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Last January, Olivia King sat at her dining room table and made a beat — in five minutes.
The Rhode Island-based pop/R&B artist doesn’t play instruments or use music-production software. Instead, she created her track with Overtune, a music-making app that allows users to combine beats and samples from a wide range of instruments and other sounds, write and record vocals, and otherwise use a simple smartphone interface to make music meant to soundtrack content on platforms like TikTok, Instagram and YouTube. Overtune was developed in Iceland and launched in 2020.
Now, King’s use of the app is helping expand Overtune’s applications beyond social platforms and into more traditional releases. After using Overtune to add her own vocals to her five-minute beat, she made a video of herself performing the song snippet, then posted it to TikTok as part of a brand deal with the app. The video started racking up views; it now has more than 10 million of them.
Capitalizing on this interest, King created an entire song based on her original minute-long TikTok. A steamy ballad called “Unfinished Business,” the two-minute, 18-second song was made entirely with Overtune beat packs and released last Friday (June 21). It marks the first release through Overtune’s new label service, which is centered on a partnership with SoundOn, the music distribution model launched by TikTok in 2022 in the U.S. and U.K.
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Building SoundOn into Overtune “fits directly into the changing music industry,” says Overtune co-founder Jason Daði Guðjónsson. “Social media platforms like TikTok are at the forefront of that kind of transformation, and I think Overtune is perfectly positioned to help artists navigate the changing landscape by providing them with the tools to create and now also share and monetize their music.”
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SoundOn is designed to help independent, emerging artists navigate TikTok, upload music, get paid for its use, market and promote themselves on the platform, and distribute their music to outside DSPs. Through its integration into Overtune, paid users can release Overtune-produced songs via SoundOn directly in the app, which has a free tier along with a subscription service priced at $9.99 a month. (This paid option also offers other features like exclusive beat packs.)
“I’ve worked with probably every distributor under the sun, but never before with SoundOn,” says King. “I’m excited for it, because TikTok has changed the music industry.”
Overtune’s ability to produce music tailor-made for TikTok has attracted serious interest, with the company receiving $2 million in seed funding from Whynow media (founded by Mick Jagger’s son, Gabriel Jagger), along with investments from a group that includes Guitar Hero founder Charles Huang. Its advisory board includes former Sony Music UK head Nick Gatfield. And while the use of the app to make full-length songs is relatively new, along with King’s song, Overtune was used in the creation of “Framtíðin er hérna” (“The Future is Here”), a song made for the National Broadcasting Station of Iceland’s 2023 New Year’s Eve show.
Overtune’s founders want to make music creation ultra-simple by providing thousands of different sounds that are organized by tempo and pitch for easy matching. (Some commenters were suspicious about whether King had actually made her beat in five minutes, so she made another video in which she recreated the process to prove it.) The app currently offers assistive AI that answers user questions and is developing other AI functions that are being trained on Overtune’s proprietary beat packs. Later this year, the company will also launch a function that lets users generate loops using written prompts.
Overtune recently added an AI function with which users can apply vocals filters that mimic the voices of artists from Snoop Dogg to Elvis, along with celebs like Morgan Freeman and fictional characters like Marge Simpson. (This function will soon be replaced by AI voices developed in-house and designed to modify individual voices, rather than replicate those of celebrities.)
“The beautiful thing about it,” Guðjónsson says of the app as it currently stands, “is that you don’t have to know anything about tech or music to be able to create songs.”
Overtune sounds aren’t copyrighted, so users can earn royalties from the music made on the app when it’s uploaded to TikTok and DSPs like Spotify and Apple Music. But Guðjónsson says Overtune users “gravitate toward TikTok” especially, making SoundOn “a natural addition to our offerings.”
The app also allows users to make music at TikTok’s unique pace. Artists can experiment with song snippets, then use SoundOn to put them on TikTok and test them with audiences before completing the song and releasing it on more traditional DSPs.
Making distribution easier is also just an extension of the company’s broader mission. “Becoming a musician is not supposed to be that difficult,” Guðjónsson says. “As it is today, you have to own a lot of expensive equipment and have a big presence to be noticed by the labels, but anyone can go through our services.”
For King, this ease is a major part of the app’s appeal.
“As an independent artist you have to be consistent, and the best way to be consistent is to be efficient,” she says. “With Overtune I can do a full demo on the app, then distribute through SoundOn, which makes life easier as an independent artist.”
Pharrell Williams and Louis Vuitton are facing a lawsuit over their launch of a high-end line of “Pocket Socks,” filed by a California company that says it’s been using that same name for more than a decade on a similar product.
In a case filed last week in Los Angeles federal court, Pocket Socks Inc. says the luxury brand’s product — a literal sock-with-a-pocket that launched at Paris Fashion Week last year and sells for the whopping price of $530 — infringes its existing trademark rights to the name.
“Much attention and publicity has been generated for Louis Vuitton’s ‘Pocket Socks,’ including defendants, the press, and consumers using the name ‘Pocket Socks’ for their product which irreparably injures Pocket Socks’ longstanding brand and trademark rights,” the company’s lawyers write in the June 20 complaint.
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Louis Vuitton announced in February 2023 that Williams would serve as the company’s men’s creative director, and he debuted his first line for the company later that year at Men’s Fashion Week in Paris.
One of the items apparently rolled out at last year’s event was the Pocket Socks — a pair of knitted socks that feature a pocket adorned with a pearl. The socks received some notoriety in January when Jermaine Dupri was razzed on social media for wearing them during his Super Bowl halftime performance. Though currently unavailable for purchase, the socks are listed on Louis Vuitton’s UK website for £420 — roughly $530 in U.S. dollars.
Louis Vuitton’s new product didn’t sit well with Pocket Socks Inc., which says it’s been using that exact same name since 2012 for its own line of socks that feature a zippered pocket sewn into each pair. In its lawsuit, the company says it owns several federal trademark registrations for the brand and that the new product clearly infringes those rights.
