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Taylor Swift began her two-week Eras Tour run in Toronto Thursday night (Nov. 14), and the city is going all out.
Before she hit the stage, footage circulated of her arriving with a whole police cavalcade on the Gardiner Expressway – which is normally filled with traffic during rush hour.
There were plenty of Swifties seen following the Taylor Swift Way signs throughout downtown. Only ticketholders could get near the Rogers Centre before the show – including the city’s unhoused population, who were cleared from encampments and compelled to move to shelters.
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An official Taylgate event took place at the nearby Metro Toronto Convention Centre with photo ops, silent discos and friendship bracelet making stations. A similar “Swift Station” activation offered similar experiences on Queen Street while decked out to look like a subway station.
News stations broadcast live from outside the stadium throughout the night, while Swift took the stage inside. Stories abounded about fans who tried and failed to get tickets, or who ended up getting scammed (the Canadian Anti-Fraud Centre issued warnings as they were overloaded with complaints). Ticketmaster did, however, release some last minute tickets on the day of the show, though they were gone quickly.
Inside at the concert, Taylor Swift made some nods to the Canadian crowd. “Doesn’t it seem like the entire Folklore era just belongs in Canada?” she asked before launching into that section of the show. “The place that I envisioned in my mind where Folklore took place, it’s very natural, wilderness, beautiful, forests that have been there since the beginning of time. And it just kind of feels like we’re returning the Folklore era to where it belongs anyway.”
Her dancer, Kam, also added a Canadian touch during “We Are Never Ever Getting Back Together,” with an exaggerated “Soorry aboot it!” during his line.
There are two more Eras Tour shows this weekend, on Nov. 15 and Nov. 16, before she returns to Rogers Centre next week for shows on Nov. 21, 22 and 23. – Richard Trapunski
Canadian Songwriters Earn Grammy Nominations for Beyoncé’s Cowboy Carter
The 2025 Grammy nominations were announced last week, and Beyoncé leads the list — along with her Canadian collaborators.
“Texas Hold ‘Em,” co-written by three Canadians, has been nominated for two of the biggest awards, Record of the Year and Song of the Year.
Writers Nathan Ferraro, Lowell, and Megan Bülow all picked up nominations for Song of the Year, which is awarded to the writers and composers behind the track, as well as Best Country Song. Ferraro talked with Billboard Canada earlier this year about his Canadian writing team.
“[The collaboration] works well for us,” Ferraro told Billboard Canada. “We’re such good friends and we know each other’s strengths and weaknesses. I think we all have a lot of mutual respect, so we have a lot of confidence together and that allows us to take risks.”
Lowell, meanwhile, won the inaugural Billboard Canada Non-Performing Songwriter Award this summer.
Beyoncé’s country album Cowboy Carter is also nominated for Album of the Year with Canadian Dave Hamelin (formerly of Montreal indie rock band The Stills and now a regular collaborator with 070 Shake) named in the nomination for his work as a producer and songwriter across the album.
In total, Beyoncé picked up a whopping 11 nominations for her history-making Cowboy Carter, which features a slew of Canadian contributions.
Serban Ghenea, meanwhile, racked up the highest number of Canadian nods: a grand total of five nominations, for his work with a trifecta of pop stars: Sabrina Carpenter, Taylor Swift, and Ariana Grande.
Other Canadian nominees included The Weeknd, Kaytranada, Charlotte Day Wilson, Spiritbox and Cirkut, for his work on Charli XCX’s cultural phenomenon, Brat.
Read about all the Canadian nominees here. –Rosie Long Decter
Quebec Government Pursues Action Against Ticket Resale Site Billets.ca
The Quebec government is taking action against ticket resales.
The province’s Office of Consumer Protection announced Wednesday, Nov. 13, that the Director of Penal and Criminal Prosecutions has served 26 statements of infraction to Billets.ca.
If proven guilty, each infraction could merit a fine between $2,000 and $100,000 for the company, and between $600 and $15,000 for President Éric Bussières.
