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A new documentary about the life and career of Moses Michael “Shyne” Levi Barrow is now in production. The Honorable: Shyne is the latest project in the works from Andscape, the Black-led multimedia platform affiliated with Disney and ESPN. Leading production on the documentary is ColorCreative, the Black-owned and female-led management and production firm whose principals are Issa Rae, Deniese Davis and Talitha Watkins.
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The Honorable: Shyne will document Barrow’s trajectory from rapper to politician. Currently Leader of the Opposition in the Belize House of Representatives and leader of the Belize United Democratic Party, Barrow was launching his recording career with Sean “Diddy” Combs’ Bad Boy label when a shooting incident outside Club New York in 1999 led to his incarceration for nearly nine years. Released in 2009, Barrow is known for such hits as “Bad Boyz” and “Bonnie & Shyne.”
In an exclusive statement to Billboard about the upcoming documentary, Shyne said, “Immigrating from Belize to Brooklyn as a child left to survive and thrive in the concrete jungle of New York, hip-hop had a massive influence on my life, giving me the space and community to explore my creativity and amplify the voice of my pain and purpose. The difficult decisions of my life have shaped me into the person I am today, steadfast in my desire to build a better life for the people of Belize and humanity. By bringing my story to audiences, I hope to inspire them to find the indomitable spirit within so they can overcome all adversities and be the best version of themselves positively impacting their part of humanity with their unique footprint as I have done through music, faith and public service.”
The Honorable: Shyne is being directed by Marcus A. Clarke, whose credits include Blood Brothers: Malcolm X & Muhammad Ali and The WIZRD about Atlanta rap star Future. In a press release announcing the Barrow documentary, Clarke said, “I intend for this film to immerse audiences in Shyne’s remarkable journey of transformation, as he transitions from a Brooklyn rapper to a prominent diplomat in Belize. It captures his profound process of self-discovery, marked by redemption, ultimately guiding him toward a life dedicated to public service. The world has waited patiently to hear Shyne’s story, so it’s truly a privilege for me to collaborate with ColorCreative and Andscape to bring this film to life.”
Executive producers for The Honorable: Shyne include DJ Khaled, Talitha Watkins, Carolina Groppa, James Shani, Ameer Collier and Raina Kelley. Noted Watkins in the press announcement, “The Honorable: Shyne will capture the essence of Barrow’s journey, providing viewers with unprecedented access to his experiences. It paints a comprehensive picture of a man who has overcome immense challenges, to redefine his life, make a positive impact on his community and reconcile with his past.”
Spotify reported its first profitable quarter in more than a year on Tuesday, after subscription price hikes, lay offs and marketing budget cuts helped boost revenues and operating income for music streaming and podcasting giant.
Spotify reported revenues for the third quarter rose 11% to 3.4 billion euros ($3.6 billion), and operating income over 32 million euros ($34 million). The company beat its growth guidance on both monthly active users and subscribers, adding 23 million monthly active users, a 26% uplift, for a total of 574 million compared to the year ago period. The number of premium subscribers rose by 6 million, or 16%, to 226 million from the year ago period.
The company said that the uptick in revenue is due to the early effects of its $1 price hike on premium individual plans and a rebound in the ad market, as improving podcasting trends and lower operating expenses after January’s company-wide cost cuts helped operating income turn a 1% profit.
The company told investors they could expect total monthly active users (MAU) and premium subscribers to continue to grow for the rest of the year–by 27 million net new MAUs and 9 million new subscribers in the fourth quarter 2023–which is expected to boost total revenues by 3% and gross margin by 0.2%.
Spotify reported a free cash flow of 216 million euros for the quarter, up from 25 million euros a year ago. As of Sept. 30, the company says it employed 9,241 full time employees worldwide, down from roughly 9,800 at the end of 2022.
Spotify has been managing a reboot of its podcasting strategy this year, moving away from the hundreds of millions of dollars acquiring podcast start-up and programing under former Chief Content Officer Dawn Ostroff. Spotify now hosts over 100 million tracks, 5 million podcasts titles, and 350,000 audiobooks.
The company also benefitted from a rebound in ad-supported revenue, which rose 16% to 447 million euros ($475 million), helped by a 20% uptick in music. “Podcast advertising revenue growthremained in the healthy double-digit range,” according to a Spotify release.
Monthly active users rose by 26% to 574 million, compared to the third quarter 2022, beating guidance by 2 million.
