International
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Secretly Distribution, Beggars Group and Cargo Records UK have teamed up for a new independent U.K. distribution partnership named Cargo Independent Distribution (CID). Via the new partnership, Secretly Distribution and Beggars Group will be supporting CID’s investments in technological development and new personnel, as well as providing strategic direction.
“All of us at Cargo are really excited for our new partnership with two of the most important independent music companies in the world, who continue to remain fiercely independent and committed to preserving a totally independent U.K. distribution outlet,” said Cargo Independent Distribution president Phil Hill in a release.
Cargo Independent Distribution will maintain its U.K./Ireland fulfillment relationship with Proper/Utopia and CID will continue to provide global physical, digital and marketing services to its Cargo U.K.’s distributed client roster, which includes Fire Records, Hyperdub, Planet Mu, Static Shock, and Sub Pop, who just recently transitioned their U.K. distribution to CID.
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Hill will retain a controlling interest in the new entity.
Cargo Independent Distribution will also provide physical distribution and sales support to Secretly Group and its affiliates, as well as sales representation to Beggars Group partner labels.
“The team at Cargo Records UK has faithfully championed outlier labels, artists and records for nearly three decades — including being the very first distributor to order records from Jagjaguwar — and now we have the great privilege of partnering with them in their next chapter,” said Secretly Distribution CEO Darius Van Arman in a release. “All of us at Secretly are very excited to be working with Cargo Independent Distribution, to help safeguard an independent route to market in the UK and Ireland.”
Secretly Group labels Dead Oceans, Jagjaguwar, Saddest Factory and Secretly Canadian, along with affiliates All Flowers Group (Ghostly, drink sum wtr) and The Numero Group, work with artists that include Mitski, Phoebe Bridgers, Khruangbin, Unknown Mortal Orchestra, Bon Iver, MUNA, Japanese Breakfast, Mary Lattimore, Matthew Dear, Kari Faux, Aja Monet, Duster and Syl Johnson.
Beggars Group labels XL Recordings, Young Recordings, Rough Trade, Matador and 4AD represent 48 years of music from Fontaines D.C., Jamie xx, Sleaford Mods, Queens of the Stone Age, Big Thief, The National, Lankum, Sampha, Prodigy, Adele, Radiohead, Cat Power and more.
“We live in changing and challenging times. Integral/ PIAS have handled our sales brilliantly for decades, but right now we see it as crucial that a new independent route to market is established,” Beggars Group CEO Paul Redding said of the move in a release. “We very much look forward to being part of a bright new future.”
Secretly Distribution has long worked with Cargo Records UK on U.K./Ireland physical distribution and retail marketing for much of Secretly Distribution’s distributed label roster, though Secretly Group and its affiliates All Flowers Group and The Numero Group will be a new addition to CID’s physical catalog.
LONDON — Four months after opening its doors following a troubled, repeatedly delayed launch, Co-op Live has announced the appointment of Guy Dunstan as general manager and senior vice president of the United Kingdom’s biggest entertainment arena. Dunstan succeeds interim GM Rebecca Kane Burton, who was parachuted into the role in April when the venue’s original manager, Gary Roden, resigned several days after an ill-fated preview test event.
Dunstan, who has over 25 years of experience in the live events industry, most recently as managing director of arenas for NEC Group, where he was responsible for the 15,685-capacity Resorts World Arena and 15,800-capacity Utilita Arena in Birmingham, takes up the post at the Oak View Group-owned venue Oct. 21. As part of the executive reshuffle, Burton is promoted to executive vp of venue management for OVG International, where she will oversee the firm’s facilities, sports, entertainment, and hospitality divisions.
Located in the city of Manchester, Co-op Live is OVG’s first major project outside the United States and cost £365 million ($462 million) to build. Billed as a “game-changing” best-in-class arena facility, the much-hyped 23,500-capacity venue was originally due to open April 23 but high-profile construction delays led to multiple rounds of show cancellations before British rock band Elbow became the first act to officially play at the Populous-designed arena on May 14.
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Since then, Co-op Live has staged over 35 events, including shows by the Eagles, Pearl Jam, Liam Gallagher, Jonas Brothers and Megan Thee Stallion, and sold more than 900,000 tickets. In November, MTV’s Europe Music Awards (EMAs) will be held at the venue, marking the first time the event has been held in Manchester. Other upcoming bookings for 2024 include Paul McCartney, Janet Jackson, Crowded House, Glass Animals and Charli XCX.
“As we move into the next chapter of the venue’s story, Guy’s leadership will be a significant asset in helping us achieve our goals for Co-op Live to become the most sustainable arena in Europe and a first-choice venue for artists and fans worldwide,” said Jess Koravos, president of OVG International, in a statement announcing Dunstan’s appointment.
“What’s really exciting for me is that this venue has been specifically designed for live music and live entertainment,” Dunstan, a former chair and vice chair of the National Arenas Association, tells Billboard in an exclusive interview.
“When I first walked in and had a tour with [OVG chairman and CEO] Tim Leiweke I immediately said: ‘This is a dream to be able to work in a venue like this.’ Because everything has been designed to be focused on the customer experience and focused on the artist experience. That 365-million-pound investment means it is the top venue in the market, which makes it so exciting for me to be coming in to run it.”
Here, Dunstan discusses his vision for Co-op Live, his thoughts on the arena’s tumultuous launch, the recent furore around dynamic ticketing in the U.K. and more.
Congratulations on your appointment. What are you goals and long-term ambitions in the role?
A lot of great work has been done since the venue opened in terms of getting Co-op Live established and getting the promoters and artists used to working in the venue. That’s provided a great platform for me to be able to now come in, evaluate and focus on the areas that we need to carry on doing well, as well as those that we need to continually improve on. That’s what I’ve learnt in the past 28 years: our business doesn’t stand still. It’s continually evolving. Every day they’ll be a challenge that is thrown at you. And you have to have a structure and a team in place to deal with those unforeseen circumstances. Longer term, it will be about making sure that we’re providing the best possible experience for everybody who comes into the venue – front of house, back of house – and to thrive in that environment.
