International
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Gianni Morandi’s love for Sanremo shines through when he tells anecdotes from the past or shares reflections on the importance the festival has regained over the last few editions. That love became a real thing for the first time in 1972 with his debut at Sanremo as a contestant. That started a tight connection that is about to renew itself once again, after 51 years.
In between, everything changed: music, the festival itself, society. Sanremo did not always manage to portray it all accurately, as reflected in declining television ratings from 2000 to 2018— but the last few editions reversed the trend.
In this context of rediscovered artistic relevancy and sociocultural implications, Morandi will hit the stage of the Ariston Theatre once again to flank Amadeus as co-host. Billboard Italy spoke with him right before the start of the festival.
You have participated in many editions of Sanremo in several different roles. The festival itself is different now. Amadeus’ touch is effective, starting from the selection of artists. How are you preparing for this new edition?
I’ve seen every single edition of Sanremo since 1958, when Domenico Modugno sang “Nel Blu Dipinto di Blu.” To me, Sanremo is a fantastic opportunity, a great stage. I like the fact that I became such a frequent presence here. Amadeus added something, for sure. He has a great knowledge of music and he’s also an innovator; he really opened the doors to new music trends. He’s a forward-looking kind of guy. The results of the last three editions prove it. What makes Sanremo great is the songs that stay — that people don’t forget and keep on singing. And in the last three years, the hits were many. Starting from Måneskin, who became a global success. They are extraordinary on their own, but they started from Sanremo. Amadeus greatly improved the festival. Now it’s also followed by a younger audience.
It’s also more in line with contemporary trends of Italian music, and it promotes artists that are not necessarily known by everyone. How do you see today’s music scene? Did you ever get to know an artist better because of Sanremo?
Well, yes. Take La Rappresentante di Lista, Coma Cose, Colapesce and Dimartino, Rkomi: They were probably popular enough before, but Sanremo gave them the extra boost, and now they are powerhouses. Those times when Sanremo was not so influential, I used to think: “It’s a shame that we don’t value this opportunity of visibility for Italian music in the world.” Because the festival is followed internationally — ask those artists who reached international recognition thanks to it. Like Eros Ramazzotti. He participated in Sanremo and became a global star. Same thing for Laura Pausini or Andrea Bocelli. And so many songs of Sanremo were reinterpreted by great international artists, even Elvis did that [“You Don’t Have To Say You Love Me” was his rendition of “Io Che Non Vivo Senza Te”]. So I’m happy that the festival went back to reflecting the trends of Italian music. And nobody turns up their nose anymore. This year, the lineup is full of big names but also young artists — Amadeus encourages them a lot.
Sanremo saw you as a contestant, then as a host, then as a contestant again. Your last participation was just last year, and now you’re hosting the event. How did this transition happen?
I’ve always had a great feeling with Amadeus. We hosted a New Year’s Eve celebration together, back in 2020. We should have done it in Terni, but we ended up doing it in Rome in an empty studio where we stayed for five or six hours. He told me that he wanted me as a co-host last year, too. But then he saw that I submitted the song Jovanotti had written for me. So he didn’t expect me to participate as a contestant. This year, he just fulfilled a wish he expressed two years ago.
So much of your life and many of your hits are bound to Sanremo. What are some special memories?
I remember going to Sanremo to see it up close when I was 16 or 17. I was already singing with a band from Bologna, but I hadn’t even released my first record back then. A friend and I decided to go see how that dream-like city was, since Domenico Modugno’s performance in 1958 had moved me deeply. It was not even the period of the festival when we went. Then I always followed it. In the golden years of Sanremo, I participated in several editions of Canzonissima, another very important TV event of that time. The program used to start in September and end on Jan. 6, so going directly to Sanremo after that seemed a bit too much to me. But I had great occasions. Franco Migliacci had written “Che Sarà,” but Ricchi e Poveri ended up singing it instead of me. Same thing with “La Prima Cosa Bella.” When I finally approached Sanremo, it was probably not my best moment, nor with the best song. I participated with “Vado a Lavorare” (“I’m Going to Work”]. I received a telegram [that said]: “So you’re finally going to work! It was time,” signed by [popular comedians] Cochi and Renato. I never understood whether it was a joke or a serious call.
Knowing them, it could have been both. But besides the songs, there’s the competition, which also paves the way to an international opportunity such as Eurovision. How much is that perceived by the artists? And what feelings do they share during that week?
Over those days you develop relations and see people you haven’t met for a long time. I think there is some sort of solidarity among the artists, even if the competition is still there. But they share a lot of things, and no one gets mad if they lose. If an artist hits that stage and sings a good song, the audience will notice it, regardless of the final ranking. Take Tananai, for example: He ranked last in 2022, but then he had a big success [with “Sesso Occasionale” (“Casual Sex”), which has 37 million streams on Spotify]. The audience knows how to pay you back.
What do you wish for this edition of Sanremo?
I hope to see at least 15 or 20 hit songs. That’s the success of Sanremo: when songs last for decades. Eros Ramazzotti’s “Una Storia Importante” (“An Important Story”) is almost 40 years old now. Amadeus selected a great lineup this year. There’s a bit of everything, even big comebacks such as Anna Oxa and Cugini di Campagna, but also new talents such as Olly, gIANMARIA, Madame and so many others who represent today’s music. Sanremo is shining again. It started with Claudio Baglioni [who was Sanremo’s artistic director in 2018 and 2019], but Amadeus brought it to the next level.
Even at 9:30 a.m., Amadeus’ voice still sparkles with life. “He only drinks chamomile, while I order a hundred cups of coffee,” his publicist says. “I don’t know how he holds up.”
