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Tencent Music Entertainment’s stock fell by 15% on Tuesday after declines in the leading Chinese music streamer’s quarterly revenue and monthly active users overshadowed higher profit and paid subscriber gains. TME’s revenues of RMB7.16 billion ($985 million) edged 1.7% lower this quarter from the year-ago quarter, and monthly active users for online music services fell […]
LONDON — Jorja Smith, CASISDEAD and Barry Can’t Swim are among the leading nominees for the 2024 Association of Independent Music (AIM) Awards, which recognize the achievements of the artists, labels, entrepreneurs and companies that make up the U.K.’s indie sector.
The 14th edition of the annual awards show is set for Oct. 17 at London’s Roundhouse venue. Nominees also include D-Block Europe, Kim Gordon, Actress, rapper Skrapz, Mount Kimbie, Anohni and the Johnsons and jazz nine-piece Nubiyan Twist, who are all in the running for the best independent album prize alongside Smith and electronic music producer Barry Can’t Swim, real name Joshua Mainnie.
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R&B singer Jorja Smith, a 2019 Grammy nominee for best new artist, is also listed in the best independent track category for her hit “Little Things,” which spent 22 weeks on the Official U.K. Singles chart, peaking at No. 11.
2023 Mercury Prize winners Ezra Collective are on the best track shortlist, along with Fontaines D.C., KNEECAP, Hudson Mohawke and Nikki Nair, Sampha, NikNak, Matthew Halsall, Amy Gadiaga and CASISDEAD — who was crowned best hip-hop/grime/rap act at the BRIT Awards on March 2.
Other categories announced by AIM, which represents more than 1,000 U.K. independent labels, artists and music companies, include best EP/mixtape, best remix and best video.
The five contenders for the independent breakthrough award number London rapper CASISDEAD, Barry Can’t Swim, Bar Italia, Saint Harison and Wunderhorse, who all receive free access to studio time at London’s Metropolis Studios as part of their nomination.
AIM’s One to Watch category, which has previously been collected by Nia Archives and Arlo Parks, shines a light on spoken word artist Antony Szmierek, drum and bass MC OneDa, DJ Kitty Amor and artist/producers Lynks and Miso Extra.
Nominees and winners are picked by the AIM board and a panel of expert judges with the exception of the best live performer award, which is decided by a public vote.
In terms of most nominated indie labels, London-based Ninja Tune leads the pack with its artists receiving four nods across the categories announced so far (Actress, Barry Can’t Swim, Nabihah Iqbal and George Riley). XL Recordings, Heavenly Recordings and artist services company EGA Distro each have three acts up for prizes.
Nominations for the remaining award categories, including best boutique label and independent champion, as well as live performers at this year’s ceremony will be announced in the coming months, said AIM. Sponsors and media partners for October’s awards include Spotify, Vevo, Meta, Notion, Amazon Music and the BBC.
Gee Davy, interim AIM CEO, said that this year’s nominees “spans the regions and nations, genres and communities of the U.K.’s independent music scene, recognizing success, talent and artistry.”
Ruth Barlow, the not-for-profit organization’s chair, said in a statement that the 2024 awards shortlist provides “a great glimpse into the length and breadth of the U.K.’s independent sector and highlight a handful of the innovators, culture makers and commercial successes AIM’s outstanding community has to offer.”
According to figures released earlier this year from U.K. labels trade body BPI, independently released songs and albums accounted for almost one-third of all music consumption in the U.K. in 2023 with the equivalent of more than 53 million independently released albums streamed or purchased across digital and physical formats. The U.K. is the world’s third-biggest recorded music market in IFPI’s annual rankings behind the U.S. and Japan.
See below for a full list of the nominees for the 2024 AIM Independent Music Awards announced so far:
Best Independent Album (in association with Spotify)
Actress – LXXXVIII (Ninja Tune)
ANOHNI and the Johnsons – My Back Was a Bridge For You to Cross (Rough Trade Records)
Barry Can’t Swim – When Will We Land? (Ninja Tune)
D-Block Europe – Rolling Stone (EGA Distro)
Jorja Smith – falling or flying (FAMM)
Kim Gordon – The Collective (Matador Records)
Mount Kimbie – The Sunset Violent (Warp Records)
Nabihah Iqbal – Dreamer (Ninja Tune)
Nubiyan Twist – Find Your Flame (Strut Records)
Skrapz – Reflection (EGA Distro)
Best Independent Remix
P-rallel Remix – Aluna, Jayda G – Mine O’ Mine (Mad Decent Under Exclusive License to Because Music)
Olof Dreijer Remix – Björk – Oral (feat. Rosalia) (One Little Independent)
L BEATS Mashup – Jorja Smith – Little Things x Gypsy Woman (FAMM)
Egyptian Lover Remix – Sudan Archives – Freakalizer (Stones Throw Records)
Ezra Collective, Sampa The Great – JOY (Life Goes On) (Partisan Records)
One to Watch (in association with BBC Music Introducing)
Antony Szmierek (LAB Records)
Kitty Amor (Defected Records)
Lynks (Heavenly Recordings)
Miso Extra (Transgressive)
OneDa (Heavenly Recordings)