Co-op Live look inside
Nick Flynn
You were not involved with Co-op Live at the time of its troubled launch but as someone working in the live music business you must have followed the story closely.
My heart went out to the team. Every venue has had a day or a period where there’s been an issue, or a crisis and it has been under the spotlight. At that time, I reached out to one or two members of the team and took a very supportive view on that. What’s been great since then is how the team has bounced back and have really focused on the event programme. All the events that we’ve done since that opening period has really moved that [conversation] forward very quickly. 36 events have already been done. 900,000 tickets sold. In our business you have to learn, adapt, move on and grow. And I’ve definitely seen that in the time that I’ve been able to look at the venue.
What has been the reputational damage to Co-op Live from that chaotic three-week opening period and the many shows that were cancelled?
Things move forward very quickly. You’re as good as your last event and since the arena has been operating it’s been providing some great shows. Liam Gallagher was quoted as saying this venue is up there with [New York City’s] Madison Square Garden. The Eagles were saying the amenities, sight lines and facilities are what other venues should strive for. So that’s what I think is now driving that reputation. People are experiencing what the venue is all about and the focus is now on continuing that journey. We’ve got a venue that is first-in-class and that reputation and the awareness of that will grow every time we put an event on. When fans buy tickets and come into the venue that’s where their perceptions will really be built.
One of the biggest criticisms of Co-op Live from visitor reviews is the high price of food and drinks with a pint of beer costing almost £9.00 (almost $12.00). How do you justify those prices?
Since the pandemic there’s been a huge increase in cost in terms of food and beverage provision, so those prices are in line with the general arena market, and we have to reflect that in the price that we pass on to the consumer. What I would focus on there is the quality and range of the product [available]. When you walk into Co-op Live, one of the things that really strikes you is that the facilities feel like what you would expect to see on a high street or at the high-end range of clubs and bars. 15-20 years ago, venues at this level were essentially just bowls with a functional concourse for people to get around and some holes in the wall to get a burger and a warm pint. There was no real focus on the customer experience, but that’s where our industry has evolved over time and Co-op Live has taken it to a new level.
Courtesy of Oak View Group
Co-op Live is OVG’s first arena outside of the U.S. and marks the start of the company’s international expansion plans. What impact has OVG’s entrance into the European market had on the touring and arena business?
It’s really important from a U.K. point of view that we’re an attractive proposition to artists and promoters. We’ve got over 20 arenas operating in the U.K. and introducing top-quality facilities into the market is a real positive because the whole market benefits from that. What OVG have done is refreshed the focus on venue management. I think there was probably a complacency in there. The market was well established with the major operators and what OVG have done is come in and completely focused on venues providing great customer experience, state of the art facilities and venues that are actually designed for the product they are delivering. I think OVG have really shifted that focus and revolutionized the way that operators look at their own venues.
One of the biggest stories in the U.K. live music industry recently has been the furore over dynamic pricing on tickets for Oasis’ comeback tour next year. What are your views on dynamic ticketing and is it something that Co-op Live welcomes?
Ticket pricing and how that is set is very much an artist and promoter focus. As venues, we will work with promoters to make sure we are facilitating their needs and requirements, but the subject of [dynamic pricing] is something I’m going to leave to artists and promoters to take a position on. The venue has no benefit from how that plays out.
Nevertheless, a key part of your business model is offering concert goers a wide range of premium, and VIP upsell seating options?
We don’t want customers coming to just one show a year to see their favorite artist. We want them to have a really great experience when they’re here and want to come back again and again. And we’ve seen that through the growth of premium, which has really shifted. There was a gap in the [premium] offer that [Co-op Live] has helped meet. In the past there was a big gap between the highest-level premium and general admission and to many people premium was seen as not attainable. Now there’s different entry levels and it is affordable. The proof is in the pudding in that demand for those premium experiences, over and above just buying a standard ticket, has grown immensely.
Earlier this year, a Parliamentary committee called for a new voluntary tax to be added to arena and stadium tickets sold in the United Kingdom to support struggling grassroots music venues. Is that something OVG and Co-op Live supports?
Yes. Where there is an opportunity to put a voluntary levy or artist-led additional fund onto the ticket that can then go back into supporting the grass roots sector is something we will support as an organization. There’s a will and a momentum to take this forward right across the live music chain, from artists to promoters to venues. This is something we have to do that benefits the sectors that really need that support.
U.K. live music trade groups have also been calling for a cut in VAT sales tax on concert tickets, which is currently set at 20%, to bring the sector closer in line with other European countries. What impact would that have on the U.K. live business?
The benefit would be felt right the way through [the ecosystem] – from venues of our size and nature to the grass roots sector. There is clear evidence [from other European countries where the VAT rate is lower than the U.K.] that it does benefit the live business. [Cutting VAT on tickets] is something I completely endorse because hopefully it brings ticket prices to a level that is more attractive. But also it can be used to support other parts of the eco system and enable it to be more viable at a grass roots level.
One of the biggest issues facing the live sector post-pandemic is the rise in costs throughout all levels of the production chain, coupled with wider economic pressures impacting on consumer spending. How do you offset those cost rises and what are you doing to make sure live music remains affordable for fans?
That’s been a real challenge, particularly over the past three years or so in running venues of the size and scale that we operate. We have got to be really agile in the way that we manage costs and there’s costs that we have to continually review and monitor. Equally, we have to be mindful of how we deliver the customer experience and price sensitivity is really important. What I do see is that whilst the cost-of-living crisis has been a major issue globally, people are still really keen to come to entertainment venues. We’ve not seen an impact on ticket sales and what we have also seen is that people are still willing to spend money in the venues.
