International
Page: 17
Narcís Rebollo has been appointed CEO and president of Global Talent Services, Universal Music Group’s full-service company for Latin artists spanning management, booking, live events, promotion and brand partnerships.
In line with Rebollo’s appointment, which was announced by Universal Music on Tuesday (Oct. 1) and is effective immediately, Global Talent Services (GTS) becomes a standalone company, with its management and operation now handled independently from UMG’s local music labels.
In the newly created role of GTS CEO and president, Rebollo — who is based in Madrid — will oversee the company’s operations in the U.S., Latin America, Spain and Portugal, reporting to Jesús López, chairman and CEO of Universal Music Latin America and Iberian Peninsula. Further details of leadership appointments within Universal Music Iberian Peninsula will follow shortly, said UMG in a statement announcing the structural changes.
Trending on Billboard
Launched in 2007, Global Talent Services provides a full suite of artist services for Latin artists and operates offices in eight countries, including the U.S., Spain, Portugal, Brazil, Mexico and Columbia.
Artists signed to GTS’ management roster in Spain include Antonio José, Salma, Natalia Lacunza and Mala Rodriguez with the company’s live events team booking over 500 shows in the country last year, according to Universal Music.
Other markets where UMG says Global Talent Services is experiencing solid growth include Mexico, where it booked 175 shows for 25 artists in 2023; and Brazil, where the company has had strong success as a booking agency and managing partner for artists projects by Maneva, Leo Santana, Atitude 67, Felipe Araújo and Paula Fernandes.
One of GTS’s biggest campaigns to date has been establishing Colombian band Morat as one of the leading Spanish-speaking pop-rock acts in the world with its “Si Ayer Fuera Hoy” 2023-2024 global tour — which included a sold-out show at New York City’s Madison Square Garden Theater in January — selling more than one million tickets across 125 concerts and over 15 countries, according to the company. GTS also operates the multi-date Universal Music Festival, which takes place every year in the Spanish capital city of Madrid.
Prior to today’s appointment, Rebollo served as president of Universal Music Iberian Peninsula since 2015, where he was responsible for UMG’s recorded music and GTS operations in Spain and Portugal. Under his leadership, the company grew its operations to include concert booking and promotion, festivals, touring and live events with GTS clients including Latin artists David Bisbal, David Bustamante, Pablo López, Lola Indigo, Aitana and Camila Fernández.
Before joining Universal, Rebollo held senior roles at Spanish independent music company Divucsa, BMG, electronic dance music label Max Music and Spain’s biggest independent label, Vale Music, which Universal acquired in 2006.
“Narcís is one of the most experienced executives in Latin music,” said Jesús López in a statement. “His vision of the evolution of the business and the expansion of Latin music around the world in recent years, has led him to create a very successful team in Spain and Portugal in the areas of management, booking, promotion and brands.”
López went on to say that GTS was born “with the purpose of being a full-service agency for artists, and the time has come for it to become an independent business unit within UMG.” Rebollo, added López, is the “perfect leader” to lead the growth of GTS globally.
“Today more than ever, our artists need strategic support from a company that is both fully focused on management, but with the ability to deliver global services and support,” said Rebollo in a statement. “With the explosion of interest and influence of live music, and music driving social engagement and conversation more than ever, I strongly believe that GTS is perfectly positioned to provide the best support for Latin artists around the world.”
Changes are coming to Montreal’s nightlife. Following public outcry over the closure of the popular venue La Tulipe, Mayor Valérie Plante announced this week (Sept. 25) that venues will now be exempt from the bylaw that led to its closure.
The venue announced this week it would cease operations due to a decision by the Quebec Court of Appeal, which mandated the venue to not emit sound that could be heard in an adjacent building.
Specifically, in the Plateau-Mont-Royal borough of Montreal (a popular area for live music), music venues will no longer be subject to Section 9 of the bylaw governing noise regulation, which specifies that amplified sound cannot be audible in a neighbouring building. Projet Montreal, Plante’s party, has also committed to improving the city’s soundproofing program and presenting a new nightlife policy in October.
Trending on Billboard
Plante posted a video on Instagram, sharing her own dismay at the news that La Tulipe would be closing its doors for the foreseeable future. She expresses concern that one person could derail an entire music venue.
“Yes to neighbourliness, but no to the dictatorship of neighbours,” Plante says in the video.
La Tulipe isn’t the only venue in the city to be affected by noise bylaws. Popular spots like Divan Orange and Diving Bell Social Club have previously closed down due to noise complaints.The outcry to the news about La Tulipe indicated a growing frustration amongst cultural laborers in the city, which has a reputation as a haven for arts production in Canada. – Rosie Long Decter
Newly Announced Rogers Stadium Will Become One of Canada’s Biggest Music Venues
On Thursday (Sept. 26), Live Nation and Northcrest Developments announced Rogers Stadium, the new 50,000 capacity outdoor venue in Toronto opening in June 2025. The venue will instantly become one of the biggest in Canada, with a slightly higher capacity than Toronto’s other stadium, Rogers Centre. It’s also one of the world’s few venues of the size that isn’t also home to a sports team.
The venue will be located at YZD, on the site of what used to be the Downsview Airport in North Toronto. Bombardier used the land for an air field, air force base and testing base for aircrafts. In 2018, Bombardier sold the facility to Northcrest Developments and will move its operations to Pearson Airport.