Best Independent Track (in association with Meta)
Amy Gadiaga – “All Black Everything” (Jazz re:freshed)
CASISDEAD – “Venom” (XL Recordings)
Sampha – “Spirit 2.0” (Young)
Fontaines DC – “Starburster” (XL Recordings)
Ezra Collective – “Ajala” (Partisan Records)
Jorja Smith – “Little Things” (FAMM)
KNEECAP, Grian Chatten – “Better Way to Live” (Heavenly Recordings)
Matthew Halsall – “An Ever Changing View” (Gondwana Records)
NikNak – “1200RPM” (Accidental Records)
Hudson Mohawke & Nikki Nair – “Set the Roof” (Warp Records)
Best Independent EP/Mixtape
George Riley – Un/limited Love (Ninja Tune)
Headie One & K-Trap – STRENGTH TO STRENGTH (One Records and Thousand8)
JGrrey – If Not Now? (PACE, a subsidiary of Marathon Music Group)
Potter Payper – Thanks for Hating (EGA Distro)
HONESTY – BOX (Partisan Records)
UK Independent Breakthrough (in association with Amazon Music)
Bar Italia (Matador Records)
CASISDEAD (XL Recordings)
Wunderhorse (Communion Records)
Barry Can’t Swim (Ninja Tune)
Saint Harison (Platoon)
Best Independent Video (in association with Vevo)
Gia Ford – Poolside (Chrysalis Records)
Khruangbin – A Love International (Dead Oceans)
Master Peace – I Might Be Fake feat. Georgia (PMR Records)
Mitski – My Love Mine All Mine (Dead Oceans)
Sampha – Only (Young)
One of pop music’s biggest breakouts stole the show at Montreal’s Osheaga Music & Arts Festival last Saturday (Aug. 3). It’s rare to see the festival grounds packed at 3:30 p.m. in the afternoon – especially on a day with a heat warning – but for the celebratory queer pop of Chappell Roan, fans were willing to take the heat.
She was booked for the festival last fall, but since then, the Midwest Princess has exploded in popularity, opening for Olivia Rodrigo and charting six songs on the Billboard Hot 100. Her afternoon slot felt mismatched to her current stature, but Chappell made the most of it, turning in a performance that hit harder than Green Day’s headline set later that night.
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The set followed a similarly frenzied performance at Lollapalooza two days earlier that reportedly broke attendance records. At one point, Chappell made an honest mistake that also reminded the crowd where she should have been on the lineup. “Tonight, we’re going to,” she began – before remembering it was the afternoon.
“She’s the only reason that we’re here today,” said one Montreal fan named Maria. She discovered Roan a year-and-a-half ago on TikTok, and said she got emotional during “Pink Pony Club.” “It’s so nice to have everybody here,” Maria added, “we’re here for the same reason: to support an amazing queer artist and to live in each other’s queer joy.”
More than 147,000 music fans packing into Parc Jean-Drapeau for Osheaga’s three days – the festival’s second-highest attendance in its 17 years. Fans packed in to see sets by acts like SZA, Green Day and Noah Kahan, creating a big-ticket atmosphere. It was also hampered by the later revelation of a tragedy, with one festival-goer found drowned in the Olympic Basin at Parc Jean-Drapeau after leaving the Osheaga grounds. An investigation into the death is underway.
Other highlights included breakout Canadian musician TALK (who’s especially big in Quebec), a rain-delayed set by British singer RAYE, a charismatic performance by Tyla and a Hozier set for a rapt audience in which he called for a ceasefire and “a Palestine free from occupation.” -Rosie Long Decter
Shaboozey Hits 10 Weeks At No. 1 on Billboard Canadian Hot 100
Someone pour him up a double shot of whiskey: Shaboozey just hit a chart milestone in Canada.
The Virginia singer has notched his tenth week atop the Billboard Canadian Hot 100 with “A Bar Song (Tipsy).” The song is also still on top in the U.S., though only for its fourth week.
Shaboozey
Daniel Prakopcyk
In Canada, it’s the clear song of the summer. Briefly knocked from its top spot by Morgan Wallen and Post Malone’s “I Had Some Help” and then Eminem’s “Houdini,” “A Bar Song (Tipsy)” has held the spot consecutively since the week of June 22.
It’s maybe an unusual candidate for song of the summer, less peppy and optimistic than “I Had Some Help” or Sabrina Carpenter’s “Espresso.” But “A Bar Song” has a folk-country sound that’s always done well in Canada and a thematic depth that helps it resonate.
The song interpolates J-Kwon’s 2004 hip hop track “Tipsy,” replacing its synth line with an acoustic guitar strum. Shaboozey transforms a hype track for the club into a melancholy country anthem about working too hard and not making ends meet. It’s no surprise that “A Bar Song” is connecting widely amidst a cost-of-living crisis.
(It also helps that one of Shaboozey’s primary challengers for song of the summer in the U.S., Kendrick Lamar’s “Not Like Us,” isn’t as popular in Canada, for obvious reasons).
The 10-week achievement adds to Shaboozey’s list of accomplishments in a year when he has featured on Beyonce’s Cowboy Carter and is set to headline a North American tour for the first time. He’ll play Toronto on Sept. 13 and Quebec City on Sept. 14. –RLD
MRG Group and Paquin Entertainment Group Hire New Executives
Canadian venue management, concert promotion and hospitality company, MRG Group has announced the hire of Robyn Kaszor as director and senior talent buyer.
