stars have turned to Korea’s strict defamation laws to fight back against what they say are false statements about them on the internet.
In 2019, HYBE (then Big Hit Entertainment) filed criminal cases alleging “personal attacks” on the superstar band BTS. In 2022, Big Hit did so again over “malicious postings” about BTS, even asking the group’s famous fan “army” to help gather evidence. YG Entertainment, the label behind BLACKPINK, has also filed its own complaint against “internet trolls,” accusing them of “spreading groundless rumours about our singers.”
It’s also not the first time such litigants have turned to the U.S. courts to help. In March, the K-pop group NewJeans filed a similar petition in California federal court, seeking to unmask a YouTube user so that the band could press for criminal charges in Korea over “derogatory” videos.
In that case — filed by the same lawyer who represents Park in his case filed this week — a judge eventually granted the subpoena. But it’s unclear from court records the extent to which Google has complied with it.
A Google spokesman did not respond to a request for comment on Park’s petition. But in a policy statement regarding government requests for personal information, the company says: “Google carefully reviews each request to make sure it satisfies applicable laws. If a request asks for too much information, we try to narrow it, and in some cases we object to producing any information at all.”
First, the elephant in the room. Justin Trudeau resigned as Prime Minister after a decade as leader of the country. He’ll stay on until a leadership race elects the new head of his Liberal Party on March 9. What could this period of transition mean for Canada’s music industry and arts funding? Read more:
Meanwhile…
Warner Music Group has formed another strategic partnership to elevate and develop Punjabi music in Canada.
ADA, the company’s independent label and artist services arm, announced a worldwide distribution deal with EYP Creations INC. EYP is a major management and content company in Punjabi music and is based in both Canada and India.
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Canada has emerged as a global hub for Punjabi music, which is one of the fastest growing global genres. Artists including Karan Aujla, Shubh and Diljit Dosanjh have achieved chart success and set records in the country.
Warner has been on the forefront of the Punjabi Wave, uniting Warner Music Canada and Warner Music India to launch 91 North Records in 2023. But this partnership with EYP also aims to foster the next wave of talent so that they can eventually achieve the same heights.
The new deal includes EYP’s record label, UrDebut Canada, which has helped launch new artists like Kushagra and Tanishqa, who have had songs with millions of streams in the last year. The goal, they say, is to open emerging artists to a similarly broad and growing audience of hungry international fans.
“This partnership with EYP Creations marks a strategic step in expanding WMG’s presence within the Punjabi music landscape,” says Warner Music Canada president Kristen Burke in a statement. “This alliance not only supports the growth of Punjabi music in Canada, but also opens doors for discovering and nurturing emerging talent in this vibrant community.”
EYP Creations CEO Nikhil Dwivedi says he’s excited about the potential of working with ADA and talks about the quality distribution and marketing it can open to South Asian artists in Canada.
“We are focused on nurturing young South Asian talent together through launching them at UrDebut Canada label and building them through distribution, management, live events and collaborations around the globe,” he says.
ADA has also partnered with other Punjabi music companies in recent years, including Punjabi music content aggregator, Sky Digital, and Punjabi record label, Geet MP3.
“We’re excited to bring this Punjabi music leader into the Warner Music Group family,” says Cat Kreidich, President of ADA. “Our team is looking forward to partnering closely with Nikhil and everyone at EYP Creations to mine new opportunities in the market and bring new voices into the mix.” -Richard Trapunski
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East Coast Music Association Parts Ways With CEO
On Monday (Jan. 6), the East Coast Music Association (ECMA) issued a press release stating that “the board has conducted a thorough review of our leadership and operations, leading to the decision to part ways with CEO Blanche Israël.” The change has been made ahead of the East Coast Music Awards show in St. John’s, Newfoundland this spring.
The Canadian Press reports on the “clash over the future of the East Coast Music Awards” that led to the decision. In an online petition launched late 2024, some members called for “transparency and stability” amid changes that affected the awards and its associated festival, citing a lack of clarity and consultation around applications and other “significant modifications.” Former ECMA CEO Andy McLean has been installed as interim managing director as the search for a new CEO begins.
ECMA’s stated mission is “to develop, advance and celebrate East Coast Canadian music, its artists and its industry professionals throughout the region and around the world. We advocate for our members to ensure they can sustain music careers while based in Canada’s Atlantic region.”
