Executive Turntable
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Spotify named Christian Luiga on Thursday (April 4) to be its new chief financial officer to replace Paul Vogel, who stepped down from the CFO role at the end of March. Luiga will be Spotify’s third CFO in five years, and he takes charge of financial planning and analysis amidst changes to how the streaming […]
YG Entertainment, home to K-pop groups BLACKPINK and BABYMONSTER, has named Yang Min-seok, the young brother of former CEO and company founder Yang Hyun-sun, as sole CEO. The company announced the appointment following its annual shareholder meeting on Friday (March 29). Yang had previously shared co-CEO duties with Hwang Bo-kyung, who was named CEO in […]
Recording Industry Association of America (RIAA) COO Michele Ballantyne has been promoted to president, the organization has announced. She will continue to serve as COO, running daily operations and managing RIAA’s 56-person team.
A 2024 Billboard Women in Music honoree, Ballantyne serves on the RIAA executive leadership team alongside chairman/CEO Mitch Glazier while spearheading daily operations and helping lead advocacy efforts across the industry. During her tenure, she’s played a key role in the passage of the landmark Music Modernization Act as well as the PRO-IP Act, which established the first U.S. intellectual property enforcement coordinator in the executive office; and the Higher Education Opportunity Act, which provided colleges and universities with tools to reduce the illegal downloading of copyrighted works on campuses.
“I love my job, and I feel really lucky to have it,” Ballantyne tells Billboard in an exclusive interview (full Q&A below). “Music is something that is so important to everyone, and there are obviously lots of challenges…AI, TikTok, COVID. But one thing I’m really proud about is that at RIAA we’re nimble and we punch above our weight and I think that speaks a lot to the team we have in place. I really feel grateful to be at the helm with Mitch and see where we can take things.”
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Mitch Glazier, Busta Rhymes and Michelle Ballantyne
Daniel Swartz
More recently, Ballantyne has focused particular attention on the growing use of artificial intelligence in music and its ethical implications for creators. Under her leadership, the RIAA became a founding member of the Human Artistry Campaign, a coalition of music and entertainment organizations supporting ethical standards around AI that launched in August. The organization also supported the ELVIS Act, the landmark law designed to protect creators from AI deep fakes that was signed into law in March. On the federal level, the RIAA is supporting bills including the No AI FRAUD Act in the House and the NO FAKES Act in the Senate.
“Michele and I have had the privilege of guiding RIAA and supporting our member companies through amazing celebrations and challenges in the industry,” said Glazier in a statement. “I am grateful for her remarkable leadership and genuine care for people. Our playlists may not always be in sync, but our determination for a thriving and equitable community for music creators is.”
Ballantyne earned her law degree from the Georgetown University Law Center and started her career in government, serving in roles including general counsel for Sen. Tom Daschle, special assistant for President Bill Clinton and special counsel for former White House chief of staff John Podesta. She joined RIAA in 2004 as senior vp of federal government and industry relations. A Black female executive, Ballantyne’s work at the organization has also focused on social justice advocacy, including mobilizing RIAA members to support police reform bills, guiding the implementation of members’ social change commitments and managing the most diverse RIAA board of directors in its history.
On the occasion of her promotion, Billboard spoke with Ballantyne about her new role, the importance of combatting AI deep fakes, Universal Music Group’s dispute with TikTok and the possible implications of the upcoming presidential election.
You’ve been COO for several years now, but you’ve now added “president” to your title. How will your purview at the RIAA change?
It will change a little bit, but maybe not that much. It does catch up to the way we’ve been working, especially Mitch and I, who sort of approach things as a partnership. But the COO part, which is the sort of the nuts and bolts of running the organization and dealing with the internal stuff, it’s not all that I do. I do a lot of industry relations and coordinating with outside groups and coordinating with our member companies and making sure everything runs smoothly, that people are communicating. And so I think it reflects that piece of it too. I’m grateful for the recognition because I enjoy the work, and the title makes it clear to everybody.
You’ve been with the RIAA for around two decades now, and you’ve helped tackle some of the biggest issues in recorded music over that time. What do you see as some of the biggest issues facing the RIAA and its members currently?
No question it’s AI. AI has sort of supercharged everyone’s work. I am not the lead on it, but it’s everybody’s issue. We’re out talking about it and thinking about it and trying to figure out, “How are we gonna meet the challenges that it brings for artists and for labels and everyone in music?” It’s such a challenging time and everything is moving so fast. We’re just trying to figure out how we’re going to navigate all of it. And it’s an exciting time. It brings a lot of innovations to the table.
I think that the music industry in general is usually, in the time that I’ve been at RIAA, in the front. We’re the — I’m not fond of the saying — but the canary in the coal mine. All of these issues are ones that we confront first, the same as with file-sharing or any of those other issues that happened way back when. And the policymakers are grappling with how to handle these changes confronting society with AI, so it’s so multifaceted and very challenging.
We’ve been working on the deep fakes issue. That is one thing that pretty much everyone can come together around. We had that bill pass in Tennessee last week [the ELVIS Act] and we’re working on some federal bills as well. So, this is, I think, where all the focus is going to be. But in general, I think things are good, the industry is moving in a positive direction. You probably saw our revenue numbers came out earlier this week. One of the things that we’re so excited about, and I think that music companies have really embraced, is offering so much choice to fans. And I think that’s really positive.
I was curious about the year-end report. One interesting takeaway is that the record labels may have become almost too reliant on paid subscriptions for revenue and revenue growth. Do you think that revenue mix needs to be more dynamic? And if so, how do you feel labels can get there?
That’s a very tricky question. I’m not sure I can really answer that one. There are a lot of different components that go into it. And a lot of the pieces that are business issues, we aren’t at RIAA going to be able to see into those. It is a concern, for sure, and something that our folks are paying attention to.