This year marks Amadeus’ fourth as main host and artistic director of the Sanremo Music Festival. Italian broadcaster Rai already confirmed him for 2024, which was an easy decision: Under his direction, the show’s TV ratings skyrocketed, sometimes drawing more than 80% of Italian viewers.
The Italian music industry is dominated by songs that competed at Sanremo. The trend started with the previous artistic director, Claudio Baglioni, but Amadeus pushed it even more. Just one example: The No. 1 song of 2022 in Italy was “Brividi” by Mahmood and Blanco, which also won at Sanremo that year.
There were others. Colapesce and Dimartino were not well known when they participated in Sanremo 2020, and Amadeus was criticized for choosing them. Their song “Musica Leggerissima” nevertheless became a radio hit and kept going strong for the rest of the year.
Then there was Måneskin, which also participated in 2020. Back then, no one bet on the band. The members proved everyone wrong by winning Sanremo, winning Eurovision and becoming global stars.
Since then, the Italian music industry started growing again. In 2021, Italian music exports grew by 66% year over year, with revenues of 332 million euros ($356 million), according to FIMI/GfK. Italy became the 10th-largest music market in the world, up from No. 12 in 2020, as calculated by IFPI in its Global Music Report. Could Italy’s surge also be the result of Sanremo?
Billboard Italy spoke with Amadeus a few days after a private listening of the 28 songs competing at Sanremo. Critics have already published their reviews.
What song was understood the least, in your opinion?
I don’t like to judge someone else’s opinion. Everyone has the right to speak their mind. The [quality] level this year is really high, and everyone understood this. Songs need to be listened to many times. In a month from now, maybe, one will be able to say whether he or she really likes a song or doesn’t. That’s why I don’t like harsh criticism. You could rate a song eight out of 10 if it struck you on an emotional level. But if you rate it two, that’s a risk! I mean, there were so many songs that were criticized at first but then became hits on radio and streaming platforms — they even won the festival sometimes. I remember bad reviews received by Måneskin, Diodato, even Mahmood and Blanco.
This year, you decided to “promote” six talents of the Sanremo Giovani contest to the main competition. Why so many?
This world needs to trust the young, both in music and entertainment. People my age often reject their ideas, but they’re wrong. It’s us who need to adapt and enter their world, also because they spontaneously fall in love with the past. That’s why I want them to have their space. I often mention Tananai as an example. Last year, many people criticized his song and my choice to have him at Sanremo. But despite finishing last, over the course of one year his popularity grew exponentially — everyone can see that. So, we must give the young their time. I’m sure that the six artists I’m bringing to Sanremo 2023 will have a future. It’s just like soccer: You can’t train the boys and then keep them in the bleachers. They must play and have the chance to do wrong. It’s the only way to find the real champions.
They say that it’s impossible to be truly passionate about new music after your twenties, but you’re a living example of the opposite. Don’t you ever stop listening to new releases?
Never. Because of my job, I’m inclined to listen to a bit of everything, even if it doesn’t belong to my generation. Also, my children, who are 25 and 14 years old, help me understand why a singer is liked or not. But music can make you relive your memories, at any age. Everyone should listen to it.
Everyone can see that you don’t select the lineup based on label representation: Like, six artists from Universal, five from Sony, four from Warner, and so on.
Absolutely not. Sometimes a label is not represented at all, and they complain about it.
Every artist told me that they really don’t know whether they are participating or not until the last minute.
That’s right. Not even their labels [know].
Rumor has it that before announcing the lineup, you stay at home for three days with your wife and your 14-year-old son and then decide.
It’s not exactly like that. I’m very reserved and jealous about the songs they propose to me. To put it simply, if I made others listen to them, even people from my own team, I would be too affected by their judgment. I just need to relax over the last three days. No one else knows the songs.
Not even Giovanna and José (Amadeus’ wife and son)?
Maybe they are the only ones, together with my trusted writer Massimo Martelli. But not even he knows everything, because I really seek solitude the last few days. My wife and son hear the songs for a simple reason: I play them on speakers. Clearly, I’m interested in their opinion to better understand a woman’s and a young boy’s points of view. They are usually right. But I try not to get conditioned too much.
Do you look for the song that could impress the most onstage or for the one that could work better on streaming and radio?
Precisely the second case. To me, the stage dimension is relative. If they tell me, “Look, this band kicks [butt] in concert,” that doesn’t modify my judgment at all, if I don’t like the song. I try not to choose based on my personal taste only. A song — of any type, be it a ballad or up tempo — has to move me. I try to imagine its future. That’s why I like to select the songs when I’m driving. If they make me want to listen to them again, that’s it. But sometimes they can tire you.
Rap doesn’t have much representation this year, except Lazza and Madame. Didn’t successful artists such as Rondodasosa, Vale Pain, Paky, Rhove apply? Would you have called them?
No, they didn’t. I would have liked to have them. They are cool and I love rap. Even if he represents a different shade of it, I’m happy to have [Articolo 31 vocalist] J-Ax. I invited him for past editions, but he didn’t have a project suitable for Sanremo.
What decision of yours had the strongest impact internationally, in your opinion? Choosing Måneskin is the first thing that comes to my mind.
Måneskin’s formula was just perfect. They became a global success precisely with the song someone criticized. But I chose it without asking for any modification, and now they are a band with unprecedented [awards and achievements]. Sometimes I’m glad to go against the trend. Even Diodato’s victory at my first Sanremo [in 2020] was kind of unexpected. He was appreciated but unknown to many.
