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There are a lot of recognizable names on Billboard’s Alternative Airplay chart: Green Day, Jack White and Linkin Park are all in the top 10, to name a few. But this week, one of the most successful bands in the chart’s history spends a second week at No. 1: Cage The Elephant, whose latest single “Rainbow” becomes their 12th leader on the chart, tying Linkin Park and the Foo Fighters for the third-most all time.
That’s a significant milestone for both the band and its label, RCA Records. But RCA’s success atop Alternative Airplay goes deeper, and more unconventional, this week: Myles Smith’s breakout single “Stargazing” reaches No. 2 on the chart, giving the label the top two songs there for the week. And Smith’s achievement is all the more remarkable because the song is his first charting hit in the U.S., a relative rarity for an artist making waves at alternative. And that one-two punch success helps RCA’s senior vp of pop/rock promotion Gary Gorman earn the title of Billboard’s Executive of the Week.
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Here, Gorman explains the strategies that helped RCA hit those marks, the differences between veteran acts and new artists at alternative radio and how the promotions job has changed over the course of his extensive career. “The information and technology we have now vs. 15 years ago is staggering and allows us to be more strategic than ever,” Gorman says. “The bones of this job are, however, still the same. I expect that to continue, as long as music programing at radio is still editorialized.”
This week, Cage The Elephant spent its second week at No. 1 on Alternative Airplay with “Rainbow,” tied with Foo Fighters and Linkin Park for third-most all time, with 12 No. 1s. What key decisions did you make to help make that happen?
Cage The Elephant is a Goldilocks band for the alternative format. Their history of No. 1 songs and alternative chart success coming into the Neon Pill album cycle was undeniable. Not to mention, for my money, they are one of the most consistently ferocious live bands in the space. That being said, multiple No. 1s from any campaign are promised to no one, so a lot of the strategy here lies in the long tail of the promotional campaign and how to outline a comprehensive 24-plus-month plan. Our partners at Q Prime are an incredible asset and invaluable in all collective decisions from the timing, touring, artist participation and information sharing. One of the hardest and most discussed decisions wound up being about which single to lead with. Impacting the darker “Neon Pill” first into the lighter “Rainbow” still rings true for me.
With Myles Smith’s “Stargazing” at No. 2, RCA has both of the top two slots on the chart, with two vastly different songs. What strategy goes into making that happen?
So wildly different — it’s such an exciting moment. Cage is an established band at the format, and it had been many years since new Cage music, so the table was set and the anticipation was high. Myles, on the other hand, was a virtual unknown to alternative radio. As a result, the set up was more “door to door” as we sought early champions. A handful of alternative major-market programmers led the way, early, on the backs of a huge streaming story and we were off to the races. We couldn’t have achieved this level of success on this campaign without the early belief from those first alternative stations. Those folks have all my gratitude.
The upper tier of the Alternative Airplay chart is full of artists who have had careers stretching back 10 years or more — Cage, White, The Offspring, Linkin Park, Green Day — but Myles is a much newer artist, with “Stargazing” being his first charting hit in the U.S. How hard is it to break a new artist on alternative radio these days?
As Public Enemy once said, harder than you think. Alternative radio has always played a wide variety of new musical styles, but ultimately, it’s their gold libraries that hold everything together. One can say many of the most successful new songs at alternative have “connective tissue” sonically to a station’s music library. With the nostalgic feels coming out of the pandemic, heritage artists releasing new music have been a hot ticket item for many programmers, making shots on new artists even tougher. That being said, there certainly have been some brand-new artists with terrific runs at alternative in the last year. Myles Smith has been a triple threat with “Stargazing”: a sonic fit, incredible streaming and early power-worthy research.
On the flip side, why is the format so friendly to artists with long careers, when so much of pop radio is driven by new hits and new artists?
How much time do you have? Alternative radio today has remained true to their explosive origins, continuing to support a larger library of songs and artists dating back to the format’s inception. As a result, these stations tend to have a slightly older audience than pop, along with fewer current tracks in rotation at a given time. As mentioned, the wave of historic artists releasing new music has created quite a dilemma. Given the limited space for current music, it would seem many programmers have opted to lean into the artists they know have worked in the past. The irony, of course, is that we have seen some of the biggest researching songs of the year come from either new or unexpected artists at this format, with Myles Smith being a prime example.
How has radio promotion evolved over the course of your career?
The information and technology we have now vs. 15 years ago is staggering and allows us to be more strategic than ever. The bones of this job are, however, still the same. I expect that to continue, as long as music programing at radio is still editorialized. I learned a long time ago that the one constant in this business is change. Having a crackerjack team here at RCA across all formats, including the promo leadership from Keith Rothschild and Sam Selolwane, allows us to face new challenges and adopt new strategies while remaining focused and unrelenting in the amplification of our artists across the radio platform.
Michael Jackson’s estate has filed a legal action against a man who it claims has threatened to resurface ugly abuse allegations ahead of the upcoming release of a biopic about the King of Pop, according to multiple media reports.
As detailed by both the Washington Informer and the Financial Times on Friday, Jackson’s estate has filed a private arbitration case against the unnamed accuser, claiming his alleged threats violate an earlier, never-before-reported settlement over the abuse accusations.
In the arbitration case, the estate reportedly alleges that the earlier settlement — struck in 2020 — saw the accuser paid $3.3 million in return for signing a non-disclosure agreement. But the estate reportedly claims he’s now threatening to breach the agreement if he’s not paid another $213 million.
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In an interview with the Informer, estate executor John Branca reportedly said: “The associate’s lawyer even said to us, ‘If you don’t meet our demands, we’re going to have to share these allegations with a wider group of people.’ It was a shakedown. Enough is enough.”
The name of Jackson’s accuser and the details of his supposed allegations were not disclosed in media reports. It’s unclear when the arbitration case was filed, or what exactly it alleges. The Jackson estate would not confirm the accuracy of the reports and declined to comment on the matter.
The article from the Financial Times reported that the Jackson estate had also referred the matter to the U.S. Attorney’s Office in Los Angeles. A spokesman for that office did not immediately return a request for comment from Billboard.