Rogers Stadium in Toronto
Courtesy of Northcrest Developments/Billboard Canada
The company is redeveloping the land into mixed-use residential communities, a $30B plan that is slated to take 30 years. In the meantime, the 370-acre site, now called YZD, is being used for a variety of arts, community and other initiatives as part of “Meanwhile Use Strategy.”
After the announcement press conference, Billboard Canada spoke to Erik Hoffman, president of music at Live Nation Canada, about why they decided to open the venue and why now. Hoffman says the decision was inspired by a specific artist.
“The idea came from [working with] a major artist who we were very frustrated that we couldn’t find dates [for],” says Hoffman. “They were just going to bypass Toronto on their world tour.”
That act (unrevealed, but there’s plenty of room for speculation) will now play Rogers Stadium next summer, one of 12-15 shows on the 2025 slate. Hoffman says almost all of those shows are already booked.
“It’ll be the biggest year we’ve ever had in stadium-level touring. By far,” he says. “It’s the kind of acts that you would traditionally see at an NFL stadium in the U.S. or the Rogers Centre here. The biggest acts in the world, and some of them setting up for multiple days.”
Stadium and festival-size shows are in high demand, he says, and Toronto is one of the top stops on any world tour. The city is also multicultural and multilingual, which makes it an ideal market for exploding genres from around the world including K-pop, Latin music and Punjabi music. Stadium shows from Indian star Diljit Dosanjh in Toronto and Vancouver this summer have shown there’s an appetite.
“If the fans weren’t coming, [artists] wouldn’t stage shows that big,” Hoffman says. “Not to dumb it down too much, but if they keep selling out stadium shows you do more stadium shows.” – Richard Trapunski
Somali-Canadian Artist K’naan Charged with Sexual Assault
Canadian musician K’naan has been charged with sexual assault.
A charge sheet was filed this week (Sept. 26) in Quebec City for the musician and director, born Keinan Abdi Warsame, for a count of sexual assault dating back to 2010, The Canadian Press reports.
The arrest warrant alleges that the assault took place between July 16 and 17 in Quebec City, which coincides with a show he played at Festival d’été de Québec (FEQ) in 2010. CBC reports that the complaint was first filed in May of 2022 with the Montreal police, but was later transferred to Quebec City. The assault allegedly took place in a hotel room on territory covered by the Quebec City police force.
K’naan, who’s known for his 2009 hit “Wavin’ Flag” (later rerecorded as the global anthem for the 2010 FIFA World Cup), took an extended break after his 2012 album Troubadour and spent time in both Canada and the United States. Recently, he has recently returned to prominence.
The Somali-Canadian musician returned with “Refugee” in 2023, a song that he said was intended to feel “like a home for those of us made homeless by conflict.” K’naan won the Best Song for Social Change Award by the Recording Academy at this year’s Grammy Awards.
Just over two weeks ago, K’naan made his debut as a director, premiering his feature film Mother Mother at this year’s Toronto International Film Festival. This week, on Sept. 24, K’naan attended the SOCAN Awards at History in Toronto and accepted the SOCAN Cultural Impact Award for the lasting global impact of his anthem, “Wavin’ Flag.”
Warsame was not in attendance for the proceedings in Quebec. The case has been set for April 2025. According to Radio-Canada, Warsame’s lawyer has requested he be tried in English in front of a jury. – R.T.
There’s a brand new venue coming to Toronto, and it will be one of the biggest in the country. Rogers Stadium will open in summer 2025. At 50,000 capacity, it will also be one of the biggest venues built specifically for music. Despite the stadium designation, the venue will not be home to a sports […]
A new generation of artists are pushing the envelope in Arabic music, striving to explore new ground. Among them is Ayed, who humbly claims no desire to be a pioneer. Instead, he insists that his work merely carries forward the rich legacy established by the many artists who came before him. This young talent has achieved remarkable success in Khaleeji (Gulf) music while becoming the most-listened-to artist among his peer group. As of this publication, he holds the No. 1 position on the Top 50 Khaleeji Songs chart with his hit, “Lammah” (Hints), and ranks No. 9 on Billboard Arabia’s Artist 100. Despite these significant strides, he embodies the humility of the Khaleeji music legends that preceded him, utilizing modern production tools and techniques, which he credits for expanding the reach of his music.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
When asked about his musical style, one that combines the rhythms and melodic structure of Khaleeji music but delivered through a sound that is very much Ayed, he says, “I don’t think I’ve done anything that different. It’s just a continuation of the music of my predecessors; I’ve followed in their footsteps. But let’s say we’re in the digital age now, and maybe that’s what has changed [regarding the sound]. But that aside, it’s the same kind of music.” Ayed aims to continue enriching the Khaleeji pop landscape, hoping to make a lasting contribution to its history. As a fan of the genre, nothing is stopping him from cementing his contributions to the genre as he strives for the excellence of the artists that inspire him be it Mohamed Abdu, Abdel Majid Abdallah, Rabeh Saqr or Rashed Al Majid.
Trending on Billboard
The year 2024 has been remarkable for Ayed, who graces the cover of Billboard Arabia’s September issue. It started with a bang: he netted the “Male Musical Artist of the Year” at the 2024 Joy Awards, a ceremony organized by the General Entertainment Authority that honors achievements in the Arab artist community.
