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Only six months since launch, the “Feat. Nature” artist page on Spotify has generated major funding for conservation organizations.
On Thursday (Oct. 24) at the COP16 Biodiversity Conference in Cali, Colombia, organizers of the Sounds Right project — which launched the page on Earth Day in April — announced that $225,000 generated by the project will be donated to agencies working to protect areas of Colombia’s Tropical Andes, a region that boasts one of the world’s highest rates of biodiversity and native species.
Of that sum, $100,000 will go to Reserva Natural La Planada, which oversees 3,200 hectares of lands protected and governed by indigenous communities. Elsewhere, the Fundación Projecto Titi, which protects Colombian cotton-top tamarin monkeys in a 900-hectare reserve, will receive $80,000 over two years. FundaExpresion will receive $35,000 over two years, with the money going to community-led initiatives securing 450 hectares in the Andean forest, along with other local endeavors. And Jacana Jacana, an initiative focused on music, education and ecological awareness among children, will receive $10,000 over one year.
The recipients were selected by the Sounds Right Expert Advisory Panel, which is made up of conservationists and Indigenous rights activists. A representative for the project tells Billboard that the panel assessed projects based on their proven models of ecological and community impact, with a “strong intent to honor the communities whose ways of life nurture vital biodiversity strongholds, yet are often underfunded or overlooked.”
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Sounds Right organizers also announced the addition of seven new tracks to the “Feat. NATURE” artist page, with contributions coming from artists including Lykke Li, Ela Minus, AySay, Sam Lee, Alexis Taylor and Louis VI. The songs join a playlist that includes music by David Bowie with Brian Eno, Ellie Goulding, U.K. electronic outfit London Grammar, neo-soul and folk artist UMI with V of BTS, Indian artist Anuv Jain, Norwegian singer Aurora, and more, bringing the total number of songs on the playlist to 24.
As announced in April, songs on Spotify’s “Feat. Nature” artist page incorporate sounds of the earth, melding ocean waves, wind, bird calls and other nature sounds into original tracks and remixes. Since April, the playlist has generated more than 65 million streams from 7.5 million listeners in more than 180 countries, a representative for the project says.
“Feat. Nature” shares royalties with participating artists, with streaming income consistent with other artist payouts for music and ambient nature sounds on digital streaming platforms.
“We strive to leverage our platform for good and inspire, engage and educate listeners and the wider community to take climate action,” Spotify’s sustainability lead Hanna Grahn said in a statement. “Sounds Right is a fantastic initiative, leveraging the power of creativity and music to support nature. We are proud to be part of such impactful organizations and creators, and that nature finally is getting the praise she deserves.”
The rep for Sounds Right says that since launching, the “Feat. Nature” project has raised approximately $300,000 through royalties and institutional and individual donations, which are separate from the philanthropic funding that’s been raised to cover program costs. The organization will publish an annual impact report to show how income generated by the project through royalties and donations is being used.
Sounds Right was developed by the Museum for the United Nations — UN Live, a Copenhagen-based organization that uses culture to create local action and global change in collaboration with a variety of climate-focused partners.
Warner Music Group announced the launch of Warner Music Africa Francophone (WMAFR) on Thursday (Oct. 24).
The new venture will “spotlight incredible talent from Francophone Africa,” co-director Yoann Chapalain said in a statement. “It aims to connect diverse sounds and regions, elevate releases for maximum success, and expand the music’s reach globally.”
The launch comes at a time when demand for French-language music is growing. “Since 2019, French-language music streams have surged by 94%” on Spotify, the streaming service noted in a blog post in September.
“All regions of the world are embracing the richness and diversity of the French-language music scene,” according to Jeremy Erlich, head of music content at Spotify. “There’s been a sharp rise in the number of French-language music listeners on Spotify.”
Warner Music Africa Francophone will be a collaboration between Warner Music Africa, Warner Music France, and Africori, a distribution company. WMG previously announced that it acquired a majority stake in Africori in 2022.