In a statement announcing the new lawsuit, Pocket Socks Inc. claims Louis Vuitton’s new line “threatens to undermine the hard work and dedication” that has gone into building the brand: “This massive luxury brand and their designer Pharrell Williams should know better and behave within the law,” said CEO Evan Papel.
In technical terms, the lawsuit accuses Williams and Louis Vuitton of infringing both the trademark to the name as well as the so-called “trade dress” — meaning the actual look of the product. The sale of similar-looking socks under the same name is “likely to cause confusion, or to cause mistake, or to deceive consumers,” the lawsuit claims.
As the case moves forward, one possible defense argument from Williams and Louis Vuitton could be that the name Pocket Socks is too “descriptive” to serve as a trademark. Under U.S. trademark law, terms that merely describe the goods or services being sold cannot be locked up as an exclusive brand name.
Neither a rep Williams nor Louis Vuitton immediately returned requests for comment.
One of Canada’s biggest stars is getting one of the country’s highest honours. Pop-rock star Avril Lavigne has been named to the Order of Canada, a civilian honour that recognizes outstanding achievements and contributions to the country. Lavigne was announced by Governor General Mary Simon yesterday, amongst a list of 83 new appointees that includes scientists, economists, poets and activists.
Lavigne’s appointment highlights her impressive commercial and artistic achievements, as well as her charity work. “With over 50 million albums sold worldwide, she paved the way for female-driven punk-rock music and continues to do so today,” the notice reads, going on to mention her support of individuals living with disabilities and serious illnesses through the Avril Lavigne Foundation.
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The Order of Canada appointment comes as Lavigne is celebrating her successes with Greatest Hits, a new compilation released June 21 featuring platinum singles like “Complicated” and “Sk8er Boi” as well as her Billboard Hot 100 No. 1 “Girlfriend.” Lavigne is one of Canada’s best selling artists.
The Canadian icon is also taking her hits on the road with a major tour, which kicked off in Vancouver in May and begins its second leg in Toronto on Aug. 12 with a sold-out Scotiabank Arena show.
Beyond the charts, Lavigne helped pave the way for a punk-inspired vision of girlhood in the early 2000s, when most female pop stars were embracing a more traditionally feminine image. Lavigne’s brash attitude and white tank top and tie combo cemented her as an icon for a generation of Canadian kids.
Lavigne wasn’t the only musician recognized by the Order of Canada this week. Montreal singer-songwriter Daniel Lavoie was named an Officer of the Order, as were percussionist Beverley Johnston and conductor Kent Nagano. -Rosie Long Decter
Mustafa’s ‘Name Of God’ Named Best Canadian Music Video of the Year, Winning 2024 Prism Prize
Mustafa has become the first two-time winner of the Prism Prize, the award that celebrates the best in Canadian music videos. He has won the 2024 Grand Prize for video of the year for “Name of God.”
Mustafa, also known as Mustafa Ahmed and Mustafa The Poet, also took home the award in 2022 for “Ali.” Both of his winning videos are self-directed. Mustafa’s win comes with a $20,000 prize, the largest monetary award for music videos worldwide.
Mustafa released “Name of God” last year days after penning a letter to Canadian Prime Minister Justin Trudeau urging him to speak for Palestine. The song and video touch on violence and grief as well as the power of community and tradition.
Mustafa isn’t this year’s only winner. Nemahsis has won the fan-voted Audience Award, winning “i wanna be your right hand.” That $2,500 prize goes to both artist Nemahsis and directors Norman Wong and Amy Gardner. The video takes the Palestinian-Canadian artist in a choreographed dance through a restaurant kitchen and into a showstopping empty-room dining hall performance.
Mustafa and Nemahsis beat out a strong shortlist of videos, including clips from The Beaches, Feist, Snotty Nose Rez Kids and more. See the whole list here and check out the four other special award winners here. -Kerry Doole
k.d. lang To Be Inducted Into the Canadian Country Music Hall of Fame in 2024
k.d. lang will be inducted into the Canadian Country Music Hall of Fame in 2024 by the Canadian Country Music Association (CCMA). The induction will take place at Country Music Week 2024 in Edmonton, Alberta, September 11–14 leading to the CCMA Awards.
“I am beyond thrilled, and frankly pleasantly surprised to be honored in this way,” says lang, who was born in Edmonton. “My love for the prairies, the people and our culture underscore every ounce of my inspiration. Not without its complexities, I might add. Such is life. I am so stoked to be coming to Edmonton to bask in this celebration… with deepest gratitude.”
Emerging in the 1980s as part of a then-burgeoning “cowpunk” scene, lang has had one of the most powerful and beautiful voices in country music and beyond. A queer icon and activist in many spheres, she’s expanded the boundary of the genre and pioneered within and beyond it.
“Today, we are excited to announce the incomparable k.d. Lang as our 2024 Canadian Country Music Hall of Fame Artist inductee,” says Amy Jeninga, president of CCMA. “A true Canadian icon and trailblazer in country music and beyond, k.d. embraced the genre with unparalleled passion, and her extraordinary talents have left an indelible mark on the cultural landscape of our nation. We proudly honour her incredible legacy and outstanding contributions, and can’t wait to celebrate her induction in Edmonton this September.”
The Canadian Country Music Hall of Fame is housed at Studio Bell, home of the National Music Centre, in Calgary. A new exhibition celebrating new and historic inductees will open September 11, 2024, with more details still to be announced. -Richard Trapunski
Country Label MDM Recordings Inks Global Deal With Warner Music Canada’s ADA CANADA
Country music is big business in Canada right now, and one of the nation’s major labels has made a new deal to reflect that.
ADA CANADA, the independent label and artist services arm of Warner Music Canada, has announced a new exclusive global distribution deal with MDM Recordings. Founded by Canadian music industry veteran Mike Denney in 2008, MDM Recordings describes itself as “a full service independent label and management company specializing in country music.”
