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Warner Music Japan has appointed Dr. Kenji Kitatani to the resurrected role of chairman of the label division, effective immediately. Dr. Kitatani will work closely with WMJ’s longtime president and CEO, Kazuyuki “Kaz” Kobayashi, to boost the company’s presence in the globe’s No. 2 music market. Dr. Kitatani currently holds the title of chairman of […]
A 26-year-old man has turned himself into police, saying he was responsible for the Solingen knife attack that left three dead and eight wounded at a festival marking the city’s 650th anniversary, German authorities announced Sunday (Aug. 25).
Duesseldorf police said in a joint statement with the prosecutor’s office that the man “stated that he was responsible for the attack.”
“This person’s involvement in the crime is currently being intensively investigated,” the statement said.
Federal prosecutors said they were investigating on suspicion of murder, attempted murder and membership in a foreign terrorist organization. The suspect, wearing handcuffs and leg shackles, was taken later Sunday from the police station in Solingen to make a first appearance before a judge at the Federal Court of Justice in Karlsruhe.
The suspect is a Syrian citizen who had applied for asylum in Germany, police confirmed to The Associated Press. The dpa news agency reported, without citing a specific source, that his asylum claim had been denied and that he was to have been deported last year.
On Saturday (Aug. 24), the Islamic State militant group claimed responsibility for the attack, without providing evidence. The extremist group said on its news site that the attacker targeted Christians and that the perpetrator carried out the assaults Friday night “to avenge Muslims in Palestine and everywhere.”
The claim couldn’t be independently verified. Only a small number of claims on the site have turned out to be completely baseless, said Peter Neumann, professor of security studies at King’s College London. However “ISIS’ strategy for a number of years has been to claim attacks which are merely ‘inspired’, in other words, in which the link between organization and attacker is merely ideological.”
Friday’s attack plunged the city of Solingen into shock and grief. A city of about 160,000 residents near the bigger cities of Cologne and Duesseldorf, Solingen was holding a “Festival of Diversity” to celebrate its anniversary.
People alerted police shortly after 9:30 p.m. local time Friday that a man had assaulted several people with a knife on the city’s central square, the Fronhof. The three people killed were two men aged 67 and 56 and a 56-year-old woman, authorities said. Police said the attacker appeared to have deliberately aimed for his victims’ throats.
The festival, which was due to have run through Sunday, was canceled as police looked for clues in the cordoned-off square. Instead, residents gathered to mourn the dead and injured, placing flowers and notes near the scene of the attack.
“Warum?” asked one sign placed amid candles and teddy bears. Why?
Among those asking themselves the question was 62-year-old Cord Boetther, a merchant fron Solingen.
“Why does something like this have to be done? It’s incomprehensible and it hurts,” Boetther said.
Officials had earlier said a 15-year-old boy was arrested on suspicion he knew about the planned attack and failed to inform authorities, but that he was not the attacker. Two female witnesses told police they overheard the boy and an unknown person before the attack speaking about intentions that corresponded to the bloodshed, officials said.
The attack comes amid debate over immigration ahead of regional elections next Sunday in Germany’s Saxony and Thueringia regions where anti-immigration parties such as the populist Alternative for Germany are expected to do well. In June, Chancellor Olaf Scholz vowed that the country would start deporting criminals from Afghanistan and Syria again after a knife attack by an Afghan immigrant left one police officer dead and four more people injured.
The IS militant group declared its caliphate in large parts of Iraq and Syria about a decade ago, but now holds no control over any land and has lost many prominent leaders. The group is mostly out of global news headlines.
Still, it continues to recruit members and claim responsibility for deadly attacks around the world, including lethal operations in Iran and Russia earlier this year that killed dozens of people. Its sleeper cells in Syria and Iraq still carry out attacks on government forces in both countries as well as U.S.-backed Syrian fighters.
Three people were killed and at least four were seriously wounded in a knife attack on Friday at a festival in the western German city of Solingen, police said.
Witnesses alerted police shortly after 9.30 p.m. to an unknown perpetrator having wounded several people with a knife on a central square, the Fronhof. Police said that the perpetrator was on the run, and that they so far had only very thin information on the assailant.
One of the festival organizers, Philipp Müller, appeared on stage and asked festivalgoers to “go calmly; please keep your eyes open, because unfortunately the perpetrator hasn’t been caught.” He said many people had been wounded by “a knifeman.”
At least one helicopter was seen in the air, while many police and emergency vehicles with flashing blue lights were on the road and several streets were closed off.