Following this accolade, Ayed collaborated with Khaled Al Muthafar, a Kuwaiti performing artist, in the song “A’lam al-U’shaq” (The World of Lovers). Initially composed for Al Muthafar’s play, “Al’uwl Min Nweih” (The First of its Kind), the duo recorded it together when Ayed heard the song. The song proved a hit, finding virality across social media platforms and climbing the ranks of Billboard Arabia’s Hot 100 and the Top 50 Khaleeji Songs chart.
“I expected the song to be successful, but I didn’t expect this overwhelming success all over the Arab world,” says Ayed. “We were meant to collaborate on a project long ago and thank God I was able to work with him on this project and I hope this is the start of many successes for us together.”
Hot on the heels of this success, “Lammah” (Hints) also went viral a month after its release, quickly climbing to the top of Billboard Arabia’s charts. As of this article, it has held the No. 1 position on the Top 50 Khaleej Songs chart for eight consecutive weeks. It has broken into the top 10 on Billboard Arabia’s Hot 100, prompting Ayed’s return to the top ten on Billboard Arabia’s 100 Artists chart. Ayed always believed in the song’s potential, and its performance on the charts has validated his assumption.
Ayed’s artistic journey began at a young age, with the 2015 launch of “Nasitini” (You Forgot Me) on Instagram. It was remastered and rearranged in January 2016, tallying upwards of 16 million views on YouTube at the time of publishing this article. The song remains close to Ayed’s heart, as he’ll rarely forgo an opportunity to mention it: “It’s special,” he says, “because it marked my beginning. I think your first song always has a special place, regardless of what else you make. It’ll never be a disappointment. If my work ever comes up, that song’s inevitably mentioned, too.”
Ayed continued to evolve his craft in the next eight years. This evolution can be traced through the EP Bel-Mout Ja (A Hard Time Coming), then the two LPs, Thaman Al-Alam (The Price of Pain) and Kol Al-Khata (All the Mistakes), as well as several singles like “Rdy” (transliteration for “Inferior”), a late 2023 release that achieved remarkable success and propelled Ayed to the top of the charts. “Rdy” landed him his debut on Billboard Arabia’s Hot 100, landing the No. 4 spot in the week of Dec. 11, 2023. “Rdy” sparked curiosity about the artist’s love life, prompting Ayed to reaffirm on social media at the time that he keeps his personal life separate from his professional one.
In an exclusive reveal to Billboard Arabia, Ayed says that he is preparing to release an album, “The album will feature songs that, God willing, you will enjoy,” says Ayed. “The composers are diverse, with noted composer Rakan taking the lion’s share, followed by Yasser Buali and Saham. Most lyricists involved are part of a new generation of talent.” The composers Rakan and Yasser Bou Ali have been key to Ayed’s journey, shaping his sense of sound over the years. They’ve allowed him to deliver the essence of the voice of the generation preceding him, like Abdul Majeed Abdullah and Rabeh Saqer, while allowing it to take on a contemporary and dynamic style. Their continued collaboration on Ayed’s upcoming album reflects his commitment to the partnerships he has established and his belief in repeating his successes by drawing on the talent that enabled it.
Ayed
Designlesss/Billboard Arabia
LONDON — Universal Music U.K. chairman and CEO David Joseph has announced he is stepping down after almost 17 years at the helm of the company.
The widely respected executive and longstanding label boss joined the U.K. arm of Universal in 1998 as general manager of Polydor and was promoted to chairman and CEO of Universal Music U.K. and Ireland in 2008. His departure was announced in a memo to staff on Monday (Sept. 23) in which Joseph said he was leaving the music business to study for a master’s degree in religion and theology at King’s College London, commencing next week.
“It has been an honour to work alongside you, creating something truly exceptional, a company that wasn’t only number one but also led with heart and creativity. We’ve done that together,” said Joseph in the memo, which has been viewed by Billboard.
Trending on Billboard
Joseph went on to say that his career in the record business, “once impossible to imagine, has been a gift for which I’m deeply grateful. Now, after 17 years in this role, it’s time to step into something new.”
The outgoing exec — who oversaw the EMI, Decca, Island, Polydor and 0207 Def Jam labels, as well as Abbey Road Studios — praised his former colleagues at Universal Music U.K. who “will undoubtedly continue to inspire, innovate, and lead the way.”
Joseph also issued a “special thank you” to Universal Music chairman/CEO Lucian Grainge “without whom none of this would have been possible. First, he hired me, and then he let me be myself.”
“This place, the people, the building, the conversations, the inspiration, and the music that somehow makes the rest of life blur into the background – these will all be missed immeasurably,” said Joseph, who described his 26 year career at Universal Music as “an absolute pleasure.”
In a separate staff memo, also seen by Billboard, Grainge described his two decades-plus working with Joseph, beginning with the turnaround of Polydor in the late 1990s, as a “remarkable journey.”
“One of the many things I respect about David is that he never tried to be anyone but himself and he guided the U.K. company to heights in a way that was completely authentic to him. In addition, I have enormous respect for his decision to take an entirely different path after so many outstanding years at UMG,” said Grainge.
The Universal Music chairman/CEO went on to say that he would be informing staff “what comes next” for the U.K. arm of the company “shortly, but today is about David.”
