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Jessica Hoy figured her show, Mornings With Bo and Jess on CKCE-FM (101.5 Today Radio) Calgary, Alberta, was about to undergo major changes. Her co-host, Bobby May, had already warned her that he planned to quit the station in March. Hoy did not expect management to fire her and replace the show with a podcast duo based nearly 200 miles away who are broadcast on multiple stations.
“I was quite shocked when I was let go,” says Hoy, who nevertheless points out that, these days, “A lot of stations are trying to cut costs.”
As broadcast companies contend with debt loads, advertising declines and competition from streaming services and popular podcasts like The Joe Rogan Experience, radio stations have spent the last few years laying off dozens of employees, including on-air talent. Once-popular morning shows are the latest casualties, including, in late June, WKTU-FM New York’s Carolina With Greg T and KZZU-FM Spokane, Wash.’s long-running Dave, Ken and Molly.
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“With longevity comes larger salaries, and if the return on investment isn’t there anymore, these significant moves have to be made,” says Lance Venta, owner and publisher of Radio Insight. “Most of these corporate communications groups look at the individuals as a line item on a spreadsheet.”
Sean Ross, who puts out the Ross on Radio newsletter, tells Billboard, “With a lot of heritage morning shows, radio stations find themselves in a trick bag where the show is simultaneously not quite as big as it used to be, less tenable financially after years of salary increases but is still the biggest asset the station has.”
Many of the recently fired morning-show stars did not respond to inquiries or declined to comment, as did the stations that terminated them. Carolina Bermudez, the laid-off co-host of iHeartMedia’s Carolina With Greg T, says she was “advised by my lawyer not to comment at this time,” and Kendall Hopkins of Dave, Ken and Molly says he would talk “when I’m free to.” But after Canada’s Pattison Media dropped Mornings With Bo and Jess, May posted an Instagram screed: “Radio is in terrible shape with the current CEOs and shareholders at hand nationwide and I HATE to see my coworkers go down with it. … Talents have unfortunately become just a number on a piece of paper.”
Tanner Jay, whose Jake and Tanner Show on WKSZ-FM Appleton, Wis., was canceled in November, adds that radio stations are “struggling,” and instead of spending more money on training and nurturing on-air talent, “They’re saying, ‘We might as well put all this money toward getting some Taylor Swift tickets to give away and having one or two people that have never done mornings.’”
His partner, Jake Kelly, with whom he continues to host a daily podcast, adds, “I don’t know if the higher-ups know exactly how to fix the problem. Maybe they’re just firing until they figure it out.”
Morning shows on music radio stations were once cultural and financial juggernauts — Howard Stern rose to fame on WXRK-FM New York in the 1980s, and Steve Harvey’s show on WGCI-FM Chicago helped him diversify beyond stand-up comedy and gain broader celebrity status in the ’90s. Stations still differentiate themselves regionally with flagship shows such as Winston and Mel on Denver’s Kool 105 and Mojo In the Morning on Detroit’s Channel 95.5. Many of these shows, including those by Audacy’s Gary Bryan and iHeart’s Ryan Seacrest, are syndicated and have podcasts of their own.
Kelly argues today’s broadcast morning-show hosts are overdue to update their content. Many shows, he says, rely on clichéd content such as “War of the Roses,” in which the hosts help couples confront each other on-air, often through pranks. “The fakeness of the laughter, the fakeness of the stories — Gen Zs can see through it if it’s not authentic,” he says. “My daughter’s 14, and I don’t know if she’s ever turned on the radio.”
Before their program director took them aside after a Wednesday broadcast and fired them, Kelly and Jay were moving away from conventional morning-show shtick toward more personal stories, including discussing alcoholism and family issues on-air. Their new approach did not change the station’s fortunes. Their station’s overall ratings declined in the Green Bay, Wis., market from spring 2022 to fall 2023, according to Radio Online.
Hoy, who currently works as a medical outreach coordinator for a dermatology clinic, praises her replacement crew, Crash & Mars, as “unbelievably talented.” She adds that a Calgary morning show based in Edmonton may appeal to the station’s finances, but not the community. “I do worry about what happens when local news and events happen,” she says. “It just breaks that connection with the listeners.”
A version of this story appeared in the July 20, 2024, issue of Billboard.
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. This week: Michael Jackson’s estate scores a victory in litigation over a $600 million catalog sale; Snoop Dogg is hit with a copyright lawsuit that cites Tracy Chapman; Melissa Etheridge faces a legal battle from her partners in her failed cannabis business; and much more.