Based in Montreal, she joins the company from Just For Laughs where she spent the last 18 years, most recently holding the post of vp of festivals with oversight of the company’s festivals in Toronto, Montreal and Vancouver.
The company produces 1100+ shows per year in North America, selling approximately 500K tickets. The company also owns and operates six venues, including The Vogue and Queen Elizabeth theatres in Vancouver and Adelaide Hall in Toronto.
Paquin Entertainment Group, meanwhile, has announced the appointment of media and television executive Andrew Akman as its chief operating officer.
Based in Toronto, Akman is expected to leverage the company’s status as a global, multi-platform entertainment business to produce large-scale events, exhibitions, and theatre, film, and television productions. Paquin is currently in development on several talent-driven projects for broadcasters, streaming platforms, and live audiences, according to the Aug. 6 announcement. Akman has held senior roles at Cineflix Media, Shaw Media, Canwest Media, Alliance Atlantis Communications, and co-founded the television production company Husk Media.
Paquin Entertainment Group, led by Gilles Paquin, has 45 years of experience managing and representing talent and producing film, television, theatre and immersive exhibitions. Akman’s appointment follows Paquin’s acquisition of the Canadian arm of APA as it continues to build on its momentum, now representing more than 350 artists.
Paquin, chairman & CEO, of Paquin Entertainment Group, said: “Andrew’s expertise in media and entertainment and his entrepreneurial spirit make him an ideal fit for Paquin as we continue to expand the range and scale of our global businesses in artist representation, immersive exhibits, live events, brand partnerships, and theatre, film and television.”
[Billboard Canada has a strategic partnership with Paquin.] -David Farrell
In 2017, Yungblud met the world with a riotous show at The Water Rats, a dingy club in London’s Kings Cross area that also hosted Bob Dylan’s first live performance in the U.K. — as well as the first ever by Irish group The Pogues.
They went on to even bigger things and this weekend Yungblud will, too. On Aug. 11, the Doncaster-born artist will host the inaugural Bludfest, a 30,000 capacity, one-day event at Milton Keynes Bowl, England. Previous performers at the venue include Queen, Green Day, Metallica, Foo Fighters and Michael Jackson.
The 27-year-old – real name Dominic Harrison – will be joined by a diverse bill including his recent collaborator Lil Yachty, Soft Play (fka Slaves), Jazmin Bean, Lola Young and feature a slot by The Damned; the headline performance will mark his first full U.K. live show in over a year. Harrison released his most recent LP, Yungblud, in 2022, which charted at No. 1 in the U.K. and landed at No. 45 on the Billboard 200.
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Across two stages and alongside fairground attractions, an art exhibition and a nod to the beloved Camden boozer The Hawley Arms, Bludfest is an all-encompassing proposition. “I’ve said from the start that it cannot be a gig wrapped in a festival, it needs to be a whole world,” he tells Billboard. “When I spoke with the team it became clear that it was important that part was nailed.”
Disillusioned with the state of the live music industry, Harrison has also been vocal about keeping ticket prices affordable for his young, passionate fanbase. He joins British artists like Paul Heaton and Tom Grennan in trying to buck industry trends for rising entry costs for fans amidst an uncertain and costly landscape for touring artists. An entry ticket for the event is capped at £49.50, though he has partnered with AEG to ensure a sound and slick production on the night.
A week out from the big night, Harrison tells Billboard about why the ticket market inspired Bludfest, advice from the Osbournes and his new label moves for album number four.
Why did now feel like the right time for Bludfest?
It’s something I’ve wanted to do for ages and this was the first opportunity in between tours and albums to do something on this scale. I wanted to build a physical space where the fans can all come together and realize how far this community has come. It needed to be a statement piece as a lot of critics don’t take me or the fans seriously, so I’m like “well, look what we can do.”
You’ve strived to keep ticket prices down to a reasonable amount at £49.50 ($63). Where did that desire come from?
I was in the U.S. last summer and it was the first time playing amphitheaters – our biggest venues in America yet – and it was the first time I experienced tiered seating and experiences. The floor and upper seats were totally full and there was this bullsh-t area in the middle, about 500 seats that were empty and I had no control over the price of them. There were kids outside of the venue who said they had to listen to the concert from outside because they couldn’t afford to come in. It hurt me when I heard that.
The global ticket market doesn’t understand people’s real lives. £250 for a ticket is making me sick. There’s a tour that just went on sale – which I won’t name – and I’m like “Are you f–king joking with me?” It makes me really angry.
There’s concern that young people in particular are being priced out of gigs by their favorite artists…
A lot of artists aren’t as in control of their career as you would think, or don’t pay as much attention to anything other than the art – which is fine and works for some artists, but that’s not me. The only explanation for where I am now, really, is my relationship to my fans. I wanted to make something feasible in a world where music has become a thing of privilege.
Looking at what The Cure’s Robert Smith did with Ticketmaster last year was so inspiring [Ticketmaster refunded what Smith called “unduly high” fees on tickets for the band’s U.S. arena tour in 2023.] That’s an artist at his stage of his career where they’re playing for original fans, but also for new, young fans and he’s still thinking about those people coming through. I don’t want my shows to only be full of people who can afford it.