MDM has an impressive track record, especially with up-and-coming country acts. Its roster has included such notable Canadian country musicians as Chad Brownlee, Tyler Joe Miller, Bobby Wills and Don Amero, and music released on the label has earned over 450 million global streams, and more than 500,000 physical units sold. Artists currently on the MDM roster include Jess Moskaluke (a platinum-selling artist and Juno and CCMA Award winner), Charlie Major, Amero, and The Redhill Valleys, alongside promising newcomers Savannah Jade and Josh Stumpf.
MDM Recordings has twice been awarded record label of the year at the Canadian Country Music Association (CCMA) Awards. Mike Denney has been honoured with the record company person of the year title three times and has overseen seven CCMA Award wins for their artists.
“MDM Recordings has always been about fostering incredible talent and sharing their music with the world,” says Denney. “This partnership with ADA Canada marks an exciting new chapter for us. We are thrilled to leverage ADA’s extensive global network to bring our artists’ music to an even broader audience.”
Greg Morris, VP of ADA Canada, says: “Mike Denney had a vision 16 years ago to create MDM Recordings, and he has done incredible work building it into what it is today. It has an excellent track record of discovering and developing country artists, and has regularly been recognized as one of the best country labels in Canada. I’m proud that Mike has entrusted ADA Canada to support and grow his business, and am excited to work with him and his team to grow his artists’ success, and help them connect with their fans around the world.” -Kerry Doole
For the past few months, things seem to have only been getting better for Sabrina Carpenter. Last summer, while opening on Taylor Swift’s Eras Tour, she began going viral for the city-specific outros she would tack on to the end of her song “Nonsense,” a true fan-driven hit that reached No. 56 on the Hot 100 and No. 10 on Pop Airplay. Next came “Feather,” off the deluxe edition of her Emails I Can’t Send album, which went even further, reaching No. 21 on the Hot 100 and becoming her first-ever Pop Airplay No. 1 earlier this year.
But that was just the beginning. “Espresso,” her single she released on top of her Coachella performance in April, exploded to No. 2 on the Hot 100 and No. 1 on the Global 200, cementing her as the pop superstar of the moment, crowned accordingly with a performance (and skit appearance) on Saturday Night Live. But her latest single, “Please Please Please,” then went even further — after debuting at No. 2 on the Hot 100 and giving her the top two songs on the Global 200, “Please Please Please” then ascended to the top of both charts, giving Carpenter her first-ever Hot 100 No. 1 and the distinction of replacing herself atop the global charts.
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The momentum has been dizzying — with every level conquered, another fell right after. Or, as Island Records vp of A&R Jackie Winkler puts it, “‘Nonsense’ walked so ‘Feather’ could jog, then ‘Espresso’ ran so that ‘Please Please Please’ could start a stampede.” And the success earns Winkler, who originally signed Carpenter to Island and has worked with her ever since, the title of Billboard’s Executive of the Week.
Here, Winkler talks about the building success of each of these songs, Carpenter’s evolution as a songwriter, the way that A&R has evolved over the years — and what will come next. “I think this album is going to blow people away,” Winkler says of Carpenter’s forthcoming Short N’ Sweet, due out in August. “If you like ‘Please Please Please’ and ‘Espresso,’ just wait for what’s in store.”
This week, Sabrina Carpenter’s “Please Please Please” reached No. 1 on the Hot 100, her first-ever song to top the chart. What key decision did you make to help make that happen?
Sabrina and Jack Antonoff had known each other personally for some time, so it was a natural progression for them to eventually work together. Given the chemistry that Sabrina and Amy Allen had already built, putting the three of them together felt like the perfect musical combination to undoubtedly yield something exceptional. It’s also fun to share the success of this song with David Gray and Jenn Knoepfle at UMPG who were instrumental in connecting the dots.
“Please Please Please” also hit No. 1 on the Global 200, replacing “Espresso,” which was No. 1 last week. Why do you think these songs are resonating, and working so well, around the globe?
To put it simply, the two songs speak for themselves. The first time I heard “Please Please Please” and “Espresso,” both sounded like hit records to me. The extraordinary nuances of Sabrina’s vocal delivery and quick-witted lyrics, combined with Jack Antonoff and Julian Bunetta’s brilliant productions, all play an essential role in what makes these songs so infectious and undeniable. They are especially bold, and nobody could pull them off as fearlessly and authentically as Sabrina.
Since last year, Sabrina has been on an increasingly-ascendant run up the charts, from “Nonsense” to “Feather” to “Espresso” and “Please Please Please.” How have you worked with her to help her develop her sound in the past year to reach this level?
It really feels like all four songs came at the perfect times in her career. “Nonsense” walked so “Feather” could jog, then “Espresso” ran so that “Please Please Please” could start a stampede. At the core, the music Sabrina makes is perfectly reflective of who she is as a person, and all the quirks and character are what give her such a strong musical identity. Writing with her friends has always felt like the most effortless way to allow her to be herself, so protecting that process at all costs will remain a vital part of her ever-evolving sound.
You originally signed Sabrina to Island several years ago. How have you seen her develop as a songwriter and as an artist since then?
From day one, Sabrina’s superpower has always been knowing exactly who she is and the type of musical collaborators she’s wanted to work with. I’ve witnessed her develop into an extraordinary songwriter who has not only coined entirely new phrases, but also infiltrated popular culture around the world with her lyricism alone. One of the most rewarding parts about seeing her succeed is that none of this has happened by skipping steps or catching a lucky break. It is all owed to her remarkable talent, the music itself and the relentless detail put into every aspect of her creative campaign. [Island co-CEOs] Justin Eshak and Imran Majid are ambitious leaders who strongly encourage our artists and our Island Records staff to take risks musically and strategically, which has made this journey even more gratifying as we continue to charge forward with no limitations.
With such a string of successful singles, how does that influence your approach to her upcoming album?