Harry Styles, who grew up in the small Cheshire village of Holmes Chapel, around 30 miles outside of Manchester, is an investor in Co-op Live and advised on aspects of the venue’s design. Can we expect to see him perform at the venue anytime soon?
When he is ready to tour, we’re ready and welcome for him to come and play and we really hope we’re the first venue [he chooses] when he comes back to play in the U.K. market.
Billboard Canada Women in Music was a star-studded celebration in Toronto last Saturday night (Sept. 7). Rising stars, Canadian legends — and some of their parents — were on hand to honour the myriad achievements of women on stage and behind the scenes in the first-ever edition of Billboard Women in Music in Canada featuring guest of honor Alanis Morissette.
Morissette received the Icon Award, honoring her as one of the country’s all-time greatest artists. Morissette celebrated femininity and emphasized its importance to people of all genders. “Matriarchy takes care of everybody,” she told the crowd, to a round of cheers.
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She was introduced by two Canadian stars — broadcaster George Stroumboulopoulos and Woman of the Year Charlotte Cardin, both of whom spoke to her massive influence.
Taking the stage to accept the award, Morissette — who has sold over 60 million records, with her breakthrough album Jagged Little Pill widely ranked as one of the best albums ever made — had her own thoughts to share on what it means to be an icon. She joked that even cereal boxes are called iconic these days. For her, though, an icon is someone who serves as a symbol of the safety to explore. Morissette reflected on how icons can inspire fans and listeners to probe the unconscious and to express themselves in new ways.
She also considered what it means to be a Canadian icon, enumerating some Canadian qualities that have helped her to succeed: curiosity and humility. Fame can be an isolating experience, Morissette shared — especially in the ‘90s, when there wasn’t a big girl-squad mindset, but fame has allowed her to also support and connect with people.
The night was filled with highlights, from Jessie Reyez dedicating her Trailblazer Award to her mother, who was in attendance, to performances from artists including Haviah & Omega Mighty, Tia Wood, Anjulie and more.
One of the most powerful moments came from Jully Black, known as Canada’s Queen of R&B, who took the Billboard Canada SiriusXM stage for a deeply impactful cover of Bob Marley’s classic “Redemption Song,” keeping the audience rapt for her 11-minute rendition.
In an elegant white and yellow gown, she commanded the stage, accompanied by a pianist and guitarist. She began with a moment of silence — no small feat, in a packed room full of industry honourees — reminding the crowd that though this was a celebration, many women around the world don’t get the opportunity to celebrate themselves.
“I stand here as my ancestors’ wildest dreams,” Black told the crowd, before leading a sing-along of “This Little Light of Mine,” bringing the crowd together as a community.
Adding a new lyric into Marley’s song about bondage and freedom, she asked a new question: “how long shall they kill our women?”
She descended into the audience to connect with fans and peers on the floor before returning back to the stage, and reflecting on her own beginning in the industry.”29 years ago I sang a hook called ‘What It Takes,’ by Choclair,” she remembered. “There was no infrastructure, there was no radio, for people, women, that looked like me,” she continued. “Women are paid less, if you don’t have a seat at the table build your own.”
She finished with heartfelt, hard-hitting vocalizations on Bob Marley’s refrain, closing out a performance that emphasized how far Canadian women in music have come, and how much there is left to do.
Watch the whole video here.
Selena Gomez, The Tragically Hip, Pharrell Williams Make Headlines at the Toronto International Film Festival
Some of the music industry’s biggest names have been descending on Toronto over the past week for the Toronto International Film Festival (TIFF).
The film festival has transformed downtown Toronto into a hub for celebrities, high fashion and red carpet glitz. It’s also brought many of music’s biggest stars to town, including Selena Gomez, Bruce Springsteen, Elton John, Pharrell Williams and more.
Selena Gomez came to Toronto for her new movie Emilia Pérez, a musical crime comedy that follows a Mexican cartel leader who comes out as a trans woman. Gomez plays the title character’s wife.
In an interview on the red carpet, Selena Gomez told Billboard Canada how her pop career actually worked against her for the role as she was learning the dance style of the film.
“I think it was really important that I let go of the pop star thing and kind of focus on more intricate dance that I’ve never really done before,” she said. “So it was really fun.”
Beloved Canadian rockers The Tragically Hip premiered a new four-part docuseries at TIFF, The Tragically Hip: No Dress Rehearsal. The series features new interviews and archival footage of the band, recounting their rise to stardom and the diagnosis of lead singer Gord Downie, who died in 2017 of brain cancer. Outside the screening, local choral collective Choir! Choir! Choir! led a massive sing-along of one of the band’s classic songs, “Ahead By A Century,” reminding attendees that love for The Hip runs deep.
The premiere of Pharrell Williams‘ LEGO-fied animated biopic Piece By Piece on Tuesday night (Sept. 10) was interrupted by an animal rights protester who stormed the stage during a Q&A session waving a sign that read: “Pharrell stop supporting killing animals for fashion” and shouting “Pharrell stop torturing animals!” Pharrell Williams is the creative director of the Louis Vuitton men’s collection.
Rather than move past it, Williams addressed the protester directly and said “You know what? You’re right.” He continued on that it wasn’t the right way to make her point, but that she did have a point. “…We’re actually working on that. And if she would have just asked me, I would have told her. But instead she wanted to repeat herself.”
Elton John was at the festival with his Canadian husband David Furnish, as was Bruce Springsteen and musician K’naan, who made his feature directorial debut. Check out more of TIFF’s top music moments here. – Rosie Long Decter
Hailey Benedict Signs to Big Loud Records
Rising country artist Hailey Benedict is making some big moves, as she inks a deal with Nashville’s Big Loud Records.