This year’s ECMA awards honoured folk-rockers The East Pointers with the most awards, followed by Jenn Grant, Morgan Toney, and Tim Baker. –Kerry Doole
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Lady Gaga And Bruno Mars Score The First Post-Holiday No. 1 On The Canadian Hot 100 in 2025
Lady Gaga and Bruno Mars have plenty to smile about this week.
The superstar duo have landed the first post-holiday No. 1 song of 2025, topping the Billboard Canadian Hot 100 “Die With a Smile.” The sentimental ballad has had a slow burn to the top, hitting No. 1 in its 20th week on the chart, though it’s been a mainstay on the Global 200. The song also climbed to the top of the U.S. Billboard Hot 100 for the first time this week.
Bruno Mars holds both the No. 1 and No. 2 spot this week on the Canadian Hot 100, with his Rosé collab “Apt.” at No. 2. Shaboozey’s record-breaker “A Bar Song (Tipsy)” is also back in the top 3, holding the third spot.
There’s also a pair of first-timers making their chart debuts. U.K. singer Chrystal arrives with “The Days” at No. 95. The minimalist dance track got a boost from a high-energy remix by rising Bristol producer Notion, as well as a feature on the popular TikTok account Jaxon’s Journey.
American psych-pop singer Chezile lands on the chart at No. 98 with the melancholic “Beanie,” a psych-pop song with hints of Mac DeMarco that has become a popular cover choice on TikTok. Chezile also had a bump from popular content creator Mr. Beast using the song to soundtrack his proposal announcement.
Claiming the final spot on the chart is Imogen Heap’s “Headlock.” She’s not a first-timer but the acclaimed singer-songwriter is getting some love for her 2005 track, which is also seeing a lot of traction on TikTok.
None of those songs are on the U.S. Hot 100 this week, in keeping with a trend of viral TikTok tracks showing up on the Canadian charts first. Heading into 2025, it looks like the app is still one of the leading career-boosters out there, though it is facing potential existential threats on both sides of the border. –Rosie Long Decter
Dust off that old Pioneer or Thorens — there’s a guy below who can set it up for you — and check out the year’s first edition of Executive Turntable, Billboard’s compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
There’s a full slate of personnel news this week, which of course has been dominated by the devastating fires across Los Angeles. We have a running list of organizations offering relief for musicians and music industry professionals, plus a tally of affected industry events. More coverage on the wildfires can be found here.
Sphere Entertainment appointed Robert Langer as executive vice president, chief financial officer and treasurer, effective Jan. 13. Langer, with over 30 years of experience, will work closely with the management team to support the company’s long-term direction, providing strategic financial insights and overseeing financial matters, strategy and business development. He will be based in Burbank and report to CEO James L. Dolan. Langer arrives from The Walt Disney Company, where he most recently served as head of corporate strategy and financial planning. During his 25-year tenure at Disney, he held various financial leadership roles, including CFO of Disney ABC Television Group and Disney Consumer Products. He also has significant global experience, having served as country manager for Germany, Switzerland and Austria. Dolan expressed confidence in Langer, saying the UCLA grad’s “multifaceted finance and strategy experience across the media and entertainment industry, both domestic and international, will be an asset as we continue to pursue our long-term goals and advance key initiatives.”
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Live Nation appointed Milly Olykan as senior vp of artist development and global touring, starting in January. Reporting to Omar Al-Joulani, president of touring, Olykan will spearhead the global expansion of Live Nation’s Country and Americana strategy. In this capacity, she’ll work with promoters worldwide to identify new touring opportunities, strengthen artist relationships and drive growth in the international country music market. Olykan arrives from the Country Music Association (CMA), where since 2018 she served as vp of international relations and development, and also as interim festival director. At CMA, she expanded the international strategy, built industry networks and increased global awareness of country music. Previously, Olykan was Vice President of Live Music and Major Arena Events at AEG Presents in the UK, co-founding the Country to Country (C2C) festival and establishing country touring for AEG Presents. Al-Joulani praised Olykan’s experience and connections across the wide worlds of country and Americana, saying they “make her a great asset to support our efforts in continuing to expand touring of those genres worldwide.”
Patrick Donnelly, longtime executive vp, general counsel and secretary of SiriusXM, has telegraphed a slow-burn retirement after 27 years. According to a filing with the SEC, Donnelly’s employment agreement was allowed to expire earlier this month, however, he will remain a full-time employee until April 4. Afterward, he’ll transition to a part-time role through the last day of the year, assisting with the handover of his responsibilities. During the full-time period, Donnelly will maintain his current salary of $1,025,000 while continuing in his existing roles until a successor is appointed. Afterward, he’ll transition to an advisory role for the new GC. In the part-time stretch, he’ll provide continued support, with compensation including a pro-rated 2025 bonus and part-time salary of $615,000 through years-end. He joined the company in May 1998 following stints at ITT Corporation and Simpson Thacher & Bartlett.