The number of subscribers rose by 16% to 226 million from the year ago period, also ahead of guidance by 2 million.
Ad-supported monthly active users rose by 32% to 361 million from the year ago period.
Total revenue rose 11% to 3.36 billion euros ($3.57 billion) from 3.04 billion euros ($3.2 billion).
Revenue from preimium subscriptions rose by 10% to 2.9 billion euros ($3.08 billion).
Revenue from ad supported users rose 16% to 447 million euros ($475 million).
Operating income was 32 million euros ($34 million), bosted by higher gross margin and lower personnel and marketing costs.
The company’s gross margin was 26.4%, compared to 24.7% in the third quarter 2022.
Rema and Davido were the top winners at the 2023 Trace Awards, which were held in Kigali, Nigeria, on Saturday (Oct. 21). The Trace Awards are a new awards franchise created by Trace, a global TV and multimedia platform. The purpose of the awards is to recognize African and Afro-influenced musicians from Africa and around the African diasporas.
Rema won two awards — song of the year for his global smash “Calm Down” and best global African artist (in a tie with Nomcebo). A remix of “Calm Down” with Selena Gomez reached No. 3 on the Billboard Hot 100.
Davido also won two awards — best male and best collaboration. He won the latter award for “Unavailable,” a collab with Musa Keys.
Burna Boy won album of the year for Love Damini.
The Trace Awards included performances by approximately 50 Africa and Afro-inspired artists from around the world, including Davido, Yemi Alade, Mr Eazi and Diamond Platnumz.
In addition to the competitive categories listed below, awards were presented in three categories in which no nominees were announced. They were: a lifetime achievement award to 2Face, a Change Maker award to Mr Eazi (Nigeria) and the aforementioned best Global African artist award to Rema and Nomcebo.
Here’s the full list of winners and nominees from the 2023 Trace Awards:
Album of the Year
DNK – Aya Nakamura (France)
WINNER: Love Damini – Burna Boy (Nigeria)
Maverick – Kizz Daniel (Nigeria)
More Love, Less Ego – Wizkid (Nigeria)
Timeless – Davido (Nigeria)
Work of Art – Asake (Nigeria)
Song of the Year
“BKBN” – Soraia Ramos (Cape Verde)
“People” – Libianca (Cameroon)
“Suavemente” – Soolking (France)
“Encre” – Emma’a (Gabon)
“Sugarcane” – Camidoh (Ghana)
“Last Last” – Burna Boy (Nigeria)
“Rush” – Ayra Starr (Nigeria)
WINNER: “Calm Down” – Rema (Nigeria)
“Peru” – Fireboy DML (Nigeria) with Ed Sheeran (UK)
“Sete” – K.O (South Africa)
“Cough” – Kizz Daniel (Nigeria)
“MORTEL 06” – Innoss’B (DRC)
Best Music Video
“2 Sugar” – Wizkid (Nigeria) feat. Ayra Starr (Nigeria)
WINNER: “Baddie” – Yemi Alade (Nigeria)
“Kpaflotage” – Suspect 95 (Ivory Coast)
“Loaded” – Tiwa Savage(Nigeria) & Asake (Nigeria)
“Ronda” – Blxckie (South Africa)
“Tombolo” – Kalash (Martinique)
Yatapita” – Diamond Platnumz (Tanzania)
Best Male
Asake (Nigeria)
Burna Boy (Nigeria)
WINNER: Davido (Nigeria)
Diamond Platnumz (Tanzania)
Didi B (Ivory Coast)
K.O (South Africa)
Rema (Nigeria)
Best Female
Ayra Starr (Nigeria)
Josey (Ivory Coast)
Nadia Mukami (Kenya)
Soraia Ramos (Cape Verde)
Tiwa Savage (Nigeria)
WINNER: Viviane Chidid (Senegal)
Best Collaboration
“Many Ways” – BNXN (Nigeria) with Wizkid (Nigeria)
“Mine” – Show Dem Camp (Nigeria) with Oxlade (Nigeria)
“Peru” – Fireboy DML (Nigeria) with Ed Sheeran (UK)
“Second Sermon” – Black Sherif (Ghana) with Burna Boy (Nigeria)
“Sete” – K.O (South Africa) with Young Stunna (South Africa), Blxckie (South Africa)