I think this album is going to blow people away. If you like “Please Please Please” and “Espresso,” just wait for what’s in store. Every ounce of the album oozes with Sabrina’s personality — funny, sincere, cheeky and intelligent, but above all, it’s honest. There isn’t a single song on the album that one could mistake for another artist, which is by far my favorite part.
How has A&R changed over the course of your career, and how has technology changed the role?
Technology continues to be a valuable tool for us to perform our jobs more efficiently. Since the start of my career, our access to information, data and even resources used to break artists have multiplied; however, my approach to signings, choosing singles and pairing creatives has never wavered from following my gut instinct. What will remain constant in A&R is the importance of maintaining genuine relationships, remaining selective and staying true to finding artists with longevity, a point of view and an unparalleled vision.
Diplo is facing a civil lawsuit accusing him of violating “revenge porn” laws by sharing sexually-explicit videos and images of a former romantic partner without her permission.
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In a complaint filed Thursday in Los Angeles federal court, an unnamed Jane Doe accuser claimed that the DJ (real name Thomas Wesley Pentz) recorded their sexual encounters and shared the materials with others on Snapchat “without plaintiff’s knowledge or consent.”
“Plaintiff brings this action to recover for the emotional and physical injuries she endured because of Diplo’s actions and to make sure no one else is forced to suffer the privacy invasions and physical and mental trauma she felt and continues to feel to this day,” the woman’s attorneys write.
In her complaint, the woman claims she had consensual sexual relationship with the DJ from 2016 to 2023. During that time, she says she occasionally “gave defendant Diplo permission to record them having sex, but never gave him permission to distribute those images and videos to third parties and reiterated that he was not to record them without her explicit consent.”
“Plaintiff trusted defendant Diplo and believed that he would respect her wishes to keep their sexual images and videos confidential and that he would not record them having sex without her consent,” her lawyers write.
But last fall, the woman says she was contacted by someone claiming to be in possession of images and videos of “plaintiff and defendant Diplo having sex.” She says the materials, allegedly shared over Snapchat five years earlier, depicted her “genitals, buttocks, and face,” as well as her voice.
After the incident, Jane Doe says she reported Diplo’s actions to the New York Police Department, which later “issued a warrant for defendant Diplo’s arrest for dissemination of intimate images and/or videos depicting Plaintiff.”
In an email to Billboard, the NYPD confirmed that a report had been filed and that there was an active investigation, but declined to comment on the claims of an arrest warrant: “There is a criminal complaint on file for unlawful dissemination for a suspect with the name of Thomas Pentz which is currently being investigated by NYPD detectives.”
In 2022, when Congress reauthorized the Violence Against Women Act, lawmakers created for the first time a federal law banning the disclosure of “intimate” images without the consent of those depicted in them. The lawsuit accuses Diplo of violating that provision, as well as an earlier revenge porn law enacted by the state of California.
Both representatives and an attorney for Diplo did not return requests for comment.
Diplo was previously accused of revenge porn by another woman. In 2020, he was sued by a woman named Shelly Auguste over claims that he had distributed nude photographs of her without permission. His attorneys called it a “smear campaign” and sued her back for stalking, trespassing, and distributing private materials. That litigation is ongoing.
It’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. Check out this year’s Pride List of top LGBTQ+ executives in the industry. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
Universal Music Sweden managing director Joakim Johansson has been promoted to president of the entire Nordics region for Universal Music Central Europe. He’ll continue MD’ing on the Sweden side but adds oversight of UMG operations in Denmark, Norway and Finland, as well as the Baltics (Estonia, Latvia and Lithuania). The individual directors of those markets (Casper Bengtson/Denmark, Kimmo Valtanen/Finland and Bjørn Rogstad/Norway) will now report directly to Johannson, who continues to beeline to Frank Briegmann, chairman & CEO of UMCE and Deutsche Grammophon. Johansson’s expanded role aligns with Briegmann’s ongoing strategy to amplify cross-market collaboration and innovations throughout Central Europe. Johansson joined the company in 2013 as GM of Universal Music Sweden, being promoted to MD six years later. “The Nordic countries boast a rich musical heritage and are at the forefront of industry innovation,” he said. “It’s an honor to lead our talented team in this vibrant region, and I look forward to driving our vision into the future.”
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Audacy elevated journeyman Jeff Sottolano to chief programming officer, effective immediately. Sottolano, who joined CBS Radio in 2001 as an intern and has served as executive vp and head of programing since 2021, will now oversee content strategy and creation in all formats across broadcast, streaming and podcasts, as well as work with product and technology teams on ways to improve creator tools and more. Over a 15-year stretch at CBS, which was acquired in 2017 by Entercom (later Audacy), Sottolano held programming roles in Rochester and Philadelphia before joining the front office in 2014 as director of programming. During the Entercom era, he rose to executive vp of programming, which carried over following the post-Audacy rebrand. For most of the last decade, Sottolano’s brand portfolio has gained market share in the A25-54 demo and he has led numerous company-wide initiatives including Audacy Launch, the company’s new music discovery platform for rising artists. “I consider myself so fortunate to work with our programmers, talent, anchors, reporters and producers who, together, build incredible brands, entertain and inform, and make a difference in the lives of millions of consumers every day,” said Sottolano.
Spirit Music Group appointed Lou Al-Chamaa to executive vp of A&R, a role based in Los Angeles and reporting to Spirit’s chief creative officer, Frank Rogers, who lauded the new hire’s “drive, passion and experience in building successful writer rosters” while in senior roles at AVEX USA, Sony Music Publishing and during his time as a consultant. “The opportunity to collaborate with such a forward-thinking team and contribute to the evolution of music creation is incredibly inspiring,” Al-Chamaa said. “I am deeply committed to fostering an environment where artists, songwriters, and producers can thrive creatively.”