Mayor Tim Kurzbach said in a Facebook post that “this evening, we in Solingen are all in shock. We all wanted to celebrate our city’s anniversary together and now have dead and wounded to lament.”
“It breaks my heart that an attack on our city happened,” he added.
The local newspaper Solinger Tageblatt quoted Celine Derikartz, its reporter covering the festival, as saying that “the atmosphere is spooky.” She said a party atmosphere had turned to shock within minutes and she saw festivalgoers weeping.
The “Festival of Diversity,” marking the city’s 650th anniversary, began on Friday and was supposed to run through Sunday, with several stages in central streets offering attractions such as live music, cabaret and acrobatics.
Solingen has about 160,000 residents and is located near the bigger cities of Cologne and Duesseldorf.
Germany’s top security official, Interior Minister Nancy Faeser, recently proposed toughening weapons laws to allow only knives with a blade measuring up to 6 centimeters (nearly 2.4 inches) to be carried in public, rather than the length of 12 centimeters (4.7 inches), which is allowed now.
This story was originally published by the Associated Press.
AP Dhillon’s new major label deal is off to a good start.
The Punjabi-Canadian artist’s first single on Republic Records, released “in alliance with” Universal Music Canada, has debuted at No. 53 on the Billboard Canadian Hot 100.
“Old Money” is a catchy and replayable mix song with lyrics that translate to something reminiscent of post-breakthrough Drake: “Every girl wants to know how I’m doing / ever since they realized my worth.”
But what elevates the song into full blockbuster is its music video, which reunites two major movie stars for a cinematic homage to the ’90s action films from India that Dhillon grew up watching. Salman Khan and Sanjay Dutt star in the video alongside Dhillon and his longtime collaborator Shinda Kahlon in an epic and bloody short film complete with car-chases and gunfights (it ends with the message, “Say no to violence”).
Dhillon isn’t the only star from India making moves on the Canadian Hot 100. “Big Dawgs” from Hanumankind and Kalmi moves into the top 10 this week, hitting No. 9 at the same time it also hits No. 9 on the Global 200 and No. 8 on the Global Excl. U.S. chart. Punjabi-Canadian artist Karan Aujla‘s debut Bollywood soundtrack single “Tauba Tauba” also holds on the Canadian Hot 100 at No. 81. The Punjabi Wave is in full force.
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Head here for a full breakdown of this week’s Canadian Hot 100. – Richard Trapunski
Charlotte Cardin, Jully Black and More to Perform at Billboard Canada Women in Music 2024
Billboard Canada Women in Music is loading up with talent for the Sept. 7 celebration in Toronto.
Guest of honour Alanis Morissette will appear at the event alongside other stars including Jessie Reyez, and they’ll be joined by some big live performances.
Montreal singer-songwriter Charlotte Cardin will take a rare break from her world tour during a breakthrough year with charting hits from “Confetti” to “99 Nights” and performances at the NBA All-Star game and for Justin Trudeau and Joe Biden.
Jully Black is planning a special cover for the event. The celebrated R&B/soul artist, who has collaborated with artists like Nas and Kardinal Offisshall, has been repping Canada for decades, and is now being embraced by new generations of fans.
Breakout pop singer LU KALA will accept her Rising Star award at the ceremony, and she’ll also grace the stage for a performance of her empowering pop hits. Acclaimed Toronto hip-hop artist Haviah Mighty will co-host the Billboard Canada Women in Music event and also bring the energy in a performance of her own.
A pair of fast-rising singers will also get a spotlight. Juno-winning Montreal artist Rêve has hit the Billboard charts a number of times with her infectious dance-pop hits, and was also named Billboard’s Dance Artist of the Month. Soulful Plains Cree and Salish singer Tia Wood released her first single, “Dirt Roads,” just two months ago, but already has a dedicated audience of fans who’ve been following her on her popular TikTok account.
Tickets to attend Billboard Canada Women in Music are available for purchase here.
Former Just For Laughs Executive Christine Melko Ross Joins Live Entertainment Company Outback Presents
A former executive at Just For Laughs is taking her expertise to another major live entertainment promoter.
Christine Melko Ross will be the new senior vp of global operations at Nashville-based Outback Presents, taking charge of expanding the company’s Canadian footprint.
Melko Ross was with Just for Laughs (JFL) for 23 years, before the Montreal comedy company filed for creditor protection earlier this year to avoid bankruptcy and laid off the majority of its staff. At JFL, Melko Ross helped launch the Toronto edition of the Just for Laughs festival, built up the company’s touring division, and was integral to its flagship Montreal festival’s operations.