Warner Music Belgium hired Youssef Chellak as the label’s new general manager, effective immediately. Based in Brussels, Chellak will report to Niels Walboomers, president of recorded music and publishing for WMG Benelux. His role focuses on expanding Warner Music Belgium’s domestic roster, fostering innovative collaborations and driving cultural curiosity within the team. Chellak brings over 20 years of experience in the music industry, having started around 2000 as a producer, executive producer and publisher, collaborating with artists across Belgium, France, and Germany. In 2018, he became GM of Top Notch Belgium, where he developed artists like Dikke and Stikstof. Most recently, he served as A&R director at Universal Music Belgium, nurturing talents such as Aaron Blommaert and Berre. Chellak expressed enthusiasm for Warner Music’s entrepreneurial culture and commitment to supporting Belgian artists. Walboomers praised Chellak’s “proven track record, culturally curious approach and inspiring vision for the local music industry” for making him ideal for the role. “I’m confident that he’ll create an inspiring environment where local artists, emerging as the voices of their generation, can collaborate, excel and reach their full creative potential,” he said.
iHeartMedia elevated Nicky Sparrow to executive vp of multicultural sales and Dee Dee Faison to vp of multicultural partnerships and alliances, effective immediately. Both report to Tony Coles, president of multicultural business and development. Sparrow will use iHeart’s radio, podcast and events assets to drive results for advertising partners while focusing on The Black Effect and My Cultura Podcast Networks. With a 25-year tenure at iHeartMedia, she previously served as svp of multicultural sales and is active in philanthropy. Faison, with 24 years in media and entertainment, will expand iHeartMedia’s multicultural initiatives, having joined the radio giant in 2020 as director of client success and has worked with major clients such as Toyota and McDonald’s. “These talented leaders bring a wealth of experience and a fresh perspective that will be instrumental in driving our mission forward of connecting our clients and partners with iHeartMedia’s multicultural audiences,” said Coles.
Jody Gerson // John Michael Fulton
BOARD SHORTS: Project Healthy Minds, a mental health tech non-profit, named UMPG chairman and CEO Jody Gerson to its board of directors. As the first woman to lead a global music company, Gerson aims to forge pacts within the music and entertainment industries to enhance access to mental health resources. “Anxiety and other mental health issues often walk hand-in-hand with artistry, and it’s my responsibility to let the creative people I work with know that they don’t have to deal with these issues on their own,” Gerson said. “In turn, artists can help to publicly dispel the notion that surviving in an often lonely and isolating world is just a matter of toughening up. Life is not easy, and seeking care for good mental health needs to be both destigmatized and encouraged.” Gerson joins a board that includes Carson Daly, Lisa Licht, Kalen Jackson and Sally Yates, among others … The Copyright Alliance added two new board members on Jan. 1: Alicia Calzada from the National Press Photographers Association and Jessica Richard from the Recording Industry Association of America. Both will serve two-year terms … Brian Magerkurth has been appointed chairman of the board for SongwritingWith:Soldiers. A board member for the past four years, Magerkurth succeeds Gary Leopold, who has served as chairman since 2018. Leopold will remain actively involved with the organization as a director.
Ben Sharman is the new director of booking at Co-op Live, Oak View Group’s much-hyped arena in Manchester, England. Sharman brings over a decade of experience in the live events industry, having managed British Athletics’ commercial partners for the London 2012 Olympics and secured major sponsorships for Aston Villa Football Club. He joined the NEC Group in 2014, transitioned to arena programming in 2017, and was promoted to head of programming for Utilita Arena Birmingham and bp pulse LIVE in 2022. Gary Hutchinson, executive vp of Oak View Group International, praised Sharman’s expertise and industry relationships, expressing confidence in his ability to elevate the venue as a premier destination. In 2025, Co-op Live will host global talents such as Sabrina Carpenter, Tyler, the Creator, Bruce Springsteen, Lionel Richie and Hans Zimmer. OVG also announced that Katie Musham, Co-op Live’s director of strategic programming, will be moving to its international unit to aid their expansion efforts across Europe and beyond.