Capitol Christian Music Group boosted its A&R efforts at a pair of its most storied imprints. Walter Thomas is promoted from director of artist development at CCMG to the new position of vp of artist development for Motown Gospel and TAMLA. Thomas, who joined the UMG label group last year, reports to CCMG co-presidents Brad O’Donnell and Hudson Plachy. Working closely with Thomas is Alexandria “Dria” Dollar, who joined CCMG in the role of senior director of A&R at TAMLA and Motown Gospel following a stretch as director of A&R at Reach Records in Atlanta. “These iconic labels have a legacy of inspiring and uplifting music,” said Thomas, adding that “Alexandria’s innovative approach and keen ear for talent are unmatched, and I am confident that together we will elevate our artists to new heights.”
Kelly Bolton
Credit: Jessica Amerson
Warner Records added Kelly Bolton as vp of A&R. Working out of Nashville, Bolton will work with Warner co-chairman/CEO Aaron Bay-Schuck on signing, developing, and cultivating country artists for the Los Angeles-based label. Bolton will report to executive vp and head of A&R Karen Kwak. Over the past few years, Warner has added artists including Zach Bryan, Dasha and Warren Zeiders to its roster. Bolton most recently served five years at Ashley Gorley’s Tape Room Music, rising to senior vp of A&R. Prior career stops include Big Deal Music and Black River Entertainment. –Jessica Nicholson
RADIO, RADIO: Vox co-founder Melissa Bell is the next CEO of Chicago Public Media, non-profit owner of WBEZ and the Chicago Sun-Times. She succeeds Matt Moog and officially starts Sept. 3 … Not so fast on that retirement, Joe Verbrugge. SiriusXM‘s chief commercial officer was supposed to depart yesterday (June 27) but will instead remain in place until July 31 before switching to a part-time role as advisor to the CEO through the end of the year.
Wasserman Music added three veterans to its global ranks as it looks to build on the firm’s suite of client services. Joining the London team as manager of tour marketing is Adam Clements, who has 15 years of experience between stops at Birmingham’s O2 Academy and O2 Institute, Eventim UK and AEG Presents. Over in Chicago, Oskar Muller joined as director of pricing & ticketing (Chicago) after serving as pricing director at Live Nation Entertainment. Finally, in sunny L.A., Jenn Rilloraza joined as manager of brand partnerships following time as director of marketing, brands and creative services for Create Music Group’s VRTCL vertical. “We are relentless in continually creating new ways to serve our valued clients around the world, and these important new additions to Team Wass reflect that,” glowed Wasserman Music president Lee Anderson.
The Academy of Country Music made promotions and new hires across several departments. Tommy Moore has been promoted to chief of staff and vp, industry relations & awards, board administration and governance. Kris Reyes has been promoted to senior director of finance, operations and HR. Meanwhile, Jesse Knutson has been elevated to director of publicity and media relations. Haley Montgomery has been elevated to director of industry relations & awards, while Jennifer Davis has been promoted to senior manager of events. Brittany Uhniat has been promoted to manager of content & creative production. New hires include Katie Casserly as coordinator of social media, with Maggie Feyrer hired as coordinator of strategic partnerships and Delaney Loughran as assistant, industry relations & awards. –J.N.
BOARD SHORTS: The Association of Music Producers elected Matt Nelson of Yessian Music as the ad music trade group’s new president of its national board. Nelson, who joined the board’s eastern chapter six years ago, succeeds Carol Dunn as national board president. Succeeding Nelson as president of the eastern chapter will be Made Music Studio executive Amy Crawford … The International Bluegrass Music Association elected two new members of its board and welcomed the return of a third. After a year away, former IBMA board chair Mike Simpson is back, and joins newcomers CJ Lewandowski and Annie Savage as board officers … Musicians On Call appointed True Public Relations co-owner Marcel Pariseau and songwriter Sam Hollander to its national board of directors.
Dylan Brewer, a veteran label executive and experiential marketer, launched a new creative music company dubbed FRAUDULENT. Since forming, the Los Angeles-based firm has already worked on campaigns for Laufey (alongside Microsoft) and Jessie Reyez. The two-time Clio award winner was most recently vp of marketing and head of experiential at Epic Records, working on a roster including Ozzy Osbourne, Madison Beer, Bakar, BEAM, AG Club, Headie One, J Hus and more. Prior to joining Epic in 2018, Brewer was a marketing and strategy lead at Def Jam Recordings for over three years, and earlier in his career produced music campaigns at Google. Reach out to Brewer at hi@fraudulent.live.
WHY&HOW added veteran artist manager Patrick Farr to its management team, based in Nashville. Farr arrives following six years at his own Revelator Management company, and another six at Philymack before that. During his career he has worked with such artists as Nick Jonas, DNCE and Demi Lovato, as well as Sophia Scott, who comes with him to WHY&HOW. “Not only does Patrick bring immense experience, but a fitting addition to our roster in Sophia Scott,” said WHY&HOW founder & CEO Bruce Kalmick. “I’ve been a fan of Patrick’s work ethic and savvy approach to artis development for a long time – we look forward to having him jump in with our team.”
NASHVILLE NOTES: Lauren Thomas was promoted to Columbia Nashville svp of promotion from vp and will have a day-to-day role with both the Columbia and RCA Nashville imprints … Big Machine Label Group promoted Ashley Sidoti to svp of promotion and digital for its Valory Music Co. imprint. Sidoti most recently served as vp of promotion and digital … The Gospel Music Association appointed veteran producer, marketer and network leader Steve Gilreath as executive director of the Christian & Gospel Music Museum at the Dove Center. Gilreath will report directly to Jackie Patillo, president of the Gospel Music Association … The Academy of Country Music is looking for a director of brand creative and design, as well as a director of strategic partnerships. View the listings here.
Influencer marketing agency VRTCL elevated Imani “Mango” Lewis to director, overseeing operations for the entire VRTCL team. Lewis, who is based in Los Angeles, joined VRTCL in March 2021 as music department manager before rising to head of music — and then director of music — last year. Recent wins for the viral content firm include campaigns for Beyonce’s “Texas Hold Em,” Kasha’s “Austin” and Lil Durk’s “All My Life.” “Imani’s exceptional talent and dedication have consistently driven some of our most successful influencer campaigns in recent years,” said Ash Stahl, CEO of umbrella company FH Media. “Her innovative strategies and unwavering commitment to excellence make her an invaluable asset to the VRTCL team.”