I will say that one of the things that I have noticed that has changed most over the time that I’ve been at RIAA is this willingness to innovate and pivot. When I first came to RIAA in 2004, the focus was on how do we address file sharing? It was the Grokster case, and I think that within the companies, the old guard has sort of shifted out and the folks who are there now and have come in have very successfully navigated those challenges to the place we are today.
Today, everyone streams and anybody can get the music they want, whenever they want it. And it is not something that even occurs to young folks. I have a 16-year-old. He doesn’t even think about like, “I can just go on Spotify and listen.” To me, watching that change has been really impactful. And I’m just trying to think about it, like, something exciting will happen next. I’m not sure what it is. But I think it will happen.
One of the other big stories in the last few months was UMG pulling its catalog from TikTok and the ripple effect that that’s had on the industry. What do you think needs to happen to resolve that dispute?
I don’t know. TikTok has has grown so fast, and even among our companies and among policymakers, there’s differing opinions on how to handle that. Universal certainly put their marker down, and we haven’t commented because our companies aren’t all in the same place about it. So I don’t know how that’s going to resolve and I also don’t know what’s going to happen with the federal bill that policymakers are pursuing to say that they’re going to ban TikTok. I mean, it passed the House. It’s very tricky.
We have a big election coming up. What should RIAA members be on the lookout for when either candidate wins, whether it’s Trump or Biden?
We used to go, Mitch and myself, to our companies and board meetings and we would talk to them about what’s happening in D.C. and how it’s all gonna shake out and what we think will happen based on what we know and our experiences working both in the House and the Senate. It’s really hard to tell now. We gave up some years ago on doing our own punditry. The polling doesn’t seem to be as reliable and, as a D.C. person, even some of my colleagues from prior administrations or from the Hill, they’re like, “It’s really hard to tell.”
The good news for everyone in the music industry, not just RIAA, is that largely music issues are bipartisan, and on the committees that handle intellectual property, policy and copyright issues, the Judiciary Committee, they are dealing with many more complex issues such as guns and immigration and reproductive rights and so on. So a lot of times they are more willing to come to the table to talk about music issues, for a variety of reasons. One is that they can get to an agreement, there can be some bipartisan action, and, you know, music touches everyone. And policymakers are no different.
I think that hopefully we can get some action on making sure that we continue to protect the rights of artists and labels and songwriters and others in the music community, and not roll back any rights. We’ll be paying particular attention to AI and deep fakes and making sure that their rights are protected there. But it’s not clear how things will go, either from the standpoint of the election, but also getting bills passed is really hard nowadays. But can we get some engagement? Yes, we’ll get engagement. A lot of times what we try to do too, is if members feel like bills won’t pass, there are other ways to get them to engage, to help bring parties, stakeholders to the table to talk through issues and see if we can get some resolutions and things like that. I expect that to continue. But, you know, D.C. is…it’s tricky.
This interview has been edited and condensed.
It’s time for another spindle around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.
Sphere Entertainment is placing the creative and brand strategy for its Las Vegas orb in the capable hands of Ned McNeilage, who joins the company as chief creative officer. A creative leader with 30-plus years of experience under his belt, McNeilage will oversee all things creative, including Sphere’s in-house creative design studio and brand teams, as well as the cool task of programming the digital canvas that is the venue’s LED exterior — or Exosphere. Since opening last year, the Exosphere has dazzled/boggled onlookers with fireworks displays, a gigantic eyeball, the moon, Earth and other planets, terrifyingly vivid basketballs, one of those metal climbing geo-domes you probably fell off of as a kid (pictured) and what looked like a ball of rubber bands, among other artist choices. Prior to joining Sphere Entertainment, McNeilage served as CCO at a number of companies, including VML and Swift, as well as BBH USA, the global agency where he worked with brands like Samsung, American Express and Activision. Earlier in his career McNeilage served as group creative director for TBWAMedia Arts Lab, where he worked on projects for Apple Music, and he also created award-winning work during an eight-year run as a creative director at CAA.
“I am pleased to welcome Ned to Sphere Entertainment,” said Jennifer Koester, president of Sphere Business Operations. “Sphere is redefining immersive experiences, including through the Exosphere, which is an unparalleled digital canvas for public art and brand storytelling. Ned has worked with premier brands to spearhead memorable campaigns, and he will bring that expertise to not only support our partners in creating impactful brand moments at Sphere, but also continue to build the Sphere brand.”
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Meanwhile …
Hallwood Media, a Los Angeles-based label and agency that represents songwriters and producers, hired Roderick “PushaRod” Bullock as vice president of A&R/Management. PushaRod’s pedigree includes an extremely productive seven and a half year run as A&R of urban music at Interscope Geffen A&M, where his roster included Rich The Kid, Moneybagg Yo, Kamaiyah, Ian Connor, Neechie, Arin Ray, Mitch and Co Cash. As vp, PushaRod will continue to build Hallwood’s roster of talent and work closely with the agency’s existing artists, producers and writers, including Soundwave, David Stewart, Beach Noise and Yung Dza, among others. Hallwood is the brainchild of former Geffen president Neil Jacobson, who noted he “had the chance to watch Pusha discover and develop some of the most important artists at Interscope for the years we worked together. He pushes the envelope, he’s fearless outgoing and has one of the best Rolodexes in the game (Gen Z-ers please look up Rolodex).”
DEAG founder and CEO Peter Schwenkow marked his 70th birthday this week with the announcement that he’ll hand over management of the German concert promoter to his co-CEO Detlef Kornett, starting April 1. “The captain is leaving the bridge, but not the ship,” said Schwenkow. “I will continue to be part of the journey as an advisor to the company and – together with my son Moritz – as a major private shareholder in DEAG, in order to make my contribution to the company’s continued growth in the interests of all shareholders.” Over the course of 46 years, Schwenkow has seen DEAG grow to 600 employees across seven European countries, with continuous annual sales of over 300 million euros, he said. “You can be proud of your life’s work,” said supervisory board chairman Wolf Gramatke, “and we are sure that with your continued support, we can look forward to an exciting and prosperous future.”