TuneCore, the Believe-owned digital music distributor, named Mike Ceglio as vp of operations strategy. Reporting to CEO Andreea Gleeson, Ceglio will oversee a wide swath of business operations, including the content review, trust/safety and copyright teams, while collaborating with the product team to enhance operational processes. Ceglio brings over a decade of experience in digital operations and rights management. Before joining TuneCore, he served as vp of creator operations at SoundCloud, where he managed creator services, among other duties. He has also held leadership roles at UnitedMasters and Vydia. Gleeson praised Ceglio’s industry insight and ability to build high-performing teams. “His leadership will enable us to be even more proactive in working alongside DSPs, tackling new industry challenges and streamlining workflows to create a smoother, more efficient experience for both DSPs and artists,” she said. “By deepening these partnerships, Mike will further enhance TuneCore’s position as a trusted partner that continuously delivers operational excellence in the evolving digital music landscape.”
AEG Presents named Weston Hebert as vp of global touring, reporting to Rich Schaefer, the president of global touring. Based in Nashville, Hebert will lead global touring strategies and initiatives. Hebert previously worked as a talent buyer at Live Nation, managing bookings for venues in the Great Lakes region and promoting tours for emerging artists like The Red Clay Strays and Gavin Adcock. He began his career at WME Nashville, where he focused on expanding the country touring business internationally. Hebert praised the global team’s “exceptional sense of collaboration & community with the artists, managers & agents they work with,” while Schaefer highlighted Hebert’s “strong relationships with artists, managers, and agents, as well as his exceptional taste in music.”
Across the pond, Emma Bownes was promoted to senior vp of venue programming at AEG Europe, where she’ll lead programming strategy for prominent venues, including The O2 in London, Barclays Arena in Hamburg and Berlin’s Uber Arena. Bownes, a 25-year veteran of the live business, joined AEG in 2010 and has played a pivotal role in building successful event calendars. “At AEG, our vision is to be the best-in-class live entertainment business and Emma’s work is fundamental to this,” said John Langford, chief operating officer at the AEG subsidiary. The live giant also announced other team promotions: Jo Peplow-Revell as director of corporate and special events and Marc Saunders as head of programming at The O2, both reporting to senior programming director Christian D’Acuna.
Jose Nova // Complex
Jose Nova is the new head of Latin at Complex, where he will oversee music, content strategy and artist collaborations to help the brand drive growth in the Latin music space. Previously, Nova was global Latin industry relations lead at Amazon Music, spearheading campaigns for top Latin artists like Bad Bunny and Karol G. His work, which scaled major tours, live-streaming events and marketing campaigns, got Nova recognized on Billboard’s 2023 Latin Power Players list. Nova’s career also includes roles at Spotify and Interscope, where he curated strategies for U.S. Hispanic and Latin American audiences. “I’ve always regarded Complex as a brand that pushes boundaries and redefines culture, creativity, and storytelling,” he said. “After discussing our shared vision with (Complex CEO) Aaron Levant and the team, it became clear how aligned we are in driving meaningful impact for Latin audiences, artists, and creators.”
NASHVILLE NOTES: Brown Sellers Brown, which includes Quartz Hill Records, Stone Country Records and BSB Management, hired Ash Bowers as director of artist management and A&R support, where he will also lead management strategy for BSB artists including Ben Gallaher and Spencer Hatcher. Wendy Buckner joins as day-to-day manager for artists including Gallaher and Hatcher, while Abby Driscoll joins as day-to-day manager for artist Annie Bosko. Angela Wheeler has been promoted to director of content and creative … Universal Attractions Agency added booking agent Ryan Slone to its rock & pop division, led by Matt Rafal. Slone brings to UAA artists including Danielle Nicole, dada, 7Horse, LOVE with Johnny Echols, Talking Dreads, Scott Mulvahill, Black Circle, and Monkeys on a String. Slone’s previous career stops include Bonfire Touring, Ovation Artist Group and New Frontier Touring. —Jessica Nicholson
EastCoast Entertainment promoted Brad Strouse to managing partner, recognizing his contributions since joining the full-service agency in 2016. Strouse, who began his career in Nashville specializing in artist booking, touring and live event production, previously served as location managing director for ECE’s Richmond and DC offices. He has played pivotal role in expanding the company’s National division, overseeing large-scale productions and booking acts like Darius Rucker, Trace Adkins and Sister Hazel at venues including Levi’s Stadium and the Rock & Roll Hall of Fame. ECE President John Wolfslayer commended Strouse’s leadership, integrity and dedication to artists, adding he has “qualities of a true role model for the next generation, with his unwavering integrity, tireless work ethic, and deep commitment to our community of artists.”