The Office is accusing Billets.ca of reselling tickets at higher prices than those advertised by authorized salespersons. It also charges that the site is reselling tickets it does not possess. The infractions took place between November 2022 and September 2023.
Ticket resales have become an increasingly hot topic in the industry. Ticketmaster issued a warning in advance of Oasis’ North American tour dates going on sale, advising consumers not to trust resale sites that were already advertising tickets. The ticketing giant has also faced allegations in the past of working with resale sites.
Earlier this year, over 250 artists signed a letter titled Fix the Tix, addressing American legislators. “Predatory resellers have gone unregulated while siphoning money from the live entertainment ecosystem for their sole benefit,” the letter stated.
Quebec’s Loi sur la protection du consommateur forbids sellers from boosting prices during resales without express permission from the original authorized vendor. It also prohibits the use of technology to bypass controls on obtaining tickets. Sites like Billets.ca have often skirted these rules by acting as a broker for individual sellers, instead of selling the tickets themselves.
Quebec music association ADISQ welcomed the news.
“It’s a relief to see charges finally laid against Billets.ca and the practice of fraudulent ticket resale,” says Eve Paré, Executive Director of ADISQ, in French.
ADISQ states that it has made numerous complaints to Quebec’s Office of Consumer Protection regarding unauthorized ticket resales.
ADISQ notes that it is also eagerly awaiting the outcome of a class action lawsuit filed against Billets.ca on October 13, 2023. –RLD
LONDON — The British government is calling on the live music industry to introduce a voluntary levy on stadium and arena tickets sold in the United Kingdom “as soon as possible” to “safeguard the future of the grassroots music sector.”
“We believe this would be the quickest and most effective mechanism for a small portion of revenues from the biggest shows to be invested in a sustainable grassroots sector,” said the Department for Culture, Media and Sport (DCMS) in a report published Thursday (Nov. 14).
Earlier this year, a cross-party committee of MPs said a new levy on arena and stadium tickets was urgently needed to stem the tide of small grassroots music venue closures in the United Kingdom.
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According to the Music Venue Trust (MVT), the number of grassroots music venues (defined as limited capacity venues regularly staging live music) in the U.K. declined from 960 to 835 in 2023, a fall of 13%, representing a loss of as many as 30,000 shows and 4,000 jobs.
Responding to the Culture, Media and Sport Committee’s report on the grassroots live music sector, published in May, the government said Thursday that it was “deeply concerned” with the rate of venue closures and that “a small industry-led levy within the price of a ticket” would benefit the U.K.’s live music system “as a whole.”
The government said it wanted the voluntary levy to come into effect “as soon as possible” so that it could be applied to arena and stadium music shows taking place in 2025. How the funds raised will be used to support small and low-capacity music venues should be clearly explained to ticket buyers, said the government.
“We urge the live music industry, and in particular the biggest commercial players who will have the biggest impact on the success of an industry-led levy, to act and to do so swiftly,” said DCMS.
Exactly what form such a levy on arena and stadium shows will take is still to be determined. While there is broad support throughout the U.K. live music industry for a voluntary levy, some promoters would prefer that it is applied on a case-by-case basis and stakeholders are divided on whether the levy should be included within the ticket’s price or as an additional fee on top of the face value of the ticket.
The size of venue the levy would be applied to and its cost/rate is also yet to be decided, although the Music Venue Trust has previously called for a £1 levy ($1.26) to be applied to arena and stadium shows above 5,500 capacity, excluding festivals. Discussions are currently taking place between live executives around what charitable body should collect, manage and distribute proceeds from the fund.
In a statement, Jon Collins, chief executive of live music industry umbrella organization LIVE, said driving forward “an industry-led solution to the challenges currently being experienced by venues, artists, festivals and promoters remains our number one priority.”
The idea of a voluntary arena tickets levy to support the grassroots music sector is one that has already received support from several high-profile U.K. artists and organizations.