The threats to go public come as the Jackson estate prepares for the premiere of Michael, a movie about the singer’s life starring his nephew Jaafar Jackson in the titular role. The biopic, directed by Antoine Fuqua, is set for release in April 2025.
Jackson, who died suddenly in 2009, was never convicted or held legally liable on any accusation of child molestation, but is still dogged by such allegations. Two men, Wade Robson and James Safechuck, continue to claim Jackson sexually abused them as children, spending the last decade pursuing civil lawsuits. And their allegations were amplified in 2019 by HBO docuseries Leaving Neverland, which laid out their claims in disturbing detail.
The Jackson estate has always vehemently denied all such claims, pointing out that the singer was acquitted in a 2005 criminal trial and arguing that his accusers are simply seeking monetary gain from an artist who cannot defend himself because defamation law does not extend to dead individuals.
Shortly before Leaving Neverland aired, the estate sued HBO over the series, claiming that “Michael Jackson is innocent. Period.” The case claimed the network had breached a decades-old contract that it signed to air a Jackson concert back in 1992, which included a provision banning HBO from making “any disparaging remarks” about the singer.
That lawsuit was eventually sent to private arbitration in 2019, where it remains pending. The status of such arbitration cases, similar to the one reported on Friday, are intentionally kept more private than traditional litigation and are difficult to ascertain from public records.
The 2025 Juno Awards will include awards for reggae recording, Christian/gospel album, and children’s album, after all.
CARAS, the Canadian Academy of Recording Arts and Sciences (CARAS), has reportedly reversed a planned decision to put those three categories on hiatus, as well as the award for international album, the fate of which remains unknown.
Earlier in September, The Canadian Press obtained a letter which revealed the planned suspension of the four categories, part of a “broader set of updates” still to be announced.
Response was swift from the music industry and beyond, with many citing concerns that reggae recording and Christian/gospel album, especially, are categories that honour genres led by Black musicians.
“There’s a lot of anger among us reggae folks,” Juno nominee Jason Wilson told The Canadian Press, adding that the removal of the reggae award could only “ring alarms of racism.”
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“While (the Junos) might be saying the right things about inclusion, in the very same breath they’re ditching reggae and gospel. How can this be reconciled?” Wilson said.
Politicians spoke out as well, with federal MP Michael Coteau — also the former Ontario Minister of Culture — advocating for the reggae, Christian/gospel, and children’s album categories to be reinstated. “Revisit this really bad decision,” Coteau said on X. City councillor Josh Matlow added his voice to the chorus as well.
Juno Awards president and CEO Allan Reid announced the decision to reinstate the categories on Tuesday, September 17.
“I want to personally address the recent discussions surrounding changes we were considering for the 2025 Awards,” Reid wrote on Instagram. “Over the course of last year, CARAS underwent an extensive process reviewing all Award categories, taking into consideration data such as consumption, number of submissions, and other metrics,” Reid explained. “Given the feedback from the community, CARAS will not put these three categories on hiatus this year.”
Speaking with the Toronto Star, publicist and cultural commentator Dalton Higgins (who previously called the decision to eliminate reggae “a slap in the face to…the Black community” and “a PR nightmare of epic proportions”) emphasized that CARAS shouldn’t have considered eliminating those categories without consulting the communities that contribute to them.
“To not engage the Jamaican community or the broader Caribbean community in a healthy two-way dialogue,” Higgins said, “it felt like we were taking 20 steps backwards.”
This isn’t the first time artists have called out the Junos on issues of recognition and representation, including previous boycotts by hip-hop artists Rascalz and Drake.
More information about the 2025 Juno Awards category changes will be announced on Sept. 23, Reid clarified in his post.
The 2025 Junos will take place in Vancouver. -Rosie Long Decter
Jeremy Dutcher Becomes The First Two-Time Polaris Music Prize Winner
Jeremy Dutcher has won the Polaris Music Prize. Again!
The Indigenous singer-songwriter of Neqotkuk (Tobique First Nation) became the first two-time winner in the history of the music award, which celebrated its 19th edition this week (September 17) at Massey Hall in Toronto.
With the album Motewolonuwok, Dutcher beat nine other shortlisted albums: Cindy Lee’s Diamond Jubilee, NOBRO’s Set Your Pussy Free, TOBi’s Panic, DijahSB’s The Flower That Knew, Allison Russell’s The Returner, Bambii’s Infinity Club, Elisapie’s Inuktitut, The Beaches’ Blame My Ex and Charlotte Cardin’s 99 Nights.
Dutcher wins the $50,000 prize donated by the Slaight Family Foundation, which goes to the best Canadian album of the year, as determined by a jury of experts based solely on artistic merit.
“Six years ago, I put out my first record [and] this award changed my life,” he said. “I have unending gratitude to this music community. Not a single album on this list sounded like each other. That speaks to the breadth of music in this place.”
The night included performances by most of the nominated artists, with creative substitutions for those who couldn’t play: The Beaches’ Jordan Miller playing with teen band Thunder Queens, a string section playing along with a taped performance by Charlotte Cardin, a Cindy Lee video premiere, and a ballet inspired by Allison Russell’s “Eve Was Black.”
Read about the best moments of the the 2024 Polaris Prize gala here. -Richard Trapunski
Shaboozey Honoured at Toronto Concert as ‘A Bar Song (Tipsy)’ Hits 16 Weeks at No. 1 on Billboard Canadian Hot 100
Shaboozey has this year’s longest-running No. 1 hit on the Billboard Canadian Hot 100 with “A Bar Song (Tipsy), and last week he got to celebrate it in a big way.
At his concert at Danforth Music Hall on Friday (Sept. 13), he welcomed Billboard Canada‘s Richard Trapunski, Mo Ghoneim and Jackson Turner onstage to present him with a plaque for the achievement.
“This is crazy man, this is nuts,” he said, raising the plaque triumphantly as the crowd cheered. “Y’all did it first!”
Shaboozey played the hit three times a row during his encore, with the crowd clearly loving every second of it.
The song has now spent 16 weeks atop the Canadian Hot 100, surpassing last year’s 15 weeks for Miley Cyrus’s hit “Flowers.” Lil Nas X has the current record at 19 weeks for “Old Town Road.” Shaboozey only needs three more weeks to tie it and four more to beat it.