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The company was working with around 7,000 artists at the time. “African music is booming all around the world and some of our artists are right at the heart of the explosion,” Yoel Kenan, CEO of Africori, said in 2022. “Through our partnership, Warner Music has proven that it is the perfect home for Africori and our artists going forward. I’m looking forward to continuing to work with them as we break more artists on a global scale.”
WMAFR will be led by Chapalain along with Marc-André Niang. Chapalain also serves as A&R Manager at Africori, and Niang continues on as A&R director, French-speaking African repertoire at WM France.
“It’s important for us to be able to create new synergies for the development and structure of the Francophone market in Africa,” Niang said in a statement. “While the region is steeped in both culture and talent, the ecosystem faces challenges. Our team will connect creatives and help shape the environment to drive cross-cultural success.”
Simon Robson, WMG’s president of recorded music for Europe, Middle East, and Africa, likened WMAFR to 91 North, a joint venture between Warner Music Canada and Warner Music India that launched in 2023.
“There’s a strong cultural trade route between France and West Africa,” Robson added. “WM Africa Francophone will help us support the artists in that space.”
The Music Sustainability Summit (MSS) has announced programming for its next event, which is set to take place on Feb. 3, 2025, at Solotech Studios in Los Angeles. Produced by the Music Sustainability Alliance (MSA), the second edition of the conference will focus on solutions to climate change’s effects on the music industry, with special […]
Two years after she became the first and only woman to debut at No. 1 on Billboard‘s Hot R&B/HipHop Songs as a producer this century — thanks to Nicki Minaj‘s Rick James-indebted “Super Freaky Girl” — Malibu Babie has found a new home.
On Thursday (Oct. 24), ONErpm announced that the artist/producer signed with the distribution and marketing company; “Baddie Bakery,” her new Flyana Boss-assisted single, is due Friday (Oct. 25).
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“Malibu Babie’s producer accolades speak for themselves and it’s time for the world to recognize her as an artist,” said Alex Ziabko, denior director of A&R at ONErpm, in a statement. “Malibu reminds us all to have fun from time to time. I’m thrilled to welcome such a strong, creative, forward-thinking artist to ONErpm.”
“I’m so excited to be releasing music with the ONErpm team” added Malibu Babie. “Alex & the incredible team of women he’s brought on to support me — Jenna LoMonaco, Julia McLeod, & Casey Childers, immediately understood my artistic vision and unique path as a producer/artist. I’m thrilled to bring my music to life with an innovative team who takes my mission to trailblaze as seriously as I do!”
In addition to her forthcoming new single with Flyana Boss — the hip-hop duo behind the 2023 hit “You Wish” — Malibu Babie is also prepping a new mixtape for 2025. Beginning Oct. 31, she will join Qveen Herby‘s The Alchemist tour as a supporting act. The trek will commence at The Novo in Los Angeles, visit major cities such as Toronto and New York, and conclude at The Fillmore Miami Beach in Miami on Nov. 23.
Recently, Malibu Babie has landed placements with Katy Perry and Kim Petras (“Gorgeous”), as well as official remixes of tracks from Sia and Kylie Minogue (“Dance Alone”) and Shania Twain (“Giddy Up!”). She released her debut mixtape, Malibu SZN, Vol. 1, in November 2022.
Hailing from Olympia, Wash., Malibu Babie graduated from Vanderbilt University, where she made an eleventh-hour decision during her senior year to ditch her law school aspirations and go all in on music. After six years of toiling in the industry — including a stint as a studio intern for a company called ZMG in Nashville — she finally struck gold with “Super Freaky Girl.”
Minaj’s 2022 smash debuted atop the Billboard Hot 100 chart dated Aug. 27, 2022, becoming Minaj’s first unaccompanied No. 1 hit on the chart. The “Super Freak”-sampling track also helped Minaj become the first solo female rapper to debut at No. 1 on the Hot 100 since Lauryn Hill did so with “Doo Wop (That Thing)” in 1998. The same week “Super Freaky Girl” reigned as America’s most-consumed song, Malibu Babie notched a second Hot 100 entry, this time with Megan Thee Stallion‘s “Her,” a house-inflected track from Megan’s Traumazine LP. That track, whose music video earned three nods at the 2023 MTV Video Music Awards, peaked at No. 62 on the Hot 100.