THE BIG STORY: Jackson Estate Scores Legal Victory
Michael Jackson’s estate won a key ruling last week in a legal battle with the late singer’s mother — and though it’s only a “tentative” win, the stakes are enormous. More than 15 years after Jackson’s death, his estate is still tied up in probate court, reportedly over unresolved tax issues. So when the King of Pop’s executors wanted to sell part of his catalog to Sony Music for more than $600 million, it asked a California judge for approval to do so. Katherine Jackson objected, arguing that the sale “violated Michael’s wishes” and that the catalog would likely continue to gain value over time if retained, among other arguments. Last week, a California appeals court tentatively rejected Katherine’s objections — ruling that it would likely rule for the estate both procedurally (that she had failed to preserve arguments on appeal) and substantively (that the estate’s executors had the power to make the Sony deal.)Go read our full story on the decision — and stay tuned for whether the court decides to finalize its ruling.
Other top stories this week…
LEGAL LEGEND – While we’re on the subject of the Jackson estate, go read Frank DiGiacomo’s excellent profile of estate co-executor John Branca, a music attorney who at various points in his career has represented Bob Dylan, The Beach Boys, Paul McCartney, the Elvis Presley estate and The Rolling Stones. SNOOP LIABILITY – Snoop Dogg was sued for copyright infringement over allegations that the legendary rapper has refused to pay a veteran studio musician after using two of his backing tracks. The case offers a glimpse at industry practices surrounding the use of uncleared samples to privately “experiment” in the recording studio — and cites an earlier battle between Tracy Chapman and Nicki Minaj over that same issue. WEED WAR – Melissa Etheridge is facing a legal battle over her brief foray into the cannabis business, filed by two business partners in Northern California (Josephine and D’Angelo Roberto) who say they “invested their life’s work into the businesses” but claim the singer “abandoned them” and left them in “financial ruin.” AN “ABHORRENT SCHEME”– Attorneys for Priscilla Presley filed a lawsuit against four of her former business partners over allegations of elder abuse and fraud, accusing them of a “meticulously planned” scheme to drain Elvis Presley’s ex-wife of “every last penny she had” — including nearly $1 million to date and 80% of her future income.ANOTHER DAY, ANOTHER JUDGE – Just two days after Judge Ural Glanville was ordered removed from Young Thug’s sprawling Atlanta gang trial, his replacement on the trial bench (Judge Shukura L. Ingram) said that she would also recuse herself. Later the same day, Judge Paige Reese Whitaker assumed control of the massive racketeering case and now appears to be settling in to run it for the long haul. KANYE SUED AGAIN – Ye (formerly Kanye West) was sued yet again over claims of illegal sampling, this time over allegations that he used an instrumental track called “MSD PT2” in two songs from the album Donda even after he was explicitly denied permission. The case closely echoes a lawsuit filed against him by the estate of Donna Summer, which similarly claimed that he had used one of her songs even after being directly refused a license. That case settled last month. GOSSIP OR DEFAMATION? Soulja Boy launched a defamation lawsuit against social media personalities Tasha K and William The Baddest, claiming that they made false statements on a podcast about the rapper having a sexual encounter with a man — or, in the words of his lawyers, “redefining his character as a man who is not straight.” If Tasha K’s name sounds familiar, it should: She’s the gossip host who Cardi B sued for defamation over claims about STDs, drug use and prostitution, eventually winning a $4 million judgment. NBA MUSIC LAWSUITS – More than a dozen NBA teams were sued for copyright infringement by Kobalt and other music companies over allegations that the basketball teams used songs in social media videos without permission. The cases came with city-specific flair: The New York Knicks were accused of using songs by “New York legends” Jay-Z and Cardi B; the Philadelphia 76ers allegedly used music from Philly native Meek Mill; and the Atlanta Hawks took songs by “Atlanta’s own” Migos and OutKast. MUSIC AI BATTLES – How are the copyright lawsuits against AI music firms Suno and Udio going to shake out? Billboard’s Robert Levine breaks down the fair use doctrine and how it might be applied to the new frontier of training artificial intelligence models, particularly in the wake of high-profile cases involving Google Books, the Android operating system and an Andy Warhol print of Prince. ROYALTY ROW – SoundExchange sued a free streaming service called AccuRadio over allegations that the company has failed to pay royalties for music for years, claiming the streamer has “directly harmed creators.” The small streamer denied the allegations, saying it had reliably paid $12.5 million in royalties over the years but was struggling with high rates imposed on online radio. BACKSTAGE MELEE – Chris Brown, Live Nation and several members of his entourage were hit with a lawsuit over an alleged assault that took place following Brown’s concert last week in Fort Worth, Texas. The case claims that Brown and others “brutally and severely beat” four men backstage in an unprovoked attack following the show. CHIPPING AWAY – Attorneys for Live Nation asked a federal judge to dismiss part of the Justice Department’s antitrust lawsuit — specifically, that the concert promoter uses illegal tying arrangements to operate its amphitheaters. The company argued that this practice, described as a “refusal to deal,” is common in the concert business and protected by Supreme Court precedent.