The Alberta singer announced the signing at Billboard Canada Women in Music celebration on Saturday, September 7.
Taking the stage in a sparkling silver fit, Benedict revealed that she’s signed with Big Loud and its Canadian-based imprint Local Hay, helmed by country star Dallas Smith. She followed up the announcement with a performance of her upcoming single “Things My Mama Says,” set to be her first release on Local Hay on October 4.
Benedict has been building to this moment since she was a kid — she first rose to national attention at the age of 14, when Keith Urban invited her on stage at a sold-out show in 2016 to perform an original song.
Since then, she’s released successful singles like 2021’s “Wanted You To,” built up an online fan base including 250K TikTok followers, and performed at major events like the Country Music Alberta Awards. In 2023, she won the SiriusXM Top of the Country competition and she’s heading into this fall’s Canadian Country Music Awards with a nomination for Breakthrough Artist.
All of that makes the timing right for Benedict to shift from an independent artist to working with a label that knows how to navigate the country landscape.
“I’m ecstatic to begin this new chapter with such an incredibly creative and dedicated team that shares my vision for my songwriting, artistry and career,” Benedict said in a statement. “After a decade as an independent artist, it was crucial for me to partner with a record label that aligns with my values and passion for music.”
Former BMG executives Dominique Casimir, Maximilian Kolb and Justus Haerder have formed a new rights company, umn — pronounced “human” — that will be based in Berlin. The new company today announced a forthcoming project from German pop star Max Giesinger, whose new album Menschen comes out Sept. 13. But the company will operate […]
After 17 years in Ibiza, IMS is expanding to the Middle East.
The annual electronic music conference announced Thursday (Sept. 12) that it will host the debut edition of IMS Dubai on Nov. 14-15 at the W Dubai – Mina Seyahi.
The two-day event will feature MENA region-based speakers from YouTube, Warner Music Group, Anghami, Believe and more, along with artists and organizers of regional events including Morocco’s Oasis Festival, Dubai’s Soho Garden and Groove on the Grass, and Beirut’s Factory People.
Additionally, speakers from outside the Middle East will represent companies and brands including Tomorrowland, Defected Records, CAA, WME, He.She.They and the Association For Electronic Music.
An opening keynote will be delivered by Maha ElNabaw, managing editor of Billboard Arabia. Other speakers will include Aloki Batra, CEO of The Pacha Group and Five Hospitality; Janet Ashak, YouTube’s head of music in the region; and more. Artist participants include Iranian producer Deep Dish, and Saudi Arabian producer Cosmicat. As at the Ibiza event, IMS Dubai will be hosted by BBC Radio’s Pete Tong, who is also an IMS co-founder.
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The two-day conference will feature 13 panel discussions, with topics including navigating the music industry in the MENA region; a look at culture tourism focused on Ibiza and Dubai; MENA region investors; regional talent buyers; the growth of labels and streaming in the region; the underground scene in Dubai; a focus on the Egyptian market; MENA women in music; and more.
Passes for the event go on sale Sept. 19.
“For almost two decades, International Music Summit has united the global electronic music community annually in Ibiza to explore industry trends, innovations, and the challenges our diverse community faces,” the IMS founders said in a joint statement. “To make a global impact, IMS seeks to be where change is happening, which is why we’ve also hosted three editions of IMS Asia Pacific in Shanghai and one in Singapore, five IMS Engage events in Los Angeles, and three IMS College events in Malta. IMS Dubai will debut in the United Arab Emirates, marking a strategic expansion into the Middle East and North Africa.”
Organizers note that the conference “will not receive government or cultural funding or incentives for this initiative.” Digital download platform Beatport acquired a majority stake in IMS in 2023, with support for the event also coming from AlphaTheta, the owner of Pioneer DJ.
“Our goal is to inspire continued growth, support, and investment while addressing the unique cultural challenges musicians and start-ups face,” the statement continues. “Electronic music culture is built on long standing principles of bringing people together from diverse backgrounds on the dancefloor. Music has the power to unify and we all have a part to play in creating safer spaces for all; a principle that IMS and Beatport proudly stand behind.”
The MENA region is indeed a current buzzy growth market for electronic music and more. The 2024 IFPI Global Report found that total MENA revenue rose by 14.4% in 2023 following a 26.8% jump in 2022. According to IFPI, streaming revenue accounted for 98.4% of the region’s market over the last year.
During the months-long feud between HYBE and NewJeans creative director and former ADOR CEO Min Hee-jin, the Billboard 200-topping girl group has largely remained silent. But early Wednesday morning (Sept. 11), group members Minji, Hanni, Danielle, Haerin and Hyein made their voices heard.
In a since-deleted post on their Twitter account, the group shared a YouTube link that led to a livestream on a no-longer accessible YouTube account named “nwjeans.” During the livestream, the five members spoke for about 30 minutes in Korean and English about their situation, expressing anxiety over their professional futures, worries about continuing to work under HYBE and revealing previously unheard stories.
Apologizing for the “sudden meeting,” all five members of the K-pop girl group sat in a nondescript room with notebooks, papers and iPads during the livestream. The youngest NewJeans member, Hyein, 18, spoke first, explaining that staff members they trusted (presumably also under or previously under the HYBE/ADOR umbrella) helped set up the location and stream but that it was the quintet’s choice to speak out.
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After that, Haerin noted that media coverage revolving around NewJeans’ situation became invasive when their private medical records and videos from their days as HYBE trainees leaked on the internet — four of the five NewJeans members were minors under the age of 18 when they debuted in July 2022 — but that when the group, alongside Min and their parents, raised concerns to ADOR parent company HYBE, the K-pop giant took no action.
One of the most talked about moments online among K-pop fans came early in the broadcast, when Hanni shared a story about a time when, while at the HYBE building to get her hair and makeup done, an unnamed HYBE LABELS group passed her with a manager. According to the Vietnamese-Australian singer, after initially greeting one another, the manager told the members of the other group to “ignore her.”