BSI Merch, a UK-based independent music merch and tech company, selected Charlie Simmonds to lead its expansion into the Asia-Pacific market. Located in Tokyo, the new outpost will primarily focus on e-commerce, merch supply, tour support, sales and superfan-related services. “By focusing on e-commerce and localising our services, we aim to deliver world-class support and grow our presence in this key market,” said Andy Allen, CEO. Throughout his career, Simmonds has worked with such artists as Billie Eilish and Sticky Fingers, and events including New York Comic Con and Signature Brew.
ICYMI:
Cheryl Paglierani
UK Music made it official, appointing interim chief Tom Kiehl as full-on chief executive of the music trade body. He succeeds Jamie Njoku-Goodwin, who left last year to work for soon-to-be former Prime Minister Rishi Sunak … Music agent Cheryl Paglierani joins CAA from UTA, where she served as a partner … Rodrigo Prichard was named general manager of Rimas Entertainment, effective July 1. Meanwhile, Kristen Quintero-Garriga has been named vp of brand partnerships under RIT.MO.
Last Week’s Turntable: SXSW London Staffs Up
Music instruction platform Yousician launched a partnership with Billie Eilish under which all 10 songs from Eilish’s latest album, Hit Me Hard and Soft, will be featured on the platform. Yousician users can now learn Eilish’s new songs on guitar, bass, ukelele, piano and vocals, in addition to more than 20 additional Eilish songs that are already available on the platform. Yousician provides users with lyrics, chords, step-by-step tutorials and real-time individualized feedback. This marks Yousician’s first deal with a major artist since its Metallica collaboration in 2022.
Warner Music Group’s ADA signed a global distribution deal with 11:11 Media, the media and consumer lifestyle company founded by Paris Hilton, who recently announced the Sept. 6 drop of her sophomore album, INFINITE ICON. “ADA gives me the ability to share my music with the world while maintaining ownership of it — which is so important to me, as an artist and entrepreneur,” said Hilton in a statement.
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Warner Music Group acquired a minority stake in the independent Croatian music company Dancing Bear Music. Under the deal, Dancing Bear artists will be able to utilize the services offered by ADA, Warner Music’s global distribution and label services arm, with the opportunity to upstream and become part of Warner Music’s global roster. The deal also includes a renewal of the companies’ licensing agreement covering Albania, Bosnia and Herzegovina, Croatia and North Macedonia. Dancing Bear has acted as Warner Music’s licensee in Croatia since 1996, while its sister company, Dancing Bear Publishing, acts as a local representative of Warner Chappell Music. Artists on the Dancing Bear roster include Dalmatino, Bruno Pietri and Pete Spruce.
The BBC invested 500,000 pounds in Condense, a live-streaming platform that allows fans to experience live shows in an immersive virtual space. The announcement follows BBC Radio 1’s New Music Show with Jack Saunders hosting a series of Condense live-streams with artists including Gardna, Charlotte Plank and Sam Tompkins. Jo Sherlock, group rights and commercial director at the BBC, will serve as Condense’s contact at the broadcaster; she will help shape the growth of the partnership as an observer on the Condense board. “By partnering in this way, we can rapidly explore new ways to engage younger audiences who don’t regularly come to the BBC,” said BBC head of ventures Jeremy Walker in a blog post.
Juan Munoz‘s independent label Night Stone Records signed a global distribution deal with The Orchard. Night Stone’s roster includes B. Howard, Otti, RMB Justize, PRIVATEHOUR, Kris Hollis, DJ So Cole and Million$. All will have access to The Orchard’s suite of services, including global distribution, DSP and digital partner pitching, marketing, synch licensing, video services, data analysis, advertising and radio promotion. Night Stone also announced the launch of Night Stone Games, an independent game studio that will be led by Ken Fox, co-founder of Warner Brothers Games San Francisco.
Created by Humans, which aims to create a marketplace where creators can license their intellectual property directly to AI companies, raised a $5 million funding round led by Craft Ventures and Floodgate, with participation from LAUNCH Fund, Slow Ventures, Garry Tan and Walter Isaacson.
Downtown-owned business-to-business distributor FUGA formed a partnership with two labels: Paris-based independent label Record Makers and Potion Records, founded by DJ/producer The Magician. Record Makers, whose roster includes Sébastien Tellier, Kavinsky and Dita Von Teese, struck a global distribution and marketing deal with Downtown that will include expanded services across Downtown’s marketing strategy and marketing accounts offering, as well as synch. Potion Records will utilize FUGA’s marketing strategy and digital accounts offering along with synch and licensing services. The Potion roster includes The Ashton Shuffle, Soda State and Aevion.
Sony Music Entertainment India and Maddock Films partnered to produce music projects that will cover both film soundtracks and independent pop projects featuring Indian talent. The deal launches with soundtracks for the upcoming films Chhava starring Vicky Kaushal and Rashmika Mandanna with music by A.R. Rahman, Diler featuring Ibrahim Ali Khan and Ikkis starring Agastya Nanda with music by Sachin-Jigar. The soundtracks for Luka Chhupi 2, Sector 36 starring Vikrant Massey, Sarvagunn Sampan starring Vaani Kapoor and Rumi Ki Sharafat starring Radhika Madan also fall under the partnership.
Leading Bulgarian music event organizer Fest Team signed a preliminary contract to acquire East European promoter, talent buyer and artist agency Charmenko, which encompasses Charm Music and Charmworks. With the acquisition, Fest Team hopes to expand its regional presence and operations across Eastern Europe, the Balkans, Turkey, the Baltic regions and more. The acquisition is set to be finalized later this summer.