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Spotify’s stock surged 12% on Tuesday after Spotify reported quarterly earnings that beat subscriber growth and profit margin expectations.
In a wide-ranging discussion of the company’s earnings that touched on the controversy sparked by Spotify’s audiobook bundling, its plans for a premium music tier and missing its target for monthly active user growth, Spotify chief Daniel Ek said the company he helped found 18 years ago is reaching a turning point.
“While many believe that Spotify has a great product, we needed to prove that we could also be a great business,” Ek said. “I think we’re really starting to show this now.”
Here’s what else you should know about the global streaming giant’s most recent quarterly earnings and what was said on the call.
“It was a very strong quarter across most of our key metrics”
Ek said at the top of the webcast. The streaming giant, which has for most of its 18-year history failed to be profitable, reported its third-straight profitable quarter spurred on by the addition of seven million net new subscribers, an expanded gross profit margin of 29.2% and 490 million euros ($533 million) in free cash flow, the most in the company’s history. However, the company missed its internal target for total monthly active users (MAUs), reporting a total of 626 million MAUs compared with a goal of 631 million.
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Ek said they are tackling this by enhancing free products to boost engagement and retention in developing markets.
The bundle controversy
When Spotify announced plans to raise subscription prices in the U.S. and the addition of 15 hours of audiobooks per month in May, it also asserted it could pay a discounted “bundle” rate to songwriters for premium streams that Billboard estimates could cut songwriters’ and music publishers’ royalty payments by $150 million. The Mechanical Licensing Collective sued Spotify, claiming it “improperly” classified its premium tiers as bundles. Ek declined to comment on the lawsuit, but defended Spotify saying that it paid out a record-high amount to music labels and publishers in 2023 and will “beat those numbers” in 2024.
“A lot of people want to make this a zero sum game where we have to win in order for them to lose or they have to win and we sort of lose,” Ek said. “It’s not as much a zero sum game as people make it out to be. That’s not to say we don’t quibble around various things at various points. That’s the nature of all supplier and distributor relationships. Overall we have had healthy relationships with the music industry for the better part of now 18 years. … Overall the music industry is growing. We are spending a lot of time and effort making sure it keeps growing.”
Spotify’s interim CFO Ben Kung declined to share details of Spotify’s royalty payout agreements but said the company is confident in its position.
New ultra-premium tier on the horizon
Asked about Spotify’s plans to launch a long-delayed high definition audio offering, Ek described the company’s effort to bring something like a “deluxe version” of Spotify to life for “a large subset” of Spotify’s now 246 million subscribers.
“The plan here is to offer a much better version of Spotify. So, think something like $5 above the current premium tier, so probably around $17-$18 price point, but sort of a deluxe version of Spotify that has all the benefits that the normal Spotify version has plus more control and quality across the board,” Ek said.
MARINA signed with Janelle Lopez Genzink (Sabrina Carpenter) at Volara for management. The artist, who previously recorded as Marina and the Diamonds, has released a total of five albums; her most recent, Ancient Dreams in a Modern Land, dropped via Atlantic in 2021. Volara signed a strategic partnership with Red Light Management in 2023.
Canadian rock band Finger Eleven signed with Better Noise Music (Five Finger Death Punch, Asking Alexandria). The label will release the group’s forthcoming album next year, to be preceded by first single “Adrenaline” on Aug. 2. Finger Eleven is currently supporting Creed on its Summer of ’99 tour.
U.K. electronic-pop outfit London Grammar signed with PPL for the collection of its international neighboring rights royalties. The group has released a total of three albums and is due to release a fourth, The Greatest Love, on Sept. 13.
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Phoebe Bridgers‘ Saddest Factory Records signed trans singer-songwriter jasmine.4.t. The label released her latest single, “Skin On Skin” (produced by Bridgers and her Boygenius bandmates Julien Baker and Lucy Dacus) on July 16. Based in Manchester, jasmine.4.t is the first U.K. signee to Saddest Factory.
Italian singer Michele Morrone signed to New York-based indie label 477 Records. Morrone, also an actor who starred in Netflix’s 365 Days, is currently at work on his third studio album.
Country-rock duo Lakeview (Jesse Denaro and Luke Healy) inked with UTA for exclusive global representation in all areas. The duo broke through with the single “Home Team” and recently issued the new song “Money Where Your Mouth Is” featuring Gideon. – Jessica Nicholson
Singer-songwriter JD Clayton signed with Nashville-based roots, Americana and bluegrass label Rounder Records. Clayton released his debut album, Long Way from Home, in early 2023. He’s slated to embark on a fall tour beginning Aug. 30.
Country singer Kashus Culpepper signed with CAA. According to the agency, Culpepper has played sold-out headline club shows throughout the South and opened shows for Charles Wesley Godwin, Charley Crockett and Needtobreathe. He recently signed with Big Loud Records, which released his first-ever single “After Me?” on June 21.