During the livestream, NewJeans members also expressed worries about the ADOR label’s inner workings following Min’s ouster as CEO.
In reference to ADOR’s new legal battle with Shin Woo-seok, the director of NewJeans’ “Ditto” and “ETA” music videos, Minji said it was “frightening” to see their work compromised. The director has alleged that ADOR targeted him for uploading “director cut” versions of NewJeans music videos and other content, which he claimed to have permission for, on his personal YouTube account.
Following ADOR’s removal of those videos, the label shared a statement on Sept. 4 that it would do its best to “ensure that the deleted NewJeans content can be uploaded to ADOR’s official channel in the future,” as reported by the Korea JoongAng Daily. That report also noted ADOR’s follow-up statement that only the “director cut” music videos were requested for removal — not behind-the-scenes clips starring the members that have racked up millions of views — while claiming it was advertisers who wanted the “director cut” videos removed.
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“Just like that, the content that we released solely for our fans, for our Bunnies, was instantly erased,” Danielle said in English about the incident. “I truly can’t understand why anyone would do this to a group or just anyone in general.”
Minji added that ADOR’s “new management” would keep production and management teams separate, like other HYBE LABELS. Under this arrangement, which saw Min being restricted only to production, and not being part of the discussions around the group’s overall management strategy, the group members said they were apprehensive over how they could continue as the NewJeans in its current form.
“Personally, the way that ADOR used to run was the business management and creative production was not separated…factors that played and worked in harmony with each other,” Hanni said in English. “It was our way of working and it was our CEO’s way of producing NewJeans’ content which a lot of you were able to enjoy and appreciate. But now that she’s no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work.”
On Aug. 27, HYBE announced that Min would step down as ADOR CEO and shared in a statement to Billboard that ADOR “will restructure to separate its production from management — a multi-label practice that has been standard across all other HYBE labels but was previously not implemented at ADOR.”
Haerin also claimed that NewJeans learned of Min’s dismissal through the news instead of through their company, saying it “made it clear to us that they don’t respect us at all” and led them to feel that statements about HYBE’s plans for NewJeans were empty promises. (In April, HYBE shared a statement with Billboard claiming that the company “will continue to provide attententive [sic] mental and emotional care to the company’s artist NewJeans…the company will meet legal representatives of the respective members as soon as possible to discuss the plan to protect the act.”)
Beyond these specific incidents, the five NewJeans members also spoke at length of their worries about losing their team identity and wariness that HYBE has their best interests in mind while insisting that Min return to work with them.
“Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways,” 19-year-old Danielle said. “Putting our sincere effort into something is only possible because of the people that we’re working with have trust in each other and have that same vision.
“Min Hee-jin is not only the person that produces our music, but someone who makes NewJeans who we are; she discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct color and tone, and this was created with Min Hee-jin. She is integral to NewJeans’ identity and we all feel that she is irreplaceable.”
Hanni later spoke to HYBE’s alleged directive that Min wrap up all her creative work in the next two months following her dismissal as CEO.
“Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation and we are not going to follow HYBE’s every order blindly,” Hanni said in English. “We are more than well aware that this is getting in the way of our work and that we should be treated much much better than how we are right now. And it’s very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Min Hee-jin.
“Despite her being in the midst of all this current legal conflict, she’s expected to plan and creatively produce our future endeavors in just only two months, which I personally think makes no sense at all. We don’t want to hear all the empty words of how they’re going to help us continue to work with Min Hee-jin. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before.”
NewJeans’ eldest member, Minji, 20, ended the livestream with a direct message to HYBE chairman Bang Si-Hyuk, saying, “We hope chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th.”
HYBE has not yet responded to Billboard‘s request for comment about the livestream.
The now five-month-long conflict began in April, when HYBE launched an audit of ADOR and asked Min to step down as CEO. The K-pop giant later reported Min to police, alleging the executive had committed a breach of trust. That led Min to respond by holding an emotionally charged press conference during which she denied claims that she had usurped NewJeans’ management and doubled down on claims that HYBE subsidiary BELIFT LAB had plagiarized NewJeans with its own girl group, ILLIT, and that another HYBE subsidiary, Source Music, had broken its promise to debut NewJeans as its first girl group, among other claims. Min was subsequently sued by both BELIFT and Source for defamation due to those comments, riling up several K-pop fanbases against her.
In May, a court ruled that Min could legally stay in her position. But in the past month, a former female ADOR employee accused Min of covering up her reportsof sexual harassment from a male superior. While HYBE’s own internal investigation reportedly concluded that the incidents didn’t constitute harassment, Min allegedly verbally abused the employee for speaking out — a claim that Min has denied, instead alleging that the issue arose from the former employee’s job performance and salary negotiations.
On Aug. 27, HYBE announced that it had appointed an ADOR director with human resources expertise, Ju Young Kim, as the label’s new CEO, and that Min would step down from her role but remain as an in-house director.
The recorded music market in Europe is at risk of falling behind other global regions unless regulators enforce tougher protections for artists, creators and rightsholders, according to a new report from international labels trade body IFPI.
In Europe, music sales grew to over $8 billion in 2023, representing more than a quarter of global revenues (28.1%) and maintaining the continent’s long-held status as the second largest region in the world for recorded music sales behind the U.S. and Canada, according to IFPI data.
Europe’s prominent position is coming under threat, however, from other music markets that are growing at faster rates, states IFPI’s first-ever report focused specifically on recorded music in the European Union, published Tuesday (Sept. 10).
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Last year, music sales among the 27 members of the European Union trading block — which the U.K. exited in 2020 — grew by 8.7% to 5.2 billion euros ($5.7 billion), says IFPI. While that places the EU below only the U.S. in total revenue terms, several other international markets are significantly outpacing its growth rate thanks to the widespread global adoption of music streaming services.