In Canada, Outback isn’t as high-profile as a comedy brand, but the company placed No. 6 on Billboard‘s year-end Box Score promoters list for 2023 and is handling upcoming tours from comedians like Shane Gillis, Bill Burr and Jim Gaffigan.
Melko Ross tells Billboard Canada she’s excited to help Outback grow its presence in Canada, and not just in major markets like Toronto, Vancouver and Calgary.
“Canadians love to laugh so we want to make sure that they’re entertained from coast to coast,” she says. “There’s lots of opportunity to do things in smaller places.” She highlights cities like Victoria and Regina and emphasizes that the Maritimes are often overlooked by touring acts.
“They’re great audiences — Halifax has five universities in it. That’s a growing market.”
It’s a tricky time for the live performance industry. Many festivals and venues, JFL amongst them, are facing existential threats from a combination of factors: lost revenue during the pandemic, rising overhead costs, and audiences that are slow to get back in their seats.
But Melko Ross says comedy fans have been coming to shows in droves.
“I think it’s gonna continue growing,” she adds. “I do think that that’s one area of the arts that has been very strong.”
JFL itself was revived in a smaller form this summer when Quebec comedy company ComediHa! acquired its assets. The new owner put on a renamed edition of the festival featuring Dane Cook and Bassem Youssef.
“It’s a brand that many of us hold dear to our heart, so hopefully the spirit of that remains,” Melko Ross says of JFL. – Rosie Long Decter
As summer turns to fall, festival lineups for early 2025 are starting to drop. One of the first out the gate is Costa Rica’s Ocaso Festival, which on Thursday (Aug. 22) announced a 2025 lineup featuring house maestro Chris Lake, globetrotting idols The Martinez Brothers and Brazilian phenom Vintage Culture, along with Space Miami resident […]
LONDON — The U.K. competition regulator has closed its investigations into Apple’s App store and Google’s Play Store on the grounds of shifting “administrative priorities” as it prepares to rollout stronger enforcement powers over tech companies.
The Competition and Markets Authority (CMA) opened an investigation into Apple in 2021 following complaints from developers over the way that the California-based tech giant operates its app store.
For many years, developers and app makers have complained about Apple’s restrictions to outside developers and the up-to-30% fee it charges them on all purchases made through its app store.
Two of the company’s biggest critics have been Spotify and Fortnite developer Epic Games with the latter taking its fight against Apple through the U.S. courts (Epic eventually lost the case, but in the process a California ordered Apple to make changes to how its store operates, including allowing links to outside platforms and third-party services).
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The CMA opened a separate investigation into suspected anti-competitive conduct by Google in relation to its own app store in June 2022.
Both of those probes have now been dropped, the competition watchdog announced Wednesday (Aug. 21), pending reforms to U.K. competition and consumer protection laws, which are due to come into force later this year under the Digital Markets, Competition and Consumers Act (DMCCA).
The act, which was passed by the previous government administration in May, grants the CMA new and expanded powers over how large digital companies operate in the United Kingdom, including the ability to directly impose fines of up to 10% of global annual turnover for firms found to be breaching consumer protection and competition laws.
“Once the new pro-competition digital markets regime comes into force, we’ll be able to consider applying those new powers to concerns we have already identified through our existing work,” said Will Hayter, executive director for digital markets at the CMA, in a statement.
The CMA said that should Apple or Google each or both be designated as having “strategic market status” – a categorization that requires global turnover of more than £25 billion or U.K. turnover of more than £1 billion — it will be able to use its new powers to investigate the companies “more holistically” than it could under its now-closed probes.
The regulator said it expects to launch three to four investigations into companies with strategic market status (SMS) within the first year of its new powers coming into force. If the CMA finds businesses are using their status to gain an unfair competitive advantage, it says it will take “targeted and proportionate action” to address their behavior.
The CMA also said that it has rejected new commitments from Google that would have given app developers the choice of using alternative payment options to Google Play’s billing system, under proposals known as “Developer Only Billing” and “User Choice Billing.” Those proposals failed to “address its competition concerns effectively,” said the CMA.
In response, a spokesperson for Google said the company has actively engaged with the regulator throughout their investigation and has “made a number of significant commitments to further broaden the billing options available to developers through Google Play.”