And we all know what happened next. Not to mention Dargen D’Amico: He was followed by a niche [audience, but] now even my 80-year-old mother knows him.
Can we say that Sanremo’s new direction contributed to the resurgence of the Italian music industry on a global scale?
That’s the goal of the festival. It was certainly the case 40 or 50 years ago, when our music was exported internationally and people from abroad wanted to come here to sing in Italian. The important thing is that Sanremo remains open to any genre and any target. It must liberate itself from preset schemes. One should consider the quality of the song, regardless of the artist, the label, the genre. That’s the only way to reach international success. But we still have a lot to do. That’s why I want three stages, because I want everyone to be present at Sanremo. When we launched the stage in Piazza Colombo, many people criticized it at first, but it was a huge success, like it will be this year, too. And if I bring Guè on the ship (the popular Italian rapper will perform on a Costa Crociere cruise ship anchored in front of Sanremo), that’s because I want him to have such a good time that he joins the competition next year.
You managed to bring to the festival many big names that — until recent years — would have performed only as guests. For example, Marco Mengoni and Giorgia.
It’s important to be part of the competition. They understood that Sanremo has changed and that they’ll have much more relevancy in that role. Clearly, we’ll celebrate the careers of our guest artists, such as Al Bano’s or Pooh’s. That’s maybe for a more mature audience, but I’m not so sure. My daughter, for example, is really curious to see these tributes.
Did you ever regret inviting someone?
No, I don’t. The artists who joined the competition in recent years allowed me to create festivals of the highest level. There are still many artists I’d like to include.
Like whom, for example? Tiziano Ferro, maybe?
They are too many. If Tiziano Ferro had a song to present, I’d be happy to listen to it. But my list would be endless. The big artists of Italian music that I’d love to have at Sanremo are so many, and it would be unfair to name just a few of them.
BMG signed a Senegalese rapper from Paris that Universal Music Group had dropped because of Holocaust-denying and antisemitic lyrics — but executives in Berlin ultimately pulled the plug on releasing his music at the last minute, according to a report in The New York Times published Friday (Feb. 3).
In internal documents obtained by The Times, in 2021 BMG’s French division weighed the financial benefits of signing the rapper, Freeze Corleone, against his history of hate speech, and decided to sign him so long as his connection to the German label would remain secret. In previous songs, the rapper had questioned the Holocaust and compared himself to Adolf Hitler. In one 2018 song featuring Corleone, “KKK,” he raps about “Nazi vehicles” and says he’s “determined with lotta ambitions nigga, like the young Adolf.”
In 2020, Universal Music France released Corleone’s La Menace Fantôme (The Phantom Menace), which went double platinum in France and included lyrics in songs like “Tarkov” that mention a “fraternity like Aryans” (though with no explicit mention of Jews). Despite the album’s success, a week after it began distributing LMF, in September 2020 the label said it was cutting all ties with him because the album had “revealed and amplified unacceptable racist statements.”
After UMG dropped him, the 30-year-old rapper, whose real name is Issa Lorenzo Diakhate, Tweeted “finally free.”
Then in 2021, BMG’s French team proposed signing Freeze Corleone, who was becoming increasingly popular in the Parisian hip-hop scene. In internal emails and memos reviewed by The Times, French label executives at BMG noted the artist was “France’s fastest growing artist in the last 2 years” and would thus “really help us meet our revenue target.” But the executives, Sylvain Gazaignes, the French operation’s managing director, and Ronan Fiacre, the head of A&R, also noted the controversy around the 2020 UMG release.
“In order to mitigate the risk of possible controversy,” BMG executives wrote in an internal memo reviewed by The Times, their contract would ensure the label had the right to approve his lyrics. The memo also said the contract should keep BMG’s involvement with the rapper’s career hidden. There should be “no BMG logo anywhere on the release,” Dominique Casimir, BMG’s chief content officer, said in an email she sent to a BMG lawyer and other executives, according to The Times.
BMG signed a one-album deal with Freeze Corleone worth about $1 million in October 2021, according to The Times. About three weeks after signing the deal, Casimir decided to cancel the contract the day before the release of “Scellé part. 4,” Corleone’s first single from the album, titled Riyad Sadio. The decision came after Casimir’s German team had completed a review of Freeze Corleone’s past lyrics and told the French team they needed to end the relationship with the artist, a person familiar with the matter confirms to Billboard. (An undisclosed settlement was paid to Freeze, the source says.)
Freeze Corleone has two entries on the Billboard Global Excl. U.S. chart — “Freeze Rael,” which spent one week on the chart in September of 2020 at No. 176, and “Mannschaft,” billed as SCH featuring Freeze Corleone, which landed at No. 167 in April of 2021.
In a statement sent to Billboard, BMG says “today’s New York Times story confirms that as soon as senior BMG executives became aware of the historic allegations against the artist, it ended their relationship. No record was released. BMG stands firm against anti-Semitism and hate.”
For Berlin-based BMG, the incident is the second such situation in the past five years involving an artist known to have music containing antisemitic lyrics. In 2018, a controversy exploded over an album BMG released by two German rappers, Kollegah and Farid Bang. The album, Jung Brutal Gutaussehend 3 (Young Brutal Good-Looking 3), contained lyrics like “make another Holocaust, show up with a Molotov,” but nevertheless became a hit.
Antisemitism is a particularly sensitive issue for the label’s parent company, media giant Bertelsmann, which in 2002 apologized for its past ties to the Nazi regime after an independent commission of academics the company hired found it had thrived during World War II by producing antisemitic material and Nazi propaganda. Bertelsmann previously had claimed to have played an active role in the Nazi resistance.