“His contributions—as an executive, as a leader and as a friend—have always been focused on making our company a better place for our employees and our artists. I know you will join me in wishing David our very best,” concluded Grainge.
As U.K. boss of the world’s biggest music company, Joseph was one of the most powerful record executives in the United Kingdom and was a regular fixture in Billboard’s annual International Power Players lists. In 2016, he was awarded a CBE for services to the music industry, while Amy Winehouse, Florence and the Machine, Sam Smith, Lewis Capaldi, Ellie Goulding are just a few of the U.K. acts that achieved global fame under Joseph’s watch.
Earlier this year, Joseph told Billboard that the international sales success of the Rolling Stones’ Hackney Diamonds, which topped the charts in 20 countries; followed several weeks later by The Beatles’ final song, “Now And Then,” reaching No. 1 in the U.K. and No. 7 on the Hot 100, were two of his recent highlights in the post, calling the campaigns “best-in-class examples of U.K. creativity exporting to the world.”
The London-based executive’s exit from Universal Music Group comes just a few months after the company announced it was merging its historic Island and EMI label divisions as part of a widespread restructuring of the firm’s U.K. business.
As part of that reorganization, two new frontline label groups — Island EMI Label Group, headed by Louis Bloom as president, and Polydor Label Group, led by Ben Mortimer – have been created, mirroring changes UMG made to its U.S. teams earlier this year with the formation of Interscope Capitol Labels Group and Republic Corps. The U.K. arm of Universal Music is additionally launching a new Audience and Media Division to support artists and labels, headed by Rebecca Allen.
HyunJin, ChanYeon and JiSeok came together as Big Ocean to debut in April this year as the first Deaf/Hard of Hearing group in K-pop. The group’s warm embrace onto the scene by superstars, production and executives across Korea points towards a more inclusive global music scene. Brought together by Korea’s only agency representing talent with […]
The 2025 Juno Awards will include awards for reggae recording, Christian/gospel album, and children’s album, after all.
CARAS, the Canadian Academy of Recording Arts and Sciences (CARAS), has reportedly reversed a planned decision to put those three categories on hiatus, as well as the award for international album, the fate of which remains unknown.
Earlier in September, The Canadian Press obtained a letter which revealed the planned suspension of the four categories, part of a “broader set of updates” still to be announced.
Response was swift from the music industry and beyond, with many citing concerns that reggae recording and Christian/gospel album, especially, are categories that honour genres led by Black musicians.
“There’s a lot of anger among us reggae folks,” Juno nominee Jason Wilson told The Canadian Press, adding that the removal of the reggae award could only “ring alarms of racism.”
Trending on Billboard
“While (the Junos) might be saying the right things about inclusion, in the very same breath they’re ditching reggae and gospel. How can this be reconciled?” Wilson said.
Politicians spoke out as well, with federal MP Michael Coteau — also the former Ontario Minister of Culture — advocating for the reggae, Christian/gospel, and children’s album categories to be reinstated. “Revisit this really bad decision,” Coteau said on X. City councillor Josh Matlow added his voice to the chorus as well.
Juno Awards president and CEO Allan Reid announced the decision to reinstate the categories on Tuesday, September 17.
“I want to personally address the recent discussions surrounding changes we were considering for the 2025 Awards,” Reid wrote on Instagram. “Over the course of last year, CARAS underwent an extensive process reviewing all Award categories, taking into consideration data such as consumption, number of submissions, and other metrics,” Reid explained. “Given the feedback from the community, CARAS will not put these three categories on hiatus this year.”
Speaking with the Toronto Star, publicist and cultural commentator Dalton Higgins (who previously called the decision to eliminate reggae “a slap in the face to…the Black community” and “a PR nightmare of epic proportions”) emphasized that CARAS shouldn’t have considered eliminating those categories without consulting the communities that contribute to them.
“To not engage the Jamaican community or the broader Caribbean community in a healthy two-way dialogue,” Higgins said, “it felt like we were taking 20 steps backwards.”
This isn’t the first time artists have called out the Junos on issues of recognition and representation, including previous boycotts by hip-hop artists Rascalz and Drake.
More information about the 2025 Juno Awards category changes will be announced on Sept. 23, Reid clarified in his post.
The 2025 Junos will take place in Vancouver. -Rosie Long Decter
Jeremy Dutcher Becomes The First Two-Time Polaris Music Prize Winner
Jeremy Dutcher has won the Polaris Music Prize. Again!
The Indigenous singer-songwriter of Neqotkuk (Tobique First Nation) became the first two-time winner in the history of the music award, which celebrated its 19th edition this week (September 17) at Massey Hall in Toronto.
With the album Motewolonuwok, Dutcher beat nine other shortlisted albums: Cindy Lee’s Diamond Jubilee, NOBRO’s Set Your Pussy Free, TOBi’s Panic, DijahSB’s The Flower That Knew, Allison Russell’s The Returner, Bambii’s Infinity Club, Elisapie’s Inuktitut, The Beaches’ Blame My Ex and Charlotte Cardin’s 99 Nights.
Dutcher wins the $50,000 prize donated by the Slaight Family Foundation, which goes to the best Canadian album of the year, as determined by a jury of experts based solely on artistic merit.
“Six years ago, I put out my first record [and] this award changed my life,” he said. “I have unending gratitude to this music community. Not a single album on this list sounded like each other. That speaks to the breadth of music in this place.”