Music finance firm Sound Royalties promoted Allison Portlock to executive vp of marketing and Bryan Field to director of royalty analysis. Portlock, who has been with Sound Royalties since 2018, most recently as vp of marketing, is based in West Palm Beach, Fla. and reports to Michael Bizenov and Alex Heiche. As a key executive team member, she oversees marketing, business development and customer experience, while also guiding company strategies and expanding the brand into new markets. She focuses on long-term customer relationships and leads the marketing team’s growth. Fried joined SR in 2014 and was most recently the senior royalty analyst. Based in WPB and reporting to Barbara Ocasio, he manages the royalty analyst team, performs in-depth analysis of royalty earnings, identifies risks and produces projections.
Believe beefed up its UK team with the appointments of Paul Trueman as director of artist services and Joe Edwards as head of marketing. Trueman, formerly COO at un:hurd music and GM at AWAL, brings extensive expertise in marketing, promotions and audience development. At Believe, he’ll lead A&R, new business, commercial strategy and global marketing campaigns, reporting to UK managing director Alex Kennedy. Edwards, previously senior director of marketing at AWAL, has worked marketing strategies and award-winning campaigns for artists such as Jungle, Djo and Bombay Bicycle Club, and will now report to Trueman.
Brad Parscale, the digital director for Donald Trump’s winning 2016 campaign who later had a lengthy stint as campaign manager in 2020, is the new chief strategy officer of Christian conservative media company Salem Media Group. SMG recently stuck a fork in its music ambitions by selling off its seven remaining Contemporary Christian-formatted radio stations to the Educational Media Foundation (EMF) for $80 million.
Acoustic Sounds reappointed turntable specialist Chad Stelly to their team. Stelly, who initially joined Acoustic Sounds in 2005, is feted for his expertise in HiFi equipment sales and turntable setup. After leaving in 2019, he worked at Musical Surroundings, providing dealer training and supporting phono cartridges, preamps and turntables, as well as contributing to product development. Later, he joined Bluebird Music, focusing on SME support and repair. Acoustic Sounds, founded by Chad Kassem and based in Salina, Kansas, is home to Quality Record Pressings, its in-house record pressing plant, and Analogue Productions, its vinyl reissue label. The company also operates an original production label, APO Records, along with Acoustic Sounds Printing, its dedicated print shop. Additionally, Acoustic Sounds boasts Blue Heaven Studios and The Mastering Lab, specializing in recordings and LP mastering.
Emerald City Music, a Seattle-based chamber music series, appointed Sean Campbell as its new executive director, effective Feb. 3. Campbell, formerly the artistic planning manager at the Chamber Music Society of Lincoln Center, will work alongside ECM’s founding artistic director, Kristin Lee. His responsibilities include providing administrative leadership, supporting the board of directors, developing engagement events and educational programs, fostering partnerships with community organizations and local businesses, serving as a community ambassador, and creating a strategic plan for ECM. Campbell aims to enhance ECM’s innovative programming for audiences in the Pacific Northwest and beyond.
ICYMI:
Derek Chang
Lyndsay Cruz left her post as executive director of ACM’s philanthropic arm … Liberty Media named Derek Chang as its new president and CEO … Kobalt tapped Rani Hancock to be its new executive vp and head of U.S. creative … Wasserman Music scooped up Kevin Shivers, James Rubin and Cristina Baxter — plus the artists they represent — from rival agency WME … Lauren Davis was promoted at NYU’s Clive Davis Institute … SALXCO named a new CEO and co-presidents.
Last Week’s Turntable: Warner Records’ New Head of International Marketing
LONDON — The British government has launched a public consultation into the ticketing industry, including the heavily criticized use of dynamic pricing for popular tours, as part of wider efforts to stop music fans from “being fleeced” by “greedy ticket touts.”
The 12-week consultation was announced by the Department for Business and Trade and Department for Culture, Media and Sport on Friday (Jan. 10). It sets out a range of measures to transform the U.K.’s secondary ticket market, including a proposed cap on the price of ticket resales and new legal regulations for ticket platforms around transparency and the accuracy of information they provide to fans.
“From sports tournaments to Taylor Swift, all too often big events have been dogged by consumers being taken advantage of by ticket touts,” said business secretary Jonathan Reynolds in a statement. “These unfair practices look to fleece people of their hard-earned income, which isn’t fair on fans, venues and artists.”
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Government ministers are additionally reviewing pricing practices across the entire live events business, including the use of dynamic pricing by primary vendors whereby prices surge based on demand.