Jeremy Skaller, Nat Pastor, Jay Sean, Jacqueline Saturn and Jared Cotter
Cory Grimes
Wake up, it’s 3AM Entertainment — a new indie label founded by Jay Sean, Jeremy Skaller and Jared Cotter, in partnership with Virgin Music Group. The label’s first project is “Heartless,” a new single from Sean, featuring Ikky and out next week (April 5). “Today’s music business is truly global, and 3AM Entertainment will focus on supporting artists from the South Asian diaspora on their journey to becoming global stars,” explained Sean. Skaller, co-founder of The Heavy Group, and Cotter, a vp of A&R at Range Media Partners, will serve as co-presidents of 3AM. Additional early risers are Jay Sean’s longtime manager, Thara Natalie, who’s been named chief operations manager; Madison Bickel, general manager; and Mahima Sharma as A&R who will be based in New Delhi. Jay Sean’s co-manager Aayushman Sinha will consult on A&R and strategy out of Mumbai. “No single artist has done more to bring South Asian music and culture to a global audience than Jay Sean,” said Nat Pastor, Co-CEO of Virgin Music Group. “Jeremy and Jared have been with Jay on that journey, and together the three executives have a strong track record in supporting and nurturing South Asian artists in their native countries and beyond.”
Island Records promoted recent Women in Music honoree Natasha Kilibarda to vice president of marketing and creative strategy. The NYC-based executive reports up to Jay Schumer, evp and head of marketing and business development, and will stay the course on spearheading campaigns for the surging Sabrina Carpenter and Chappell Roan, along with Brittany Howard and other prized Island-ers. “Natasha is one of the most passionate and creative marketers in music, the relationships she has with her artists and managers speak for themselves.” said Schumer “Her promotion couldn’t be more deserved.” Prior to joining Island in early 2022, Kilibarda spent six years at Warner Music, rising to director of marketing and artist relations in an LA-based role. Earlier in her career, she held roles at ATM Artists and Talenthouse.
Wasserman Music has promoted nine staffers to agent and touring roles across departments, in addition to a new, first-of-its-kind orchestral division. Newly promoted Team Wass members across the agency’s expanding global business include Alex Christie (agent), Annie Cole (manager, touring), Anna Kathryn Groom (manager, brand partnerships), Owen Hynes (manager, tour marketing), Kara Klein (manager, brand partnerships), Brittany Miller (director, festivals), Noah Plotnicki (agent), Lindsay Roblesi (agent) and Holly Rowland (agent). The new Orchestral division will be led by vice president Emily Threlfall Yoon; the new division represents IP-driven symphonic properties like SQEX’s Final Fantasy VII REBIRTH World Orchestra Tour and more than three dozen titles produced by Disney Concerts, including Marvel Studios’ The Infinity Saga Concert Experience, as well as a diverse group of world-class conductors, orchestrators, and arrangers. The division will also partner with artists across Wasserman Music’s client roster, such as John Legend, Melissa Etheridge, Laufey, and Zedd, to conceive and produce new programming symphonic projects. –Jessica Nicholson
Splash, a generative AI startup based in Australia, appointed music tech veteran Tracy Chan as its new CEO. Chan’s new gig follows a nearly two-year stint at SoundCloud, where he quickly rose from senior vp to chief content officer. Chan, who is based in San Francisco, remains a strategic advisor to the audio platform. He was previously vp and head of music at Twitch and earlier in his career spent several years as a product director at Spotify. Backed by Khosla Ventures, King River, Alexa Fund and Mawson, among others, Splash creates “music for the digital generation, excelling in genres like hyperpop, EDM, Glitch, Phonk, Trap, Lo-Fi, Hiphop & others” and developed its own Roblox game, also called Splash. “Across my career, I’ve seen that the best way to help artists make a sustainable living is by engaging and co-creating with fans,” he said in a statement. “Bringing that strategy together with Splash’s talent, tech and audience is an unbelievably exciting opportunity.”
Universal Music Publishing Group promoted Adriana Ramos to managing director of UMPG Brazil, immediately replacing longtime MD Marcelo Falcao in the role. Based in Rio de Janeiro, Ramos reports to Alexandra Lioutikoff, president of Latin America & US Latin for the publishing giant. A UMPGer since 2013, Ramos most recently served as head of creative (A&R and sync) and over the years has overseen licensing opportunities for UMPG’s writers across advertising, film, TV and games, including for Riot Games’ Valorant. Prior to joining UMPG, Ramos held positions at Brazillian indie label Deck, Warner Music and BMG, among others.“With tremendous vision and dedication, Adriana has been instrumental to the success of UMPG Brazil and her promotion is much-deserved,” glowed Lioutikoff, who also recognized outgoing MD Falcao for “solidifying our credibility in the market, building a great team of executive talent, and identifying, nurturing and supporting artists and songwriters” over the past three decades.
Primary Wave Music welcomed Julianne Wilson as senior director of creative sync, a role where she’ll use her experience in advertising and music supervision to maximize sync opportunities for Primary Wave artists and writers. The company also promoted Peter Kurczaba to the same title as Wilson and Derek Pierce to director of creative sync. The NYC-based Wilson joins PWM following roles at Walker and SixtyFour Music, and says she’s already been “doing some digital crate digging” for ways to champion the company’s artists. Kurczaba, who is based in Los Angeles, joined Primary Wave eight years ago as an intern and rose to a director role, working on covers, remixes and sync placements on shows like Welcome to Wrexham and Yellowjackets. Pierce, who moved from NYC to LA to join PWM in 2020, is responsible for syncs in Winning Time, Cocaine Bear and more. Al three report to Marty Silverstone, who oversees the department as president of global sync.