How has the industry responded to you trying to do something different and less centered around profits?
I’m getting pushback from “the boardroom.” It’s so easy for artists to sit in the pub and say “f–k the label, promoters and corporate system” and do nothing about it. I got some heat from people because Bludfest is co-promoted by AEG but for me, the way to change the corporate system is not by betting angry but going and changing it from within. Most people on the ground floor at these labels or promoters just love music passionately as the fans do.
By taking something into my own control, I can get an insight into something I never would have come across and get an idea on costs and challenge them on why we’re charging a higher amount than what we need to. We’ve already got plans to take Bludfest to Paris or Prague; Japan, Australia and America all want it, it’s gone amazingly well. We have such a strong core fanbase in all of these places and we could really unite a bit of a scene around it.
You’re not the first to have the idea. Lollapalooza started as an outlet for Jane’s Addiction frontman Perry Farrell and your collaborator Ozzy Osbourne [star of the music video for Yungblud’s “The Funeral”] hosted Ozzfest for decades. Have you reached out for advice?
Sharon [Osbourne, Ozzy’s wife and longtime manager] has been so helpful to me. I said to her that I don’t feel like people don’t take me seriously, and she replied “we’ve felt that our whole f–king lives, that’s why we started Ozzfest.” She gave such positive feedback and advice to look after the people because they keep us here. They’ve been so amazing as a family to me.
You’ve got an eclectic mix of artists on the bill from U.S. rappers like Lil Yachty to punk legends The Damned. How did you decide who would be right for Bludfest?
I didn’t want it to be a genre-focused festival. I wanted to think about artists in their own lane and doing their own thing from across the whole scene, so I hit up Lola [Young] who I think is amazing, Jazmin [Bean] who is in their own world, The Damned for the icon slot. I asked about Placebo but they couldn’t make it so maybe we’ll get them next year. I was speaking to Robert Smith, The Smashing Pumpkins and just all my contacts for suggestions, and they all love the idea.
I wanted it to be young, emerging artists. I didn’t want to call up Tyler [Joseph] of Twenty One Pilots, or Oli [Sykes] from Bring Me The Horizon, I wanted it to feel like it is the first year and have a bit of bite and punkiness.
You’ve just moved labels to Island (U.K.) and Capitol (U.S.) for your upcoming record. How is work coming along?
My next album is a rock opera… it’s mental! It’s a new phase in my life and these labels are so classic, and this new album feels like it belongs on prestigious labels like that. The last few months have been a lot more creatively fruitful and inspiring. I really had a choice about staying in the comfort zone or do I want to go to different places and experiment.
In the past I was stuck on the treadmill – to the point that even some of my previous albums felt rushed – or taking external ideas that would damage the art because I was trying to satisfy someone else’s idea for what Yungblud is and not what’s in my gut. But now I feel more excited than ever.
Gamma has established strategic partnerships with The Music Arena, The Temple Company and Sol Generation Publishing and Distribution in Africa as well as LPME Records in the Middle East.
Gamma’s latest partnerships bolster the company’s commitment to supporting artists and labels in these regions, which its founder Larry Jackson outlined last year to Billboard when his media and entertainment company first expanded its operations there. Last May, Sipho Dlamini and Naomi Campbell joined gamma as president and special advisor for Africa and the Middle East, respectively; Larry Gaaga was named vp/GM for Africa and Dany Neville was named vp of A&R for the Middle East last August.
“It’s incredibly gratifying to see the enthusiasm shown by our new strategic partners, their artists and stakeholders in aligning with gamma. We’re well under way, engaged in bolstering the creative momentum for artists from these key markets,” Dlamini said in a press statement. “An indication of our ambition is that in conjunction with our new partners we’re generating writing camps in Nigeria, South Africa, Kenya and the [United Arab Emirates]. I don’t know of another company that is navigating the continent and region in this manner with this reach. The creative collaborations we’re establishing will further travel local music to global adoption.”
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In June, the company officially launched gamma South Africa in Sandton, one of the country’s biggest financial hubs within Johannesburg. Gamma hosted a launch party on June 6, with Dlamini, Gaaga, Thabo Keith Ngweya, gamma’s strategic partnerships & culture marketing lead for Africa, Sikhulile Nzuza, gamma’s strategic partnerships, culture & operations lead for Africa, and more in attendance. The company has been providing dynamic opportunities for South African acts since last year, such as tapping DJ/producer MöRDA to remix “Mysterious Ways” on The Color Purple (Music From And Inspired By) that the company distributed alongside WaterTower Music last December (with Jackson as one of the producers, alongside Quincy Jones and Scott Sanders). Gamma recruited MöRDA again as well as Major League Djz, Junior Taurus and Soa Mattrix to create amapiano and Afro House-inspired remixes of Usher and Nigerian singer-songwriter and producer Pheelz’s “Ruin” from the former’s latest album COMING HOME that was distributed via Usher and L.A. Reid‘s mega and gamma in February.