Examples cited by IFPI include China, which grew music sales by more than 25% to 1.3 billion euro ($1.4 billion) in 2023; Sub-Saharan Africa, up 25% to 85 million euros ($93 million); Mexico, up 18% to 454 million euros ($500 million); and the Middle East and North Africa (MENA), which climbed 14% to 102 million euro ($112 million).
Although all of those territories are developing from far lower bases than mature EU markets such as France and Germany — and all have some way to go before they come close to surpassing EU music sales — IFPI said their rapid growth represents “warning signs” that the region is facing strong competition from its global competitors. Notably, some of those fast-growing music markets were virtually non-existent just over a decade ago.
The report, which is titled “Music in the EU: A Global Opportunity,” comes three months after European Parliament elections and ahead of the unveiling of the new European Commission, the EU’s executive branch, which is expected to take place later this month.
The new cohort of Brussels politicians will be responsible for monitoring and enforcing already passed EU legislation such as the Digital Services Act, Digital Markets Act and the AI Act, which all impact the music business to varying degrees, in some instances significantly.
“The EU is a vitally important place for music,” said IFPI CEO Victoria Oakley in a statement. “However, the data in this report shows us that other parts of the world are developing and growing rapidly and the EU risks falling behind.”
To ensure that the EU’s music market stays competitive, Oakley called on European policymakers to provide “legal certainty and protection for music rightsholders, supporting the development of responsible and ethical AI and creating a competitive playing field on which today’s dynamic music sector can evolve.”
“Today, European music faces great risk but also great opportunity,” Oakley continued. “How policymakers address these issues will help determine its future.”
An accompanying press release from IFPI said its research sets out how policymakers can help “secure a positive future for music at what is a pivotal time for music in Europe” amidst rising global competition.The report notes that when adjusted for inflation, recorded music revenue in the EU last year was only 61% of where they were in 2001, the music industry’s revenue peak.
Specific areas in which IFPI says policymakers can support creators and rightsholders include effective implementation of the EU’s AI Act, which passed earlier this year, and upholding existing EU copyright laws preventing the use of copyright-protected works and music from being used for training AI systems without prior consent. AI developers must also maintain and provide records of the materials used in training and developing generative AI models that enable rightsholders to exercise and enforce their rights, says IFPI.
When it comes to individual EU markets, the report highlights the continued strong performance of domestic acts in their home countries. In the 22 EU markets where IFPI collects yearly chart data, on average, 60% of the Top 10s were tracks by domestic artists in 2023, compared to only 47% in non-EU markets.
EU markets fared less well in terms of top 10 global chart exports, which were once again dominated by U.S. artists like Miley Cyrus, SZA and Taylor Swift last year, though Latin and Central American artists, most notably from Columbia and Puerto Rico, also performed well.
The first edition of the Billboard Arabia Music Awards (BBAMAs) is set for Dec. 11 at the iconic KAFD in Riyadh, Saudi Arabia. The awards show is part of the first-ever Riyadh Music Week, an initiative bringing together the global music community for a series of music festivals and events.
Billboard Arabia has become the ultimate destination for discovering Arab artists, with the awards show celebrating a year of music milestones and achievements, including the launch of its flagship charts and other initiatives. The BBAMAs will honor trailblazers and rising stars with awards across a wide range of categories, including top artist, female artist and male artist, along with the year’s hottest songs and more.
Unlike other music award shows, BBAMA winners will be selected based on their ranking on Billboard Arabia’s flagship charts, including the Hot 100 and Artist 100, as well as the newly launched dialect charts – Khaleeji, Egyptian, Levantine and Magharebi – and genre-specific charts – Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. Billboard Arabia’s Charts follow the well-established parameters set by the Billboard brand over the last eight decades.
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In addition to recognizing the top artists and music of the year, the BBAMAs will showcase Saudi Arabia and the region’s diverse talent through live performances and surprise collaborations, featuring both established and emerging artists. It will also include performances from some of the biggest international artists.
“In just one year, Billboard Arabia has become the fastest-growing music platform that truly reflects the preferences of millions of music fans and followers across the globe,” Jomana R. Alrashid, CEO of SRMG, said in a statement. “Through the support of the Saudi Music Commission, part of the Ministry of Culture, and SRMG’s strategic partnership with Billboard, this significantly strengthens our ability to spotlight Arab artists to bring their work to global audiences and grow the region’s vibrant music industry.”
Rami M. Zeidan, managing director of Billboard Arabia, said: “I am proud to announce the first edition of the Billboard Arabia Music Awards. As one of the fastest growing music hubs, Riyadh is the perfect location to celebrate the achievements of Arab artists around the world. Audiences will experience the diversity of Arab music firsthand through live performances. They will see their favorite artists like never before. This is what BBAMAs are all about: ensuring that Arab artists, their music and their stories receive the well-deserved recognition both regionally and globally.”
Billboard Arabia, a pioneering platform at the intersection of culture and music, celebrates the artistry and diversity of the Middle East and North Africa (MENA). Launched as a partnership between SRMG, the largest integrated media group from the MENA region, and Billboard, the world’s most influential music media brand, its mission is to redefine the global music landscape.
Mike Van, president of Billboard, stated: “We are proud to bring the Billboard Music Awards (BBMAs) to Riyadh. The show remains the preeminent music event worldwide. The BBMAs celebrate and recognize musical talent and chart achievements and we’re thrilled to extend this legacy and vision to the MENA region, highlighting the musical excellence of Arab artists. This show will not only celebrate artists’ commercial success, but also highlight their real impact on the music industry. The focus is on spotlighting artists and the evolving music landscape. Winning at the Billboard Music Awards is not just about one night; it represents an important moment elevating artists toward sustained success in their careers. This year, with the launch of the Billboard Arabia Music Awards, we are applying the same metric-based methodology to showcase Arab artists who have resonated most with music fans worldwide.”