“Let’s see if we can do it,” said the country star in his green room before the show, sitting backstage next to a portrait of Charley Crockett.
“A Bar Song (Tipsy)” hit No. 1 in Canada before the U.S. Hot 100, where it currently sits at 10 weeks at No. 1.
“I guess you guys got a lotta drinkers here, huh?” he joked, when asked why the song was resonating in Canada. “It just shows that you guys love to have fun. Every day is a celebration when people are listening to this song.”
The song is an ode to forgetting your troubles with a double shot of whiskey that interpolates rapper J-Kwon’s 2004 song “Tipsy.” An addictive country song that plays with elements of hip-hop and is easy to sing along to, “A Bar Song (Tipsy)” has shown to unite different kinds of listeners and get airplay in a variety of different radio formats.
Evidently, it also has a lot of staying power. -R.T.
Lisa Grossi Named Director of National Radio Promotion & Media Relations at Warner Music Canada
Warner Music Canada has announced the appointment of Lisa Grossi to the position of director, national radio promotion & media relations.
Grossi joins the company from Bell Media, where she served as the national music director for Virgin Radio & Move Radio, as well as music director & assistant program director for CHUM 104.5. She becomes the first woman ever to lead Warner Music Canada’s promotion department.
“Music is my passion. I live and breathe it,” Grossi says. “Growing up, it was my dream to work for a record label and I am so excited that this is now a reality. I’m thrilled to join Warner Music Canada to help break new artists and have continued success with their roster of established artists.”
Grossi has over 18 years of experience as a radio programmer, and the label heralds her appointment as a step to bring “Warner Music Canada’s radio team into the future.”
Madelaine Napoleone, vp of marketing, says “Lisa is a highly respected leader in the radio industry, bringing a fresh perspective on how we can enhance our partnership with radio both now and in the future. I’m also proud to share that with her appointment, we are the only major label in Canada to have an all-female radio team.”
Lisa Grossi was recently celebrated in the Industry Spotlight of Billboard Canada Women in Music. She gave this advice to the next generation of women in the industry: “Trust your gut. Speak your truth. Be authentic. Always give your honest opinion even if it’s not the popular opinion.”
That advice has led her into new terrain as she moves into the new role at Warner. –Kerry Doole
Welcome to a teeming edition of Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. And what a depressing late-week it’s been, with Warner Music making deep cuts across its Atlantic Music Group that sources say will affect between 150-175 people. If you need a palette cleanser, read on for mostly good news but also check out Billboard’s weekly interview series spotlighting a single executive, our helpful calendar of notable events across the biz, and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
Believe appointed industry veteran Henri Jamet to lead its France operations as managing director, reinforcing its leadership team in its all-important home market. With over 20 years of experience, including the last decade at Believe, Henri has played a key role in the company’s artistic wins. He replaces Romain Vivien, who is now president of Europe and global head of music, and will report directly to him. This move aligns with Believe’s focus on A&R and artist development to boost market share across the 50 countries it now operates in. Henri’s career began at Universal Music and NRJ, followed by Wagram, where he became a marketing manager. In 2013, he joined Believe, leading labels such as AllPoints, naïve, and launching Animal63. Under his leadership, AllPoints became a leader in French rap — its artists dominated last year with 47 of the top 200 albums — while naïve emerged as a major pop label. “Henri is as close as possible to the ground, he is respected in the industry, he has a creative vision and knows the company culture,” said Believe founder and CEO Denis Ladegaillerie. “He is the ideal candidate to succeed Romain, one of the Group’s best ambassadors and a great example of career development with us.”
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Maximilian Paproth is coming back to Budde Music, where he worked for a decade earlier in his career, as global president A&R. In that role, Paproth will manage the company’s German operations, as well as its international A&R, starting in January 2025. He will report directly to company owner and CEO Benjamin Budde, who has been building the family-owned publishing company into an increasingly global operation that is active in the agency and concert promotion businesses, as well as its publishing business. Paproth worked at Budde in various roles from 2003 to 2023, then worked for Sony Music Publishing and then Universal Music, where he is currently vp of A&R for central Europe & international marketing Germany. “Max is now supporting our efforts to be the best partners for authors and artists at the perfect time,” Benjamin Budde said in a statement. Budde Music includes the Budde Talent Agency and the management company BuddeMgmt, as well as publishing and some recording operations. –Robert Levine
Downtown Music promoted Gareth Mellor to senior vp of global marketing & communications. Based in the UK, Mellor will lead M&C efforts across Downtown’s four divisions: publishing, distribution, artist & label services and royalties & financial services, which serve over 5,000 clients and 4 million creators in 145 countries. A Downtowner since mid-2021, Mellor was previously vp of global marketing and communications and earlier served as global head of B2B marketing for its distribution tech company FUGA. He has also held senior roles at TuneCore, AWAL and Kobalt. He reports to CEO Pieter van Rijn and chief commercial officer David Driessen, who commended Mellor’s global marketing expertise and contributions to FUGA, expressing confidence in his ability to strengthen Downtown’s brand globally. “With a strong understanding of global marketing, he has continued to deliver exceptional results-driven work at Downtown and I look forward to working alongside him in his new role as he continues to elevate and position Downtown’s brand in the global marketplace,” said the recently promoted Driessen.
Back to Believe, which is also reinforcing its commitment to Mexican music with two leadership appointments. Marco Cataño — who has a 25-year career and has worked at Sony Music and Warner Music — is named head of artist services LATAM, overseeing the Paris-based company’s premium offerings. As head of label & artist solutions México, José Pablo Molina’s division will offer solutions to independent artists and labels through the marketing and content distribution platform. Molina has 10 years of experience, previously working at ROC Nation and OCESA. “Both Marco and José Pablo have an outstanding track record in the music industry,” said Alejandra Olea, Believe America’s managing director. “Their experience allows them to identify areas of opportunity in the market to strengthen and develop Spanish-speaking talent. Their ability to attract and grow artists in a lasting way aligns with Believe’s priorities for Mexico and Latin America.” –Jessica Roiz
Merlin, the digital licensing partner for the indie music sector, welcomed back Kaoruko Hill as the music rights organization’s general manager of Asia-Pacific. Kaoruko’s career spans over a decade, including her most recent role at ByteDance, where she managed global music rights. From 2016 to 2020, she was instrumental in Merlin’s successful entry into the Japanese market, increasing membership and building strong partnerships as head of member relations and operations. She previously worked at Japan’s music copyright collective NexTone Inc., focusing on new media licensing and global partnerships. Merlin’s CEO, Jeremy Sirota, praised Kaoruko’s strategic vision and said her “deep commitment to the music industry make her the ideal leader to drive our efforts in the Asia-Pacific market forward.”