Casimir, who was promoted in May to the CCO post and given a seat on BMG’s board (and was recently named to Billboard’s 2023 Power 100 list), also oversaw the signing of the controversial German rappers as managing director for Germany at that time.
After BMG decided to drop him, Freeze Corleone released his album independently. Two employees in France involved in the Freeze Corleone signing — who “believed in the artist” – have since left the company but were not fired, the source familiar tells Billboard. Gazaignes remains a top executive in the French division.
Digital music piracy still plagues global music creators, with criminals employing new tactics like “bulletproof” internet service providers, but it is not as much of a problem as copyright infringement of film and television content, according to a new report from the Office of the U.S. Trade Representative (USTR).
The USTR’s annual report on “Notorious Markets for Counterfeiting and Piracy” (NML) lists seven websites that pose a threat to music industry creators, the same number as in 2022. Those websites engage in stream-ripping, torrent hosting or illegal downloading of pre-release or newly released digital albums.
The latest USTR report highlights new infringement tactics and growing concerns about how social networking sites like Russia’s VKontakte (VK) and Tencent Music Entertainment’s WeChat in China are facilitating the sale of copyright-infringing or counterfeit products.
While the onset of the COVID-19 pandemic led to an unprecedented spike in online piracy — music, film, television, publishing and software all saw higher levels in 2022 compared to 2021 — music experienced the lowest increase, according to a study by Muso, a U.K. company focused on measuring global piracy, which the USTR highlighted in its report.
Data from Muso determined that from January to August 2022 there were 141.7 billion visits to piracy websites, a 21.9% boost over the same eight-month period in 2021. The most dramatic increase came from film piracy, which grew 49.1% year-on-year. Music saw the lowest increase at 3.87%.
The USTR stresses, however, that while progress has been made in forcing some sites to remove pirated content, the introduction of streaming platforms and their widespread adoption has changed the way media is consumed and done little to stem overall piracy levels, especially for audiovisual works.
“Despite expectations that streaming would help combat piracy, the illegal distribution and consumption of high-quality video content has remained prevalent,” the NML report states.
Reacting to the Notorious Markets list, Mitch Glazier, chairman/CEO of the Recording Industry Association of America (RIAA), said it “shines a much-needed spotlight on the devastating impact of copyright theft on American creators.” He adds that “copyright enforcement is necessary to protect livelihoods.”
New to this year’s report are concerns about an increase in piracy sites utilizing “bulletproof” Internet service providers (ISPs) to facilitate their infringing activities. Bulletproof ISPs are characterized by terms of service that often explicitly advertise leniency in allowing their customers to upload and distribute infringing content.
While right holders have expressed concerns about bulletproof ISPs for several years, in 2022, several submissions noted that the growing reliance by pirate sites on such ISPs made it increasingly difficult for right holders to remove infringing content.
Among the bulletproof ISPs being used by music piracy operations is Amarutu, which provides offshore hosting for criminal activity and ignores takedown requests, the USTR says. The dedicated server page of Amarutu’s website advertises that “DMCA messages will be forwarded to the client for resolution but in most cases action is not required.” Amarutu reportedly has an office location in Hong Kong and is registered in Seychelles, with data centers in the Netherlands, the USTR says.
While most of the sites impacting music creators were the same this year, the USTR notes that MP3juices, a stream-ripper, relocated to host Cloudnet in Singapore last year. The website extracts audio from YouTube videos and allows users to download an mp4 file of the audio, often an unlicensed copy. Right holders say MP3juices has attempted to subvert their efforts to demote it in search engine rankings by creating new domain names that reappear at the top of search results.
The USTR once again included Russian social networking and music streaming site VK in its notorious markets report. VK, Russia’s most-visited website, reportedly facilitates the distribution of copyright-infringing files, including thousands of videos and e-books identified by the U.S. film and publishing industries each month. The site allows users “to easily upload video files, including infringing content” and to stream it through an on-site video player, the USTR says.
As Billboard reported in December, following the pullout of most of the global music industry from Russia because of its invasion of Ukraine last year, VK has returned to pirating music. Dozens of albums from Western artists, including from Taylor Swift (signed to Universal Music Group’s Republic) and Red Hot Chili Peppers (on Warner Music Group’s Warner Records), have become available for download.
Complicating matters, last month Belarus adopted a law that essentially legalizes piracy of music and other forms of copyrighted entertainment, which could make it a hotbed for piracy well beyond its borders — and possibly encourage Russian lawmakers to pass a similar law there.
In this year’s report, the USTR also highlights NewAlbumReleases, which previous NML reports said ran out of the Czech Republic but which uses reverse proxy services to mask its location. The website makes its infringing content available for download on “cyberlockers” like Rapidgator, another “notorious market,” according to the USTR.
Also making the list again is FLVTO, a stream-ripping site known to be operated by Russian national Tofig Kurbanov, which has been a thorn in the side of U.S. labels and the Recording Industry Association of America (RIAA). A U.S. district judge last year approved an order for Kurbannov to pay $83 million in damages for circumventing YouTube’s anti-piracy measures and infringing copyrights of audio recordings, but he has appealed the judgment.
Rounding out the list of music-creator threats are torrent sites Rarbg, known to have operated out of Bulgaria, and 1337x, which utilizes reverse proxy services to mask the location of its hosting servers. Variants of 1337x have been subject to blocking orders in Australia, Austria, Belgium, Denmark, India, Indonesia, Ireland, Italy, Malaysia, Portugal and the U.K.