“Stamina” – Tiwa Savage with Ayra Starr (Nigeria) & Young Jonn (Nigeria)
“Trumpet” – Olamide (Nigeria) with Ckay (Nigeria)
WINNER: “Unavailable” – Davido (Nigeria) with Musa Keys (South Africa)
Best Newcomer
Azawi (Uganda)
Krys M (Cameroon)
Libianca (Cameroon)
Nissi (Nigeria)
Odumodublvck (Nigeria)
Pabi Cooper (South Africa)
WINNER: Roseline Layo (Ivory Coast)
Best DJ
Danni Gato (Cape Verde)
DJ BDK (Ivory Coast)
DJ Illans (France)
DJ Spinall (Nigeria)
WINNER: Michael Brun (Haiti)
Uncle Waffles (Swaziland)
Best Producer
DJ Maphorisa (South Africa)
Juls (Ghana)
Kabza de Small (South Africa)
Kel-P (Nigeria)
WINNER: Tam Sir (Ivory Coast)
Best Gospel Artist
Benjamin Dube (South Africa)
Janet Otieno (Kenya)
WINNER: KS Bloom (Ivory Coast)
Levixone (Uganda)
Moses Bliss (Nigeria)
Best Live
Burna Boy (Nigeria)
WINNER: Fally Ipupa (DRC)
Musa Keys (South Africa)
The Compozers (Ghana)
Wizkid (Nigeria)
Yemi Alade (Nigeria)
Best Dancer
WINNER: Robot Boii (South Africa)
Tayc (France)
Uganda Ghetto Kids (Uganda)
Yemi Alade (Nigeria)
Zuchu (Tanzania)
Best Artist Africa – Anglophone
WINNER: Asake (Nigeria)
Ayra Starr (Nigeria)
Black Sherif (Ghana)
Davido (Nigeria)
Diamond Platnumz (Tanzania)
Fireboy DML (Nigeria)
Best Artist Africa – Francophone
WINNER: Didi B (Ivory Coast)
Emma’a (Gabon)
Fally Ipupa (DRC)
KO-C (Cameroon)
Locko (Cameroon)
Serge Beynaud (Ivory Coast)
Viviane Chidid (Senegal)
Best Artist Africa – Lusophone
Gerilson Insrael (Angola)
WINNER: Lisandro Cuxi (Cape Verde)
Perola (Angola)
Plutonio (Mozambique)
Soraia Ramos (Cape Verde)
Best Artist – Rwanda
Ariel Wayz (Rwanda)
WINNER: Bruce Melodie (Rwanda)
Bwiza (Rwanda)
Chriss Eazy (Rwanda)
Kenny Sol (Rwanda)
Best Artist – East Africa
Bruce Melodie (Rwanda)
WINNER: Diamond Platnumz (Tanzania)
Zuchu (Tanzania)
Khaligraph (Kenya)
Nadia Mukani (Kenya)
Azawi (Uganda)
Best Artist – France & Belgium
Aya Nakamura (France)
Booba (France)
Nihno (France)
Ronisia (France)
Soolking (France)
WINNER: Tayc (France)
Best Artist – UK
WINNER: Central Cee (UK)
Headie One (UK)
Ms Banks (UK)
Raye (UK)
Stormzy (UK)
Best Artist – The Caribbean
Admiral T (Guadeloupe)
Bamby (French Guiana)
Kalash (Martinique)
Maureen (Martinique)
Popcaan (Jamaica)
Princess Lover (Martinique)
WINNER: Rutshelle Guillaume (Haiti)
Shenseea (Jamaica)
Best Artist – Indian Ocean
Donovan BTS (Mauritius)
GaEi (Madagascar)
WINNER: Goulam (Comoros)
Mik’l (Reunion)
Sega el (Reunion)
Terrell Elymoor (Mayotte)
Best Artist – Brazil
Djonga (Brazil)
Iza (Brazil)
Leo Santana (Brazil)
WINNER: Ludmilla (Brazil)
Luedji Luna (Brazil)
Best Artist – North Africa
Amira Zouhair (Morocco)
Artmasta (Tunisia)
WINNER: Dystinct (Morocco)
El Grande Toto (Morocco)
Kader Japonais (Algeria)
Raja Meziane (Algeria)
Kanye West‘s planned concert in Italy will likely not be taking place after all, sources tell Billboard Italy. West, who now goes by Ye, had been planning to perform at RCF Arena (formerly known as Campovolo) in Reggio Emilia on Oct. 27. The show, which was being organized by Italian promoter Vivo Concerti, was never […]
aespa – “Spicy”
Agust D (Suga) – “People Pt.2” (Feat. IU)
AKMU – “Love Lee”
Anne-Marie, Minnie – “Expectations”
ASH ISLAND – “Goodbye” (Feat. Paul Blanco)
BIG Naughty – “Hopeless Romantic” (Feat. Lee Suhyun)
BIG Naughty – “With me” (The Interest of Love OST)
BSS (SEVENTEEN) – “Fighting” (Feat. Lee Young Ji)
BTOB – “Wind and Wish”
BTS – “Take Two”
BTS – “The Planet” (BASTIONS OST)
DAWN – “Dear My Light”
(G)I-DLE – “Queencard”
Hwasa – “I Love My Body”
IVE – “I AM”
J-Hope – “on the street” (with J. Cole)