Folk singer-songwriter Olive Klug signed with Tommy Alexander and Paige Maloney at Wasserman Music for global representation. Klug released their first album, Don’t You Dare Make Me Jaded, on Aug. 11, 2023. They toured throughout 2023 with Kevin Atwater, Odie Leigh and Daisy the Great, with more tour dates to come this year, including at the North Carolina Folk Festival in Greensboro.
Warner Chappell Music has entered an agreement to jointly administer the majority of the music library of Analog Metaverse, a rights management company founded by producer-songwriter Salaam Remi. The publishing catalog is anchored by Remi’s list of credits, including the debut singles of Amy Winehouse and Miguel, respectively, and one of Alicia Keys‘ best-known songs, plus also includes works by songwriters Dennis Brown, Don Blackman, Bobby “Digital” Dixon and Terri Walker.
Remi co-wrote and produced much of Winehouse’s 2003 debut, Frank, including her debut single “Stronger Than Me,” which won an Ivor Novello Award in 2004, and produced roughly half of the late neo-soul icon’s global breakthrough, 2006’s Back to Black. He also got in on the ground floor of Miguel, co-writing and producing his lead single “All I Want Is You,” featuring J. Cole, and notably co-wrote and co-produced Keys’ 2012 hit “Girl on Fire.”
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Analog Metaverse said its catalog features more than 2,000 songs, though it’s unclear how much is included in this joint administration deal. Financial details of the partnership were not disclosed. Remi’s team at Analog Metaverse includes Kwame Kandekore as head of legal and business affairs and Josephine Westphal, vp of royalties and administration.
“I’ve personally known Salaam for more than three decades, and it’s such an honor to be entrusted to shepherd not only his own life’s work, but that of legends like Dennis Brown,” said co-chair and CEO Guy Moot. “Carianne [Marshall, WCM Co-Chair/COO] and I are very intentional about the catalogs we work with and really think about how we can grow and tend to them, both today and for the years to come.”
Moot said he sensed a “lot of synergy” between WCM’s approach to asset management and Analog Megaverse’s mission — “it’s great to be joining forces to help writers and their estates realize their full potential.”
Remi added: “Having the benefit of being a songwriter and publisher myself, I fully understand the importance of having partners who not only appreciate the wonderful creations of the icons from the last few generations but also can help us carry them into the future.”
The Analog Metaverse pair-up follows on the heels of WCM’s publishing administration deal with Tom Petty’s estate covering the “vast majority of songs” dotting the late artist’s catalog.
Spotify added 7 million subscribers in the second quarter, roughly 1 million more than it forecasted, which bolstered revenue and profit margins, the streaming giant said on Tuesday.
Spotify reported 3.8 billion euros ($4.15 billion) in total revenue, a 20% increase from the year-ago quarter, with a record high gross margin of 29.2% that beat guidance. Its operating income was up for the second straight quarter to 266 million euros ($289.6 million), which the company said was thanks to a stronger 7% gross margin and lower marketing, personnel and other costs.
While Spotify’s 626 million total monthly active users (MAUs) came in lower than the 631 million MAUs the company expected in the second quarter this year, it grew premium subscribers by 1 million more than forecast, and as Spotify raises prices in the U.S. again, that helps the company keep its growth goals on track.
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“Overall, we are encouraged by the traction we are seeing from our monetization initiatives and remain focused on delivering the goals out lined at our 2022 investor day,” the company said in a statement.
Revenue from premium subscribers grew 21% year over year thanks to those subscriber gains and premium average revenue per user (ARPU) gains of 10% compared to last year. Revenue from ad-supported users rose 13%.
The price of Spotify’s premium individual plan in the U.S. rose $1 to $11.99 a month and the duo plan jumped a buck to $16.99 a month in July.
Spotify has been under pressure from major music companies and organizations to reverse changes it made in May to its bundled subscription services that added audiobooks to its premium tier. Spotify wants to pay songwriters a discounted bundle rate for premium streams, but groups like the MLC are suing Spotify claiming the streamer “improperly” classified its premium tiers as bundles.
Billboard estimates the move, which reclassified premium, duo and family subscription services as “bundled subscription services,” could cut songwriters’ and music publishers’ royalty payments by $150 million in the first year.
The lower personnel costs that helped boost operating income are in part due to staff cuts the company made last December.
Spotify chief executive officer Daniel Ek is expected to discuss the company’s strategy on bundling and provide greater details about his company’s quarterly earnings on a call Tuesday morning.
Topline Results for Q2:
Total revenue of 3.8 billion euros reflected revenue from premium subscribers growing by 21% and ad-supported revenue growing 13%.
Gross margin of 29.2% beat the company’s growth forecast due to improved music and podcast profitability, the company said.