Regina Carter, a multi-Grammy nominated violinist and former MacArthur fellow, will join the faculty of the UCLA Herb Alpert School of Music later this year. Carter, who has taught at the New Jersey City University and the Manhattan School of Music, will be teaching courses in jazz history and performance, and urban musical culture. “I hope to inspire creative transformations within young musicians,” Carter said.
The NMPA SONGS Foundation, which supports up-and-coming writers, has a new board of directors. Songwriters include Justin Paul & Benj Pasek (Kobalt), Dan Wilson (UMPG), Lauren Christy (Reservoir), Allison Russell (Concord), Jordan Reynolds (Warner Chappell), Gaby Moreno (peermusic) and CAM (Sony Music Publishing). Industry director include Jon Platt (Sony Music Publishing), Carianne Marshall (Warner Chappell), Golnar Khosrowshahi (Reservoir), Kathy Spanberger (peermusic), Keith Hauprich (BMG), Jim Selby (Cocord), Alison Donald (Kobalt) and Jennifer Knoepfle (UMPG). Holdovers on the board in include Jewel Kilcher and NMPA execs David Israelite, Danielle Aguirre and Charlotte Sellmyer.
Avex USA Publishing hired Brennen Bryant as its new director of A&R. He’ll oversee Avex USA’s publishing division, including signings and implementing strategies across all deals and sessions. His first order of business was to help sign hip-hop/Jersey club producer DJ Smallz 732, following the success of co-creating “Everybody” by Nick Minaj and Lil Uzi Vert. “We are thrilled to welcome our new A&R Director to the Avex family to help us discover and develop the next generation of talented artists, writers and producers,” said Lou Al-Chamaa, Avex USA’s svp and head of A&R, publishing. “With his expertise and passion for music, we are confident that he will bring a fresh perspective to our A&R team.”
New Zealand-Australian singer Jordan Rakei is the first-ever “Artist In Residence” at the iconic Abbey Road Studios. Perks include full access to the entire building, including the same studios where The Beatles recorded, plus all the classic studio instruments and gear he can get his hands on. As AIR, Rakei will participate in Abbey Road-related outreach programs, including writing camps, mentoring sessions and he’ll help the studio test out potential audio equipment. “Jordan’s exceptional talent and unique approach to music embodies the spirit of innovation that Abbey Road Studios has always championed,” said Sally Davies, managing director. “I’m excited to see how this role unfolds, enhancing the creative legacy of Abbey Road Studios and setting new benchmarks for musical innovation and collaboration for years to come.”
Transgressive Records welcomed esteemed artist manager Moriah Berger for the hybrid role of A&R and marketing manager for North America. In the role, out of Transgressive’s New York office, Berger will work with roster artists on the end-to-end process of making and marketing albums and other creative projects. During her career in management, which has included stretches at Paradigm, Mick Management and Other Operation, Berger has worked with Sharon Van Etten, Angel Olsen, MUNA and Of Monsters & Men, among others. “From the first moment we met Moriah, we knew our tastes, values and approach were all aligned, whilst her revered background within the complex tapestry of artist management was an appealing prospect,” said Transgressive company directors Toby L, Tim Dellow and Lilas Bourboulon. “We cannot wait to watch her continue to thrive as a vital new force in Transgressive’s present and future.”
Artist Publishing Group promoted Matt MacFarlane and Olly Sheppard to senior vps of A&R. Together, MacFarlane and Sheppard will continue to oversee the publishing company while mentoring and developing the A&R team. Both execs have roughly nine years or more at APG, with MacFarlane’s client roster including Tax Taylor and Rio Leyva and Sheppard clocking wins including The Fast X Soundtrack and securing a placement for writers FAANGS and JBACH on the Barbie Soundtrack.
UK-based label and publisher Ostero hired Andy Griffin as campaign manager for Asia and Danny McNamara as an A&R and digital manager. Based in Thailand, Griffin’s focus will be on artist campaigns across Southeast Asia. Previously at Cr2 Records and UMG, McNamara will be responsible for artist recruitment and managing digital artist campaigns in Ostereo’s recordings department. “We are continuing to see huge growth and success within emerging markets, enabling us to develop strong, long-standing relationships within these territories,” said Nick Kirkby, CFO of Ostereo.
Metro Public Relations promoted Emily Hessel to vp of consumer communications and audio. Since joining Metro in 2018, Hessel has been instrumental in expanding the company’s podcast, audio and books strategic consumer communications services. The company’s audio digital clients include Lemonada Media and iHeartPodcasts, with its networks the include Will Ferrell’s Big Money Players Network.
ICYMI:
Concord named veteran exec Stephanie Hudacek — founder of Soundly Music — president of its Rounder Records … SM Entertainment, home to such K-pop stars as aespa and RIIZE, promoted Tak Young-jun to co-CEO alongside existing CEO Jang Cheol-hyuk. Tak was also named executive director of the company’s board.
Last Week’s Turntable: Tyler Hubbard’s New Publishing Shingle Names GM
Concord has named veteran label executive Stephanie Hudacek president of its Rounder Records, the company announced Thursday (March 28). Hudacek, who founded and has served as president of distributor and label Soundly Music since 2017, takes over the label that is home to the likes of Billy Strings, Ruston Kelly, Sierra Farrell and Katie Pruittand has recently released posthumous albums from Gregg Allman and Dr. John.
Established in 1970 in Nashville, Rounder has been the home of artists like George Thorogood, Alison Krauss and Béla Fleck through the years, racking up 54 Grammy Awards along the way. Acquired by Concord in 2010, it’s one of eight standalone labels under the Concord Label Group umbrella, alongside Fantasy, Fearless, Loma Vista, PULSE, Easy Eye Sound, Concord Records and Concord Jazz.
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Stephanie Hudacek
“Throughout her career, Stephanie has shown a deep commitment to artists and songwriters as well as an incredible intuition for what it takes to bring their music to the world,” said Concord Label Group CEO Tom Becci, who took over the top job last August, in a statement. “She has the requisite skills to preserve the label’s distinct history while ensuring her artists and team have the resources necessary for continued success in an evolving environment.”