The night included performances by most of the nominated artists, with creative substitutions for those who couldn’t play: The Beaches’ Jordan Miller playing with teen band Thunder Queens, a string section playing along with a taped performance by Charlotte Cardin, a Cindy Lee video premiere, and a ballet inspired by Allison Russell’s “Eve Was Black.”
Read about the best moments of the the 2024 Polaris Prize gala here. -Richard Trapunski
Shaboozey Honoured at Toronto Concert as ‘A Bar Song (Tipsy)’ Hits 16 Weeks at No. 1 on Billboard Canadian Hot 100
Shaboozey has this year’s longest-running No. 1 hit on the Billboard Canadian Hot 100 with “A Bar Song (Tipsy), and last week he got to celebrate it in a big way.
At his concert at Danforth Music Hall on Friday (Sept. 13), he welcomed Billboard Canada‘s Richard Trapunski, Mo Ghoneim and Jackson Turner onstage to present him with a plaque for the achievement.
“This is crazy man, this is nuts,” he said, raising the plaque triumphantly as the crowd cheered. “Y’all did it first!”
Shaboozey played the hit three times a row during his encore, with the crowd clearly loving every second of it.
The song has now spent 16 weeks atop the Canadian Hot 100, surpassing last year’s 15 weeks for Miley Cyrus’s hit “Flowers.” Lil Nas X has the current record at 19 weeks for “Old Town Road.” Shaboozey only needs three more weeks to tie it and four more to beat it.
“Let’s see if we can do it,” said the country star in his green room before the show, sitting backstage next to a portrait of Charley Crockett.
“A Bar Song (Tipsy)” hit No. 1 in Canada before the U.S. Hot 100, where it currently sits at 10 weeks at No. 1.
“I guess you guys got a lotta drinkers here, huh?” he joked, when asked why the song was resonating in Canada. “It just shows that you guys love to have fun. Every day is a celebration when people are listening to this song.”
The song is an ode to forgetting your troubles with a double shot of whiskey that interpolates rapper J-Kwon’s 2004 song “Tipsy.” An addictive country song that plays with elements of hip-hop and is easy to sing along to, “A Bar Song (Tipsy)” has shown to unite different kinds of listeners and get airplay in a variety of different radio formats.
Evidently, it also has a lot of staying power. -R.T.
Lisa Grossi Named Director of National Radio Promotion & Media Relations at Warner Music Canada
Warner Music Canada has announced the appointment of Lisa Grossi to the position of director, national radio promotion & media relations.
Grossi joins the company from Bell Media, where she served as the national music director for Virgin Radio & Move Radio, as well as music director & assistant program director for CHUM 104.5. She becomes the first woman ever to lead Warner Music Canada’s promotion department.
“Music is my passion. I live and breathe it,” Grossi says. “Growing up, it was my dream to work for a record label and I am so excited that this is now a reality. I’m thrilled to join Warner Music Canada to help break new artists and have continued success with their roster of established artists.”
Grossi has over 18 years of experience as a radio programmer, and the label heralds her appointment as a step to bring “Warner Music Canada’s radio team into the future.”
Madelaine Napoleone, vp of marketing, says “Lisa is a highly respected leader in the radio industry, bringing a fresh perspective on how we can enhance our partnership with radio both now and in the future. I’m also proud to share that with her appointment, we are the only major label in Canada to have an all-female radio team.”
Lisa Grossi was recently celebrated in the Industry Spotlight of Billboard Canada Women in Music. She gave this advice to the next generation of women in the industry: “Trust your gut. Speak your truth. Be authentic. Always give your honest opinion even if it’s not the popular opinion.”
That advice has led her into new terrain as she moves into the new role at Warner. –Kerry Doole
Welcome to a teeming edition of Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. And what a depressing late-week it’s been, with Warner Music making deep cuts across its Atlantic Music Group that sources say will affect between 150-175 people. If you need a palette cleanser, read on for mostly good news but also check out Billboard’s weekly interview series spotlighting a single executive, our helpful calendar of notable events across the biz, and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
Believe appointed industry veteran Henri Jamet to lead its France operations as managing director, reinforcing its leadership team in its all-important home market. With over 20 years of experience, including the last decade at Believe, Henri has played a key role in the company’s artistic wins. He replaces Romain Vivien, who is now president of Europe and global head of music, and will report directly to him. This move aligns with Believe’s focus on A&R and artist development to boost market share across the 50 countries it now operates in. Henri’s career began at Universal Music and NRJ, followed by Wagram, where he became a marketing manager. In 2013, he joined Believe, leading labels such as AllPoints, naïve, and launching Animal63. Under his leadership, AllPoints became a leader in French rap — its artists dominated last year with 47 of the top 200 albums — while naïve emerged as a major pop label. “Henri is as close as possible to the ground, he is respected in the industry, he has a creative vision and knows the company culture,” said Believe founder and CEO Denis Ladegaillerie. “He is the ideal candidate to succeed Romain, one of the Group’s best ambassadors and a great example of career development with us.”