Operating income also beat guidance at 266 million euros due to lower personnel and marketing costs.
Total monthly active users (MAUs) were 626 million in the second quarter, up 14% from a year ago.
Premium subscribers totaled 246 million and ad-supported MAUs totaled 393 million, up 12% and 15% from a year ago respectively.
Premium average revenue per user (ARPU) rose 10% from last year.
Chris Brown and several members of his entourage, along with Brown’s 11:11 Tour promoter Live Nation, are facing a lawsuit over an alleged assault that took place following Brown’s concert in Fort Worth, Texas, on Friday night.
Filed Monday (July 22) in Harris County district court by attorneys Tony Buzbee and Caroline Adams, the lawsuit claims that Brown and several accomplices “brutally and severely beat” four men — Larry Parker, Joseph Lewis, Charles Bush and Damarcus Powell — backstage at Dickies Arena in an unprovoked attack following the show.
“The violence included Brown and his entourage surrounding the Plaintiffs, throwing chairs at them, and repeatedly kicking, stomping, and beating them,” the complaint reads. “The unprovoked violence included multiple strikes to the Plaintiffs’ heads and chests, and ultimately involved stomping them while they were down. The brutal, violent assault participated in and directed by Brown, severely injured all Plaintiffs.”
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According to the complaint, the attack occurred after the four men were invited to the backstage VIP area following the show, where they allegedly waited 30 minutes for Brown to arrive. “Having grown tired of waiting,” the complaint reads, the men began making their way to the exit, at which point Bush says he approached Brown to shake his hand and congratulate him on the concert. After exchanging pleasantries, a member of Brown’s crew then allegedly shouted to Brown, “Man, you don’t remember you two were beefing?” The lawsuit claims that Brown then replied, “Oh yeah, we were…I don’t forget sh–” before instructing his entourage to “f—” Bush up.
At that point, the plaintiffs claim that Brown, along with “seven to ten members” of his crew, followed them into a hallway as they were attempting to leave and attacked them. “One of Brown’s entourage, known by the alias Sinko, ran to the left side of the crowd and punched Bush in the chest,” the complaint reads. “Simultaneously, another of Brown’s entourage, stage alias Hood Boss, picked up a chair and threw it at Bush’s head.”
The complaint says that Parker was also badly beaten after Brown allegedly instructed another member of his entourage, Markies Deandre Conway (a.k.a. Yella Beezy), and several others to “f—” him up. After fleeing into a stairwell, the lawsuit claims Parker became trapped by a locked door at the bottom of the stairs, where he was subsequently attacked by Brown and several other men.
“Upon instruction by Brown, Parker was then punched in the face and chest, kicked in the head for over ten minutes, and stomped on by Defendant Brown and his associates,” the complaint alleges. “Brown encouraged his companions to join in the assault simultaneously. Brown and his entourage then continued to beat Plaintiff Parker closed fisted for almost minutes, repeatedly stomping on Defendant Parker’s head, kicking his face and ribs, and causing severe bodily injury.”
Brown and his crew are also accused of punching Powell in the shoulder and punching Lewis in the shoulder and chest.
The complaint claims that all four men required medical treatment and that Parker was hospitalized and “will need to undergo extensive medical treatment for the damages he suffered in the attack, including head injuries.”
In addition to Brown, the lawsuit names three members of his entourage — Conway, Hood Boss (a.k.a. Omololu Omari Akinlolu) and Sinko Ceej — as defendants. As for Live Nation, the complaint alleges that the concert promoter continued working with Brown despite his history of “bad conduct and violent conduct.” According to the lawsuit, the company “shamelessly profits and promotes Brown’s The 11:11 Tour and brought Brown to Texas for financial gain. Live Nation failed to insure that the [participants] of the concert who may be around Brown, and his associates, were safe.”
The plaintiffs are asking for compensatory and punitive damages “in excess [of] $50 million,” along with actual damages for “pecuniary losses, pain and suffering, disfigurement, mental anguish, and past, present, and future medical expenses,” among other relief.
In making its case, the plaintiffs’ attorneys make note of several of the defendants’ criminal histories, alleging that Ceej was a member of “the blood gang” and spent “at least eight years in prison” and that Conway, “a former Crip gang member,” has been arrested multiple times for firearm possession and sexual assault.
The lawsuit additionally recounts Brown’s well-publicized brushes with the law, including the singer’s guilty plea for beating his then-girlfriend Rihanna in 2009, for which he was sentenced to five years’ probation and community service and forced to undergo domestic violence counseling. Brown has been arrested and/or sued multiple times for various instances of alleged physical and sexual assault, including by multiple women and his former manager, Michael Guirguis. In 2014, Brown pleaded guilty to simple assault for punching a man in the face the previous year.