Live Nation CEO Michael Rapino must be deposed in the ongoing litigation over the 2021 disaster at the Astroworld music festival, the Texas Supreme Court says.
In a ruling last week, the high court denied Live Nation’s petition seeking to stop the deposition, rejecting its arguments that victims were simply seeking to depose the executive in order to “harass Live Nation and to coerce settlements.”
The Oct. 15 ruling, which left in place a trial judge’s decision this summer forcing Rapino to testify, came nearly three years after the 2021 incident, in which a crowd crush during Travis Scott’s headlining set left 10 dead and hundreds injured.
The disaster spawned hundreds of lawsuits against Live Nation, Scott and others, collectively seeking billions of dollars in damages. Many of those cases have since settled on private terms, but some victims are still moving toward a jury trial. A so-called bellwether trial had been scheduled to start this week but was pushed back to February after more settlements were reached.
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In seeking to block Rapino’s deposition, Live Nation’s attorneys argued that he was the kind of top-level “apex” executive who can’t typically be dragged into court cases. They said he was far removed from actual decision-making and was “not involved in the festival”, meaning he didn’t have any unique information for the lawsuit that couldn’t be gleaned from other sources.
“Mr. Rapino’s only connection to the festival was as Live Nation’s ultimate executive,” the company’s lawyers wrote. “Any knowledge he may possess was obtained from others who have knowledge superior to his own.”
But attorneys for victims argued that Rapino had played a more direct role in the operations of Astroworld than Live Nation was letting on. Among other evidence, they cited an email Rapino sent on the night of the disaster, instructing Live Nation’s festival director to wait for more information about the death toll before canceling the rest of the festival. “If 5 died we would cancel,” he wrote in the message.
“Remarkably, Live Nation claims that Rapino was not the decisionmaker on whether to cancel the Festival,” the lawyers for the victims wrote. “This email proves otherwise, and plaintiffs want an opportunity to examine Rapino about it.”
Following last week’s ruling, it’s unclear when Rapino’s deposition will take place. A spokesperson for Live Nation did not immediately return a request for comment on the court’s order.
As Billboard reported Thursday (Oct. 24), global royalty collections rose 7.6% to a new high of 11.75 billion euros ($10.9 billion, based on the average exchange rate for 2023), according to the Paris-based trade organization CISAC (the Confédération Internationale des Sociétés d´Auteurs et Compositeurs). That article covers the basic news — digital collections grew 9.6% to 4.52 billion euros ($4.18 billion); radio and television collections declined 5.3% to 3.37 billion euros ($3.11 billion) after a significant jump the previous year; and live and background music collections grew 21.8% to 3.06 billion euros ($2.82 billion), fueled mostly by a resurgent concert business. There’s more detail in the news article.
Now let’s take a longer-term look at the state of the market to see where all the recent growth has come from and what that implies about the future. Since 2019, the music collections business has grown from 8.92 billion euros ($8.24 million) to 11.75 billion euros ($10.9 billion), an increase of 31.7% over five years, which is annualized growth of more than 6%. That arguably presents a more accurate picture of market trends than year-by-year changes from this period, since the concert business was so disrupted by the pandemic.
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Most of that growth came from digital, which grew 119% — from 2.06 billion euros ($1.9 billion) in 2019 to 4.52 billion euros ($4.2 billion) last year. Perhaps more important, the 2.46 billion euros ($2.27 billion) of digital growth represents almost all the growth in the business during that time. And that growth is starting to slow. In 2023, digital growth slowed from 35.1% to 9.6%, which contributed to an overall slowing of growth from 29% to 7.6%. Some of that is inevitable — subscription streaming growth has leveled off in the U.S. and Western Europe, the biggest markets that traditionally drive the business. Together, the U.S., Western Europe and Canada account for almost 75% of collections revenue. Digital revenue will almost certainly keep growing — from price increases and new products, among other factors, but the wonder years of digital growth may be in the past.