Trending on Billboard
Maximilian Paproth is coming back to Budde Music, where he worked for a decade earlier in his career, as global president A&R. In that role, Paproth will manage the company’s German operations, as well as its international A&R, starting in January 2025. He will report directly to company owner and CEO Benjamin Budde, who has been building the family-owned publishing company into an increasingly global operation that is active in the agency and concert promotion businesses, as well as its publishing business. Paproth worked at Budde in various roles from 2003 to 2023, then worked for Sony Music Publishing and then Universal Music, where he is currently vp of A&R for central Europe & international marketing Germany. “Max is now supporting our efforts to be the best partners for authors and artists at the perfect time,” Benjamin Budde said in a statement. Budde Music includes the Budde Talent Agency and the management company BuddeMgmt, as well as publishing and some recording operations. –Robert Levine
Downtown Music promoted Gareth Mellor to senior vp of global marketing & communications. Based in the UK, Mellor will lead M&C efforts across Downtown’s four divisions: publishing, distribution, artist & label services and royalties & financial services, which serve over 5,000 clients and 4 million creators in 145 countries. A Downtowner since mid-2021, Mellor was previously vp of global marketing and communications and earlier served as global head of B2B marketing for its distribution tech company FUGA. He has also held senior roles at TuneCore, AWAL and Kobalt. He reports to CEO Pieter van Rijn and chief commercial officer David Driessen, who commended Mellor’s global marketing expertise and contributions to FUGA, expressing confidence in his ability to strengthen Downtown’s brand globally. “With a strong understanding of global marketing, he has continued to deliver exceptional results-driven work at Downtown and I look forward to working alongside him in his new role as he continues to elevate and position Downtown’s brand in the global marketplace,” said the recently promoted Driessen.
Back to Believe, which is also reinforcing its commitment to Mexican music with two leadership appointments. Marco Cataño — who has a 25-year career and has worked at Sony Music and Warner Music — is named head of artist services LATAM, overseeing the Paris-based company’s premium offerings. As head of label & artist solutions México, José Pablo Molina’s division will offer solutions to independent artists and labels through the marketing and content distribution platform. Molina has 10 years of experience, previously working at ROC Nation and OCESA. “Both Marco and José Pablo have an outstanding track record in the music industry,” said Alejandra Olea, Believe America’s managing director. “Their experience allows them to identify areas of opportunity in the market to strengthen and develop Spanish-speaking talent. Their ability to attract and grow artists in a lasting way aligns with Believe’s priorities for Mexico and Latin America.” –Jessica Roiz
Merlin, the digital licensing partner for the indie music sector, welcomed back Kaoruko Hill as the music rights organization’s general manager of Asia-Pacific. Kaoruko’s career spans over a decade, including her most recent role at ByteDance, where she managed global music rights. From 2016 to 2020, she was instrumental in Merlin’s successful entry into the Japanese market, increasing membership and building strong partnerships as head of member relations and operations. She previously worked at Japan’s music copyright collective NexTone Inc., focusing on new media licensing and global partnerships. Merlin’s CEO, Jeremy Sirota, praised Kaoruko’s strategic vision and said her “deep commitment to the music industry make her the ideal leader to drive our efforts in the Asia-Pacific market forward.”
Hipgnosis Song Management named Sara Lord as its new chief creative officer, tasked with managing synch, audience development and leading Hipgnosis’ overall strategy and creative industry collaborations for its portfolio of some 40,000 iconic songs. A veteran of Concord Music, where Lord built an international team and launched the Concord art prize, Lord joined Hipgnosis in 2023 as executive vp of content. Lord will work alongside Katovsky under the new Blackstone ownership. “Sara has an outstanding track record and incredible knowledge of the creative industries,” Hipgnosis CEO Ben Katovsky said in a statement. “Hipgnosis owns many of the world’s most iconic songs and, as we seek to bring them to even wider audiences, building partnerships across these creative industries is a key part of our strategy. Sara is uniquely qualified to build these partnerships, while working closely with our songwriters and artists.” –Elizabeth Dilts Marshall
Sony Music Publishing promoted Antoine Dathanat to managing director of France, starting Oct. 1. He will succeed the SMP’s longtime French MD Nicolas Galibert, who is retiring at the end of the month. As MD of SMP France, Dathanat will be responsible for overseeing creative and business operations across France and supporting SMP songwriters around the globe. He will continue to be based out of Paris and will report directly to Sony Music Publishing president of international Guy Henderson. –Kristin Robinson
PUB FARE: Third Side Music has expanded into the UK and Europe by appointing Stephen Christian as executive vp of creative/A&R: International. Based in London, Christian will report to TSM’s COO, Jeff Waye, and work with LA-based Creative/A&R heads Brontë Jane and Alex Kelman to sign new talent and foster global opportunities for artists like SOFI TUKKER and Sky Ferreira. Christian is the former creative director and head of A&R at Warp Records, where he was instrumental in signing and developing acts like Danny Brown, Mount Kimbie and Kelela … peermusic appointed Samantha Schilling Robinson as vice president of peermusic Neighboring Rights. Schilling Robinson was previously vp of neighbouring rights at Songtradr, Inc. Schilling Robinson will be based in peermusic’s offices in Los Angeles.