Representatives for Brown, Live Nation and Conway did not immediately respond to Billboard‘s requests for comment. Representatives for Akinlolu and Ceej could not be located for comment.
Sellout events like Glastonbury Festival and mega-grossing stadium shows by Beyoncé, Harry Styles and Blur helped lift the U.K. live music industry to record heights last year, generating 8 billion pounds ($10.3 billion) for the country’s economy, according to new figures published Tuesday (July 23).
Umbrella trade organization UK Music reports that 19.2 million “music tourists” attended live concerts and festivals in the United Kingdom in 2023, up 33% on the previous year. The trade body defines a “music tourist” as someone who has traveled at least three times the average commuting distance for their region or is based overseas.
The £8 billion financial windfall these music tourists contributed to the local economy through direct spending on things like gig tickets, travel, accommodation and food and beverage sales, as well as indirect spending on supply chain businesses such as security and fencing, represents an increase of 21% on 2022’s 6.6 billion pound total.
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The 2023 figure is the highest ever recorded by UK Music since the organization started analyzing music tourism spending a decade ago. That’s despite the number of foreign concertgoers falling fractionally to just over 1 million last year, down from 1.053 million in 2022. However, the total number of domestic music tourists grew 36% year-on-year to 18.2 million, said UK Music, while 62,000 jobs were sustained by live gigs.
On a regional basis, London was the United Kingdom’s most popular destination for attending music concerts, drawing 6.9 million music tourists — up 40% year-on-year — who contributed £2.8 billion ($3.6 billion) in spending. The North West of England, a region which includes the cities of Manchester and Liverpool, was the second most popular destination for traveling music fans, with 2.3 million people visiting for live shows and spending £735 million ($950 million).
UK Music chief executive Tom Kiehl said in a statement that the record numbers “demonstrates the positive impact music tourism has on our towns and cities” but warned that “beyond a handful of very successful musicians the opportunities for many artists are becoming increasingly squeezed.”
“Grassroots music venues and festivals, studios and rehearsal spaces are facing tough economic pressures and it’s vital that the music ecosystem that enables musicians and artists to perform is supported to ensure that everyone — no matter where they live — can have access to music,” added Kiehl.
So far this year, around 50 U.K. music festivals have either been canceled or folded entirely due to rising production costs and changes in music fans’ ticket-buying habits, according to The Association of Independent Festivals (AIF). The country’s grassroots music venues circuit is also having a difficult time, with the Music Venue Trust (MVT) reporting that 125 venues have either shut down or stopped putting on live music in 2023.
For emerging and mid-tier U.K. artists, the increased costs of fuel and post-Brexit requirements for touring carnets and work permits have brought further financial burdens. As a result, UK Music is calling on the newly installed Labour Government to urgently address what it is calling a “cost-of-touring crisis.”
The United Kingdom is the world’s second-largest music exporter and the world’s third-biggest recorded music market behind the United States and Japan. But without action, it risks being overtaken by countries who are more proactive, warns the trade body, which published a 10-point “Manifesto for Music” last year.
“The U.K’s thriving music industry continues to be one of our most powerful global exports and an important driver of economic growth,” said culture secretary Lisa Nandy in a statement accompanying Tuesday’s music tourism figures.
She said the government will “work hard to ensure our creative industries get the support they need to flourish, driving opportunity and economic growth into every community and inspiring the next generation of performers.”
Southern California’s newest arena is pulling out all the stops to stand out in the crowded market. On Friday (July 19), Intuit Dome (home of the NBA’s Los Angeles Clippers) unveiled its advanced center-hung board, which spans nearly a full acre. The flexible board will be utilized for basketball games, concerts and special events held at the Inglewood venue.
The Halo Board, as it has been dubbed, is one of the largest double-sided halo displays in an arena setting, curving around the top of the dome at 38,375 sq. ft. It is the equivalent of nearly 3,600 60-inch TV screens with 233 million LEDs.
Clippers owner Steve Ballmer told the media at a press conference on Friday (July 19) that he traveled around the globe looking at various scoreboards to develop his vision for the Dome’s Halo Board. He admired the board at AT&T Stadium in Dallas and told Halo Spots & Entertainment CEO Gillian Zucker to “make it bigger.”
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With a video board, “you could say, ‘Hey, it’s just a thing that’s supposed to be there to be impressive’ – almost like some artwork,” said Ballmer. “But I didn’t want that and wanted to make sure that thing was totally functional, that it really added to the game.”
Ballmer, the former CEO of Microsoft, explained that he wanted the board to be functional for every fan. In order to reach every seat in the house, Zucker explained, “We actually had to map every single pixel and every single seat.” The Halo Board hangs high above the basketball court, leaving enough space between itself and the floor to avoid obstructing sightlines for any seat in the 17,700-seat arena. Every seat in the house will be able to see both exterior and interior screens on the board, allowing for a wide range of visible content.