Hipgnosis Song Management named Sara Lord as its new chief creative officer, tasked with managing synch, audience development and leading Hipgnosis’ overall strategy and creative industry collaborations for its portfolio of some 40,000 iconic songs. A veteran of Concord Music, where Lord built an international team and launched the Concord art prize, Lord joined Hipgnosis in 2023 as executive vp of content. Lord will work alongside Katovsky under the new Blackstone ownership. “Sara has an outstanding track record and incredible knowledge of the creative industries,” Hipgnosis CEO Ben Katovsky said in a statement. “Hipgnosis owns many of the world’s most iconic songs and, as we seek to bring them to even wider audiences, building partnerships across these creative industries is a key part of our strategy. Sara is uniquely qualified to build these partnerships, while working closely with our songwriters and artists.” –Elizabeth Dilts Marshall
Sony Music Publishing promoted Antoine Dathanat to managing director of France, starting Oct. 1. He will succeed the SMP’s longtime French MD Nicolas Galibert, who is retiring at the end of the month. As MD of SMP France, Dathanat will be responsible for overseeing creative and business operations across France and supporting SMP songwriters around the globe. He will continue to be based out of Paris and will report directly to Sony Music Publishing president of international Guy Henderson. –Kristin Robinson
PUB FARE: Third Side Music has expanded into the UK and Europe by appointing Stephen Christian as executive vp of creative/A&R: International. Based in London, Christian will report to TSM’s COO, Jeff Waye, and work with LA-based Creative/A&R heads Brontë Jane and Alex Kelman to sign new talent and foster global opportunities for artists like SOFI TUKKER and Sky Ferreira. Christian is the former creative director and head of A&R at Warp Records, where he was instrumental in signing and developing acts like Danny Brown, Mount Kimbie and Kelela … peermusic appointed Samantha Schilling Robinson as vice president of peermusic Neighboring Rights. Schilling Robinson was previously vp of neighbouring rights at Songtradr, Inc. Schilling Robinson will be based in peermusic’s offices in Los Angeles.
Music funding platform beatBread appointed Andrew Maddox as head of finance to support its growth. Maddox previously held finance leadership roles at TikTok, including head of finance and payment services for US Data Security, and he’s the former chief of staff to TikTok’s COO. He also led finance for content, marketing, product, and operations. Prior to TikTok, Maddox worked at Amazon Prime Video, contributing to its expansion into live sports and international markets. beatBread CEO Peter Sinclair praised Maddox’s finance and strategic marketing skills, highlighting their importance as the company uses data science and automation to empower artists, labels, and publishers with flexible funding options. Maddox expressed excitement about joining beatBread, emphasizing “beatBread is at the forefront of enabling artists to pursue their passions without sacrificing control over their careers. The flexibility and choice the company is bringing to music funding is a true game-changer for independent artists and labels. I couldn’t be more excited to join the beatBread team.”
Music licensing platform Soundstripe named Angela Abbott as global head of music partnerships, overseeing strategic relationships for content creators, enterprises, and rights holders. With over a decade of experience in business development and strategic partnerships, Abbott brings expertise from her roles at TIDAL and Pandora, where she secured over $200 million in licensing deals with the big three major labels, among others. Abbott also stays involved with the Recording Academy and Women in Music, where she serves as global co-chair of partnerships & development. “We founded Soundstripe to address a critical gap in the music licensing space for content creators, but our vision extends far beyond that,” said Travis Terrell, Soundstripe’s co-founder and CEO. “With Angela’s proven track record and expertise in negotiating complex licensing deals with the world’s leading music companies, we are excited to accelerate our trajectory and provide top-tier music solutions for both creators and global brands.”
Andrew Leib, after 11 years at Red Light Management, launched Deep Feel Talent Co., a boutique artist management company. The firm’s inaugural roster includes Victoria Canal, Maris Jones, Nu Deco Ensemble, Andy Arthur Smith and Dana Nielsen. Deep Feel said it will emphasize creating long-term relationships with artists and aims to create a supportive community for musicians, content creators and producers. Leib began his career in artist relations at festivals like Lollapalooza and Riot Fest, co-created the immersive concert experience Brassroots District, and co-founded The UnCancelled Music Festival, raising over $100K for artists and venues during the pandemic. He also booked talent for the Miles Davis Estate showcase at SXSW. Leib says Deep Feel reflects his values of “building strong, authentic relationships with my clients and community, and creating space for creative voices to grow.”
Breakaway Music Festival, the annual multi-city event featuring a healthy dose of dance music, hired former Sony vp of corporate development Adam Wright as CFO and managing partner. In his new role, Wright will lead strategic initiatives, corporate development, brand growth and financial operations for Breakaway. The festival also elevated Jarrod Fucci from GM to festival president. This year’s BMF tour has three more dates left: Sept. 27-28 in Charlotte, Oct. 11-12 in Nashville and Oct. 25-26 in San Francisco.
Nettwerk made two significant hires to bolster its UK label team. Katie Graham has been appointed head of catalogue marketing and developments globally, moving from Warner Music Group, where she directed marketing strategies for renowned artists like Phil Collins, Enya, Ed Sheeran and Dua Lipa. She aims to enhance Nettwerk’s extensive catalogue with innovative strategies for both established and emerging talents. Additionally, Ruth Wyatt joins as director of sync for UK and Europe, bringing her experience from Warner Music UK, where she successfully placed artists in various sync opportunities. Her notable achievements include Sam Ryder’s “Christmas To Me.” Both hires were welcomed by Nettwerk co-founder Mark Jowett, who commended their expertise in catalogue development and sync, highlighting their commitment to supporting artists.