The state of global royalty collections offers other reasons for optimism, though. First, a caveat: These numbers don’t provide a perfect picture of the music publishing business, or even public performance royalties, since some digital royalties are paid through direct deals. These numbers represent the best global picture of the collecting business available, though, and it seems safe to say that the direct deals, for which numbers aren’t available, roughly follow these trends. This almost certainly understates the growth of the music publishing business, though, since it doesn’t include U.S. mechanical publishing royalties, any synch rights and a variety of new kinds of deals.
The challenge for collecting societies is that the second largest source of revenue, from TV and radio play for compositions, does not seem to be growing. It was 3.4 billion euros ($3.14 billion) in 2019 and it’s now 3.37 billion euros ($3.11 billion) — a more significant decline than it seems, given inflation. Since this revenue is tied to TV and radio businesses in most markets, some of it seems to have gone to digital, which has replaced it as the most important source of revenue.
There’s more hope in the live business. The disruption of the pandemic made this hard to see, but live and background music royalties are growing steadily — from 2.71 billion euros ($2.5 billion) in 2019 to 3.06 billion euros ($2.83 billion) last year — a rise of 12.7%. That’s not so big, divided over five years, but live is growing faster than the rest of the category, and growth in ticket prices for the biggest tours will result in more royalty revenue in territories where that’s linked to ticket prices. That trend is expected to continue, too. That could make live music an important source of growth in both established markets and new ones.
Right now, the collecting society revenue breaks down as follows: 38.5% of money comes from digital; 28.7% from TV and radio; 26.1% from live and background music; 3.2% from CD and video sales; 2.4% from private copy levies (which the U.S. does not have); and 1.1% from other sources. How might that look five years from now? It’s hard to imagine digital climbing above half since that would imply a significant decline for TV and radio revenue. Live royalties should climb, maybe significantly, and background music revenue could climb in some markets, although it’s not likely to grow so much in the U.S. and Western Europe.
The origins of collections revenue will also change: There’s also really impressive growth coming from parts of the world that barely generated much revenue five years ago. Collections in Latin America rose 26.2% last year but 108.2% over the last two years, driven by Mexico and Brazil and the spread of streaming throughout Latin America. Right now, that impressive growth doesn’t change the overall picture much — the region still only accounts for 5.9% of collections revenue. But if that growth pattern continues, the market could become significant soon. Over the last five years, Latin America collections went from 4.1% of the global total to the aforementioned 5.9% share.
The same goes for some markets in Asia. Overall, there’s not much growth there — it’s down 0.3% because of Japanese currency fluctuations but up 6.8% on a constant currency basis. But Vietnam, Indonesia and the Philippines, where between 80% and 85% of collections revenue comes from digital, are up 270.4%, 111.6% and 325.8%, respectively, over the last five years. Those increases aren’t big enough in revenue terms to lift the overall business, but they’re growing fast enough that they could make a difference five years from now. Africa, hailed as having so much potential, seems to be stuck: It went from accounting for .7% of global music collections to .6%. That won’t matter much to overall revenue anytime soon. But it shows how the music business still faces serious challenges in Africa, as well as how those challenges impact real, working creators. These problems are complicated, but they are also urgent: Creators in Africa deserve better.
Growth is continuing in bigger markets, however; the top 10 markets grew 6.3% last year. Over the past five years, the U.S. and Canada grew 44.4% and 38.9% respectively, with the U.K., France and Germany up 44.5%, 34.7% and 20.2%. The strongest growth over that time took place in Korea, up 70.9%. The health and stability of the larger markets should make it easier for the fast-growing smaller ones to improve the entire business.
A Georgia judge is weighing whether to declare a mistrial in Young Thug’s long-running Atlanta gang trial, a move that would require prosecutors to either start from scratch or drop a case that has already lasted more than two years.