This year’s NML report identified a new issue, stating that over the past three years, it has identified a growing concern from rights holders about the proliferation of counterfeit sales facilitated by “social commerce platforms” (social media platforms with integrated e-commerce ecosystems). The concern has coincided with the continued growth of e-commerce and the increased movement of many physical sellers to predominantly online platforms.
Rights holders state that while certain social commerce platforms have taken steps to implement anti-counterfeiting policies, many others still lack adequate anti-counterfeiting policies, processes and tools such as identity verification, as well as effective notice and takedown procedures, proactive anti-counterfeiting filters and tools and strong policies against repeat infringers.
While not calling out music specifically in this newer trend, the USTR names Tencent’s WeChat as one problematic platform. Although described by Tencent as a “social communication tool and information publishing platform,” WeChat provides an e-commerce ecosystem that facilitates the distribution and sale of counterfeit products to users of the overall WeChat platform,” the USTR says in its report. Central to the issue is the growing popularity of WeChat’s short video function, “Channels,” to advertise counterfeit goods directly to consumers, who can purchase the counterfeits featured in the videos via a “shopping cart” functionality in the WeChat app.
Tencent’s efforts to combat counterfeiting with respect to WeChat “have been inadequate,” the USTR says. Rights holders have complained to U.S. officials about the lack of cooperation from WeChat in supporting criminal investigations of counterfeit sellers. “WeChat points to collaboration with law enforcement and regulatory authorities but asserts privacy and data security laws prevent certain disclosures of information,” the USTR says in the NML. (Tencent owns Tencent Music Entertainment, which licenses Billboard China).
The Beatport Group has acquired a majority stake in the International Music Summit, the electronic music and culture platform known for its flagship industry conference, IMS Ibiza, Billboard can exclusively reveal.
This partnership is intended to secure the growth of IMS, which has happened annually in Ibiza since 2007 (minus the two years it rolled out online during the pandemic) and has over the years produced additional summits in Los Angeles, Shanghai, Singapore and Malta.
Via this partnership, IMS has plans to again expand its global footprint, with details forthcoming. IMS will continue to operate under the direction of its co-founders, with full support from The Beatport Group. (The Beatport Group currently encompasses digital electronic music store Beatport, open format DJ community Beatsource, Loopmasters, Loopcloud and other platforms.)
Financial terms weren’t disclosed.
IMS Ibiza was founded in 2007 by five partners including dance scene pioneer Pete Tong and industry exec and artist manager Ben Turner, with the intention to create a hub for conversation and progressive change within electronic dance music.
“We are very proud of what we’ve built at IMS over these past 16 years, driving the narrative and agenda of the culture forward from the genre’s spiritual home of Ibiza,” IMS’ founding partners say in a joint statement.
“Aligning with Beatport, who have been supporters of IMS from our inception,” the statement continues, “will enable us to action many of our ideas on how to continue to grow the platform all year round; to further educate and mentor the next generation; and to help focus the industry’s attention on the issues that matter. It will help increase our ability to have more impact for the genre.”
The next IMS Ibiza summit is set for April 26-28 at the island’s luxe Destino Pacha Ibiza resort. This three-day conference will again feature keynotes, seminars, performances, masterclasses, mentorship, health and wellness initiatives, parties and much more. A pillar of the conference is its annual presentation of the IMS Business Report, the annual valuation of the global electronic music industry presented in conjunction with data and analysis on myriad aspects of the business. IMS Ibiza 2023 will once again be hosted by Tong and fellow BBC Radio 1 presenter Jaguar.
“IMS has become one of the most impactful gatherings for the global DJ and dance music industries, and everyone at Beatport is excited to take this brand to the next level,” Beatport CEO Robb McDaniels says in a statement. “We look forward to partnering with Pete, Ben and the entire IMS team to broaden the IMS footprint as a major component of our plan to expand the Beatport brand around the world through community, education, and thought leadership initiatives.”
MUMBAI — Drawing more than 60,000 music fans over two days, with 40 artists performing on four stages spread across 50 acres, the inaugural edition of Lollapalooza India this weekend conquered the mantle of the largest multi-genre festival ever held in India.
In the country’s exponentially growing live music scene, Lollapalooza was somewhat late to the party, arriving more than a decade after multi-genre properties such as the Bacardi NH7 Weekender and Vh1 Supersonic. That meant audience expectations for an international brand like Lollapalooza were somewhat higher, especially because ticket prices (between $70 and $90 for advance purchase) were almost double those for its homegrown Indian counterparts.
To Indian music fans it felt like a super-sized Weekender, with some of the former programming and production team members working for Lollapalooza. The main difference: huge stages with amped-up sound and light production. Lolla’s crowd of roughly 30,000 per days also topped Supersonic’s latest edition in 2020, which pulled in about 20,000 over two days; and last November’s Weekender, which drew a little less than 20,000 per day over three days, according to people who work with the festivals.
Indian promoter BookMyShow — which previously produced stand-alone concerts by Justin Bieber and U2 at a cricket stadium in the outskirts of the city — staged the first installment of Lollapalooza India at the Mahalaxmi Racecourse, situated in the heart of Mumbai on a narrow road that frequently witnesses traffic snarls.
For many of the domestic acts — which made up 60% of the line-up — Lollapalooza was the biggest event they’ve played in their career to date. The festival featured headliners Imagine Dragons, The Strokes, Diplo, Cigarettes After Sex and Indian hip-hop star Divine, with debut India performances from Chinese pop star Jackson Wang and U.K. indie rock trio The Wombats.