Spotify‘s head of podcast business, Sahar Elhabashi, is leaving the company at the end of 2024. Roman Wasenmüller, who currently oversees international podcast operations, will lead the division during the search for Elhabashi’s successor. Elhabashi’s six-year tenure included a strategic shift from exclusive creator deals to broader distribution, enhancing audience reach and ad sales. She joined Spotify in December 2018 as vp of content and took over the podcast division after Dawn Ostroff left in January 2023. Prior to Spotify, Elhabashi held c-suite level roles at Conde Nast and Discovery Communications, while earlier in her career she spent 15 years in senior leadership at MTV Networks.
The Circuit Group, a management collective empowering artists to have greater creative control over their IP, announced its expansion into the UK with the launch of Circuit Management, a joint venture with CTRLFRK. The initiative will be led by TCG chief strategy officer James Sutcliffe, who has been appointed CEO and president of The Circuit Group UK. Sutcliffe, an industry veteran with leadership experience at Ministry of Sound, LIVENow, PIXELYNX, and Monster Energy, will work under global CEO Dean Wilson. “Circuit Management is the culmination of our vision to create an environment where artists can truly succeed,” said Michael Boyce, founder of CTRLFRK and co-president of Circuit Management. “Partnering with Circuit enables us to offer a comprehensive approach to management, focusing on both artistic integrity and commercial success. We’re ready to make a lasting impact on the UK music landscape.”
ATC Group has launched Circa, a music promotions company led by Matt Black, former managing director of Your Army’s U.S. office. Circa, with offices in Los Angeles, New York, and London, will take over operations from Your Army America, offering integrated marketing and promotional campaigns globally. The London office will be led by Charlie Reid, who joins as general manager, following experience leading UK radio campaigns for artists like London Grammar, Jon Batiste, Marlon Hoffstadt and Jade Bird. In the U.S., Black’s team has managed campaigns for labels such as Atlantic, Warner, and RCA, achieving top chart placements for artists like RÜFÜS DU SOL and The Hives. Circa will continue campaigns for high-profile artists including Justice, Disclosure, SOFI TUKKER, and deadmau5. It operates within ATC Group’s Services division, alongside Familiar Music Group, companyX, Simpatico, [namethemachine] and Sandbag. “As a key component of ATC’s full service offering across our network of Group businesses, Circa will enable us to deliver an ever more integrated strategy to assist artists in achieving their creative and commercial goals,” said Adam Driscoll, CEO of ATC Group.
BOARD SHORTS: Marit Berning, Paul Smernicki, Shaurav D’Silva, and Tania Lee have been newly elected to the Music Managers Forum board, with Sandy Dworniak re-elected. Paul Craig and Kwame Kwaten have stepped down as chair and vice-chair, with successors to be announced in early October. The MMF aims to enhance its partnership with Music Minds Matter to provide more mental health support for managers. Additionally, the MMF will host a retreat for advanced managers in January 2025.
RoEx, a startup in intelligent audio production, partnered with UnitedMasters to offer AI-powered mastering services via UnitedMasters’ web platform and iOS app. To support its growth, RoEx appointed Tom Nield as head of partnerships, leveraging his 15-plus years of experience in music and technology, including roles at [PIAS] and startups like LANDR. In his new role, Nield will focus on expanding RoEx’s partnerships with music distribution companies and creator platforms. The partnership aims to enhance audio quality services and provide educational content through UnitedMasters’ Blueprint tool. Additionally, UnitedMasters and RoEx are launching an in-app challenge, awarding 50 artists with free mastering credits worth up to $150 each.
ASM Global elevated Gemma Vaughan to acting general manager of AO Arena in Manchester, effective immediately. Gemma, who joined ASM Global in 2023 as sales and marketing director, brings 14 years of experience in the live entertainment industry, having worked with Live Nation Entertainment, Cuffe & Taylor, and Escape to Freight Island. Throughout her career, she has collaborated with artists like Faithless, Mariah Carey, and Britney Spears, gaining a deep understanding of the industry. Vaughan’s predecessor as GM, Jen Mitchell, has left the company.
ICYMI:
Kevin Liles
The painful cuts this week at Atlantic Music Group have impacted between 150 and 175 people, according to sources, including key execs at Elektra (Chris Brown, Katie Robinson, Adam Abramson) and Atlantic (Michael Kyser, Paul Sinclair, Grace James). Follow developments here … Earlier this week, 300 Entertainment CEO Kevin Liles telegraphed his exit … Warner Music Japan chief Kaz Kobayashi announced his departure … TelevisaUnivision named a new CEO … and Sony Music Nashville chairman and CEO Randy Goodman is retiring.
Last Week’s Turntable: The MLC-Suite Gets an Upgrade
In a year fraught with festival cancelations due to increasing costs of production and severe weather events, All Things Go festival has taken the opposite approach and doubled down. After 10 years in Washington, D.C., All Things Go organizers announced they were adding a New York edition on the same weekend of Sept. 28-29 at Forest Hills Stadium. With more than 40,000 fans on a waitlist annually, according to ATG partner Stephen Vallimarescu, the additional location seemed less like a gamble and more about meeting demand.
“By hosting both festivals on the same weekend, we’re able to serve more of our community and deliver a lineup that we feel is best-in-class,” Vallimarescu tells Billboard.
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For several years, ATG has made a concerted effort to create lineups that reflect its growing community. Since 2018, the highest billed artists on their lineups have been women or non-binary musicians including Lorde, HAIM, Mitski, Maggie Rogers, Chvrches, Lana Del Rey, Boygenius, Carly Rae Jepsen, Charli XCX and more. And the equity isn’t only represented in gender. With performers including MUNA, Girl in Red, King Princess, Arlo Parks, Fletcher, MICHELLE, St. Vincent, Tegan and Sara and Ethel Cain, over the past five years ATG has landed some of the most LGBTQ+ filled lineups outside of LGBTQ+ events (and even many specifically LGBTQ+ events) and earning the nicknames “gaychella” and “lesbopalooza.”