Prior to launching Soundly Music, where she worked with artists such as Maggie Rose and Pony Bradshaw, Hudacek was GM of Riser House Records in Nashville, working in the country and Americana realms. Before that, she was an artist and tour manager, working with the likes of Joan Baez and Darrell Scott. For the past two years, Hudacek also doubled as president of Late August Records.
“It is an unbelievable honor to be able to lead Rounder Records,” Hudacek said in a statement. “Throughout its history, Rounder has shown an uncompromising devotion to great, authentic artistry, which has made it a natural home for artists seeking the same. That is a tradition I am thrilled to carry on.”
SM Entertainment, home to such K-pop stars as aespa and RIIZE, promoted Tak Young-jun to co-CEO alongside existing CEO Jang Cheol-hyuk, the company announced Wednesday (March 27). Tak was also named executive director of the company’s board. Tak, who joined SM Entertainment in 2005, has served as COO since May 2023. Prior to that, he […]
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.
Singer-songwriter Tyler Hubbard (known for his work as part of Florida Georgia Line as well as solo hits including “5 Foot 9”) launched the music publishing company Haylo Music. It will be run by general manager Josh Saxe, formerly of J C Saxe Creative Consulting. Saxe will work with Hubbard to facilitate the daily songwriting strategy of the company’s publishing and creative services roster. A Belmont University graduate, Saxe launched his career as an associate director of A&R at Round Hill Music and rose to a senior director role. In 2019, he joined Endurance Music Group, managing a songwriter roster that included Matt Stell, Paul Sikes and Seth Alley. – Jessica Nicholson
Tencent Music Entertainment announced that Zhenyu Xie, the company’s president/chief technology officer, among other roles, is resigning from his executive positions as well as his role as a member of the board of directors. A press release states the resignation is “for personal reasons” and will be effective Mar. 31; Xie will continue serving as a consultant to the company. Additionally, the board has appointed Tencent Music CFO Min Hu (a.k.a. Shirley Hu) as a director of the company, effective Mar. 31. – Chris Eggertsen
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UMG Nashville hired Jake Gear as vp of A&R. Gear brings more than a decade of experience as a publisher, producer and writer manager to the role. The Belmont University graduate began his career in CMT’s music and licensing department before heading to publishing posts at Magic Mustang Music, Sea Gayle Music and BMG. He later launched the creative publishing venture Hang Your Hat Music with Concord Music and Songwriter Hall of Famer Hillary Lindsey. Gear has also acted as a writer manager for Lindsey and produced albums by Flatland Cavalry, Hailey Whitters and others. – Jessica Nicholson
Gonzalo Rangel stepped into a new role at WK Records as vp of A&R and marketing. The Puerto Rican executive — who has been managing breakout acts including Mexican regional-pop star Ramón Vega and Puerto Rican alt-pop singer Robi since 2017 — will now be responsible for “leading the label’s artistic discovery and development, in addition to overseeing all marketing efforts for its frontline roster,” the WK team tells Billboard. “I am glad to be able to form part of The WK team as the label continues into its fourth year. I look forward to contributing my expertise and leading the new generation of music here at WK Records,” says Rangel. His accomplishments include contributions to the 2022 hit song “Pantysito” by Alejo, Feid and Robi as well as facilitating collaborations for Vega with industry heavyweights such as Carin León, Jasiel Nuñez and mariacheño superstar Christian Nodal. Rangel’s prowess was further evidenced when he secured Vega as an opening act for CNCO‘s farewell tour leg in Mexico and nurtured the development of emerging Puerto Rican producer OG Flamez. Rangel will be reporting to Horacio Rodriguez, CEO of WK Records. – Isabela Raygoza
Stem added two new staff members, welcoming Nima Khalilian as head of international, artist & label strategy and Didi Purcell in an artist & label partnerships role. Khalilian joins Stem from Interscope, where he spent six years as the senior director of international marketing. Purcell joins from SoundOn, TikTok’s music distribution and artist services platform, where she worked as part of the artist & label partnerships team. Prior to SoundOn, Purcell oversaw pop & dance/electronic playlisting at Interscope. – Jessica Nicholson
The TBA Agency, which represents artists including Courtney Barnett, CHVRCHES and Mora, revealed several promotions and hires in New York and Los Angeles. New York-based Katie Nowak was promoted to vp of marketing and partnerships, while L.A.-based Corynne Fernandez transitioned from marketing and partnerships coordinator to director of marketing and artist development. Additionally, Ashley Torres was promoted to marketing and partnerships coordinator. TBA is also teaming with creative services consultancy The Department, founded by Jack Pitney and Kosta Elchev, to foster creative opportunities for the roster. Elsewhere, Nina Moss joined TBA as a marketing assistant. Agents Marshall Betts, Avery McTaggart, Amy Davidman, Ryan Craven and Devin Landau launched the agency in 2020. – Jessica Nicholson
Sarah Scales was named senior director of digital at Activist Artists Management. In the new role, she will be tasked with creating and executing digital marketing strategies for artists on the Activist roster, including Weyes Blood, The Pretty Reckless, Empire of the Sun and The Lumineers. She is based in the firm’s Nashville office. Prior to boarding Activist, Scales spent six years developing and implementing promotional campaigns for global brands and artists at Marbaloo Marketing and Q Management Group. – Chris Eggertsen
Guitar Center named Kristin Shane executive vp/chief merchandising and marketing officer. Reporting to CEO Gabe Dalporto, Shane will oversee the integration of the company’s marketing and merchandising functions to enhance the customer experience. She will also be responsible for product, promotions, visual merchandising, omni-channel experience and activations. Shane comes to Guitar Center from PetSmart, where she was senior vp/chief merchandising officer. – Chris Eggertsen
Aiden Cullen and Alex Gruszynski launched NOVA, a curated creative freelance network and marketplace designed to connect creatives with job opportunities across multiple mediums. NOVA soft-launched as a private Instagram account last year and has since filled approximately 7,500 jobs, according to the company, which says creative executives from companies including Apple, Capitol Records, Interscope Records and Spotify are “followers” of the platform. The NOVA app allows creatives to display their portfolios, grow their networks, display contact information for their representatives and more. Clients can do things like filter and search the platform’s directory of creatives, post jobs, manage applications, and create and organize talent lists that they can refer to when the time comes to fill future roles. – Chris Eggertsen
Róisín Warner was named head of marketing at Blackstar Agency. She was most recently a senior marketing manager at Believe and previously held roles at Universal Music Group and Warner Music Group. The company’s former head of marketing, Breyner Baptista, is stepping into a new role on the board of the agency as non-executive director of A&R. – Chris Eggertsen
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As the Grand Ole Opry approaches its 100th anniversary, vp/executive producer Dan Rogers will take on expanded duties in his new role as senior vp/executive producer of the esteemed institution.