Billboard Arabia was launched in June 2023 to spotlight Arab artists and their stories on a global stage. Since then, it has introduced several iconic Billboard franchises to the MENA region, including Billboard Arabia News, Women in Music and Charts. These initiatives have established the necessary infrastructure to help both established and new artists reach wider audiences. Billboard Arabia has also developed several unique IPs that further highlight the Arab voices, including its exclusive studio session series, Jalsat Billboard Arabia, and its groundbreaking initiative, Sounds of the Land.
Performances and ticket information will be announced in the coming weeks. For more updates and news, visit billboardarabia.com.
BLACKPINK member Jennie has signed to Columbia Records as a solo artist in partnership with her record label and entertainment company ODDATELIER, it was announced Sunday (Sept. 8). The singer is slated to release a new solo single in October. The news follows last December’s revelation that all BLACKPINK members had split with their label, […]
Billboard Canada Women in Music was a star-studded celebration.
Rising stars, Canadian legends — and some of their parents — were on hand to honour the myriad achievements of women on stage and behind the scenes in the first-ever edition of Billboard Women in Music in Canada featuring guest of honor Alanis Morissette.
The packed, pink-tinted room at DPRTMNT in downtown Toronto was full of some of the Canadian industry’s biggest names, from Apple Music host and Billboard Canada Power Player George Stroumboulopoulos, to pop-punk star Fefe Dobson and R&B singer Keshia Chanté, to FACTOR Canada CEO Meg Symsyk and many many more. The evening brought Canadian women in music together to connect with each other, celebrate their accomplishments, and build community together.
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Hosted by rapper and Polaris Music Prize winner Haviah Mighty, the evening saw moving performances and impactful speeches, and a moving speech from Alanis as she received the inaugural Billboard Canada Icon Award. Here are the best moments from Billboard Canada Women in Music.
Alanis Morissette Talks About What it Means to Be a Canadian Icon
The Billboard Canada Women in Music ceremony was graced by a true legend: Alanis Morissette received the Icon Award, honouring her as one of the country’s all-time greatest artists. Morissette celebrated femininity and emphasized its importance to people of all genders. “Matriarchy takes care of everybody,” she told the crowd, to a round of cheers.
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She was introduced by two Canadian stars — broadcaster George Stroumboulopoulos and Woman of the Year Charlotte Cardin, both of whom spoke to her massive influence. Stroumboulopoulos suggested reframing the notion of an icon: instead of measuring it by numbers, he said, we can understand an icon as someone who changed the game entirely for everyone who came after her — whether the next generation knows it or not. He remembered hosting a late night radio show in the ’90s listened to primarily by 18-24 year old boys, who would call in to wax poetic about their favourite parts of the video for Morissette’s hit “Ironic.”
Taking the stage to accept the award, Morissette — who has sold over 60 million records, with her breakthrough album Jagged Little Pill widely ranked as one of the best albums ever made — had her own thoughts to share on what it means to be an icon. She joked that even cereal boxes are called iconic these days. For her, though, an icon is someone who serves as a symbol of the safety to explore. Morissette reflected on how icons can inspire fans and listeners to probe the unconscious and to express themselves in new ways.
She also considered what it means to be a Canadian icon, enumerating some Canadian qualities that have helped her to succeed: curiosity and humility. Fame can be an isolating experience, Morissette shared — especially in the ’90s, when there wasn’t a big girl-squad mindset, but fame has allowed her to also support and connect with people.
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Charlotte Cardin Makes History as the First Canadian Billboard Woman of the Year
Charlotte Cardin had a year full of highlights, from crossing over into the U.S. charts to selling out arenas worldwide, but she has another big milestone to add to her resume: the first Billboard Woman of the Year in Canada.
Accepting the award from Billboard Canada national editor Richard Trapunski, the Montreal singer-songwriter acknowledged the importance of the occasion while sharing the credit. “This is such an incredible honor, but this award isn’t just mine,” she said. It was a team effort, reflecting many talented people around her — especially women.
She thanked the women in her life, including her manager Laurie Chouinard. Accepting her own award for Manager of the Year earlier in the night, Chouinard pointed out that Cult Nation, the label and management company she works with, is made up of mostly women. Cardin said the women in her life also includes her fans. She even dropped some stats. “75% of my audience is female,” she said. “I’m grateful for you all.”
Later, she got to thank a specific influence, introducing Icon of the Year Alanis Morissette. The normally cool and collected Cardin got a chance to gush, speaking for the awestruck women in the room. She said she doesn’t know Alanis, but feels like she does from her music, and called her a champion of self-esteem and acceptance for entire generations.
Cardin had one of the final performances of the night, too, hushing the room with a dramatic solo piano version of the closer from her breakout 2023 album 99 Nights, “Next To You.” She ended by blowing the audience a kiss, putting a stamp on a big night deserving of a historic achievement.
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Jully Black’s Powerful ‘Redemption Song’ Commands The Room
One of the first performances of the night was none other than Canada’s queen of R&B, Jully Black, who was also on hand to receive the Billboard Canada Impact Award. Black is a platinum-selling singer, but she opted to perform a moving cover of Bob Marley’s “Redemption Song” instead of one of her best-known hits like her top ten hit “Seven Day Fool.”
Accompanied by piano and guitar, Black had the chatty room in the palm of her hand, opening with a moment of silence that got everyone’s attention. “You’d think it would be obvious for me to come and do a ‘Seven Day Fool’,” she told the audience. “But where I’m at in my life, it’s about redemption.” She led a sing-a-long of “This Little Light” before going into the classic Marley song about bondage and freedom, changing some of the words. “How long will they kill our women?” Black sang, a resonant question during a truly impactful performance.