In September, Coldplay announced that it would be donating 10% of the band’s proceeds from their 2025 dates at London’s Wembley Stadium and Hull’s Craven Park stadium to the Music Venue Trust.
Other acts backing the initiative include rock band Enter Shikari, who donated £1 from every ticket sold on its February U.K. arena tour to the trust, and Sam Fender, who has pledged to do the same on his forthcoming U.K. dates. This year, Halifax-based venue The Piece Hall became the first U.K. venue to give ticket-buyers the option to donate to the charity.
A similar scheme to support grass roots music creation exists in France, where a statutory 3.5% levy on the gross value of all concert tickets sales goes into a central fund administered by the Centre National de la Musique (CNM), France’s public agency for the music industry.
“This is the beginning of a way forward,” Kwame Kwaten, director of artist management company Ferocious Talent, whose roster includes Blue Lab Beats, Hak Baker and Caitlyn Scarlett, tells Billboard.
“If [the levy] happens, it will at least begin the process of addressing something that has been left out to dry with humongous consequences, especially at the kind of levels that we have to operate at before an artist gets to the arena, stadium level, which is where 80-90% of [touring] artists are,” says Kwaten, who gave evidence to the CMS committee during the inquiry.
“We are standing at a massive crossroads,” he says, “and we have now got a chance to do something about it.”
In a statement, CMS Committee chair, Dame Caroline Dinenage, said she welcomed the government’s recognition that “swift action on a levy is needed from the bigger players who pack out arenas and stadiums,” but warned that “the lack of a firm deadline for movement risks allowing matters to drift.”
“Without healthy roots, the entire live music ecosystem suffers,” said Dinenage, who is calling for government ministers to set a clear deadline for the industry to act. If no significant progress is made within six months, she said the CMS committee will hold another hearing with representatives of the U.K. live music industry.
“Every week I hear from music managers trying to do the impossible and bridge catastrophic shortfalls in their artists touring budgets,” said Annabella Coldrick, chief executive of U.K. trade body the Music Managers Forum (MMF), in a statement. Coldrick says it is “imperative” that the music industry comes together to establish a ticket levy on “all large-scale live music shows” to support smaller scale touring artists. “The current situation is untenable,” she says.
The U.K. government’s support for an arena ticket levy is the latest in a long line of Parliament-led interventions into the music industry that have taken place in recent years, including a nine-month probe into the music streaming business and a subsequent review of the sector by the U.K. competition watchdog.
More recently, authorities have turned their attentions to the live industry. In September, the Competition and Markets Authority (CMA) launched an investigation into Ticketmaster over its much-criticized use of dynamic ticketing for Oasis‘ reunion tour, which prompted hundreds of complaints from fans and fierce condemnation from British politicians.
The British government has also said it would be looking into the practice of dynamic pricing for music concerts as part of its consultation into the secondary ticketing market, which is due to begin in the coming weeks.
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Canadian Music Week is undergoing a major identity shift.
For the first time since 1982, the music festival and conference will have a new name: Departure. The newly-christened Departure Festival + Conference will take place from May 6-11, 2025.
Loft Entertainment and Oak View Group (OVG) bought the festival from retiring founder Neill Dixon this year. They announced the changes in a cocktail reception on Tuesday (Nov. 12) at the festival’s new Toronto headquarters, Hotel X.
“Departure honours where we’ve come from and celebrates where we are going,” said Kevin Barton, executive producer at Loft Entertainment. “We’re creating a launchpad that opens doors to deeper, more inclusive conversations and showcases the richness of Toronto’s cultural scene, celebrates Canadian creatives, and welcomes global artists.”
In speeches and a fireside chat, Barton along with Loft co-founder Randy Lennox and chief operating officer Jackie Dean joined OVG Canada president Tom Pistore to share the new vision for the festival.
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Lennox and Barton pointed to the ambition of the event, which will expand to include comedy, tech and food in year one — plus film, fashion and other subjects in the near future. They will take big swings, which might mean they may have misses along the way, they acknowledged.
This year’s festival will include a songwriter showcase, comedy performances, food trucks, and a new app and digital infrastructure.