The 26-year Opry veteran will continue to oversee all aspects of the more than 225 shows at the Opry each year. “I really do take it as a pat on the back for what our entire team has been able to accomplish and what we’re in the middle of,” the self-effacing executive tells Billboard of his promotion, which is effective immediately “But there’s still so much I want to be a part of with the Opry before it’s my time to let somebody else take the reins.”
When Rogers took the reins as vp/executive producer in 2019, he couldn’t have imagined the challenges ahead. “The COVID pandemic hit seven or eight months into me being in this position. I was really thankful that I wasn’t new to the Opry when that hit,” says Rogers, who started at the Opry as an intern in 1998 and has held positions in artist relations, communication, marketing, production and tours.
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“We just assumed the flood of 2010 would be the most devastating thing and the most challenging time in our careers,” Rogers says, referencing the historic flood that devastated Nashville as the Cumberland River rose over its banks and filled the Grand Ole Opry House with 10 feet of water. “But it was truly the uncertainty and just the sadness of COVID that made it so difficult for us.”
Nevertheless, the Grand Ole Opry continued, and artists performed 29 Saturday nights without a live audience during the COVID pandemic, never missing a performance. Fans all over the world continued to enjoy the nearly 100-year-old show as they tuned in to the Opry Live broadcast and livestream.
Under Rogers’ leadership, the Opry welcomes a wide range of performers — both newcomers and established superstars, as well as acts who fall outside of country. For example, “American Pie” singer Don McLean made his Opry debut Mar. 9.
“Mr. Rogers, or Opry Dan, as we still lovingly call him, is so effective simply because he absolutely loves the Opry and everyone connected with it. It is his passion, and it shows,” says Jeannie Seely, a 58-year member of the Opry, who was Rogers first assignment as an intern, when he was charged with taking her and her dog, Shadpoke, to the welcome center to greet fans. “Dan is the perfect choice for this important position. He understands the broad spectrum of the Opry. He has the pulse of what’s happening in the music industry today and how it pertains to the Opry. At the same time, because of his lifelong love for this institution, he knows the history and the legendary artists who have created it. His mix of the two provides a show that can only be found at the Grand Ole Opry. The future of this country music treasure is safe in his hands.”
Trisha Yearwood, who celebrated her 25th anniversary as an Opry member on Mar. 13, agrees. “Dan has always understood the family that the Opry is, and he does everything with a smile. He even brings homemade apple pie backstage! I’m so happy to see him move up in our Opry family.”
Since Rogers took the helm as executive producer in 2019, 15 artists have been inducted as Grand Ole Opry members, and T. Graham Brown and Scotty McCreery will be inducted this spring. Last year set a record for Opry debuts, as 131 artists performed on the famed stage for the first time. During the past two years, there have been more than 200 debuts. “If you made me pick a favorite debut, it would probably be Leslie Jordan because that man brought so much love into this Opry House when he walked in,” Rogers recalls of the late actor/singer. “He had so much respect for this place and was determined to have the night of his life from the minute he walked in.”
During his tenure, the Xenia, Ill., native has executive produced Dolly Parton’s 50th Opry anniversary special, Grand Ole Opry: 95 Years of Great Country Music and Christmas at the Opry, which all aired on NBC; as well as the Opry’s 5,000th Saturday night broadcast on Oct. 30, 2022, and the 50th anniversary of the Grand Ole Opry House, which took place the weekend of Mar. 16.
“We went into the night, and I said to our programming staff, ‘One thing we should try to accomplish tonight is all of us should take time to enjoy the show, have fun and tell these artists we love them because this feels like a monumental show,’” he says of the 50th anniversary of the Opry House moving to its current building in 1974. “I loved just standing on the side of the stage and watching people from Bill Anderson, who has been here and served the Opry longer than any member in history, to relatively new Opry members all just enjoying being here and feeling like they were at home.”
Rogers’ duties include serving as executive producer for the weekly Opry Live broadcast and live-stream. He will add new executive producer roles on upcoming international and domestic broadcasts, especially those related to the Grand Ole Opry’s 100th year on the air in 2025.
There’s palpable excitement in Rogers’ voice when he talks about celebrating the Opry’s 100th anniversary. “Our goal would be to do up to 240 Opry performances next year, the network television specials and a couple of monumental shows, probably outside of Nashville,” he says. “We’re taking the Opry to some unexpected places in addition to really having a show almost any time a Nashvillian wants to come see us or anyone is coming from around the world. If you spend two nights in Nashville, [we’re] pretty sure at least one of those nights we’ll be staging the Grand Ole Opry for you.”
Though the Grand Ole Opry’s actual centennial is in November 2025, the festivities will begin long before. “We’ll begin celebrating about this time next year and will continue basically as long as people will let us,” Rogers says with a laugh. “There are so many artists we want to showcase and partners we want to partner with, it really will take several months for us to accomplish all that we want to accomplish, but we also want to give people plenty of opportunities to come see us if you are a spring traveler or summer traveler, fall, winter or what have you.”