Watching the performances, Lollapalooza felt a lot like a festival in the U.S. or Europe. But it also suffered from the same problems that plague other Indian festivals. Sound-related issues hindered some sets. Attendees lost cell phone service towards the evening. Bottlenecks at the end meant those who drove to the venue needed over an hour to leave, despite BookMyShow having encouraged the use of public transport by not providing on-site parking.
Lollapalooza India will also be remembered for the rampant reselling that took place prior to the festival, over WhatsApp groups and through messages shared on posts from the festival’s official Instagram page. The majority of resellers weren’t scalpers, but rather customers who bought early bird tickets in August and were disappointed by the line-up when it was revealed in November, according to one poll on Twitter.
The roster had been rumored to include such names as Metallica, Pearl Jam and Green Day, who had played the 2022 editions in the U.S., South America and Europe, as well as Red Hot Chili Peppers and Arctic Monkeys, who are touring Asia right now. BookMyShow, which co-produced the festival along with Perry Farrell and C3 Presents, neither confirmed nor denied the rumors, fueling speculation that at least some of those names might be on the bill. (Billboard reached out to BookMyShow for comment on Monday about the rampant reselling and fan issues with the final lineup but has not heard back yet.)
The Indian edition included a bunch of acts, such as metal band Bloodywood, pop ensemble Easy Wanderlings, alternative rock group The F16s and pop-rock outfit The Yellow Diary who have already performed at several festivals this season — as well artists like Divine and singer-songwriter Prateek Kuhad, who have recently gone on nationwide tours.
The backlash posed some interesting questions: Is it fair game for festival promoters to sell tickets before the line-up is announced? How many of its headliners does a global festival have to replicate to live up to its “international” reputation? Does India have enough festival-worthy acts to sustain the number of festivals being staged?
Despite a consistently growing listenership for international music on audio-streaming services, promoters in India have yet to solve logistical and infrastructure challenges. The economics of bringing million-dollar international artists to the country for a one-off show are far trickier than booking them for multi-city dates across Europe and South America, other continents to which Lollapalooza has expanded. This is coupled with the severe lack of venues for events the magnitude of Lollapalooza in cities such as Mumbai where there are few vast open grounds.
Among the most talked about sets were those by Imagine Dragons, The Strokes, Greta Van Fleet and Canadian-Punjabi hip-hop star A.P. Dhillon (who some criticized for relying heavily on a backing track).
Lollapalooza India 2023.
Courtesy Photo
From the number of revelers that flocked to their stages, it was evident India has a fervent following for acts as wide-ranging as dream-pop band Cigarettes After Sex and former K-pop idol Jackson Wang, to electronic music producer Madeon and indie pop group Japanese Breakfast.
While the organizers might have played it relatively safe with the Indian line-up, most local artists drew sizable crowds, with Divine and Kuhad attracting thousands in a testament to their current superstar status. Farrell, meanwhile, was seen walking around the festival site and being stopped for selfies by fans.
A substantial proportion of the attendees comprised first-time festival goers, including Mumbai residents who didn’t have to take the effort of traveling to neighboring city Pune where Weekender and Supersonic are held.
After originally debuting in 1991 as a farewell tour for Farrell, the singer of Jane’s Addiction, Lollapalooza has been an annual multi-genre event in Chicago’s Grant Park since 2005, after Farrell and William Morris partnered with Austin-based Capital Sports Entertainment (now C3 Presents). The festival expanded to South America — Santiago, Chile; São Paulo and Buenos Aires — and to Berlin, Paris and Stockholm. In 2014, Live Nation bought a controlling interest in C3.
As they get set to work on the 2024 edition of Lollapalooza India — C3 Presents partner Charlie Walker told Billboard in July that they “don’t go anywhere with the expectation of not going on forever” — the organizers have plenty of feedback to consider when planning its return.
Colombian record executive Adriana Restrepo has been appointed IFPI’s regional director for Latin America and the Caribbean. Restrepo will now head the global record music organization’s regional operations in Latin American and the Caribbean, based out of the organization’s offices in Miami and reporting directly to IFPI chief executive Frances Moore.
Restrepo takes over the post vacated by Javier Asensio, who served as regional director of the IFPI since 2011. Asensio, who’s been on Billboard’s Latin Power Player list on multiple occasions, stepped down from his role at the end of 2022 to return to his native Spain.
“Having worked directly with Adriana for a number of years as she served on our boards, I know first-hand the level of passion, commitment and knowledge of the Latin American music sector that she brings to the role,” said Moore in a statement. “I would also like to thank Javier who has been outstanding in overseeing our work in the region for over a decade and achieved so much during a period of rapid change and evolution in the market.”
Restrepo comes from a business and recording industry background and is one of the very few women who have headed record labels, including multinationals, in Latin America. She was most recently president of Sony Music Andes, based in Bogotá, Colombia, and overseeing Sony’s operation in the Andean region, which includes Colombia, Ecuador, Peru and Venezuela. Prior to that, Restrepo was president of powerful Colombian indie Codiscos, one of the region’s oldest and most respected labels and publishers, with a vast catalogue of tropical and popular music.
Restrepo comes to the post at a time when the Latin American music industry is on a path of massive growth. Recorded music revenues in Latin America grew 31% in 2021, exceeding $1 billion in revenues for the first time, and making it the 12th year of consecutive growth for the region.
Restrepo, who served on the IFPI’s main board between 2018 and 2020 is familiar with the organization.
“The region is experiencing a stellar moment due to the massive production of new talent for the entire world,” she said in a statement. “I will continue the good work developed by Javier with the National Groups and the collective management organisations seeking to reach new goals for the benefit of IFPI members.”