Music funding platform beatBread appointed Andrew Maddox as head of finance to support its growth. Maddox previously held finance leadership roles at TikTok, including head of finance and payment services for US Data Security, and he’s the former chief of staff to TikTok’s COO. He also led finance for content, marketing, product, and operations. Prior to TikTok, Maddox worked at Amazon Prime Video, contributing to its expansion into live sports and international markets. beatBread CEO Peter Sinclair praised Maddox’s finance and strategic marketing skills, highlighting their importance as the company uses data science and automation to empower artists, labels, and publishers with flexible funding options. Maddox expressed excitement about joining beatBread, emphasizing “beatBread is at the forefront of enabling artists to pursue their passions without sacrificing control over their careers. The flexibility and choice the company is bringing to music funding is a true game-changer for independent artists and labels. I couldn’t be more excited to join the beatBread team.”
Music licensing platform Soundstripe named Angela Abbott as global head of music partnerships, overseeing strategic relationships for content creators, enterprises, and rights holders. With over a decade of experience in business development and strategic partnerships, Abbott brings expertise from her roles at TIDAL and Pandora, where she secured over $200 million in licensing deals with the big three major labels, among others. Abbott also stays involved with the Recording Academy and Women in Music, where she serves as global co-chair of partnerships & development. “We founded Soundstripe to address a critical gap in the music licensing space for content creators, but our vision extends far beyond that,” said Travis Terrell, Soundstripe’s co-founder and CEO. “With Angela’s proven track record and expertise in negotiating complex licensing deals with the world’s leading music companies, we are excited to accelerate our trajectory and provide top-tier music solutions for both creators and global brands.”
Andrew Leib, after 11 years at Red Light Management, launched Deep Feel Talent Co., a boutique artist management company. The firm’s inaugural roster includes Victoria Canal, Maris Jones, Nu Deco Ensemble, Andy Arthur Smith and Dana Nielsen. Deep Feel said it will emphasize creating long-term relationships with artists and aims to create a supportive community for musicians, content creators and producers. Leib began his career in artist relations at festivals like Lollapalooza and Riot Fest, co-created the immersive concert experience Brassroots District, and co-founded The UnCancelled Music Festival, raising over $100K for artists and venues during the pandemic. He also booked talent for the Miles Davis Estate showcase at SXSW. Leib says Deep Feel reflects his values of “building strong, authentic relationships with my clients and community, and creating space for creative voices to grow.”
Breakaway Music Festival, the annual multi-city event featuring a healthy dose of dance music, hired former Sony vp of corporate development Adam Wright as CFO and managing partner. In his new role, Wright will lead strategic initiatives, corporate development, brand growth and financial operations for Breakaway. The festival also elevated Jarrod Fucci from GM to festival president. This year’s BMF tour has three more dates left: Sept. 27-28 in Charlotte, Oct. 11-12 in Nashville and Oct. 25-26 in San Francisco.
Nettwerk made two significant hires to bolster its UK label team. Katie Graham has been appointed head of catalogue marketing and developments globally, moving from Warner Music Group, where she directed marketing strategies for renowned artists like Phil Collins, Enya, Ed Sheeran and Dua Lipa. She aims to enhance Nettwerk’s extensive catalogue with innovative strategies for both established and emerging talents. Additionally, Ruth Wyatt joins as director of sync for UK and Europe, bringing her experience from Warner Music UK, where she successfully placed artists in various sync opportunities. Her notable achievements include Sam Ryder’s “Christmas To Me.” Both hires were welcomed by Nettwerk co-founder Mark Jowett, who commended their expertise in catalogue development and sync, highlighting their commitment to supporting artists.
Spotify‘s head of podcast business, Sahar Elhabashi, is leaving the company at the end of 2024. Roman Wasenmüller, who currently oversees international podcast operations, will lead the division during the search for Elhabashi’s successor. Elhabashi’s six-year tenure included a strategic shift from exclusive creator deals to broader distribution, enhancing audience reach and ad sales. She joined Spotify in December 2018 as vp of content and took over the podcast division after Dawn Ostroff left in January 2023. Prior to Spotify, Elhabashi held c-suite level roles at Conde Nast and Discovery Communications, while earlier in her career she spent 15 years in senior leadership at MTV Networks.
The Circuit Group, a management collective empowering artists to have greater creative control over their IP, announced its expansion into the UK with the launch of Circuit Management, a joint venture with CTRLFRK. The initiative will be led by TCG chief strategy officer James Sutcliffe, who has been appointed CEO and president of The Circuit Group UK. Sutcliffe, an industry veteran with leadership experience at Ministry of Sound, LIVENow, PIXELYNX, and Monster Energy, will work under global CEO Dean Wilson. “Circuit Management is the culmination of our vision to create an environment where artists can truly succeed,” said Michael Boyce, founder of CTRLFRK and co-president of Circuit Management. “Partnering with Circuit enables us to offer a comprehensive approach to management, focusing on both artistic integrity and commercial success. We’re ready to make a lasting impact on the UK music landscape.”
ATC Group has launched Circa, a music promotions company led by Matt Black, former managing director of Your Army’s U.S. office. Circa, with offices in Los Angeles, New York, and London, will take over operations from Your Army America, offering integrated marketing and promotional campaigns globally. The London office will be led by Charlie Reid, who joins as general manager, following experience leading UK radio campaigns for artists like London Grammar, Jon Batiste, Marlon Hoffstadt and Jade Bird. In the U.S., Black’s team has managed campaigns for labels such as Atlantic, Warner, and RCA, achieving top chart placements for artists like RÜFÜS DU SOL and The Hives. Circa will continue campaigns for high-profile artists including Justice, Disclosure, SOFI TUKKER, and deadmau5. It operates within ATC Group’s Services division, alongside Familiar Music Group, companyX, Simpatico, [namethemachine] and Sandbag. “As a key component of ATC’s full service offering across our network of Group businesses, Circa will enable us to deliver an ever more integrated strategy to assist artists in achieving their creative and commercial goals,” said Adam Driscoll, CEO of ATC Group.