The motion for a mistrial was sparked by an incident Wednesday (Oct. 23) in which a state’s witness accidentally revealed sensitive information to the jury. Defense attorneys said the mistake was caused by prosecutor missteps, and the judge quickly chided government lawyers for “sloppiness.”
A mistrial would mean an abrupt end to a criminal trial that has stretched across 10 months of jury selection and 11 months of testimony to become the longest-ever in state history. Prosecutors have meandered through a vast list of witnesses, and the case has been beset by unusual delays — including a jailhouse stabbing of one defendant and a bizarre episode over a secret meeting that saw the presiding judge removed from the case.
Since taking over the case this summer, Judge Paige Reese Whitaker has expressed frustration with how the Fulton County District Attorney’s office has been handling the case. Last month, she blasted the prosecutors for “poor lawyering, “baffling” decisions and steps to repeatedly “hide the ball” amid a “haphazard” trial.
At Wednesday’s hearing, Whitaker refused outright to declare a mistrial with prejudice, which would have permanently ended the case. But she said she would consider doing so without prejudice, meaning prosecutors could attempt to retry their case from scratch in front of a new jury.
The specter of such an outcome has prompted prosecutors to discuss plea deals. According to X posts by Cath Russon, managing editor at Law&Crime, each defense team was set to meet individually on Thursday with District Attorney Fani Willis to discuss potential deals.
As a result of the negotiations and the pending mistrial motions, all trial proceedings before Whitaker on Thursday (Oct. 24) and Friday (Oct. 25) have been postponed and the trial is currently scheduled to resume on Monday morning (Oct. 28), according to Russon.
Thug (Jeffery Williams), a chart-topping rapper and producer who helped shape the sound of hip-hop over the past decade, was indicted in May 2022 along with dozens of others over allegations that his “YSL” was not really a record label called “Young Stoner Life” but rather a violent Atlanta gang called “Young Slime Life.” The case, built around Georgia’s Racketeer Influenced and Corrupt Organizations (RICO) law, claims the group committed murders, carjackings, armed robberies, drug dealing and other crimes over the course of a decade.
While the slow-moving trial has dragged on, Thug has been sitting in jail for more than two years, repeatedly denied bond over fears that he might intimidate witnesses. If the judge grants a mistrial and prosecutors decide to retry their case, he could have years more in jail until a verdict is reached. Such an outcome could potentially motivate defendants, too, to consider a negotiated resolution.
The Wednesday incident that sparked the calls for a mistrial took place as prosecutors were questioning a witness named Wunnie Lee (aka Slimelife Shawty), a former defendant in the YSL case who signed a plea agreement in exchange for testifying.
While on the stand, prosecutors asked Lee to identify certain defendants by showing him social media posts. While reading one of the posts, Lee read aloud the hashtag #freequa — a reference to a previous prison sentence for Marquavius Huey (aka Qua), one of Thug’s current co-defendants.
That was a crucial error by prosecutors. The jury was not supposed to know which defendants had previously been incarcerated, and defense attorneys argued that the government was supposed to redact the post and prep Lee not to mention it. After the admission before jurors, defense attorneys quickly moved for a mistrial.
“We’re not going to be able to unring this bell,” defense attorney Nicole Westmoreland said in court. “It is painfully obvious that the state is not prepping their witnesses.”
The misstep quickly drew another sharp critique from Judge Whitaker, who attempted to reach a solution that would allow the case to move forward: “What I’m trying to do is fix your sloppiness so that everybody won’t have wasted 10 to 12 months of their lives in this trial.”
UnitedMasters has reached a new multi-year licensing agreement with TikTok. News of the deal comes just weeks after Billboard broke the news that TikTok “walked away” from talks to renew its license with Merlin, a collective that negotiates digital licensing deals for more than 30,000 indie labels and distributors.