Jay Park – “Candy” (Feat. Zion.T)
Jeon Somi – “Fast Forward”
Jihyo – “Killin’ Me Good”
Jimin – “Like Crazy”
Jisoo – “FLOWER”
Jungkook – “Seven” (Feat. Latto)
Kai – “Rover”
LE SSERAFIM – “UNFORGIVEN” (Feat. Nile Rodgers)
Lee Chae Yeon – “KNOCK”
Lee Mujin – “Ordinary Confession”
Lim Jae Hyun – “Heaven (2023)” (It Was Spring OST)
Lim Young Woong – “London Boy”
M.C the MAX – “Eternity”
MeloMance – “A Shining Day”
NCT 127 – “Ay-Yo”
NCT DREAM – “Candy”
NewJeans – “Ditto”
Parc Jae Jung – “Let’s Say Goodbye”
Paul Kim – “You Remember” (The Glory OST)
SEVENTEEN – “Super”
STAYC – “Teddy Bear”
Stray Kids – “S-Class”
Taeyang – “VIBE” (Feat. Jimin)
Taeyong – “SHALALA”
TXT – “Goodbye Now” (Love Revolution OST)
TXT – “Sugar Rush Ride”
V – “Love Me Again”
ZEROBASEONE – “In Bloom”
Zior Park – “CHRISTIAN”
BMG said on Thursday (Oct. 18) that it will use Universal Music Group’s (UMG) commercial services division for the distribution of its physical recorded music, in what BMG CEO Thomas Coesfeld described as the first project of a burgeoning “alliance.” Last month, BMG announced it was winding down its agreement with Warner Music Group’s ADA […]
Hipgnosis Songs Fund’s board said on Thursday it was launching a strategic review of changes to its current management team and other options that could maximize shareholder value, as the company braces for a critical continuation vote next week.
Hipgnosis Songs Fund’s (HSF) stock price hit an all-time low earlier this week after scrapping its upcoming shareholder dividend because of an accounting error that resulted in a nearly $12-million downward revision of certain expected streaming royalties.
Shares in the company, which owns the rights to songs performed by Rihanna, Fleetwood Mac, The Pretenders and more, fell by more than 10% on the news, and investor confidence appeared shaky this week, as the the five-year-old music royalty fund prepares for a do-or-die continuation vote on Oct. 26.
“This decision follows extensive engagement over recent weeks with shareholders in light of the forthcoming continuation resolution,” the board said in a statement announcing the strategic review. “These meetings highlighted a continued belief in the company’s portfolio and growth prospects … as well as the need for changes by the company in order to deliver value for shareholders.”
The board said it explored terminating its contract with the fund’s investment advisor, Hipgnosis Song Management, run by HSF founder Merck Mercuriadis, but said it concluded it is not in shareholders’ interest, “as it would be an event of default under the revolving credit facility” if the fund fired its investment advisor before finding a new one who was approved by the HSF’s banks.
The board reiterated its recommendation that shareholders vote in favor of continuing the fund, saying it believes “it is in shareholders’ interest to have a strategic review with the widest array of options for the company to consider and to identify changes that will focus on recovering and delivering improved shareholder value.” The board went on to say it asked its investment advisor to remove a clause in its contract that gives the group overseen by Mercuriadis the right to acquire HSF’s portfolio if its advisory contract is terminated, but that request was declined.
The company’s stock rose about 2.33% to 74.70 British pence ($0.90) as of 10:22 in London.
Continuation votes are required for all publicly traded trusts listed on the London Stock Exchange to provide investors of closed-end funds with an exit strategy.