Google says that its fees are the lowest charged by major app stores with 99% of developers qualifying for a service fee of 15% or less. The company says that in 2022 its Android app business generated almost £10 billion in revenue for British developers and supported over 457,000 jobs in the U.K. Apple did not respond to requests for comment when contacted by Billboard.
The CMA’s warning that it will continue to closely monitor the tech sector over competition concerns and may reopen further inquiries in the not-too-distant future comes as regulators and politicians around the world look at ways to curb the dominance of tech giants like Apple, Amazon, Google and Meta.
In March, the European Commissioned fined Apple 1.8 billion euro ($1.95 billion) for breaking competition laws and unfairly favoring its own music streaming service over rivals including Spotify. [Apple appealed in May.]
The company has also been forced to make a number to how its App store operates in the 27-member EU trading bloc as a result of the European Union’s Digital Markets Act (DMA), which officially came into force in 2022, although companies had until March this year to comply with its terms.
The Digital Markets Act requires tech companies trading within the EU region to open up their services and platforms to other businesses and allow them to operate more freely.
For music streaming services like Spotify that means it is now able to list pricing information inside its app for European users – an update that is “something as obvious as it is overdue,” the company said in a blog post earlier this month. Freemium Spotify users looking to upgrade can also see special introductory offers and the pricing once a promotion ends.
While Spotify has welcomed the gradual loosening of restrictions, it says its long-running battle with Apple isn’t over and continues to criticize the company for preventing EU iOS users from purchasing subscriptions in-app because of what it describes as “illegal and predatory taxes Apple continues to demand, despite the [European] Commission’s ruling.”
Luísa Sonza has been announced as one of the attractions for the historic first regular-season NFL game that will take place in Brazil. She will perform the Brazilian National Anthem. Other confirmed acts include Anitta, who will perform during the halftime show. Zeeba (who is American, with Brazilian parents) will sing the U.S. National Anthem, while DJ Carola will present a set before the game begins. The event will take place on Sept. 6 at Arena Corinthians in São Paulo.
In a conversation with Billboard Brazil, Luísa described the moment as an opportunity to increase the projection of her name and career outside her country. “This is a very important exposure. But above all, representing my country to the world is the greatest honor I can have as an artist,” she said.
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The National Anthem moment precedes the start of the match, and for Sonza, it’s a time that generates a lot of anticipation for the audience. “It’s always emotional because it’s about our roots, our homeland. Being able to represent that to the world will be an honor.” Read the exclusive interview below.
How did the invitation to sing the National Anthem at the NFL event in São Paulo come about?
The invitation came through Kley Tarcitano, an artistic director who currently works in the United States and collaborates with the NFL, along with Maria Garcia, who works with the NFL and the halftime show in the U.S. and worldwide. I said yes right away! The NFL is a global event, and I was very happy to be invited to their first game in Brazil. Singing the National Anthem is always a unique moment, especially at an event of this magnitude. Representing my country is incredible.
Can you give more details about what you’re preparing for your performance?
The performance of the National Anthem always comes with great expectations. I’ve been singing since I was a child, and I always sing along with all the other Brazilians during important moments in our history, at games, and in celebrations. The anthem is always emotional because it brings our roots, our homeland, and being able to represent that to the world will be an honor.
In the United States, there is a strong connection between pop music and sports, particularly with American football. How do you see this playing in Brazil?
I believe entertainment and sports always succeed together. I’ve always followed the Super Bowl finals, the incredible shows that happen every year, and I’m very happy to be part of this moment here in Brazil.
Regarding the audience here in Brazil, do you think being part of this historic NFL event could also introduce you to a new audience?
It always adds value. Being able to perform and sing for new audiences is important for all artists. Music is very vast in Brazil, and having this kind of representation is relevant for any artist’s career.
Do you believe that this performance could also bring international exposure to your career? Is that an important point for you?
Yes. I’ve already been more present abroad, and this is a very important exposure. But above all, representing my country to the world is the greatest honor I can have as an artist. I’m very happy with the invitation.
Under the embrace of the afternoon sun in Diriyah, a city known as the birthplace of the first Saudi state and a symbol of the Kingdom’s rich history, Billboard Arabia meets August cover star Ghareeb Al Mokhles for a photoshoot and an interview. In this captivating setting, Ghareeb’s enthusiasm and radiant smile reflect his deep connection to his roots. From the outset, it was clear that Ghareeb was fully at ease in this atmosphere, ready to share his insights into Shelat – a music genre known for its rhythms and vibrant melodies, with lyrics built upon colloquial Bedouin poetry.