Gamma’s partnership with the Johannesburg-based conglomerate The Music Arena aims to continue bridging the gap between South African artists and international markets by providing artists with unprecedented opportunities to collaborate with an international label, leveraging gamma’s expertise in the global market (especially in the U.S.), with a special focus on artist collaborations and joint ventures.
The Music Arena is comprised of three different music entities: Gallo Music, South Africa’s largest and oldest independent record label; Gallo Music Publishers, Gallo’s publishing arm that’s home to iconic composers and a rich repository of cultural works; and Content Connect Africa, the continent’s leading independent media and content business that represents over 2,000 African artists and labels. The Music Arena’s global footprint spans South Africa, Uganda, Nigeria, Ghana and the U.S.
“The Music Arena is delighted to be partnering with gamma in a multi-faceted deal, which will grow our artists’ presence internationally as well as represent gamma’s artists on the network operators’ platforms in Africa,” said Antos Stella, CEO of The Music Arena, in a statement. “Our focus remains on developing and growing our artists and composers globally.”
Gamma’s new alliances aim to cover the entire African continent. The company’s partnership with The Temple Company, a leading record label, TV/film production company and talent management agency based in Lagos, aims to connect Nigerian artists to global audiences by developing and promoting Nigerian talent, with a special focus on cross-cultural collaborations to maximize international exposure. One of the first projects from this partnership is Nigerian superstar D’Banj‘s new album Entertainer–The Sequel, the follow-up to his 2008 album The Entertainer, which will be released on Aug. 16.
“Our partnership with gamma marks a pivotal moment for The Temple Company and the Nigerian music industry at large. This collaboration will open up new opportunities for our artists to showcase their talents on a global stage,” said Idris Olorunnimbe, The Temple Company’s group chief executive. “We’re particularly thrilled about D’Banj’s upcoming album, Entertainer–The Sequel, which we believe will be a gamechanger in demonstrating the universal appeal of African music. Together with gamma, we’re committed to nurturing and promoting the incredible talent that Nigeria has to offer, and we’re confident that this partnership will play a crucial role in shaping the future of African music on the world stage.”
Gamma will also celebrate East Africa’s rich musical heritage through its partnership with Nairobi, Kenya-based Sol Generation Publishing and Distribution, the music publishing and distribution arm of award-winning Afropop group Sauti Sol.
LPME Records is committed to producing music that inspires unity and celebrates cultural diversity and establishing Dubai, UAE, as a musical creative hub. The labels currently represents three dynamic artists: the label’s first signee Dawda, a Gambian-Estonian star who blends Afrobeats, hip-hop, R&B and pop and has written and produced for Britney Spears, Akon, Oxlade and Snoh Aalegra; Yasmina, a Tajikistani artst who’s known for her unique fusion of Arabic and pop music; and Alya, an Emirati-British singer/songwriter/dancer/actress who draws inspiration from soul, jazz, R&B, hip-hop, amapiano and Afrobeats. Additional signings will be announced later this summer.
The state-of-the-art LPME Studios is reputable for having top-class sound quality and being a creative hub fostering musical innovation. The facility includes six production rooms, two Dolby Atmos rooms, a main stereo room, live band and vocal rooms and more. Artists like J Balvin and Jason Derulo as well as Grammy-winning engineer Tony Maserati have previously worked there.
“We are incredibly excited to enter into this partnership with gamma. This collaboration represents a significant step forward in our mission to share the rich and diverse sounds of our artists with a global audience,” added Moh Denebi, LPME Records’ label manager and producer. “Together with gamma, we are confident in our ability to elevate our artists’ reach and impact, bringing fresh, innovative music to listeners around the world.”
Adele‘s 10-night August residency in Munich, which opened Friday night (Aug. 2), could be the biggest concert engagement ever, both in terms of attendance and ticket sales. It almost certainly represents the biggest bet anyone has placed in the live music business this year.
The shows, promoted by Live Nation Germany and the Austrian Leutgeb Entertainment Group, are held in a custom-built venue that holds 74,000, and the production is reported to have cost more than $100 million, including construction cost. Just the 220-meter-wide screen, said to be the biggest in the world, is said to have cost dozens of millions of dollars. And that’s before the string section, fireworks, and the logistics involved in Adele World, which includes a Ferris wheel, a biergarten, and merchandise operation the size of a large boutique.
The engagement, which runs two days a week throughout August, could break the Billboard Boxscore attendance record for a concert engagement, currently held by Coldplay, which drew 627,000 fans to 10 shows in Buenos Aires in 2022. It could also break the box office record of almost $110 million, held by U2 for its first 17 shows at the Sphere, in 2023. (Adele has not generally reported concert grosses to Billboard Boxscore, so the records may stand anyway.)
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Adele, who has been performing the Weekends with Adele residency at the Colosseum Caesars Palace in Las Vegas, has not played in continental Europe since 2016 and has no concerts booked there, so the shows in Munich are a destination event. She had no plans to play anywhere this summer, until Klaus Leutgeb presented her manager, Jonathan Dickins, with the idea for the residency.
Adele performs onstage at Messe München on Aug. 2, 2024 in Munich, Germany.