The Halo Board will display gameplay, statistics, instant replays and audience moments for sporting events, and fans can interact with it via a light-up, four-button controller situated on their armrests.
Intuit Dome’s Halo Board
Courtesy of LA Clippers
The Halo board can also be utilized for concerts at the venue; artists can use the entire board or fold up the ends on either side to enhance sight lines.
“It is available for artists to use if they want. We have some standard software [where we] tried to make it easy for them to put their content up,” said Ballmer. “We think some artists will use it and some artists may well not use it because it doesn’t fit the way they think about things. But we wanted to have some extra area for acts to be able to enhance their concert experiences.”
Prior to the Clippers’ home opener, Intuit Dome will host more than 20 concerts. The venue’s grand opening will feature a two-night residency from Bruno Mars on Aug. 15 and 16. That will be followed by comedian Sebastian Maniscalco, Marc Antonio Solis and two nights of Olivia Rodrigo. Peso Pluma, Twenty One Pilots, and Future and Metro Boomin will close out the month of August.
Looking ahead, NCT DREAM, Slipknot, Grupo Frontera, Bujo Banton, Usher, Weezer, Billy Joel and Ana Gabriel are also scheduled to appear at the new arena.
Intuit Dome’s Halo Board
Courtesy of LA Clippers
Given the multitude of distribution, streaming, promotion and marketing options and expectations, the business of becoming an established artist has turned into a seriously heavy lift for music acts and their managers. It’s one reason that Mick Management partner Jonathan Eshak says, “We don’t like to refer to ourselves as a management company anymore. We’re a music company. What we do more than anything else is brand development, artist development — world-building … We’re not just trying to keep the train on the tracks.”
Eshak and his partner, Michael McDonald, the company’s founder, got into management after immersing themselves in other sectors of the business. McDonald served as Dave Matthews Band’s tour manager before co-founding ATO Records in 2000 with Matthews; his manager, Red Light founder Coran Capshaw; and Chris Tetzeli, who went on to start 7S Management. He opened Mick the following year with John Mayer as one of his first clients and, in 2004, brought on data savant Eshak, who worked at Universal Music Publishing Group (and is the twin brother of Island Records co-CEO Justin Eshak). Jonathan became a partner in 2015.
With a staff of approximately 20 in New York, Los Angeles and Nashville, the duo has built a boutique firm — with its own record label, Mick Music, distributed by Believe — that represents Maggie Rogers, who released the critically praised Don’t Forget Me in April; Leon Bridges and Ray LaMontagne, who will both release albums later this year; The Walkmen and the solo career of their frontman, Hamilton Leithauser; Sharon Van Etten; Brett Dennen; Mandy Moore; My Morning Jacket; and The Marias.
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In a fragmented culture where “it’s very hard to find water-cooler moments,” according to Eshak, Mick’s team excels in building committed fan bases for a roster of individualistic artists who punch above their weight. “Artists all define success differently, and we understand that,” he adds. “We understand that there’s no one way of doing it anymore.” Their bespoke approach has resulted in some notable recent successes. In August, Rogers will embark on an international arena tour — including two shows at Madison Square Garden — though she has yet to achieve platinum sales with an album. In 2018, Leithauser began a five-night residency at the swank, 100-capacity Café Carlyle in New York, playing to “a few die-hard Walkmen fans and some fairly confused business travelers,” as Eshak puts it. This year, Leithauser sold out 12 nights, and the concept will be expanded with potential notable guests in 2025. And in June, The Marias celebrated the release of their new album, Submarine, with a secret pop-up show in downtown Los Angeles for approximately 5,000 fans. Eshak says 38,000 RSVP’d.
“What each of those things speak to is us finding interesting ways that the artists appreciate and superserve fan bases,” McDonald says.
Eshak saw his first concert in the late 1980s when George Strait and his band headlined the Houston Livestock Show and Rodeo at the Houston Astrodome. “Thirty-plus years later, I was given this belt buckle by the rodeo when Leon Bridges headlined,” he says. “Truly a full-circle moment.”
Michael Buckner
What are the challenges of running an artist management company today versus 25 years ago?
Jonathan Eshak: When I first started with Michael, the sky had started to fall on the recorded-music business. This was the dawn of file-sharing companies like Napster and Kazaa. It was attractive to join Michael for that very reason. He was coming from building a world that was unique, not just to the ebbs and flows of the success of recorded music but also, how do you do things well in touring, merchandising, etc. He understood the creation of cultures, having worked with Dave Matthews and Coran.
Like the Grateful Dead, Matthews built a culture around his music.