Rogers says there are plans for special exhibits and specific tours celebrating the Opry’s 100th, which he expects will draw more than 250,000 visitors. “You will also know that it’s a really, really special year when you walk through either on a tour or as an artist walking through on a show night,” he says.
There are also plans for shows that will honor Grand Ole Opry legends who have died such as Roy Acuff and Minnie Pearl.
Rogers quarterbacks a staff that includes the Opry’s programming and artist relations team’s associate producers Nicole Judd and Gina Keltner, as well as artist relations and programming strategy director Jordan Pettit.
After all these years, Rogers says he still gets a thrill on show nights. “My favorite thing is walking to the side of the stage and watching the curtain go up and seeing 4,400 people out there and knowing for some of them it’s a bucket list moment,” he says. “There’s probably some little kid from southern Illinois who had never dreamed that they would be where I am and there are probably lots of Trisha Yearwoods, Lainey Wilsons and John Pardis out there, just taking it all in and thinking, ‘I’m going to be on that stage someday.’”
Dominique Casimir, chief content officer for BMG, announced she is exiting the company on Thursday (Mar. 21).
“It has been an exceptional journey to have been part of shaping BMG’s story from almost day one,” Casimir said in a statement. “We built something unique — a global company with a genuinely artist-focused spirit — and celebrated many milestones together. I am truly grateful for the possibilities I have been given and the amazing people I work with, but I have decided that it is time for something new in my life and career.”
“I would personally like to thank Dominique for her outstanding contribution and unparalleled commitment to BMG over many years,” added BMG CEO Thomas Coesfeld. “We respect her decision to move on, and I would like to wish her all the very best for her personal and professional future, personally, on behalf of the BMG Board — and the wider BMG team.”
Casimir’s departure comes during a period of transition for BMG.
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In April 2023, the company claimed to be the first to combine its new release and catalog recordings businesses. The following month, BMG announced that it would shorten its long-term succession plan for longtime CEO Hartwig Masuch, meaning that Coesfeld stepped into the role on July 1 instead of New Year’s Day 2024.
BMG subsequently exited its distribution agreement with Warner Music Group’s ADA and took “direct control of our relationships with streaming services,” as Coesfeld said in a statement at the time. In October, BMG laid off around 40 employees. (Layoffs have swept through the music industry in the last 15 months.)
And in November, the company announced a restructure that Coesfeld described as “local where necessary, global where possible.” “Fifteen years after the emergence of streaming, music is going through another tectonic change,” Coesfeld said in a statement at the time. “It is vital we now reengineer our business to make the most of that opportunity.”
Casimir started working at BMG in 2008. Her portfolio eventually grew to encompass GSA (2016), Continental Europe (2019), Asia Pacific and Latin America (2020), and the company’s global synch operation (2021). She was promoted to chief content officer in May 2022.
It’s time for another spindle around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. For a summary of all the goings-on at UMG, scroll to the bottom. For everything else, read on!
Deezer‘s search for a permanent replacement for the departing Jeronimo Folgueira is underway, but in the meantime the Paris-based streaming service has hired a ringer of sorts to keep the CEO seat warm. Stu Bergen, a 14-year veteran of Warner Music and longtime CEO of the label group’s international and global services division, has stepped in to serve as interim CEO until a new chief is found. Bergen, who left WMG in early 2021, has been a member of Deezer’s board of directors for more than a year and will remain there after the executive search is complete. “Stu’s in-depth knowledge of the music and digital industries, coupled with his tenure as a director on Deezer’s board, positions him perfectly to boost the company’s strategic direction and facilitate a seamless transition,” the company said this week, adding it believes Bergen is perfectly suited to guide them in its international expansion and boosting subscribers in key markets. The company recently posted positive financial results for 2023, with revenue up 7.4% to $524 million and an 11.5% increase in subscribers (thanks to business-to-business partnerships).
”I am honored to accept the interim CEO role at Deezer at this pivotal time,” Bergen said. “I am committed to strengthening the company’s values and driving its growth trajectory forward. With the dedicated team and clear objectives already in place, I am eager to lead us through this period of transition, ensuring the company is prepared for its ambitious future.”
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Merlin, the digital music licensing go-to for indies everywhere, announced an expansive run of promotions and role tweaks at the company. Over on the member and partner success teams, Emma Robinson ascends to senior director of member operations after six years of service; Daniele Yandel was promoted to senior manager of member operations after four years; four-year veteran Jo Danher is now senior manager of member relations; and Poppy Waring (seven years) and Shannon Bradley (three) both step up to senior manager of commercial partnerships. As for the finance fam, Vincent Moyo is promoted to director of commercial finance, four years in; Grace Styles approaches her three-year mark with a promotion to management accountant; Savannah Puleston bumps up to operations and events coordinator, nearly two years after joining Merlin. Did someone say data? Mili Payne (two years) is elevated to senior royalty coordinator and Tom White has been named senior coordinator of business analytics in Merlin’s reporting and insights team. Finally, Tolis Koutronas was elevated to senior developer of technology and business solutions, rewarding four years of enhancing Merlin’s infrastructure, while four-year staffer Katie Eckett is now senior manager of business and legal affairs.
NAMM, aka the National Association of Music Merchants, appointed AJ Zane as the trade org’s new director of technology. Zane’s many duties include running point on NAMM’s product and platform technology, cybersecurity, cloud engineering, infrastructure, corporate IT and a host of other responsibilities only a “career technologist” (NAMM president/CEO John Mlynczak’s words) could muster. “He brings a diverse background and experience that align with our commitment to stay at the forefront of technology and harness its power to propel our organization into the future,” Mlynczak said. Prior to NAMM, Zane was an engineering manager at real estate data management tool Measurable and before that was a technical principal at Veyo.