BOARD SHORTS: Marit Berning, Paul Smernicki, Shaurav D’Silva, and Tania Lee have been newly elected to the Music Managers Forum board, with Sandy Dworniak re-elected. Paul Craig and Kwame Kwaten have stepped down as chair and vice-chair, with successors to be announced in early October. The MMF aims to enhance its partnership with Music Minds Matter to provide more mental health support for managers. Additionally, the MMF will host a retreat for advanced managers in January 2025.
RoEx, a startup in intelligent audio production, partnered with UnitedMasters to offer AI-powered mastering services via UnitedMasters’ web platform and iOS app. To support its growth, RoEx appointed Tom Nield as head of partnerships, leveraging his 15-plus years of experience in music and technology, including roles at [PIAS] and startups like LANDR. In his new role, Nield will focus on expanding RoEx’s partnerships with music distribution companies and creator platforms. The partnership aims to enhance audio quality services and provide educational content through UnitedMasters’ Blueprint tool. Additionally, UnitedMasters and RoEx are launching an in-app challenge, awarding 50 artists with free mastering credits worth up to $150 each.
ASM Global elevated Gemma Vaughan to acting general manager of AO Arena in Manchester, effective immediately. Gemma, who joined ASM Global in 2023 as sales and marketing director, brings 14 years of experience in the live entertainment industry, having worked with Live Nation Entertainment, Cuffe & Taylor, and Escape to Freight Island. Throughout her career, she has collaborated with artists like Faithless, Mariah Carey, and Britney Spears, gaining a deep understanding of the industry. Vaughan’s predecessor as GM, Jen Mitchell, has left the company.
ICYMI:
Kevin Liles
The painful cuts this week at Atlantic Music Group have impacted between 150 and 175 people, according to sources, including key execs at Elektra (Chris Brown, Katie Robinson, Adam Abramson) and Atlantic (Michael Kyser, Paul Sinclair, Grace James). Follow developments here … Earlier this week, 300 Entertainment CEO Kevin Liles telegraphed his exit … Warner Music Japan chief Kaz Kobayashi announced his departure … TelevisaUnivision named a new CEO … and Sony Music Nashville chairman and CEO Randy Goodman is retiring.
Last Week’s Turntable: The MLC-Suite Gets an Upgrade
The already mega-watt Coke Studio 2024 lineup is adding even more star power to its artist roster with the addition of Usher and Tyla.
The R&B icon and South African phenom join a roster that already includes South Korean DJ/producer Peggy Gou, K-pop powerhouse NewJeans and Colombian star Karol G. As part of Coke Studio, Usher and Tyla will each contribute new music and live experiences, with details on both facets forthcoming.
As part of the partnership, Usher will play in The Coca-Cola Company’s home base of Atlanta as part of his current Past Present Future tour, and Tyla will perform in her native Johannesburg, South Africa, with these shows, both in October, featuring the live debut of each artist’s song produced for Coke Studio.
“Being part of this year’s Coke Studio lineup is both an honor and an opportunity to engage with my fans through the power of music,” Usher says in a statement. “Partnering with Coca-Cola to bring these experiences to life is exciting, and I can’t wait for fans to join us in the magic we’re crafting together.”
Trending on Billboard
“I’m excited to perform in my hometown of Johannesburg as part of the Coke Studio platform,” adds Tyla. “It’s a privilege to bring these vibrant moments to life and share the joy and energy with music lovers across the world.”
The 2024 edition of Coca-Cola’s longstanding global Coke Studio program features music created by superstar artists in collaboration with Coke itself. Promoted and distributed by those artists’ labels, the music is supported by label partner Universal Music Group (UMG), which is assisting with promotional and playlist strategy. The project includes the already released “Find the Way” by Peggy Gou and the “How Sweet” videos by NewJeans.
Karol G’s Coke Studio contribution, “Si Antes Te Hubiera Conocido,” reached the No. 1 global top music video on YouTube, with over 225 million views. Released in June, the song spent nine weeks No. 1 spot on Hot Latin Songs this past summer.
Coke Studio is Coca-Cola’s biggest global music program of 2024, with the songs from each involved artist set to be used in the brand’s marketing in more than 150 countries — roughly 75% of the world.
“We’re thrilled to welcome two of our favorite artists, Usher and Tyla, to our incredible 2024 lineup,” Josh Burke, the Coca-Cola Company’s global head of music and culture marketing, said in a statement. “This year Coke Studio offers unparalleled access to exclusive content and experiences that can’t be found anywhere else. We’ve partnered with both Usher and Tyla to create something special for their fans, and we’re sure that they will love what we have in store for the rest of 2024.”
Kaz Kobayashi is stepping down as president and CEO of Warner Music Japan after a decade in the role, the company announced on Wednesday (Sept. 18). His successor will be announced soon, and he is currently working with Dr. Kenji Kitatani, the newly appointed chairman of Warner Music Japan, on a transition plan. Kobayashi, who […]