Quasi has exactly two members, and the indie-rock band can afford exactly one hotel room while headlining clubs and theaters through the end of July. “Any increase in that — if we decide we want an additional musician or a sound engineer or someone to help us sell our merch — that pushes us into two rooms,” says Janet Weiss, the duo’s drummer. “And we’re not going to come home with money.
“Costs have increased so much,” continues Weiss, the former Sleater-Kinney drummer. “There isn’t that revenue source — records — to fall back on to get the show funded the way you would like it to be. It’s a combination of the economy and the streaming economy.”
To cope with the astronomical costs of just about everything on the road, club and theater performers cram into as few hotel rooms as possible; swap houses with friends to avoid Airbnbs; spend hours manning merch tables rather than hiring crew for the job; and postpone that long-awaited van-to-bus upgrade. “We went on a full U.S. tour two years ago and found that costs skyrocketed while we were on the road,” says Peter Silberman, singer for indie-rock band The Antlers. “That really ate into our profits in a way that we did not anticipate, even in our worst-case-scenario budgeting. I came back from that tour really wanting to economize.”
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Billboard spoke to nine 2024 touring artists, from singer-songwriter Caroline Rose to rockers English Teacher to doom-metal band REZN, about how they stay afloat amid price spikes for hotels, buses, crew and (depending on what part of the country they’re driving in) fuel.
Janet Weiss, Quasi:
We’re feeling the squeeze, for sure. Hotels are really outrageous — a Holiday Inn Express for $320 plus tax? That’s unheard-of. It’s harder and harder to make a profit if you have any sort of crew at all.
As much as we love touring, it’s not something we can do if you don’t come home with enough money to cover the weeks you’ve been gone. You’re going to have your car, home, health insurance — which costs a fortune — your pet-sitting, you know? So our solution is to scale it way, way back, as far as how many people we tour with.
We’re not spring chickens, but we’re healthy enough to be able to do it. It’s really hard to do everything ourselves — sell the merch, set up the gear, drive, deal with a different sound person every night, explaining our setup and how we want it to sound, and the lights. I would love to bring a few cool lights and have an extra person who would help with gear, but the rooms are so expensive, it’s nearly impossible. After Covid, costs are so high. They never came back down.
Matt Korvette, vocalist, Pissed Jeans:
We definitely feel it. The thing that stands out is the band meal the morning after the show. Usually, that’s the most relaxed and largest meal you’ll have for the day together. You’ll wake up, go to a place to eat and hit the road and finagle some dinner later. That’s an easy $100, where it used to be like $50 for four people.
One thing that’s different than previous years is no one has a van you can borrow. There aren’t the same networks of bands with vans. Everyone outsources it now. There are expensive van-rental companies for Sprinters. That’s been a drag.
We owned one [van], then sold it during Covid. We were just paying insurance for this thing that just sat there. So that was a hindrance. We sold it to a local metal band who we weren’t familiar with. I would see it around town, and apparently it got stolen from them. They added a Motörhead flag to cover up the window and it would be pleasant to see every now and then, like a little reminder. And now it’s gone.
We’re going to play in Baltimore in a couple months, two hours from Philly, and we’ll probably take three separate cars rather than figure out some sort of van. That’s one of the ways we’ve made things work, in a slightly more awkward way. It doesn’t have the same feel of rolling up to a show.
We all have main jobs outside of the band. It makes the band more thrilling and fun and free, a hobby rather than something that we’re staring at show metrics and wondering if we’re going to have to partner with a soft drink on Instagram to be able to pay rent. We miss out on really breaking through to a larger audience, let’s say, but we’ve made peace with that.
Lily Fontaine, singer, English Teacher:
The things we’re having to cut back on are guitar techs and lighting engineers and drum techs. It’d create a smoother show for the audience, and it’d be quite normal at this point in our career to have that. But that’s extra hotels, extra flights, extra food. It’s been an agreement with all of us that as soon as we can have a regular guitar technician, at the very least, that’s something that we want to have. It’s been explicitly talked about.
We have band members share rooms. Last year, all of us were in one room. We’re lucky enough to be able to have twin rooms. Not a lot of bands get to have that. We’ve been on tour for months now, so having space is really good.
Caroline Rose, singer-songwriter:
Prices of buses have just gone up astronomically. It feels like the carrot that’s been dangling in front of my face for years now. It makes it more economical touring in a van, so we all shove in there like sardines.
We extended the tour to two months to make it profitable. The longer we were on the road, the more we could profit. It was a little past break-even point.
We had a VIP access for most of the shows, in the venues that we had the infrastructure to do so. That allowed people to see our short film that we made. That helped offset a lot of costs. It’s really important to have an enticing production. We have found clever ways to make it look good without costing a fortune. I call it “DIY pro.” All the equipment that we use is pretty ancient and held together with coat hangers and rope and things we end up returning when the tour is done.
All of us wear multiple hats. My guitarist, who also plays keys, does all of our playback, and she’s a genius with tech. My tour manager is basically a production manager. My manager is helping advance all the shows from afar. My sound engineer does almost all of the driving. We change our own tires. I’m very skilled with engines! We have a rotating hotel room. If somebody was having a rough day or needed some time alone, they would get that hotel room to themselves.
Most people still think it’s the ’70s, where we’re partying every night and hanging out with bands and going out and getting wasted. The reality of being an independent musician today is so drastically removed from that. We’re not Taylor Swift. We’re not these huge bands that are selling out arenas. We’re still the working-class musicians that are supporting this industry at the grassroots level.
David Bazan, Pedro the Lion:
We’ve got it whittled down to the livable basics. It’s a three-piece band. You can’t really go fewer than that on stage. Then two crew — one sound person and one manager-person.
At first, in coming back [in 2017, after a lengthy break-up], we came [out] with a lighting designer and a whole lighting rig. When we started touring again after the lockdown, we didn’t have a lighting rig or an LD anymore. I don’t know if we’ll get to the place, income-wise, where we can afford that. But as soon as we can, I would like to reinstate it. It’s such a lovely element to have.