In addition to a thumbs up or down on continuation next week, HSF investors will also be asked to vote on the sale of 29 catalogs from HSF’s portfolio–including the works of Shakira, Barry Manilow and other artists–to its privately held sister fund Hipgnosis Songs Capital, which is backed by Blackstone.
The board reiterated on Thursday its support for the proposed sale, saying it would use the $440 million in proceeds to reduce the company’s debt and buy back up to $180 million worth of its own stock.
The fund’s board chairman Andrew Sutch announced plans to step down last month, and the board said it has hired an executive search firm to look for his replacement.
The boad also said it also has secured new terms with lenders that put the company back in compliance with its fixed charge cover ratio covenant. The company risked breaching compliance with its lenders over the past week after it was forced to cut expectations for revenue from the U.S. Copyright Royalty Board’s Phonorecords III (CRB III) to $9.9 million, from $21.7 million.
BMG has acquired the recorded music catalog of French DJ and artist Martin Solveig in what the company calls its biggest such deal in France to date. The sale includes the rights to around 130 tracks, including hits like “Intoxicated” and “+1,” and Solveig’s studio albums from 2002’s Sur la Terre to 2011’s Smash.
Solveig’s work joins a BMG France roster that includes Jean-Michel Jarre (recordings and publishing), Yuksek (recordings and publishing) and Thylacine (publishing). The previous largest recorded music acquisition by BMG in France was more than a decade ago when it purchased Francis Dreyfus Music (Dreyfus), the label which owned Jarre’s first albums.
BMG declined to offer financial details of the Solveig sale, which was brokered by Maximilien Jazani of Catalogue Associates.
Solveig has topped the Dance Club Songs chart twice in his career, first with 2011’s Dragonette-assisted “Hello” and then a year later with “The Night Out.” He’s also placed five tracks on the Hot Dance/Electronic Songs chart, including “All Day and Night,” “Hey Now” and “Juliet & Romeo.” His biggest mainstream hit, “Hello,” topped out at No. 46 on the Hot 100.
The success of “Hello” led to Solveig’s work on Madonna’s MDNA album — he co-wrote and co-produced three songs, including “Give Me All Your Luvin’” and “Turn Up the Radio.”
“Martin Solveig has created some of the most potent and successful electronic music of the past decade with a career which straddles the end of the download era and the emergence of streaming,” said Maximilian Kolb, BMG’s evp of repertoire & marketing across continental Europe. “We see significant potential to bring his music to a wider streaming audience.”
Solveig added, “In the process of selecting a partner to host and preserve my recordings, it was imperative for me to associate myself with a company that understands the intrinsic value of this music and is just as passionate about its future potential as I was in creating it. BMG has demonstrated exceptional motivation, and a genuine desire to perpetuate the exploitation of the tracks that are dear to me.”
News of the deal arrives amid a busy 2023 for BMG. So far this year, the company has struck catalog and/or rights deals with Jet, Paul Simon, The Pointer Sisters and George Harrison. In 2022, BMG acquired rights and royalties for Tina Turner, John Legend, Mötley Crüe, ZZ Top, Peter Frampton, Harry Nilsson, John Lee Hooker, Simple Minds, Primal Scream, and The Hollies, among others.
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Much of the electronic music industry is currently en route to Amsterdam, with the genre’s biggest conference, ADE, starting tomorrow (Oct. 18.) Approximately 8,000 professionals are expected to attend.
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The four-day event is, as always, putting on a dizzying number of panels and adjacent events that will take over more than 100 clubs and event spaces throughout the city. ADE 2023 is again divided into Lab and Pro programming, with Lab content tailored for people trying to get into or just starting out in the industry, while Pro programming is designed for established managers, label execs, artists, streamers, marketers, promoters and more.
While the conference is “inspiring and gets everyone together,” says ADE co-organizer Meindert Kennis, “we also focus on hands-on information … In the end, that’s what a lot of professionals are coming for, and they need to take home value for themselves or their organization. We try to implement that in all the different elements of ADE to really help the industry push itself forward.”
There will be a lot of momentum to be gleaned 170 Pro sessions happening from Wednesday to Saturday. Talks on streaming, labels, social engagement, royalties and much more will be given by execs from Spotify, YouTube, Tiktok, Beatport, TuneCore and many other organizations. After dark, the industry will flex what it does best, with musical performances by 2,900 artists both rising and established happening throughout the city.
Here, ADE organizers Kennis and Jan-Willem van de Ven share key 10 things to know about ADE 2023.