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After the photo session, the artist moves to the interview location with a calm and composed demeanor. Ghareeb is calm albeit passionate about his work and the genre of music he performs. He proudly identifies as a son of “Najran” and a devoted Shelat enthusiast, passionately discussing his lifelong love for music. He credits his inspiration to his older brother Talal and iconic artists like Mohammed Abdu and Khalid bin Abdulrahman, fondly recalling his early artistic experiences, including performing national anthems and songs during his school years.
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As he shares these memories, it is clear that his deep-rooted connection to his heritage and his unwavering passion for Shelat continue to shape his artistic journey. Delving into the origins and essence of Shelat, Ghareeb explains that it is “an ancient folk heritage that has evolved into an artistic form distinct from conventional songs, marked by its Bedouin influences.” Traditionally, Shelat consists of poetic verses sung to specific melodies, often performed a cappella with echoes, originally by camel herders and during special occasions like weddings. Over time, this tradition expanded with the addition of music and instrumental arrangements, evolving into the Shelat genre we recognize today. “We’ve added rhythms and beats to it, we’ve added instrumentation.”
Ghareeb’s foray into producing Shelat began as an experimental project shared on social media in the mid-2010s. To his surprise, the overwhelmingly positive response and high demand for his work in this genre ignited a deeper passion within him. Reflecting on this, Ghareeb notes, “The audience’s enthusiasm fueled my passion for Shelat, turning it into a genuine talent. I fully embraced this art and continued to pursue it.”
Nearly a decade later, Ghareeb has established himself as a leading figure in the genre, amassing millions of views across various platforms. His 2021 release of the Shelat “Kheeba” (Disappointment) exemplifies this success, garnering nearly 240 million views on YouTube alone. He describes it as a defining moment in his career: “It marked a significant turning point for me. I was able to truly showcase my talents, and I’m deeply grateful for the success it brought. This Shelat song holds a special place in my heart, and each of my works has built upon the foundation laid by the previous ones.”
This success culminated in a record-breaking milestone, with his YouTube channel surpassing one billion views. Ghareeb credits this achievement to the widespread popularity of his Shelat, stating, “This figure reflects the audience’s appreciation of what I offer.”
Capitalizing on this record-breaking moment in the world of Shelat, we ask Ghareeb about his reaction to reaching his first million views, “It was an incredible joy,” he says. “I was in the south (of Saudi Arabia), eagerly waiting for that million. I stayed up all night.” This milestone has solidified Ghareeb’s status in the Shelat industry. Not only has he advanced the genre, infusing it with new musical and artistic dimensions, but he is also frequently cited on social media as a trailblazer in the field. His lyrics, known for their simplicity, are a key part of his appeal. During our conversation, Ghareeb emphasizes his commitment to choosing clear and straightforward lyrics to connect with a wider audience.
Ghareeb Al Mokhles
Hayat Osama/Billboard Arabia
Each artist is distinguished by their unique use of color and thematic elements in their music and lyrics, and this is particularly evident in Ghareeb’s work. His standout tracks, such as “Kheeba” (Disappointment) and “al-Boad Motei” (Distance Is My Demise), vividly capture the themes of separation and sorrow that often follow farewells. In the interview, Ghareeb talks about his preference for “melodies and tranquility in melancholic compositions” and shares his deep-seated admiration for Khalid bin Abdulrahman’s work since childhood. When asked if his life was marked by sorrow, Ghareeb responds, “No, thank God. May God keep sadness away from us and you. I just have a deep affinity for melancholic moods.”
Contrary to the belief that Shelat is reserved for specific occasions or exclusive to Gulf listeners, Ghareeb explains that Shelat is versatile, performed across various settings, and resonates with audiences beyond the Gulf and the Arab world. Ghareeb elaborates on the multifaceted nature of Shelat encompassing a range of themes such as expressions of reproach and sorrow, tributes to distinguished camels, celebratory pieces for weddings, and renowned tribal Shelat that convey praise and pride at family events. He also makes note of his fan base spanning South Asia, including India and Southeast Asia, including Indonesia, underscoring the genre’s broad appeal.
The rising success of young Shelat artists like Ghareeb Al Mokhles signifies that this art form is far from a transient fad; it is a dynamic and evolving genre. Its increasing popularity is reflected in the growing streaming numbers and a steadily expanding audience, and the launch of Billboard Arabia’s Shelat chart.
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Christoph Behm has been named the new CEO of Sony Music Germany, Switzerland and Austria (GSA), replacing Patrick Mushatsi-Kareba, who is exiting the company at the end of August.