Haley Evans was elevated to the role of president at Mega House Music, a songwriter-producer management company and music publisher. She has worked her way up at Mega House over the last four years, guiding the careers of writing talents like Casey Smith (“Moral of the Story” by Ashe, “Cool” by Jonas Brothers), Gian Stone (“Stuck With You” by Justin Bieber and Ariana Grande), Caroline Pennell (“Past Life” by Trevor Daniel and Selena Gomez, “Everytime I Cry” by Ava Max), and Peter Fenn (“Nathan (still breathing)” by Fred Again.., “Slow Down” by Laufey). Evans also works across the Mega House’s full roster, helping with Monsters & Strangerz, Joe London, Sol Was and others. She manages rising folk artist Mon Rovia as well and has played a meaningful role in the company’s expansion into Nashville and Miami. In her new role, she will continue to report to co-CEOs David Silberstein and Jeremy Levin. –Kristin Robinson
Academy Music Group (AMG) appointed Liam Boylan as chief executive officer of the UK venue owner and operator. AMG’s roster of medium-sized venues across the country include O2 Victoria Warehouse in Manchester, O2 Academy Birmingham and the soon-to-reopen O2 Academy Brixton. Boylan was previously stadium director at the legendary Wembley Stadium, and prior to that worked for years at SJM Concerts and Manchester Arena. “We’re delighted to welcome Liam to the AMG team and look forward to working with him,” said Denis Desmond, chairman of AMG. “He has a wealth of knowledge and experience in the live industry and running major events. He will be a great asset.”
Concord Music Publishing hired Lüder Castringius for the newly created position of senior vp of legal and business affairs across Germany, Switzerland and Austria (GSA). In his new role, Castringius will play a “central role” in bolstering Concord’s interests in the sprawling region, remarked Duff Berschback, evp of legal and business affairs, who added: “The decision to create this position demonstrates our commitment to top-tier legal counsel and underscores our efforts to meet the rapidly evolving demands of the music market.” The Berlin-based exec arrives from BMG, where he rose to senior vp of business and legal affairs EU during a 15-year run at the company. Castringius reports directly to Berschback, who is based in Nashville, but will also work closely with Tina Funk, managing director of Concord Music Publishing, GSA. “We appreciate his sensitivity, his fighting spirit, and his commitment to shaping the character and roster of the publishing house… and ensuring the protection of our creators’ rights,” Funk said.
RADIO, RADIO: Audacy announced that svp of digital audio content Tim Clarke will depart at the end of the month, with his role — leading consumer-facing properties such as Audacy.com and the company’s radio app — being phased out and duties folded into other teams. Clarke joined Audacy in March 2021 as svp of market manager before quickly ascending to his current position. Prior to Audacy, he spent 12 years at Cox Media, rising to vp of audience and content for his last three. In a staff memo obtained by Radio Insight, chief digital officer J.D. Crowley called Clarke a “wonderful creative executive, a great friend and colleague to so many of us.”
Big Loud Rock, which specializes in big loud rock records, upped its visual marketing game with the appointment of Paul Wright as vp of creative strategy. Based in Los Angeles, he reports up to Lloyd Norman, svp of BLR, which is the alt-rock imprint of Big Loud Records. Wright joins from Red Bull Records, where as director of creative marketing he worked with Blxst, Albert Hammond Jr, AWOLNATION and others on tailored content. Prior to RBR, Wright racked up time at Nettwerk Music Group and Hopeless Records. Elsewhere at BLR, recent new hires and promotions include Dave Barbis as svp of promotion, Nicole Rich as director of promotion & publicity, Delaine Halpin as project marketing manager, Colleen Kennedy as operations manager and Bella DiDomenico as executive assistant to BLR president Greg Thompson. “We are thrilled to have an executive like Paul join the Big Loud Rock team and also to recognize the growth of our staff and the overall team building Big Loud Rock,” Thompson said.
Absolute Label Services added three new members to its London-based team. Joining as senior label manager is Dominic Squire, most recently senior international marketing manager at BMG. The independent services company also welcomed Jimmy Smith, formerly of Platoon, as a campaign coordinator. Finally, Finn Peat is now part of ALS’ digital right team in his first music industry gig.
Outback Presents promoted Fallon Nell to vp of booking, overseeing all Outback artist bookings for country, comedy and music events. Nell launched her career at Outback as the company’s first intern, before joining as a promoter representative in the company’s comedy department. She later transitioned to artist management at Alliance Artists (now Red Light Management Atlanta) before launching Brothers Management. Nell returned to Outback Presents in 2023, serving as senior booking manager. –Jessica Nicholson
NASHVILLE NOTES: Music City-based executive Kelly Bolton joined Warner Records as vp of A&R, focusing on country but reporting to Warner Records’ LA-based CEO Aaron Bay-Schuck. She arrives after more than five years at Tape Room Music, where she served as svp of A&R … Black River Records elevated Bill Mackay to vp of national promotion. Mackay joined the label in 2012 after more than 30 years in the industry, including stops at MCA, Sony and Stroudavarious Records, plus 16 years as a country radio programmer in markets including Pittsburgh, San Jose and San Diego. Congratulate Mackay at bmacky@blackriverent.com.
Creative Artists Agency (CAA) welcomed Julian Teixeira to the family as an agent in the music touring department. He arrives from The Bullitt Agency and brings a client roster that includes Dubfire, Chris Stussy, Dennis Cruz and Kölsch, among other. The George Washington University grad is based in CAA’s. New York offices.
ICYMI:
Following the curtain-raising of the Interscope Capitol Labels Group, chairman/CEO John Janick (pictured) announced more additions to his C-suite team (namely Gary Kelly and Jason Kawejsza), and a few days later fleshed out the structure of the new company … then UMG’s more East Coast-y labels reorganized under the new Republic Corps banner under Monte Lipman … and finally a member of the Corps, Mercury, announced several promotions and hires.
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