If it got so bad that we weren’t actually breaking even on the tour, I would just tour less and save up and pay for it. It’s something I want to do. The nut we’re rolling with right now is what it costs to do it with care and responsibility.
Rob McWilliams, singer, doom-metal band REZN:
We have five people in our touring party. Four people in the band [and] our merch person. We all just manage our tour stuff ourselves. We all share one hotel room — just a bunch of dudes in one hotel room sharing beds and a pullout couch. That helps save costs, for sure. Luckily, I don’t mind spending time around these guys. It just feels like you’re on vacation with your family. You’ve just got to share a bed with your brother. But you’ve got to stagger those showers.
If we get another hotel room, that’s maybe another $150-$200. Is that worth our comfort, in that we will technically get paid less at the end, because it will eat into the profits at the final day of the tour? It was a brief conversation. We’ve been doing it this way for over a year, and it’s been going well: “We’ll just keep it going.” We’re thinking about bringing a sound person. That’s our next goal. The expenses of another hotel room — that’s a pretty big step.
Peter Silberman, The Antlers:
In planning this tour, we had our sights set on cutting down costs. I don’t think there’s one magic solution for artists. It requires being granular with your budgeting and your accounting.
With this tour, we’ve teamed up with Okkervil River. The idea was to do everything we could to share the burden, and that involves traveling in one vehicle, sharing all the expenses, minimizing the amount of equipment we’re bringing out and the amount of crew — basically, zero crew. We have somebody who is tour-managing remotely, advancing shows and being in touch with promoters. We’re not traveling with a sound engineer, we’re using all the house sound engineers and merch sellers.
All of us are accustomed to a DIY approach to touring and have done that on and off throughout our careers. So the skill set is already there.
Jess Williamson, singer-songwriter:
I’m doing a regional tour around Texas. I live part time in Los Angeles and part time in Marfa, Texas. I made Austin the base for my band for our rehearsals. I could do a house swap for my house in LA for a friend’s house in Austin. That’s one way I kept costs down. We’re here five out of seven nights. We’re sleeping in Austin. We have this kind-of-free, really nice place to stay. It would have been a lot if we had to rent an Airbnb.
Last year, money was a little tighter. This year, things are going really well. I definitely do a lot, though, to make it work.
I hope people realize how important it is, for the artist, to buy something at the merch [booth]. The fees from the shows only go so far, but merch is directly contributing to the artist’s pocket. Going out to the merch every night, it really helps with my sales, and I love to do it. It’s not the easiest thing to do after you’ve played. Sometimes I’m at the merch for an hour and a half, standing and talking to people. It wears on me. I do it because it helps with sales, and I need to move the merch to keep the tour afloat.
Eric Earley, guitarist, Blitzen Trapper:
I’ve got a daughter who’s seven. When they’re that age, I don’t want to miss too much. So two weeks is my limit, at this point, of shows in a row. I’ll do two or three of those a year and we’ll do fly-outs or one-offs, festivals here and there, if it makes sense.
With Covid, a bunch of the guys were tired, and I took over the business side. I started making some decisions, because I have a family: Is it worth it to go on the road? Part of that was, “I think I just want to do a four-piece now.” But I would love to add another member at some point.
Because we live in Oregon, if you want to get to the East Coast without flying, and still make money, you have to route a tour that’s at least three weeks. If we’re going to do the East Coast, we’ve got to fly and rent all the gear and the vehicle out there.
I really enjoy shows and touring, so there’s a level of fulfillment that’s not attached to a monetary value. It’d be easier to do a day job. Music business is a rough business, but if you love playing music and make some money off it, it’s worth it.
Primary Wave will acquire the music publishing and select master recording assets of Nuno Bettencourt, the guitar player for Extreme, the company announced Thursday (June 27). The deal — which excludes the band’s aptly titled sixth album, 2023’s Six — includes all of Bettencourt’s publishing, such as administration rights; his share of Extreme’s master recordings in which the […]
More than 50 members of the music industry have joined an advisory committee to help guide an ongoing study by MIT’s Environmental Solutions Initiative.
The report, expected to be released this fall, is designed to provide a comprehensive assessment of the relationship between live music and climate change, to identify areas where the industry and concertgoers can make improvements to reduce emissions and create positive environmental outcomes, and to analyze the latest sustainable technology and systems that can be adopted in the live events space and other areas of the industry.
The ultimate goal of the study is to determine sector-specific and industry-wide decarbonization solutions.
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The new advisory board includes Live Nation president/CEO Michael Rapino along with other Live Nation execs; Warner Music Group CEO Robert Kyncl; and reps from companies including Wasserman Music, WME, Atlantic Records, Upstaging, Inc., Farm Aid, Projects Tait, Global Motion Ltd., Women of Qolor Entertainment and many more.
On the artist side, the committee includes Ellie Goulding, Adam Met of AJR and representatives from the live and touring teams of artists including Billie Eilish, FINNEAS, Harry Styles, Shawn Mendes, Fred again.., Jack Johnson and Coldplay.
Participants also include reps from nonprofits and NGOs like Reverb, Support+Feed, Julie’s Bicycle, Global Citizen and Client Earth. See the complete list of participants here. Anyone can submit data to the report by emailing p1lm@mit.edu.
The MIT study is being executed with the support of Coldplay, Warner Music Group, Live Nation and consulting firm Hope Solutions.
“With the participation of the advisory committee and contributions of data from various sources, we are well on our way to producing a significant contribution to knowledge that can support meaningful actions to address climate change,” said Prof. John E. Fernandez, director of MIT’s environmental solutions initiative, in a statement.
“I would characterize the music industry as risk-averse,” Fernandez told Billboard in March of working within the industry. “It’s a business, and artists are trying to make a living, so we’ve seen an enormous amount of concern over the risk entailed with making a commitment to reduce emissions.”