This year ATG have landed some of the buzziest names in touring including Laufey, Remi Wolf, Hozier, Janelle Monáe, Reneé Rapp and Chappell Roan, who has been drawing record-breaking crowds across festivals.
“We’ve got Hozier, Conan Gray and Bleachers featured on our D.C.-area lineup alongside Laufey, Reneé Rapp, Janelle Monáe and Chappell Roan at the top of the bill,” says ATG partner Will Suter. “We’ve been able to see each of these artists perform live – either in a club or festival setting – and we’re expecting big sets from each of them.”
Billboard caught up with Vallimarescu, Suter and ATG manager of partnerships and experiential Carlie Webbert to discuss the festival’s growth, their embrace of the “lesbopalooza” nickname and how they managed to book the right acts at just the right time.
Why did you decide to add an additional All Things Go on the same weekend as the Washington, D.C. one?
Vallimarescu: After growing the festival for the past decade in Washington, D.C., and with over 40,000 fans on the waitlist annually, the decision to introduce an additional festival in New York City felt like a natural step. We were inspired by the success of festivals like Reading and Leeds and recognized that coordinating artists between both markets on the same weekend would allow us to curate the most compelling lineup possible. This approach is especially helpful for international artists, who constitute a growing portion of our lineup and often find it challenging to travel to the U.S. for a single show.
How did you land on New York for that second location?
Vallimarescu: New York City has always been on our radar, despite its reputation as a challenging market for festivals. The turning point for us was reconnecting with Mike Luba, the visionary behind Forest Hills Stadium. The unparalleled atmosphere he and his team have cultivated at the venue made it clear that this was the perfect location to bring the magic of All Things Go. There is clearly a void in New York City for a new festival experience centered around music above all else, and we’re thrilled to see the excitement around our inaugural year.
How has the reception been to the lineups for both editions?
Vallimarescu: The reception to the lineups for both editions has been phenomenal. Both festivals sold out instantly, with hundreds of thousands of fans joining the queue for tickets — a reaction we don’t take for granted, especially at a time when many established festivals are facing challenges.
Our approach to booking the festival, often more than a year in advance, focuses on building a lineup that peaks at the right moment and showcases the next generation of artists. This year, artists like Reneé Rapp, Chappell Roan, and Laufey are at the forefront of this new era, and we’re beyond grateful to be collaborating with them.
Why is it important for ATG to have a lineup with a heavy presence of women and non-binary artists?
Suter: So much of our artist booking is based on our audience feedback – and it’s become a clear direction that supports female and non/binary artist dominated lineups, especially as we’ve moved to multiple stages and homed in our genre-focus. The website Book More Women has a methodology that has our DC-area festival at about 58% female/non-binary and New York at 93%.
Was it your mission at ATG to become “gaychella” or “lesbopalooza”?
Suter: “Lesbopalooza” is a term that Naomi McPherson of MUNA coined closing out our Chrysalis stage in 2023 – and has definitely stuck. “Gaychella” popped up around the 2023 lineup announcement in a few TikTok videos. Our mission has been to create a festival and a space that’s reflective of our community – it’s a mission that has evolved over time as our direct communication with our fans has via Discord, our Boomfy’s Besties Fan Club and other fan-forward initiatives in addition to closer dialogue with many of the artists on the lineup.
What do you make of the moment queer women are having in pop culture now? With the dominance of Chappell, Reneé Rapp, MUNA, etc.?
Webbert: Queer women have a long history in the spotlight, but it feels like there has been a noticeable shift in the positive reception of these artists. With the growing fandom of this generation of pop stars, there has been an even stronger surge in self-expression and pride in being queer. Look at Chappell Roan, for instance, she grew up under the belief system that being gay was a sin. Many of the artists on the All Things Go lineup, along with their communities, share a history of shame around their sexuality. It feels like we are collectively shedding that repressed part of ourselves and creating an environment of acceptance. It’s beautiful — there’s a lot of embracing who we are and being truly seen happening.
Besides the lineup, how does ATG create an inclusive environment at the festival?
Webbert: There is a big emphasis for representation at the festival and how we platform advocacy/mission-based organizations, such as Propeller, The Ally Coalition, Reverb, Calling All Crows, Headcount, Women in Music and Amplify Her Voice. Last year, we had an activism village on-site at the D.C.-area festival where fans could interact with different non-profits and engage in a meaningful way. Our community is intentional, and by including LGBTQ+, environmental, healthcare, voter registration and other organizations, we acknowledge a clear passion for creating change that our community wants. All that said, we are hopeful that over the years this side of our festival will grow and we’re able to have an increased number of diverse voices represented throughout our programming.
Warner Music Group is going through a transformational year by cutting costs, reducing its headcount and restructuring some label groups to save an estimated $260 million on an annualized basis, the company disclosed Thursday (Sept. 19).
According to a Warner Music Group SEC filing that details the reduction in headcount and financial impact of the company’s ongoing restructuring plan, the total head count reduction increased from 600 after February’s announcement to 750 people with Thursday’s update. The filing did not specify that all 150 additional job losses could be attributed to the Atlantic Music Group layoffs announced Thursday. Billboard’sinitial report on the layoffs stated that between 150 and 175 people would be affected.
WMG also updated the pre-tax cost savings, on an annualized basis, from “about $200 million” to “about $260 million,” meaning the company expects to save an additional $60 million annually. The restructuring plan’s severance costs increased $70 million to $210 million. The “significant majority” of severance payments and other termination costs from this year’s restructuring are expected to be paid by the end of fiscal 2026, according to the filing. WMG will pay approximately $30 million in the current fiscal year (ending Sept. 30) and about $85 million in fiscal 2025.
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“WMG is transforming swiftly this year, in a fast-paced, fiercely competitive industry,” CEO Robert Kyncl wrote Thursday in an internal memo to staff. “As always, delivering outstanding results for artists and songwriters is our highest priority in all our choices.”
WMG began its restructuring plan in February by announcing it would sell its owned and operated media properties and eliminate some corporate and support roles. As Billboard reported at the time, WMG reduced its headcount by 10% of the company’s workforce, or 600 people. Not all of that reduction in staff was the result of layoffs, however. Uproxx, HipHopDX and Dime Magazine were sold to a duo of media veterans: Uproxx founder and CEO Jarret Myer and Complex founder and CEO Rich Antoniello, in consortium with musician will.i.am.