The goal with Departure is to expand and modernize, they said, while honouring the history of Canadian Music Week. Next year, they will honour CMW’s former leader Neill Dixon with a lifetime achievement award.
Comedian Russell Peters opened with his own less rehearsed speech, and shared his hopes for the festival. He’s both a comedian and a DJ, but says he and his friends had avoided CMW in the past “because it was soup — full of crackers.” He joked that the festival’s idea of diversification was Kardinal Offishall and that’s it.
Barton stressed an inclusivity mandate and said they have been meeting with different equity-seeking communities in the Canadian arts industry. Over 160 languages are spoken in Toronto, and the goal is to represent that multiculturalism.
Pistore said Departure is part of the Denver-based Oak View Group’s expanded footprint in Canada, which includes new hires and a $280 million project to transform an arena in Hamilton, Ontario. There is an ambition to be bigger, “but rooted in a Canadian foundation.”
The response on social media and at the industry event was mixed. Some were optimistic for the long-running conference to change and evolve and provide a bigger platform for Canadian artists. Others hoped that the new ownership, including the American Oak View Group, and removal of “Canadian” from the name, will not sacrifice the Canadian identity or the focus on the homegrown industry.
Karan Chahal is a music and business lawyer and agent at LSC Law. A former musician and engineer himself, he now works with independent artists, especially in Punjabi music, including producer Deep Jandhu.
Chahal has been attending CMW for years, and credits it as one of the most important conferences in Canada. He especially appreciated last year’s edition, which included a spotlight on India’s music industry and Punjabi music in Canada, he says.
“It’s an amazing platform, because everyone there is there for the same reason: music,” he says. “The music industry in Canada is still growing, and artists need support. There’s so much incredible talent here, and CMW is a spot where the artists, the labels, the agents can gain those relationships in the industry.”
Chahal’s hope is that Departure’s expanded focus into other areas will not dilute the support for music, specifically.
“I think we need more eyes on it, we need to grow it. More strategic individuals getting involved is only going to help,” he says. “I just hope we aren’t going to lose what it initially stood for, and will uphold the duty to support the culture.”
Rudy Blair is an independent music journalist and interviewer who has been covering Canadian Music Week for nearly 30 years. Over the past few years, he’s also worked for the festival under Dixon as a conference host.
Blair says the new name will take some getting used to, but he thinks the growth can only be a good thing.
“We always have to move forward, and as long as it shows respect for what came in the past, change is a good thing,” he says. “Moving forward, looking at things differently, presenting things differently, that always needs to happen. Departure is part of that evolution.
“The mandate from day 1, 42 years ago, to 2025 is the same,” he continues. “It is all about fans, artists, educating people, and making sure the rest of the world knows that Canada has some of the best talent in the world. As much as they’re looking at other things, I hope they keep the dream Neill (Dixon) had, which is promoting Canadian talent.”
This story originally was originally published by Billboard Canada.
BERLIN — GEMA, the German performing rights organization (PRO), today sued OpenAI for copyright infringement in Munich regional court, alleging that the technology company used without permission lyrics from songs to which GEMA licenses rights. This makes GEMA the first PRO to file such a lawsuit, although it controls some rights that U.S. societies do not. This also seems to be the first case involving only lyrics; the case does not involve recordings. In its announcement, GEMA described the suit as a “model action,” aimed at clarifying copyright law in Germany, and potentially all of Europe.
Since OpenAI offers copyrighted song lyrics in response to prompts, GEMA is alleging that the company trained its software on song lyrics that it has the rights to license, so it is suing the company for violations of the making available and reproduction right. (Making available is a right under European law that in this case is roughly analogous to the right of public performance, or in this case public display. It’s also alleging two infringing reproductions – one to ingest the lyrics for training purposes and another when they are output.) In the U.S., PROs do not control mechanical rights, so they would not have the standing to file such a lawsuit.