At Sony Andes, Maria Mercedes “Mechas” Montejo has been appointed to lead the company.
“We will miss Adriana here at Sony Music Latin Iberia, but we are thrilled to know that her professionalism and experience will be of service to the entire Latin music industry in her new role. We wish her all the best,” said Afo Verde, chairman & CEO Latin America, Spain and Portugal for Sony Music Entertainment.
Verde, and the other regional label heads will be working closely with Restrepo, as they do traditionally with IFPI leadership, and support for Restrepo has been unanimous.
“Adriana brings experience, knowledge and a great capacity for work, at a time when the challenges we face in Latin America continue to be enormous. There is nobody better than her to continue the great job done by Javier Asensio during the last decade,” said Jesús López, chairman & CEO, Universal Music Latin America & Iberian Peninsula, Universal Music Group.
Added Alejandro Duque, president, Warner Music Latin America: “I’ve known Adriana for many years and believe she has the right qualities and commitment to lead and execute our industry’s agenda in the region for years to come.”
BMG has announced a long-term succession plan for Hartwig Masuch, the record label and publisher’s only CEO since launching in 2008. Parent company Bertelsmann said Monday (Jan. 30) that Masuch will be replaced by Thomas Coesfeld, BMG’s CFO, effective Jan. 1, 2024.
Thomas Coesfeld
Bertelsmann Printing/Group_Kai-Uwe Oesterhelweg
When he takes over as chief executive, Coesfeld will also receive a seat on the Bertelsmann Group Management Committee (GMC), which advises the Group Executive Board. Masuch will remain in an advisory role after the transition, which will be “finalized at the end of the year,” said Bertelsmann chairman and CEO Thomas Rabe.
Under Masuch’s leadership, BMG has grown to be the fourth-biggest recorded music and publishing company in terms of revenue, trailing only the three majors. At a gathering of senior Bertelsmann execs in early October, Masuch announced BMG would be generating one billion euros in revenue starting in 2024. In the first half of 2022, the most recent final figures available, the company reported revenues grew 25% to 371 million euros ($405.7 million), compared to 2021’s first half.
In recent years, BMG has acquired music rights from Peter Frampton, Harry Nilsson, Simple Minds, Tina Turner and Mötley Crüe, among others, and through a partnership with KKR the company has acquired catalogs from John Legend and ZZ Top. On the label side, BMG has signed Duran Duran, Santana, Bryan Adams, Maxwell and Louis Tomlinson.
“Since 2008, [Masuch] has built the new BMG from scratch with a completely new business model that focuses on the needs of artists and songwriters, based on its core values of service, fairness, and transparency,” said Rabe.
Masuch joined Bertelsmann in 1991, overseeing Germany, Switzerland and Austria as part of BMG Music Publishing first incarnation. In 2008, he advised Bertelsmann when the company sold its share of Sony BMG Music Entertainment to Sony in 2008, and soon, helped start BMG Rights Management — which later became BMG.
“After 32 years at Bertelsmann and more than 14 years at BMG, now is the right time for me to hand over the reins to a new generation,” Masuch said in the company’s announcement. “I am convinced that the company will be in the best hands with Thomas Coesfeld and BMG’s outstanding, highly motivated global leadership team. As our annual results will show, the company is in excellent shape both creatively and financially. I look forward to a seamless transition by the end of the year. I am sure that under Thomas’ leadership, BMG’s core values of service, fairness and transparency will continue to evolve and flourish, leading the company to even greater success.”
Coesfeld was named deputy chief financial officer at BMG in October 2021 before taking over as CFO in April 2021. He previously served as chief strategy officer on the executive committee of the Bertelsmann Printing Group, a division of BMG’s parent company Bertelsmann. He began his career in 2014 as a management consultant at McKinsey in Munich.
“I am sure that under Thomas’ leadership, BMG’s core values of service, fairness and transparency will continue to evolve and flourish, leading the company to even greater success,” said Masuch.
Added Coesfeld, “Under Hartwig Masuch’s leadership, BMG has delivered an impressive growth story and developed into a modern music company in which data, technology, and services play a key role. My aim is to continue this success story together with the company’s top management and its more than 1,000 employees worldwide, and to leverage the enormous creative and entrepreneurial potential of the music industry for Bertelsmann.”
On Feb. 4, the evening prior to the 65th Grammy Awards, the Recording Academy will award its first-ever award for song for social change at the Special Merit Awards Ceremony. The frontrunner to receive this award is considered to be “Baraye,” a Farsi language protest song by 25-year-old Iranian musician Shervin Hajipour that received a reported 95,000 of the 115,000 submissions for this category.
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Hajipour wrote “Baraye” using words from internet posts Iranians wrote about the uprisings in that country in the wake of the murder of 22-year-old Mahsa Amini at the hands of Iran’s morality police. (The crime was her purported lack of appropriate head covering.) Posted on Sep. 28, less than two weeks after Amini’s death, it quickly went viral, becoming the anthem for the global protest movement sparked by her death. Hajipour, who lives in Iran, was arrested by the Islamic regime the day after posting the song. He was released on bail the following week and is currently awaiting trial.
“Baraye” has been covered by numerous artists, including a rendition in English by Iranian singer Rana Mansour and another from Coldplay, who performed “Baraye” at a November stadium show in Argentina, with accompaniment by Iranian actor Golshifteh Farahani. Designer Jean Paul Gaultier used it to soundtrack his runway show at Paris Fashion Week earlier this month.