Instead, TikTok noted that it wished to forge deals with most of the labels and distributors individually and cited previous issues with Merlin’s members delivering “fraudulent content” as the reason why they were not renewing with Merlin. Merlin read this move as TikTok “fragmenting” its membership to try to “minimize” licensing payments for indie music.
UnitedMasters — which has worked with more than 2 million independent artists, including FloyyMenor, Brent Faiyaz, BigXthaPlug, Tobe Nwigwe and Anycia — will include its full, expansive catalog in the new deal. The agreement will also provide additional commercial opportunities for UnitedMasters artists via TikTok’s Commercial Music Library.
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A press release states that TikTok and UnitedMasters “share the vision and understanding that commercial use of music on platforms offers significant revenue and promotional opportunities for artists” — and that having access to TikTok’s Commercial Music Library will give UnitedMasters talent access to new revenue and promotional streams for their talent.
Beyond just TikTok, licensing music for commercial purposes is a crucial focus for UnitedMasters. Previously, it has landed its artists deals with major brands like Bose, Walmart, ESPN, Coca-Cola, IKEA, Dove and more.
“Our partnership with TikTok provides UnitedMasters artists unparalleled access to a vast global audience, while TikTok creators and users gain early exposure to some of the most impactful independent music today,” said Steve Stoute, founder/CEO of UnitedMasters, in a statement. “TikTok recognizes the power of music and creativity, which is why we are excited to formalize this partnership.”
“TikTok has proven that it’s a launchpad for artists, turning viral moments into chart-topping hits,” Stoute added. “With this partnership, I look forward to seeing our artists thrive on TikTok and extend their reach and influence across the music industry. We’re building a future where they can own their success and grow their careers on their own terms.”
“We want to make the world’s best music available to our global community of over a billion music fans,” added Ole Obermann, head of music business development at TikTok. “That’s why we are so excited to be entering into a direct deal with a prominent independent label like UnitedMasters, with its deep, diverse roster of independent artists. Together, we’re ready to amplify these voices and bring their music to a global stage, unlocking new opportunities for discovery.”
Merlin’s license with TikTok is set to expire on Oct. 31. Labels or distributors that have not reached an individual agreement with TikTok by then will become unlicensed and removed from the platform.
Several of Nashville‘s top independent venues, along with local artists, are teaming up for a new event, 615 Indie Live, designed to celebrate and support Music City’s indie live music scene.
Thirteen independent venues and over 40 local artists and bands spanning genres including rock, hip-hop and jazz will come together for 615 Indie Live on Feb. 1, 2025. Event passes are currently discounted to $15 using all-in pricing, with the passes granting entry to all participating venues. The event will run from noon until 2 a.m., allowing attendees to visit multiple shows at various venues across the city.
Participating venues include 3rd and Lindsley, Acme Feed & Seed, Dee’s Country Cocktail Lounge, DRKMTTR Collective, Eastside Bowl, Music Makers Stage at Delgado Guitars, Night We Met, Rudy’s Jazz Room, The 5 Spot, The Basement, The Blue Room Bar at Third Man Records, The East Room, and The End. Participating artists will be revealed in the coming weeks.
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615 Indie Live is presented by Nashville Convention & Visitors Corp and Music Venue Alliance Nashville.
Proceeds from ticket sales will benefit Music Venue Alliance Nashville, including the organization’s Emergency Relief Fund that aids Nashville’s independent venues to help them stay open during periods of financial crisis. Those who buy passes during the presale period — which lasts until midnight on Oct. 31, 2024 — will have a chance to win a Project 615 gift bag and a VIP Nashville attraction pass, which offers complimentary admission for two people to over 25 area attractions, including the Country Music Hall of Fame and Museum, the National Museum of African American Music and the Musicians Hall of Fame & Museum.
“Independent music venues are the heart and soul of Music City, providing a stage for new artists across diverse genres to showcase their talent and be discovered,” Deana Ivey, president/CEO at Nashville Convention & Visitors Corp, said in a statement. “We hope 615 Indie Live will inspire Nashvillians and visitors to explore new music and discover venues they may not have visited before. Locals might even find a hidden gem right in their own neighborhoods. By holding the event during the winter, we hope to help boost business at the venues during a traditionally slow season.”