This latest round of layoffs came two weeks before 10K Projects founder and CEO Elliot Grainge assumes the position of Atlantic Music Group CEO on Oct. 1 (the first day of WMG’s new fiscal year). Atlantic chairman/CEO Julie Greenwald announced her departure just five days after WMG announced Grainge would take the helm. Separately, Max Lousada, the London-based CEO of recorded music for WMG, stepped down and his role was eliminated. Kevin Liles, current chairman and CEO of 300 Elektra Entertainment, is also exiting the company without replacement.
Atlantic’s ranks were further thinned on Thursday with the departures of high-level executives at both Atlantic Records and Elektra Records, including Atlantic executive vp/GM Paul Sinclair and co-president of Black music Michael Kyser, as well as head of marketing Grace James, head of press and media Sheila Richman and head of touring Harlan Frey. At Elektra, head of business and legal affairs Margo Scott, head of marketing Katie Robinson, head of sales and streaming Adam Abramson, head of promotion and streaming Aimee Vaughan-Fruehe and co-head of Roadrunner Records Chris Brown were all also let go.
Alt-pop singer Alemeda has signed with Top Dawg Entertainment (TDE) and Warner Records, Billboard can exclusively announce Friday (Sept. 20). She becomes the third female act to be signed to TDE, following SZA and Doechii.
“TDE placed trust and time in me to find my sound and develop as an artist at my own pace. I think to be signed to them means to be more than just an artist but to be a pivotal part of Black art and culture,” Alemeda said in a statement. “I’m honored to be the third woman ever signed to this historic roster of talented culture pavers. Warner also has a great understanding of who I am as an artist, and their historic success in the rock and pop genres makes me confident in our future together. I feel they were the right team to support my growth as an artist and I am excited for what is to come working with them alongside TDE.”
The news coincides with the release of the Ethiopian-Sudanese artist’s debut EP, FK IT. The 8-track project includes previously released singles like her viral 2021 debut “Gonna Bleach My Eyebrows,” “Guy’s Girl” and “I hate your face.” She also performed her latest single “I already dug your grave” on popular German performance series platform COLORSxSTUDIOS earlier this month. “This EP is the truest expression of who I am right now,” she adds. “It’s about letting go of what doesn’t serve me and embracing the chaos and beauty of being real, unapologetically.”
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“One late night in December 2019, a few months before the pandemic, I was stuck in a rabbit hole scrolling Instagram when I happened to stumble across Alemeda. She was going by Rahema Alameda at the time and was doing a cool little bop with the brightest smile to a song of hers that she hadn’t released. I immediately felt she was gonna be great,” said TDE co-president Anthony “Moosa” Tiffith in a statement. “After reaching out to her, I learned that she hadn’t put out any music yet or even recorded in a studio before, so I flew her out to Los Angeles to give her that opportunity. When she told me about her strict upbringing and how she moved from Ethiopia to Arizona, I knew she had a story to tell.”
Tiffith continues: “She’s been here for the last four years, staying focused as a student of music and developing her sound. For most managers that must sound like a long time, but artist development is the most important thing to me. It’s a blessing to work with an artist like Alemeda who shares that vision and is willing to do the work. I’m happy and beyond excited to announce her to Top Dawg Entertainment, and equally enthusiastic for our partnership with Warner!”
Warner is also excited to work alongside TDE for Alemeda.”She’s an electrifying artist with a unique voice and vision, and FK IT is just the beginning of what will be an extraordinary journey. Her ability to channel her personal experiences into raw, boundary-pushing music makes her a perfect fit for our roster,” said Warner Records co-chairman/CEO Aaron Bay-Schuck in a statement.
He adds, “[Warner Records co-chairman/COO] Tom Corson, [Warner Records executive vp/head of A&R] Karen Kwak and our entire team is thrilled to be joining forces with Top Dawg Entertainment to bring Alemeda’s innovative artistry to an even wider audience. Collaborating with TDE’s exceptional team only amplifies our excitement for this groundbreaking partnership.”
The legendary Vans Warped Tour could make a return in 2025.
The traveling rock and punk tour, which launched in 1995, would celebrate its 30th anniversary next year, and founder Kevin Lyman hinted at its return earlier this week.
“We have something cooking for 2025,” Lyman told Pollstar. “Details should be ready in a few weeks.”
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Billboard reached out to Lyman to confirm the news but did not hear back by publication.
Warped Tour spent 24 years traveling around North America with acts like The Damned, Green Day, Incubus, AFI, Against Me!, Paramore, M.I.A., The Misfits and hundreds more before retiring the touring model in 2018.
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“I’ve done everything I can in the format that this is in,” Lyman told Billboard at the tour’s final stop in West Palm Beach, Florida, In 2018. “It wasn’t supposed to be around 24 years. It wasn’t supposed to be around more than one year. But enough people saw what I was trying to do.”
In 2019, Warped Tour announced a slate of three 25th-anniversary editions in Ohio, New Jersey and California with a who’s-who of festival alumni including Blink-182, 311, Bad Religion, The All-American Rejects, Andrew W.K., Anti-Flag, Gym Class Heroes, The Offspring, Simple Plan, Bowling for Soup, Taking Back Sunday, Reel Big Fish, Less Than Jake and Good Charlotte.
Following the end of Warped Tour’s run, Lyman rebranded his 4Fini, which put on the annual Warped Tour events, to KLG (Kevin Lyman Group). The production and strategic branding group, KLG, continues to work on festivals and events throughout the industry.
TelevisaUnivision has named Daniel Alegre as its new CEO starting Thursday (Sept. 19). The decision is part of the board of directors’ strategic succession planning. Alegre takes over for Wade Davis, who will become vice chairman of the board of directors and remain on the executive committee.
“On behalf of the board, I’m excited to welcome Daniel to TelevisaUnivision as we embark on the next phase of our strategic journey focused on further integration and optimization,” TelevisaUnivision’s executive chairman, Alfonso de Angoitia, said in a press release. “It’s been a very dynamic media environment, and we are grateful for what Wade has accomplished in the turnaround of Univision and the subsequent transformative merger between Univision and Televisa’s content business to create TelevisaUnivision.”