Today (Jan. 27) Iranian-German DJ/producer Human Rias is taking “Baraye” a step further with a six-track remix package. This project, Baraye the Remixes for the People of Iran is the inaugural release on his newly minted 7Rituals label. Proceeds from the project will go to a foundation benefitting Iranians.
The first of these remixes is done by Rias himself and taps into his instinct for dancefloor heat via precise drum work and a percolating trance rhythm. He slots Hajipour’s heart-wrenching words neatly into his rework, retaining all the sorrow and hope of the original vocal, bolstering it with uplifting atmospherics and occasional effects-treated snippets of Hajipour voice. Listen to this remix below.
Subsequent remixes from the project will be released every Friday. A stunning version from Berlin titan Jan Blomqvist drops on Feb. 3, followed by Hamburg-based duo ANDATA (who are also partners in the project’s associated merchandise through Customised Culture), PEGAH, American producer RSRRCT, and ending with Berlin-based pair Victor Ruiz & Tao Andra on Mar. 3. As there is no official studio recording of “Baraye,” and therefore no stems available, remixers worked with what was available online, altogether delivering a powerful package that expands the song’s reach into the global electronic scene.
Rias’ idea for the package was sparked when Blomqvist posted his version of the song to Instagram last November. “The idea is to help put Iran and [its people’s] suffering into the public eye, to ensure that the world is exposed to what is happening,” Rias says of the project. “What better [way] to do this than [by using] my resources the best way I know how, through our global electronic music platform?”
Berlin-based artist PEGAH was also a huge part of the inspiration for the remix package. Rias explains: “She approached me at one of my parties in Munich, where I could truly see her passion and her hurt as a fellow Iranian, and it was clear it was important to have her involved as well.”
“I didn’t really choose the remixers based on who they are — but rather their sound, and music that I personally love,” he continues. “Having more artists on this means we have more diversity, and that’s important to expand across genres. I hope everyone finds a remix that works for their sets, enabling more of our colleagues to play this song.”
Like all Iranians and their supporters, Rias awaits the announcement of the Special Merit Award with bated breath. “In a way, it makes Iran be seen again by the West, which has led to a massive surge in global support,” he says. “That brings me to tears, and also leaves me speechless that the rest of the world has united to support.”
LONDON — Madison Square Garden’s plan for a “next generation” 21,500-capacity concert venue in London won another key endorsement this week when a planning committee approved the development, despite strong objections from residents and rival live events company AEG.
On Tuesday, the London Legacy Development Corporation (LLDC) granted MSG a 25-year advertising license subject to a five-year review. Now, London Mayor Sadiq Khan needs to approve the project — called MSG Sphere London — before work can begin. In rare instances, government ministers can also intervene and suspend planning applications.
New York-based Madison Square Garden Entertainment (MSG) first submitted plans for the venue in March of 2019. Since then, the company has encountered sustained opposition from councilors and residents who are concerned it will blight the area with noise and light pollution.
MSG is proposing to build the arena on a five-acre plot of land in Stratford, East London, adjacent to the Olympic Park and would be located just five miles away from the 20,000-capacity The O2 arena, the U.K.’s top grossing venue, which is operated by AEG.
The MSG Sphere in Las Vegas, under construction.
Courtesy Photo
The design of the MSG Sphere London mirrors the spherical crystal ball design of the MSG Sphere at The Venetian in Las Vegas — due to open later this year at a cost of $1.8 billion — and measures 90 meters (295 feet) tall by 120 meters (394 feet) wide. Its exterior will be covered in a programmable skin of more than one million LED lights, which will primarily be used for showing videos and advertising.
The LLDC had provisionally approved the venue last March, but the committee still needed to sign off on several aspects of the planning process, including MSG’s strategy for managing the Sphere’s controversial advertising display.
The proposed arena still doesn’t have a price tag, and MSG said in its most-recent quarterly earnings, filed in November, that there is no “definitive timeline” for its construction.
Opponents of the venue are calling on Khan to block the development. AEG says it was “dismayed” by the committee’s decision to give MSG Sphere London the go ahead.
“We call on the Mayor of London to uphold his election promise to do what’s best for Londoners, including the residents of [the London Borough of] Newham who are having this huge development forced on them, by directing refusal of the planning application,” AEG says in a statement.
AEG says MSG Sphere London’s LED illuminated exterior “was conceived for the heart of Las Vegas” and is “at a wholly unprecedented scale for London and totally out of keeping with the surrounding area.”
Campaign group StopMSGSphere, who spoke at Tuesday’s meeting, and several local councilors have urged the Khan to quash the development, which would be MSG’s first venue outside of the United States.
Following the ruling, a spokesperson for MSG — whose portfolio includes New York’s Madison Square Garden, Radio City Music Hall and the Forum in California — said the company ”remains committed to bringing MSG Sphere to London” and promised the venue would create “thousands of jobs and [generate] billions of pounds for the local, London and U.K. economy.”
MSG says it will provide blackout blinds to homes located within 150 meters (492 feet) of the new London arena and will run a telephone line for residents to register any complaints.
Should it get the go ahead, MSG Sphere London will be one of the U.K.’s biggest indoor concert venues with a scalable capacity of up to 17,500 seated, or 21,500 with a mixture of seated and standing. That exceeds the U.K.’s two biggest existing arenas, London’s The O2, which has a maximum capacity of 20,000, and Manchester’s AO Arena, which holds up to 21,000 people.
Construction is currently underway in Manchester on what will be the U.K.’s biggest indoor music venue, the 23,500-capacity Co-op Live being developed by the Oak View Group, which counts Harry Styles as an investor. It is set to open in December.