The Greater Nashville Music Census, released earlier this year, highlighted the impact of independent venues and the financial struggles those venues, as well as indie artists, face.
“All of the recent data clearly shows that independent venues are a foundation of Nashville’s live music ecosystem, yet they are quickly becoming an endangered species,” Music Venue Alliance Nashville president Chris Cobb said in a statement. “615 Indie Live marks the beginning of exciting new partnerships born from this data, reinforcing our mission to celebrate and support an essential part of what makes us Music City. My sincerest thanks to the Nashville Convention & Visitors Corp for partnering with us to support independent venues and local artists.”
Warner Chappell Music‘s Latin division has signed urbano music producer Jorge Milliano. A trusted collaborator for superstars like Peso Pluma, Myke Towers, Anitta, The Chainsmokers, Maluma, Manuel Turizo, Marshmello and Nicky Jam, Milliano is one of the top producers working in Latin music today.
Concord Music Publishing has announced the signing of poet, singer, songwriter and producer Kara Jackson. Signed in collaboration with Ark Publishing, a joint venture founded by Grammy-winning producer and songwriter, Noah Goldstein, the worldwide publishing deal includes Jackson’s catalog and all future works.
The Circuit Group has partnered with Kobalt globally for publishing administration. The Circuit Group was founded by Dean and Jessica Wilson, Brett Fischer, David Gray and Harvey Tadman with the aim to acquire ownership in artists’ IP portfolios and partner with them to build new monetization opportunities.
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U.K. music supervision company 45RPM has launched a new music publishing arm with the support of Universal Music Publishing Group, which will administer the new publishing outfit. Founded in 2022 by top music supervisors Iain Cooke, Sarah Bridge, Catherine Grieves and Nick Angel, 45RPM offers a full service experience for clients, including soundtrack development, composer partnerships, rights negotiation, budget management and on-camera music supervision.
Spirit Music Group has joined a creative joint venture with Grammy-winner Autumn Rowe to form Rowe’s Honest Songs Music & Lyrics. A singer, songwriter and producer, Rowe has worked with Jon Batiste, Dua Lipa, Diana Ross, Pitbull, Zendaya, Ava Max, FKA Twigs and Leona Lewis, as well as released songs in her own right. When she’s not in sessions, Rowe sits on the board of Songwriters of North America (SONA) where she advocates for songwriter’s rights.
Sony Music Publishing Nashville today announced the signing of acclaimed songwriter, producer and multi-instrumentalist Elysse Yulo. News of the deal comes just months after working with Lana Del Rey and Quavo on their song “Tough.” Along with her work with Del Rey and Quavo, Elysse has also worked with Nashville talents like Zach John King, and Maddox Batson.
EJ Pasin has signed a worldwide publishing deal with Position Music. He is perhaps best known for producing the beat and guitar of the viral hit “Embrace It” by Ndorz, but the songwriter/producer has also released his own work via the names EJ Pasin and ptasinski (his side project). He is managed by Ewan Jenkins and Jack Mangan of E2J Management.
Warner Chappell Music (WCM) and Grammy-nominated duo, The Warren Brothers, have jointly signed a publishing deal with emerging country singer-songwriter Preston Cooper. An Ohio native, Cooper is currently one of the special guests on Riley Green’s ‘Damn Country Music’ Tour. He also has new music dropping in early 2025.
Jonathan Tester has launched Groove Bound Songs, a new independent publishing company, created via a joint venture with Bucks Music Group. As part of their agreement, Groove Bound Songs, founded by Bucks longtime Head of Sync, will benefit from Bucks’ leading back end administration, creative A&R, sync services and general expertise under the JV.
Sony Music Publishing Nashville has announced a new partnership with One4 Entertainment’s Brian Wright to sign breakthrough singer-songwriter Sadie Bass to a global publishing deal.