Kevin Mazur/Getty Images for AD
Concert residencies are becoming more popular, but they are mostly an Anglo-American phenomenon. In this case, Munich is a relatively small city by international standards, with a population of about 1.5 million in a metro area a bit less than four times that. (By comparison, Los Angeles has 3.9 million in a metro area of 13.2 million.) That implies that most concertgoers are coming from outside the city or the country. (Anecdotally, Billboard met fans from all over Germany at the show, plus a few each from the Netherlands, the UK and Ireland.)
All that tourism will bring an enormous amount of money to Munich. The city’s top economic official, Clemens Baumgärtner, has said Adele’s residency will bring in 560 million Euros ($614 million). The city is an ideal place to hold a residency, given its relative proximity to Austria, Italy and Switzerland; it’s easy to get anywhere in Germany by train and anywhere in Europe by plane.
The promoters told the German music trade publication Musik Woche that 95 percent of the tickets had been sold. (Live Nation Germany did not respond to questions about sales, and the shows are not sold out, although the first show looked close to capacity.) Even if just 85 percent of tickets are sold, this engagement would break Coldplay’s attendance record. Tickets were available at an array of prices, from 79 Euros ($87) to more than a thousand Euros for high-end VIP packages, with some tickets available for 35 Euros ($38) the day of the show; at 85 percent capacity, an average price of 160 Euros ($176) would make it the highest-grossing engagement as well. (Some tickets seem to be available for less than face value on the secondary market, and a half dozen concertgoers were trying to sell extras before the first show, but the promoters apparently sold those initially.)
Indian bassist Mohini Dey, who just performed at Billboard Live Tokyo and Osaka, spoke with Billboard Japan for its Women in Music interview series featuring female players in the entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.
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Dey, known for her technical brilliance, has worked with veteran artists such as Quincy Jones, Steve Vai, Mike Stern and Simon Phillips, as well as toured with Willow and Japanese rock legends B’z. Described as the “Most Successful Musician Under 30” by Forbes India, the bass virtuoso shared (via an email interview) her experience working in the male-dominated industry in her home county and her hopes to bring positive change.
Growing up, who were some women you looked up to? Who were some of your female role models?
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My mother was my first role model as she is a singer and worked professionally in my early years. There are several women I looked up to such as Carole King, Carole Kaye, Joni Mitchell and Sheila E., as they all made a huge difference in the music industry.
My original dream was to become a fashion designer. It was actually my dad who forced me in a way to practice after he released that music was my true talent. Music has always been the only option in my family. What’s amazing about life is that now, I design most of my stage outfits and so I have been able to live my childhood dream as a fashion designer as well as my father’s dream for me as a professional bassist.
According to the Global Gender Gap Report 2024 by the World Economic Forum, India ranked 129th, Japan ranked 118th out of 146 countries. Since Indian culture is much more conservative than Western culture, were there any cultural differences regarding gender you were surprised by as you started to play outside of your home country?
Yes, playing outside of India exposed me to various cultural differences regarding gender. In many Western countries, I noticed a more progressive attitude towards women in music. There was a greater acceptance and support for female musicians, which was refreshing. However, this also highlighted the conservatism in Indian culture, where women are often expected to conform to traditional roles. It was surprising but also motivating to see the potential for change and how different cultures are tackling gender issues in music. That being said I always like to reinforce the truth that there was an army of progressive and forward-thinking men who have helped me achieve the heights that I am at today: most of them being Indian men. There are forward thinking people in every culture, it just is a challenge to find them. I am proud to say men like Ranjit Barot and my father, Sujay Dey, were more progressive in their thinking than the average person in my country
Through talking to female Japanese artists for this interview series, an issue that often arose was how they were hesitant to speak out on social issues including gender, because of backlash or this thinking that art and politics shouldn’t mingle. Is this the case in India too?
This is quite prevalent in India as well. Many artists, including women, are hesitant to speak out on social issues due to fear of backlash. There is a strong belief that art and politics should remain separate, which can stifle important conversations. However, I believe that art is a powerful medium for change, and we should use our platforms to address and challenge societal issues, including gender. My hope is to create and maintain respect with political leaders so that we can affect positive change in our cultures. We should aspire to bring back the best of other cultures into our home.
How has being a woman affected your career?
Being a woman in the music industry comes with its unique challenges and advantages. On one hand, I’ve faced skepticism and bias simply because of my gender. On the other hand, being a woman has also set me apart and brought a unique perspective to my music. It has made me more resilient and determined to break barriers. Ultimately, I believe my gender has enriched my journey, making me a stronger and more empathetic musician.
Have you personally encountered gender bias or sexism in your career? What are some of the biggest challenges Indian female artists or creatives face?
Indian female artists face numerous challenges, including societal expectations, lack of representation, and limited opportunities. There is a significant gender disparity in various genres, with women often being underrepresented in Indian classical, rock, and even mainstream music. Additionally, societal pressures to conform to traditional roles and the lack of support for women pursuing creative careers add to the difficulties. Breaking these barriers requires continuous effort, support from the community, and systemic changes in the industry.
I have largely broken out of that gender bias by making myself as different from everyone else in the Indian music industry as possible. No one else sounds like I do on the bass and that was a very intentional thing. I tell students when I do masterclasses that regardless of male or female, old or young, a person needs to make themselves undeniable. That is to say that someone has practiced their craft so much and accepted exactly who they are and what they are trying to do. Once your confidence and skill are at a high level, opportunities will create themselves.