“The media landscape is undergoing a profound transformation and TelevisaUnivision is strategically poised to seize new opportunities while staying deeply connected to the communities we serve,” Alegre said in a release. “The U.S. and Mexico represent the most valuable and populous Spanish-language markets in the world, a demographic that is becoming more prominent both regionally and globally.”
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Originally from Mexico, the new network leader possesses operational-focused leadership experience within the Hispanic community and across the U.S., Mexico and Latin America. With over three decades working in media, entertainment and technology, Alegre was most recently CEO of Yuga Labs, a web3 company. He previously served as president and COO of Activision Blizzard.
“Building on TelevisaUnivision’s solid foundation, global content pipeline, ongoing investments in cutting-edge technologies, and unmatched reach, we are uniquely positioned to continue serving this vital audience,” Alegre continued. “Wade and the entire TelevisaUnivision team have created a strong multi-platform media business with world-class quality and breadth of entertainment, news and sports programming.”
Davis added, “We could not have picked a better successor than Daniel, who brings an incredible track record of operational and strategic execution. He is the ideal executive to take TelevisaUnivision into its next phase of growth. The Company’s future is bright, and I look forward to supporting Daniel and the TelevisaUnivision team in my role as vice chairman of the board.”
During Davis’ Univision tenure, the company completed a $4.8 billion merger with Group Televisa in 2022, forming TelevisaUnivision as it is known today. The broadcaster has made significant investments in streaming and traditional TV, with its ViX streaming platform approaching profitability. It also runs 35 radio stations across the U.S.
Atlantic Records announced more staff layoffs on Thursday (Sept. 19) as the process of remaking the company continues.
“I want to acknowledge the hard work, passion, and creativity of everyone across Atlantic, 300, and Elektra,” CEO Robert Kyncl said in a staff memo obtained by Billboard. “In particular, I want to thank the people who will be leaving us. You’ve made an indelible mark on this company and the careers of the extraordinary artists you’ve championed. Words never cut it in these situations but we’re forever grateful for all your contributions and achievements over the years.”
These cuts follow the announcement in August of a significant executive restructuring: 10K Projects founder Elliot Grainge will take over as CEO of Atlantic Music Group, starting October 1. As part of his promotion, 10K will move under the Atlantic Music Group umbrella — joining Atlantic Records, Elektra and 300 — while veteran executive and longtime Atlantic leader Julie Greenwald will be heading for the exit. Kyncl’s memo promised that the company will “be unveiling a new dynamic structure for the label group” next week.
The memo did not say how many Atlantic employees were being let go. Sources expect the layoffs to be significant and to affect multiple departments.
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Kyncl has been busy retooling WMG since he took over at the start of 2023. That metamorphosis has come hand in hand with layoffs; Atlantic’s latest cuts are the fourth round in the extended Warner Music Group family in roughly 18 months.
The company laid off 4% of staff, or about 270 people, including several at Atlantic, in March 2023. “To take advantage of the opportunities ahead of us, we need to make some hard choices in order to evolve,” Kyncl wrote in a memo to staff at the time. In February of this year, WMG laid out plans to cut another 10% of staff, primarily from the company’s media properties — like Uproxx and HipHopDX, which it acquired in August 2018 — as well some in corporate and support roles.
The same month, Atlantic initiated an additional round of layoffs, albeit much smaller in scope, cutting roughly two dozen employees in the radio and video departments. “As hard as it is to say goodbye to our friends and valued colleagues, it is critical that we keep retooling the company and add new resources and skill sets to our business units,” Greenwald wrote in an email at the time.
Greenwald is now on her way out. So is WMG CEO of Recorded Music Max Lousada; his role is not being replaced. Similarly, 300 Entertainment co-founder and current chairman/CEO of 300 Elektra Entertainment Kevin Liles is also exiting the company without replacement. Other executives are also expected to depart as part of this restructuring, sources say.
This is just part of the change sweeping the company as Kyncl seeks a “flatter structure.” Warner Records will now also oversee Warner Music Nashville moving forward, and the heads of global catalog, marketing, ADA (distribution) and WMX (the fan and merch division) will all report directly to Kyncl.
All three major label groups have gone through changes this year. In February, the Universal Music Group reorganized its label divisions into a loose East Coast-West Coast structure, aligning Republic, Island, Def Jam and Mercury under Republic Recording Company chairman/CEO Monte Lipman and Interscope, Geffen and Capitol under Interscope Capitol Labels Group chairman/CEO John Janick, moves that came with some significant layoffs. Sony Music also underwent layoffs this year, though not to the same extent as the other two companies, sources have said.
Read Kyncl’s full memo below:
Hi everyone,
Since we announced Julie would be stepping down, we’ve been thoughtfully working on how to evolve Atlantic Music Group for the future. Next week, we will be unveiling a new dynamic structure for the label group. Elliot begins as CEO of AMG on October 1.
As part of this reorganization, we will unfortunately be saying goodbye to talented people. I know you have been waiting to hear the plan, and rather than carry out changes piecemeal, we decided to make these difficult choices in one go.
Today will be a tough day, and by 9pm ET you will have heard if your job is affected. Your leaders and the People team will provide you with all the important details. We are committed to helping those impacted through this with the utmost respect, and supporting them with a runway during the transition.
I want to acknowledge the hard work, passion, and creativity of everyone across Atlantic, 300, and Elektra. In particular, I want to thank the people who will be leaving us. You’ve made an indelible mark on this company and the careers of the extraordinary artists you’ve championed. Words never cut it in these situations but we’re forever grateful for all your contributions and achievements over the years. We wish you the very best and know that you will continue to do great things in your next chapters.
WMG is transforming swiftly this year, in a fast-paced, fiercely competitive industry. As always, delivering outstanding results for artists and songwriters is our highest priority in all our choices.
As I mentioned, you will hear more about our plan for AMG next week, with Elliot making an announcement about the leadership team. In the meantime, we have so much incredible music in the market, and some outstanding projects on the way. Your continued support of teammates is amazing, and your run-through-walls focus on the music is extraordinary.
Thank you and take care,
Robert