The use of dynamic pricing for concert tickets came to the fore in the U.K. in September when it was used on the U.K. and Ireland legs of Oasis’ Live ‘25 reunion tour, prompting hundreds of complaints from fans after tickets unexpectedly soared from around £150.00 ($200) for standard admission to £355.00 ($470) without prior warning.
The angry consumer backlash was accompanied by fierce condemnation from British politicians, including the Prime Minister, Sir Keir Starmer, and culture secretary, Lisa Nandy, who called the “vastly inflated” prices “depressing to see.”
Soon after, the U.K. competition regulator launched an investigation into Ticketmaster examining whether the Live Nation-owned company broke consumer protection laws and engaged in “unfair commercial practices” by failing to notify ticket buyers in advance about the price rises. Ticketmaster has consistently stated that ticket prices are set by the artist team and event organisers, not itself.
Starmer had previously vowed to cap resale prices on secondary ticketing platforms, such as Viagogo and StubHub, in the run up to July’s election win.
According to the Competition and Market Authority (CMA), around 1.9 million tickets were sold through secondary platforms to British consumers in 2019, accounting for between 5% and 6% of all tickets sold that year. Tickets sold on secondary sites are typically priced more than 50% higher than their face value, reports CMA, which estimated the U.K. secondary ticketing market to have been worth around £350 million ($430 million) a year pre-pandemic.
“For too long fans have had to endure the misery of touts hoovering up tickets for resale at vastly inflated prices,” said Nandy announcing the three-month-long consultation, which closes April 4.
The government said it was seeking views from live industry stakeholders and music fans on a number of proposed measures designed to make ticket resales fairer and more transparent.
They include capping the price of resale tickets at up to 30% above face value and banning resellers from listing more tickets than they can legally buy on the primary market. These measures would disincentivise industrial scale touting, said the government.
Ministers are also proposing to pass tougher regulations for ticket resale companies and issue tougher fines for offenders. At present, the maximum fine that can be issued by Trading Standards against companies that breach ticketing sale rules is £5,000 ($6,100). The consultation will investigate whether this cap should be increased.
The primary ticketing market is also under scrutiny with ministers calling for evidence on whether fans are protected from “unfair practices,” including the use of new technologies and dynamic pricing.
Rocio Concha, director of policy and advocacy at consumer protection organization Which?, said the government must use the consultation “to regulate the industry properly, ensure ticket resales don’t exploit fans and decide when the use of dynamic pricing is unfair and shouldn’t be allowed.”
As in other countries, the practice of dynamic pricing is commonly used in the U.K. by travel companies, taxis and hotels, but it has only been fleetingly used in the British touring market with Oasis’ comeback tour – which is being jointly promoted by Live Nation, SJM Concerts, MCD and DF Concerts – marking its most high-profile roll out for live music concerts in the United Kingdom and Ireland so far.
The British government’s probe of the ticketing business is the latest attempt by authorities to tackle the persistent issue of large-scale ticketing touting in the U.K.
In 2021, watchdog the Competition and Markets Authority (CMA) concluded its long-running investigation into secondary ticketing platforms by making a series of recommendations to government on how to fix the sector. Those recommendations were rejected by the then Conservative government, but now form the basis of the Labour Party’s proposals.
There has also been a number of investigations by the Advertising Standards Authority (ASA) into secondary sites, with a particular focus on Viagogo.
When reached for comment, a Viagogo spokesperson insisted the company will “continue to constructively engage with the Government and look forward to responding in full to the consultation and call for evidence on improving consumer protections in the ticketing market.”
Responding to the public consultation, a spokesperson for Ticketmaster U.K. said the company was “committed to making ticketing simple and transparent” and supported plans to introduce an industry-wide resale price cap.
“We also urge the government to crack down on bots and ban speculative ticket sales,” said the U.K. arm of Ticketmaster, which has capped resale prices to face value on its platform since 2018. StubHub did not respond to a request to comment.
Adam Webb from U.K. campaign group FanFair Alliance called the government’s proposed measures “potentially game-changing” and highlighted the success of other countries, including Ireland, in passing legislation that has effectively banned ticket scalping. “The U.K. simply needs to follow their example,” said Webb.
As the devastation from the wildfires in Los Angeles continues to unfold, the Recording Academy and MusiCares have launched the Los Angeles Fire Relief Effort to support music professionals impacted by the crisis, making a combined pledge of $1 million to kick off the efforts. “The entire Grammy family is shocked and deeply saddened by […]