I would also argue that India didn’t fully embrace me until I started achieving success outside of the country. Growing my audiences in the USA, Japan and Europe inevitably showed my Indian audience the caliber at which I am able to operate. Since then, I have been given far more opportunities in my home country with a much greater degree of respect.
The touring scene, in which you’ve spent quite a lot of time during your career, has been predominantly male dominated. Although there has been some progress, it can still be hard for women to get their voices heard. What still needs to be done to make it even more inclusive and diverse?
I think that it starts in the home. Families need to encourage their daughters to pursue music. This will increase the number of female music students of which a percentage will enter the music industry. This is a numbers problem as more boys in India study music than girls. I think we also need more prominent female musicians to encourage young students to be competitive with the boys and not fear being better than them. Some girls in school want the boys to like them and so they don’t want to show off or upstage the boys. This mentality needs to be eradicated completely. Girls are powerful and should be treated as such.
On the industry side, I have been seeing a lot of improvement regarding women having opportunities especially on stage. One massive area where I would like to see improvement is the presence of female producers, film composers and mix/master engineers. These fields are predominantly male occupied.
Another challenge women in music face is restarting their career after prolonged leave of absence, whether it’s maternity leave or for personal reasons. Are there any support systems or safeguards you wish were in place so that female artists can enjoy lengthy careers?
While I can’t personally speak to this point as I don’t have children, I understand why it is important. I first would reach out to women globally and implore them to become a leader of a band, write your own music, own your brand, or own your company. If you spend your time as a side musician only, eventually your gig will go away because your name isn’t on the bill. So there is an accountability aspect that while everyone should play gigs for other artists, every other waking moment should be spent making your profile as big as possible. When the moment comes to transition to a solo career, go all in.
Regarding maternity leave, yes, this is a tough situation. I think it probably needs to be a political decision and that subsidies would need to be provided for the government in a social program.
On Billboard Japan’s 2023 Hot 100 year-end charts, 64 songs were by men, 19 were by women, 16 were by mixed-gender duos or groups and one song was by an artist who hasn’t disclosed their gender. What are your thoughts on these results, and would you say the situation is similar in India?
I would say that the percentage is similar if not more male and less female in India. There are many female artists but most of those artists do not write their own music and most of the songwriters, composers, producers and arrangers are male.
In India, the music industry is dominated by Bollywood cinema. Most of the directors are male and as a result most of the directors have historically hired male music directors who hire male arrangers, engineers and on and on. The only one who is female is possibly the singer and maybe a fraction of the instrumentalists who may work on the project.
To change the industry, we need more female representation in the entire entertainment world from cinema, art, music, graphic design, animation and more.
In the last 20 years in Europe and the U.S., more opportunities have been given to women, LBGBTQ+ persons, as well as other races besides the majority race in film and music. This was because there was an audience that demanded something different, and the companies had to invest in products that would give the audience what they wanted.
If audiences in Japan and India speak up and say that they want more female representation in film and music, the companies will deliver. So, I see this happening at a grassroots, political level.
As a role model yourself, is there any advice you’d like to have given yourself at the start of your career?
If I could give advice to my younger self, it would be to trust your instincts and stay true to your passion. The journey won’t be easy, and there will be challenges, but perseverance and dedication will lead you to your goals. Surround yourself with supportive people who believe in you and your talent. Don’t be afraid to take risks and embrace your uniqueness. Your voice and your music matter, and they can inspire others.
IMPEL has announced a new partnership with AMRA, the Kobalt-owned global digital licensing and administration platform. With this new deal, IMPEL, a global licensing collective made up of 57 independent music publishers in 14 territories, is now offering its services in Australia, New Zealand, Brazil, and various Southeast Asian countries for the first time. Through […]
LONDON — “We live to fight another day,” says a weary but cautiously optimistic Oliver Jones, looking back on this year’s Deer Shed Festival, which featured headline performances from bands The Coral, Bombay Bicycle Club and rising Irish singer CMAT, and took place under crystal blue skies July 26-29 in Baldersby Park, Yorkshire.
“I don’t know if we’ll make any money. We’ll likely just break-even but there were a lot of positives,” says the festival director, who co-founded the annual family-friendly event in 2010. This year’s Deer Shed sold around 80% of its 10,000 tickets, but good weather drove healthy bar and food sales, helping ensure the festival’s survival for at least one more run, hopefully several more, says Jones.
“The festival market is very volatile and there’s no big pot of money in the bank that will see us through a bad year,” he says. “Thankfully, this year appears to be a success. I feel like we’re back on track from pre-Covid times.”
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Other music festivals in the United Kingdom have not been so lucky. According to the Association of Independent Festivals (AIF), 56 music festivals have either canceled, postponed or closed for good in the U.K. so far this year, up from 36 in 2023, with Hertfordshire’s Standon Calling and El Dorado Festival, and Cheshire’s Bluedot among the big-name casualties.
“The economics of putting on a festival have become so tough because supply chain costs have gone through the roof. All our members are feeling the pinch,” says AIF chief executive John Rostron. He says that promoters of small and mid-sized independent festivals, which already operate on tight margins, are suffering the most from production cost rises of over 30% compared to pre-pandemic levels.