Eshak: The Dead were the godfathers of that, and Mick’s ethos effectively starts there. While the challenges of the industry have evolved, the code of building an artist’s career remains the same. Which is, how do you focus on building a meaningful, long-lasting relationship with your fan base? We always say, “How do we make the artist the hit and not just the songs?” Music is just part of the cocktail. It’s also, how are we creating a dynamic of connectivity between the artist and the fan? How are we merchandising with them? How are we creating live shows that are meaningful, that evolve? There’s been a lot of lip service about artist development throughout the history of recorded music.
Michael McDonald: There were fewer breakthrough moments then, whereas today, because of the way technology and culture has evolved, it’s been democratized. The upside is that more people can succeed. The downside is there are fewer channels that create that star-turn moment.
Eshak snagged this copy of the run-of-show for Saturday Night Live on Nov. 3, 2018, when Rogers appeared as musical guest. “It’s an honor each time our acts receive the invite,” he says.
Michael Buckner
Maggie Rogers seems to be a prime example of someone who has grown through connectivity with her fans.
Eshak: Maggie has understood the importance of connectivity from the start. She had this moment of Pharrell-ity, for lack of a better word, and instead of sitting back and working that, she understood the importance of going around the world and connecting with her fans face-to-face. To your point, she’s doing two nights in Madison Square Garden without a platinum record. Now, she obviously wants that and we want that for her, but people who are in are in. Even as she’s grown, the No. 1 thing on the checklist is, what are we doing for that audience?
What’s an example of that?
Eshak: When we were announcing the fall arena tour, we created pop-up shops in all the markets where people could line up to buy exclusive merchandise and, most importantly, reduced-price tickets. She was hearing from unsettled fans about ticket prices, so we tried to create solves. Fans could walk [into the pop-ups], point at a seat map and get a ticket that was going to cost less than if they paid for it online. Because of that, her fans understand that she sees them.
What questions do you ask before signing an artist?
McDonald: Most importantly, “Do we love the music? Do we feel like we can really grow this career?” And then, “Do they, will they, work hard?” We can’t want it more than they do. Some of this is research you can do before you meet the artist. Much of it we do through conversations, but there’s also data that’s crucial. We’ve had great success following our passion and guts, but to not use the tools at our disposal to help make those decisions would be foolish. Data is a great strength of Jonathan’s and why we’ve evolved in using it to inform decisions but never to unequivocally make decisions. If we did, we never would have signed some of the artists we have.
Why did you partner with Firebird?
McDonald: Firebird brings us resources that a company our size doesn’t have. There’s a data department and an analytics department of 10 to 15 people. There’s a finance department. There are all sorts of things that allow us to double down on the data and free us up to stay focused on our artists.
McDonald celebrated “turning 50, 20 years of sobriety, raising nearly $500,000 for MusiCares and crossing something off my bucket list” by participating in the 2019 Iron Man World Championship. “It was an epic journey and one of the greatest days of my life,” he says.
Michael Buckner
What’s your pitch to artists you want to sign?
Eshak: It really comes down to having a shared code, so it’s important that we take the time to sit down with artists and say, “What are your life goals in addition to success in recorded music?” This is such a deep relationship that we talk all the time. We talk on weekends. We’re there with them for very big life stages, and it’s really important for us to have at least a common set of goals because it takes a lot out of everybody. Where we do a good job is acting almost as coaches now. It’s our job to be highly informed about how people are having success, distilling that and applying it to the artists that we represent, who are all quite different. In other words, how can we do this with you so that you remain true to yourself? We can’t do that for a thousand artists. It’s not the business model that Michael and I have elected to build.
You have a label.
Eshak: We have a label, and we’re working with some of our artists whose repertoires are returning to them and they need a mechanism to put music out. Some of it is also identifying artists that we like and helping them put music into the world.
Do you encourage your artists to own their masters?
McDonald: One hundred percent, whenever possible. Today, we would be hard pressed to pursue a deal that started with perpetuity music being somewhere else. There’s always a chance that it’s going to happen, and ultimately, it’s an artist’s decision. If they feel like this is their shot and they’re willing to give that up — absolutely. But one of the reasons we created the label was to say, “All right, let’s have an easy mechanism where we can control the deal terms. Let’s put music out and try to build on that. Then, if a great licensing option is not available today, let’s take a year and try to build something.” Ray LaMontagne’s album Trouble reverted to him in May after 20 years. So it’s not always a three-year or five-year reversion. But 20 years ago, we were able to take a long view and say, “Let’s take whatever percentage less today so at least there’s the option to sell those recordings X number of years later.”
Are your agreements with artists traditional percentage deals or partnerships?
McDonald: It varies. We have a lot of traditional deals, but any time we’re in true partnership, where we’re sharing [intellectual property] with an artist, it’s fully above board and clear with everyone’s legal teams. There is an evolving way that artists are going to get into business with different companies. We welcome that as things evolve.
A friend of McDonald had this box made for him. “It’s where I keep my most cherished and memorable notes and small keepsakes from artists, family and friends.”
Michael Buckner