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So far, most of the music business lawsuits involving AI companies have been over the ingestion of recordings, although that by definition would also involve the underlying compositions. But OpenAI is already facing a considerable amount of litigation, including a putative class action from authors, a lawsuit from The New York Times, and one each from online publishers and other newspapers. The issue in the U.S. is whether or not copying to train an AI qualifies as a “fair use” exception to copyright law. The record label cases against Suno and Udio will involve the same principle.
European copyright law provides “exceptions and limitations” to copyright, rather than fair use, and the 2019 Copyright Directive allows text and data mining unless rightsholders opt-out. In this case, however, GEMA has opted out for all of the works it licenses. (GEMA does not license the lyrics for all the songs in its repertoire, but the lawsuit involves ones for which it does.) This lawsuit aims to clarify the law, and it has the support of some big German songwriters, as well as their publishers.
“Our members’ songs are not free raw material for generative AI systems providers’ business models,” said GEMA CEO Tobias Holzmüller in a statement. “Anyone who wants to use these songs must acquire a license and remunerate the authors fairly. We have developed a license model for this. We are taking and will always take legal action against unlicensed use.”
The lawsuit comes as rightsholders around the world are becoming more concerned about how AI will affect the value of their works, as well as how they should be compensated for how it is trained. At the end of September, GEMA presented a licensing model for generative AI software that would compensate songwriters and publishers. It has also sent letters to AI companies stating they must license GEMA works in order to use them.
Since OpenAI both operates servers and makes content available in Germany, it will presumably have to operate according to German law. This seems clearer than the U.S. system, where fair use often involves considerable uncertainty. However, European countries do not offer rightsholders the opportunity to collect damages as high as they can get in the U.S.
A representative for OpenAI did not immediately return a request for comment.
SXM Music Festival will bring a sprawling crew of artists back to the beaches and hilltops of Saint Martin for the festival’s eighth edition in March.
The lineup for the 2025 fest includes house music pioneer Danny Tenaglia, techno globetrotter Nicole Moudaber, Afrohouse phenom Francis Mercier, U.K. progressive house stars CamelPhat, German house/techno legend Amê, house producer Layla Benitez and a crew of other house and techno artists from around the world, with additional artists to be announced in the coming months.
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The five-day fest, happening March 12-16, will also feature showcases from Defected Records, Israeli label Frau Blau and the New York label Indo Warehouse.
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Presale tickets for SXM 2025 go on sale Nov. 14, with general tickets going on sale the following day.
Founded by Julian Prince, SXM has happened on St. Martin since 2016 and typically draws attendees from more then 35 countries. The 2025 edition of the festival will once again take place in locations around the island, including a private villa, a Sunday morning sunrise party on the beach, and the annual Panorama Party that happens on the island’s highest hilltop. The event will also offer day trips including hikes and cultural excursions.
In 2017, after the island was devastated by Hurricane Irma — which left an estimated 95% of the French side of the island destroyed — SXM organizers collected more than $38,000 for the relief effort. The event was one of the few festivals to happen in 2020 before the pandemic shut down the live events space, and after a postponed 2021 event also due to the pandemic, returned to Saint Martin in 2022.
Along with music and partying, SXM focuses on leaving a small footprint and helping replenish the area’s natural environments via initiatives that include going paperless, saving energy with LED and solar lights, and eliminating plastic waste throughout the festival.
See the phase one lineup below:
SXM Festival
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Tencent Music Entertainment reported a 35% uptick in profit on Tuesday after the Chinese music streamer added 2 million subscribers over the third quarter.
TME reported net profit for the third quarter of RMB1.71 billion ($244 million), and total revenues of RMB7.02 billion ($1 billion)–increases of 35.3% and 6.8% respectively from the third quarter last year. Music subscription revenue grew by more than 20%, which offset the continued decline in social entertainment services revenue TME has seen for more than a year.
“This quarter’s robust music subscription performance, with better-than-expected net subscriber additions and an expanding ARPPU, highlights the effectiveness of our balanced approach to achieve growth, which is important to drive paying user base expansion in the coming years,” TME’s chief executive officer Ross Liang said in a statement.