In response, Jones brought several services in-house, such as marketing and talent booking, for this year’s Deer Shed Festival. He says the event also relies on favorable rates from local suppliers and free use of the festival site.
U.K. festivals of all sizes are also having to contend with the ongoing impact of high inflation, which peaked at over 11% in October 2022 and currently sits at around 4.2%, eating into music fans’ disposable income. The post-pandemic trend of audiences buying tickets later in the on-sale period, often waiting right up until the eve of an event, has added to promoters’ anxieties, says Rostron. AIF says overall ticket sales are around 4% down on last year among its 200-plus members.
“That 4% can be the difference between a promoter breaking even and them making a loss and not returning,” says Rostron, who warns that without government intervention the number of festival cancellations in U.K. could rise to 100 by the end of the summer season.
Festival promoters in central Europe are likewise facing rising production costs and changing audience tastes, although local live executives tell Billboard that the region has not been as heavily impacted as the U.K., where the launch of hundreds of new music festivals over the past decade has created a densely crowded market.
Nevertheless, a high number of European festivals have been called off this summer due to wide variety of factors, including low ticket sales, competing sporting events, lack of resources and personnel, and extreme rainfall. Among them: France’s Lollapalooza Paris 2024; Belgium’s Werchter Boutique and TW Classic; Ireland’s Wild Roots and Body and Soul; and the Netherlands’ Karnaval and Chillville festivals.
Promoters in France are also having to contend with a shortage of security and production staff because of the Paris Olympic Games, which runs until Aug. 11 and has employed a large percentage of the temporary workforce that typically works at summer music events. As a result, a number of French music festivals have been forced to either downsize, postpone until next year, or raise prices to stand a chance of breaking even.
“Many [French festival] promoters are quite afraid this season,” says Marie Sabot, director of We Love Green festival, which took place in Paris, May 31-June 2. Tickets for the 40,000-daily-capacity event — headlined by Burna Boy, Justice and SZA – cost 169 euro for a three-day pass, up 15% on 2023’s prices, with sales totaling 110,000. But bad weather in France and elsewhere in Europe in spring and early summer meant advance sales for We Love Green and many other festivals were slower than previous years, says Sabot, who represents festivals on the board of French live music trade group Ekhoscènes.
Sabot says an increase in the number of standalone shows by major touring artists such as AC/DC, Bruce Springsteen and Taylor Swift, who played four sold out shows at Paris La Défense Arena in May, has made a tough festival market even tougher. “We have too many headline shows this year,” she says. “The only territories [in France] where we have festivals that are [performing] quite strong are really far from the cities where they are not competing with big venues and arenas.”
Despite the economic challenges facing the sector, demand for live music still remains high across Europe, say executives. Many summer festivals, large and small, are sellouts, including Glastonbury, Green Man, Creamfields and Kendal Calling in the U.K.; Lowlands in the Netherlands and Tomorrowland in Belgium.
France’s Rock En Seine, which takes place Aug. 22-25 in Saint-Cloud and features Lana Del Rey, Fred Again… and LCD Soundsystem, is enjoying its “strongest year” in the event’s 19-year history, says Jim King, CEO of European Festivals at AEG. “We’re not seeing any significant shift in trends at the moment across our French business and Rock en Seine is selling at a much higher rate in advance sales than we have ever experienced,” says King.
John Reid, president of Live Nation Europe, calls the region’s festival market “massively competitive and always evolving.” He says that while there are always local challenges to navigate, the company is “seeing strong sales and continued overall growth” across Europe in 2024 with early summer highlights including Belgium’s Rock Werchter and the “biggest year ever” for Oslo’s Tons of Rock festival, which is now the largest festival in Norway. In the U.K and Ireland, Europe’s biggest live music market, Live Nation will host almost five million people at festivals this summer, says the firm’s U.K. and Ireland chairman Denis Desmond, “demonstrating that festivals remain vital to our cultural life.”
In order to protect the future health of the sector, live executives in the U.K. are calling on the newly elected Labour government to lower the rate of VAT sales tax charged on festival and concert tickets from 20% and bring it closer in line with other European countries, where the equivalent tax is typically set at under 10%.
Such tax benefits offer “a huge advantage” to the European live industry, says AEG’s Jim King, who calls on authorities in the U.K. “and all governments to follow this example.” The Association of Independent Festivals’ John Rostron says that reducing VAT on festival tickets to 5% — a temporary measure the U.K. government took during the pandemic – is the “silver bullet” the sector desperately needs. “Without it, we’re likely to see more promoters throw in the towel,” says Rostron.
Live executives in the Netherlands fear that they too could soon be hit by a rise in taxes on ticket sales for music, sports and cultural events with VAT rates due to increase from 9% to 21% in January 2026.
“The festival market is always in flux,” says Berend Schans, director of the Dutch Association of Music Venues and Festivals (VNPF), who opposes the proposed tax rise.
“Every year, some festivals disappear and new ones emerge,” says Schans. “However, we cannot deny that material costs, procurement costs, including artist fees, and personnel costs are skyrocketing, meaning that margins will be tighter for many festival organizers.”
The star’s German residency features a Ferris wheel, fireworks and some performances with a pianist in front of 75,000 fans.