1. Over the past 15 years, ADE’s musical offerings have expanded from 33 nightclubs to, in 2023, more than 200 venues. ADE doesn’t produce all of these events themselves, but facilitates promoters from around the world utilizing these spaces while throwing parties under the ADE banner.
“The concept is that we don’t program all these events ourselves,” says van de Ven. “We help facilitate individual promoters to showcase what they know and do best.”
2. As ADE has grown to feature consumer-facing events, it’s become a platform for global festival brands to test run new concepts. This week will see 35 locations around Amsterdam hosting outdoor and big tent festival-style events.
“What you see now is a lot of concepts being tried at ADE,” says van de Ven. “It’s not a DJ showcase festival anymore, but it’s more a concept showcase festival where you’ll see a lot of concepts being tried out for the first second time. But if it works at ADE, it might work for the rest of the world.
Meindert Kennis & Jan Willem van de Ven
Sarah Wijzenbeek
3. As with previous editions, ADE 2023 features hundreds of panels, networking sessions, drink mixers, musical performance and other adjacent programming.
“If you’re at this panel, or at a drinks thing or another event, you’re missing out on 100 other ones,” says Kennis. “That’s difficult, but that’s also the strength of it and the reason why ADE is such a thrilling event…because it’s just too much to handle. That’s why ADE means so so many different things to so many different people, and there’s something for everyone.”
4. To help guide attendees’ schedules, ADE 2023 Pro programming is organized by three tracks: strategies, opportunities and responsibilities.
“Strategies is all about the business and the value chain,” says Kennis. “Opportunities is really for future startups like A.I. adn responsibilities, is stuff like green initiatives and [industry gender equity associations like] SheSaid.So. This way, we try to at least give people the possibility of making an efficient time schedule.”
5. These Pro and Lab tracks are designed to work in tandem. Lab programming this week includes production demos, mastering social media, music rights education and much more.
“The idea behind it was to create an ecosystem that that feeds itself,” says Kennis, “so that the young people or aspiring producers and professional needs are serviced in that way that they will be a pro visitor maybe in a few years later.”
6. Not everyone who goes to Amsterdam attends the actual conference, with many people traveling to the city simply to be around so much of the industry.
“Not everyone is buying a ticket to go to a panel,” says van de Ven. “That’s our preferred situation obviously, but at the same time, having these all these people over here doing business and creating this momentum together is is really important for us. That’s our greatest value.”
7. ADE recently received official designation as a Dutch nonprofit cultural organization. For the first time ever, the conference will hold an opening night party at the city’s Rijksmuseum, where members of the electronic music community will mingle while surrounded by the works of Rembrandt, Vermeer Van Gogh and other Dutch masters.
“There are these two cultural moguls, and Rijksmuseum are one of them, and we’re on the other one,” says van de Ven. “We can create this jaw dropping momentum, if we can have several audiences together and show the world that day culture and night culture [don’t need to be separate.] It can be one and the same. It’s going to be amazing.”
Amsterdam Dance Event
Tom Doms
8. That cultural organization classification also helps ADE define itself in the eyes of the industry.
“A lot of people think we’re a big commercial company with huge budgets that can fly in any artist in that will fit the narrative,” says Kennis. “Unfortunately, that’s not the case. The stamp of approval of being an official nonprofit cultural organization within the Netherlands kind of helps us fight the stigma that [ADE is] money-hungry, commercial activities, which is nice.”
9. With ADE musical showcases often drawing huge crowds, organizers have developed a new tool that will help attendees figure out what venues are at capacity.
This in-app feature will allow people to “look at every festival location on a map and see if there’s room for entrance,” says van de Ven, “so people aren’t going 50 minutes by Uber” to events they can’t get into. “We’ve wanted this for many years and knew we really needed to solve this issue, so this year is going to be our pilot with 40 or 50 locations.”
10. ADE 2023 is expecting many industry professionals from the U.S., which doesn’t currently have its own dance industry conference.
“There are some parts of the world that are buying more tickets than we expected,” says van de Ven. “For example, Australia’s quite big this year, and there a lot of people coming from the United States.”
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Following Hamas’ attacks throughout Israel this past weekend and Israel’s current bombardment of Gaza, the three major labels, along with the Recording Academy, have released statements condemning Hamas. In a statement posted Thursday to X, the platform previously called Twitter, Warner Music Group wrote, “We condemn the terrorist attack on Israel by Hamas and the […]