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TME added 2 million new paying users during the third quarter to bring its total number of subscribers to 119 million, which drove a 4.9% expansion of the company’s monthly average revenue per paying user (ARPPU). That metric now stands at RMB 10.8 ($1.50). Music subscriptions revenue grew to RMB3.84 billion ($547 million) representing 20.3% year-over-year growth.
The company’s gross margin — the percentage of company revenue that remains after expenses are taken out — rose to 42.6% from 35.7% in the year-ago quarter, thanks to increased revenues from subscriptions and advertising.
Notably, TME said its number of SVIP subscribers — a premium tier that costs five times more than the regular version — topped 10 million in the quarter ending Sept. 30.
Tencent Music executives said partnering with Galaxy Corporation this quarter for K-pop icon G-Dragon upcoming tour boosted its content offerings with audiences.
G-Dragon released his first single in seven years, “POWER,” in October ahead of his tour of Southeast Asia, the Middle East, Hong Kong, Macao, Taiwan, Australia and New Zealand.
TME’s stock was trading at $10.46, down 9.48% at 10:25 a.m. in New York. TME’s stock has declined by nearly 18% in the past month, but is still up 19.7% year to date.
Dua Lipa will not perform in Jakarta on Saturday due to what the singer is calling “a safety issue with the staging.” On Friday (Nov. 8), the pop star posted a message on her Instagram Story saying that “I am heartbroken to share that I won’t be performing in Jakarta this Saturday, November 9. I […]
Billionaire hedge funder and Universal Music Group board member Bill Ackman called for UMG to move its stock listing and legal headquarters to the United States from Amsterdam after violent attacks on Israeli soccer fans overnight in the Dutch capital. Amsterdam’s Mayor Femke Halsema said fans of Maccabi Tel Aviv were attacked and “pelted with […]
At the end of the summer, A$AP Rocky released a music video that quickly took over the internet. The video for the song “Tailor Swif” was described as a surreal dream journey. However, anyone familiar with Soviet art, lifestyle, fashion, cinematography and aesthetics will notice many interesting references in the work. The video was filmed in Kyiv, Ukraine, just months before the war began. A particularly intriguing aspect is that the production company behind the video, shelter.film, is based in Kyiv. The company is co-founded and led by Albert Zurashvili, who is from Georgia. It’s even more notable that shelter.film now operates out of Georgia, continuing to work on numerous international projects.
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Recently, shelter.film received several prestigious awards for A$AP Rocky’s music video at the renowned Ciclope Festival. The project was among the winners in five categories, including the Grand Prix in the music video category.
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Billboard Georgia interviewed Albert Zurashvili, who shared insights about shelter.film and the experience working on A$AP Rocky’s “Tailor Swif” video. shelter.film was founded five years ago in Kyiv, with a vision established by Zurashvili. He explains that the talented professionals, who are now part of the shelter.film team, helped him bring this vision to life. Today, Gena Shevchenko and Marina Karmolit are his partners, and together they manage shelter.film. The company launched on April 1, a date that led many to believe it was a prank. “We were too busy launching the project to look at the dates,” says Zurashvili.
The core team at shelter.film consists of six members, and since its founding, it has grown into one of Ukraine’s most well-known production companies. Its international portfolio includes work for several leading brands, such as Chanel, Coca-Cola and Samsung. Now, shelter.film is operating worldwide with offices in Kyiv, Tbilisi and Brussels and is constantly exploring new horizons for their clients.
Despite its service-oriented business model, shelter.film is part of the creative industries, known for its innovative and artistic approach. In today’s advertising landscape, competition is incredibly fierce, with impressive videos being produced daily. Brands consistently launch creative campaigns that capture attention. Even in this competitive environment, shelter.film has carved out its own niche. A signature style runs through their work, showcasing that its creators treat advertising as a form of art. The shelter.film team aims to produce projects that leave a lasting impact on society.