Berlin-based Behm, who began his career at Sony Music in 2011 and has worked in a number of senior roles for the label over the past decade, including head of streaming and director of digital sales, will report to Daniel Lieberberg, president of Sony Music Continental Europe and Africa.
In a statement announcing Behm’s promotion, Lieberberg said the newly appointed CEO’s “deep understanding of our DSP partners and creativity as a leader will serve him well in his new role.”
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“Christoph has played an important role building and expanding our business across this region during the streaming era,” said Lieberberg. “He has worked closely with our artists to bring their music to new fans in innovative ways and has embraced continuous industry change to create opportunity despite rapidly shifting paradigms and business models.”
Sony Music did not provide any details about Mushatsi-Kareba’s departure from the company. The outgoing CEO has headed Sony Music’s operations in the GSA region since 2018 when he joined the label from Universal Music Germany. Prior to that, Mushatsi-Kareba spent eight years at Apple, where he was responsible for overseeing the tech company’s music business in multiple European markets, including Germany, Austria, Italy and Switzerland.
Although Sony Music GSA has enjoyed significant commercial success over the past six years, sources with inside knowledge of their relationship tell Billboard that Mushatsi-Kareba and Lieberberg did not always see eye to eye.
Prior to his promotion to CEO, Behm held the role of senior vp of Sony Music GSA’s commercial division, where he oversaw a large team, including the company’s family entertainment business. In the past two years, Behm’s responsibilities grew to also encompass oversight of catalog, sales and streaming departments in the region.
Top-selling frontline Sony artists in the GSA market include Apache 207, Nina Chuba, Rap Larue and Reezy.
“It fills me with pride to now lead the company that I have served in various roles for so many years,” said Behm, who takes up the CEO post on Sept. 1, in a statement. “We are at another exciting time for our industry, and I look forward with great confidence to this next chapter for Sony Music GSA,” he added.
Germany is the world’s fourth-biggest recorded music market in IFPI’s annual rankings behind the United States, Japan and the United Kingdom.
LONDON — Hipgnosis Song Fund is suing Barry Manilow over bonus payments relating to its acquisition of the singer’s catalog four years ago.
The lawsuit was filed at the High Court in London on Monday (Aug. 12). The case is listed as breach of contract, but details of the claim are not publicly available. Three defendants are listed on the court filing: Manilow; Manilow Productions; and the artist’s management company – Hastings, Clayton & Tucker Inc trading as Stiletto Entertainment. News of the court case was first reported by the Financial Times.
In a statement to Billboard, a spokesperson for Hipgnosis described the dispute as a “routine commercial matter concerning the interpretation of certain clauses in a contract regarding bonus payments, which the court is ideally placed to address.”
“While we regret that this couldn’t be resolved directly between the parties, we continue to hold Barry and his music in the highest possible regard and we are confident that this can be resolved in a fair and reasonable way,” the spokesperson went on to say.
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Billboard understands that the claim is for a low sum in the single digit millions. Representatives for Manilow either did not respond to requests to comment or could not be reached.
The court action comes almost exactly four years after Hipgnosis announced that it had acquired 100% of Manilow’s worldwide recording royalties (excluding SoundExchange royalties) in his catalog, comprising 917 songs, for an undisclosed figure. The deal included some of the 81-year-old singer’s biggest hits, including “Mandy,” “I Write the Songs,” “Looks Like We Made It,” “Can’t Smile Without You” and “Copacabana (At the Copa).”
Speaking in 2020, at the time of the catalog acquisition, Hipgnosis founder Merck Mercuriadis called Manilow “an incomparable artist, songwriter, arranger, musician and performer,” while the veteran singer praised Mercuriadis for creating “a new type of music company.”
A great deal has changed at Hipgnosis since then.
Last month, private equity group Blackstone completed a $1.6-billion acquisition of the six-year-old, London-listed investment trust that had amassed a huge catalog of 65,000 copyrights including songs by Red Hot Chili Peppers, Journey, Shakira, Blondie and Neil Young.
The takeover followed a tumultuous year in which the publicly traded fund faced a shareholder revolt following a series of missteps and accounting scandals, culminating in bitter infighting between the fund’s board and its investment manager, Hipgnosis Song Management, which was led by Mercuriadis.
The former manager of star acts like Beyoncé, Guns N’ Roses and Elton John announced that he was stepping down as chairman of Hipgnosis Song Management in July, having relinquished his role as chief executive officer earlier this year.