“Shooting videos is generally not too complicated these days. But bringing it to storytelling within commercials with a high-end cinematography or just ripping eye-candy art is somewhat not as easy,” says Zurashvili.
According to him, the company strives to express its creativity. For shelter.film, the process is more than just completing tasks and delivering projects—it’s something that each team member truly enjoys.
“We are blessed to have the opportunity to get involved in socially impactful projects,” Zurashvili says. “We always support new names and evolving talents, as true progress in our industry lies in people, not just tools. Working in international markets these days, we are still getting top Ukrainian specialists involved in every project (physically or remotely) to keep those gems of people around and on track.”
As mentioned earlier, shelter.film has collaborated with many leading companies across various industries. Advertising projects, by their nature, consider numerous client briefs. When we asked how the shelter.film team manages to preserve the artistic value of each commercial video, Albert Zurashvili responded.
“It may sound tall, but we’re doing everything possible to avoid compromises,” he says. “We’re not overpromising but over delivering and never under budgeting. So we’re pretty straightforward about that — we can do it best within the budget line or not. No one wants failures, and we can foresee and avoid them. It’s not just a reputational risk – it’s actual damage for specialists and the image of the country on a global stage as a destination for films and celebrities. So we’re not choosing between commerce and art, I’d say. We’re creating commercial art.
“In recent decades, Ukraine has become a well-known destination for major brands and artists to film their best projects. For that to happen, service production companies collaborating with extremely skilled specialists have put years of sweat and passion into proving that this is the way to do it. After years of hard work and establishing the highest level of service in Eastern Europe, along with the most experienced crew, we started to see significant income for the country through all those worldwide projects. Many talented directors and other creative professionals are eager to bring their work to Ukraine or Georgia, as the level of achievement they attain and the excitement and involvement of the crews are just incredible.”
Marina Karmolit, Albert Zurashvili and Gena Shevchenko of shelter.film photographed for Billboard Georgia.
Ninutsa Kakabadze
Despite numerous high-budget commercials and various projects, one of shelter.film’s standout achievements is the A$AP Rocky music video. The concept for the video was developed by directors Vania Heymann and Gal Muggia, a duo renowned for their work with many stars of the global music scene, including Coldplay, as well as brands like Nike and Apple. Shelter.film has previously collaborated with these directors on various projects, including a Dua Lipa music video.
“It was a freestyle of developing and polishing the details of every scene on the go in a short-term and extra-confidential manner,” says Zurashvili. “Most of the crew coming to the set were unaware of who we were shooting for and were surprised when they arrived. A few weeks later, A$AP and his gang arrived in town, and we spent a few amazing days in Kyiv shooting this crazy project, doing all the tricks possible, and filming it on a Kodak 16mm camera. Working with film is always exciting, as you don’t see the final result until the material is developed and scanned. It was an unforgettable experience.
“No need to mention there were tons of negotiations that took us more than half a year of constant discussion, but it was definitely worth it. One of the highlights for us is that we involved an incredibly talented Ukrainian director of photography, Denys Lushchyk, in shooting this music video.”
In one of the scenes of A$AP Rocky’s music video, a famous scene from the 1977 film Mimino, by Georgian director Georgiy Daneliya, is brought to life. As Zurashvili explains, this decision was made by the directors. “It’s a fantastic reference from Georgiy Daneliya and I’m happy we have it there,” mentions Albert. According to him, A$AP Rocky was deeply involved during both the filming and post-production stages, and the entire team worked to a high professional standard.
For the shelter.film team, visual communication is an art form and a unique way of telling a story. This approach is consistent whether they are working on a commercial advertisement or a music video. “Every art form, even if it’s commercial, has a timestamp,” Zurashvili says. “All great stories should be told. Art is about freedom of expression. I appreciate any brands and artists brave enough to be on the cutting edge of history. The loudness of your voice brings power and responsibility to those who trust and follow you. Positive change can happen only where there is responsible, kind, and intelligent dialogue. As I said, we’re happy to have our role in it and always contribute with full responsibility.”