After her show-stopping performance, Jully Black returned to the stage to receive the Impact Award, honouring the massive mark she’s left on Canada’s music industry and beyond. A renaissance woman, Black has a multi-faceted career in music, acting, radio, fitness and much more, and she’s shaped national conversations about racism and colonialism.
Accepting the award, she reflected on a time before she was at the forefront of Canadian media, when her main focus was bringing her childhood cabbage patch doll to her grade two show and tell. The cabbage patch doll, she laughed, melted in the sun — so her teacher, Miss Simon, invited Black to sing, instead.
“So I’m saying her name,” Black shared, “Miss Simon — thank you.” She went on to name a long list of women integral to her journey, including Warner Chappell Music Canada’s Vivian Barclay, FACTOR’s Meg Symsyk, and former MuchMusic host Denise Donlon. It was a reminder that for every woman on stage at the event, there’s many more who helped her get there.
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Jessie Reyez Celebrates Her Trailblazer Award — And Her Mom’s Birthday
Singer Jessie Reyez took home the inaugural Trailblazer Award, recognizing her commitment to artistry and the ways she’s used her platform to promote social causes throughout her career, from speaking out about sexist gatekeeping in the industry to shouting out Black Lives Matter from the CN Tower.
She thanked her parents as she received the award, highlighting her mom in particular, who was celebrating her birthday from the Billboard Canada Women in Music VIP Booth. Reyez reflected on how growing up, her mom always encouraged her to live her truth, whether or not it conformed to gender norms. “I was given an open canvas, and despite people judging her mothering style, she still let me be free,” she said.
She also offered a little advice for people who might be afraid about standing up for a cause: “I hope you f—ing do it anyway.”
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Star Siblings Haviah and Omega Mighty Double the Fun
It’s no easy task to follow Alanis Morissette, but sisters Haviah and Omega Mighty rose to the occasion, closing out the evening after Morissette received her Icon Award. Haviah also served as the evening’s co-host alongside Billboard Canada CEO Amanda Dorenberg and CCO Elizabeth Crisante, bringing the energy throughout the night, but she had more than enough leftover for a medley with her sister Omega.
Haviah kicked off the set with her 2023 single “Trendsetter” before bringing up Omega for a rendition of their collab track “Zoom Zoom.” The two fed easily off of each other’s vibes, bouncing around the stage and getting the crowd dancing. “We’re gonna finish it up by maximizing the fun,” Haviah told the room, before launching into her brand new single “Double The Fun,” with a booming beat. The sisters are more than capable of getting serious when the moment calls for it — in our Spotlight Sessions, they share wisdom about their journeys in the industry — but they also know how to get the party started, and how to bring an event home.
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Sophie Grégoire Trudeau Quotes the Queens
Author, mental health advocate and political figure Sophie Grégoire Trudeau helped kick off the event by joking that her two kids don’t normally think of her as cool — but at an event like this, she definitely felt cool.
Grégoire Trudeau paid tribute to the event’s honourees by quoting some of their most inspiring lyrics, stitching together quotes from Alanis, Jully Black, Haviah Mighty and more into a free-form spoken word poem. This excerpt alone juxtaposes Tia Wood, LU KALA and Charlotte Cardin:
“We shed with the sea
Sun shining on our peace
What doesn’t kill you makes you hotter now
A little wilder when the lights go out
See the sun leading us
Hear the drum beating us
We will not live a meaningless life”
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LU KALA’s Rising Star Shines Bright
Pop singer LU KALA has been making waves with her infectious charisma and empowering anthems like “Pretty Girl Era,” making her this year’s Billboard Canada Rising Star. To celebrate the award she performed a medley, showing off the chops that have helped bring her to international attention.
Earlier this summer, LU performed a more stripped-back set for the Billboard Canada and iHeartRadio Spotlight Session, but her Women in Music set was a full-on, high-energy affair. LU strutted on stage accompanied by keys, guitar and her very own back-up dancers.She sang a brief rendition of her upcoming single “Criminal” before segueing into the breakup bop “Hotter Now,” with her dancers fanning themselves and stomping the stage to emphasize key lyrics. It was an affirmation that this diva is ready for her spotlight.
Intimate Performances From Up-and-Comers and Longtime Favorites
The celebration also highlighted some of Canada’s most exciting up-and-coming artists, including Alberta country singer Hailey Benedict as well as soulful Plains Cree and Salish singer Tia Wood.
Benedict took the stage in a shining silver outfit with just her acoustic guitar, performing an unreleased song, “Things My Mama Says,” dedicated to her mom. Benedict, who won the SiriusXM 2023 Top of the Country competition and has built an impressive online following, also revealed the exciting announcement that she’s signed a record deal with Nashville’s Big Loud and their Canadian imprint, Local Hay.
Plains Cree and Coast Salish singer Tia Wood performed twice at the event, opening the evening and returning later with a delicate, dynamic rendition of her song “Dirt Roads.” Wood was vulnerable with the crowd as she spoke about moving to L.A. and feeling lonely, losing access to her culture and community. Wood has made a name for herself as an artist to watch, and she brought her precise vocal trills and ability for raw connection to the Billboard Canada Women in Music stage.
There was room for longtime favourites with new energy, too. Anjulie, who first charted in 2009, has made a new name for herself as an industry player in L.A., collaborating with everyone from Zedd to Nicki Minaj. At the celebratory event, she gave a short and sweet performance with two interpretative dancers behind her.
Moments of Community Building Across the Music Industry
Billboard Canada Women in Music was about more than just artists — it was about recognizing talent across sectors of the industry and building community across the whole music landscape. The list of talented women in the room was incredibly diverse — not just in terms of genre, but in ways they shape the industry.
Sonali Singh won Global Manager of the Year, flying in from India to accept. She’s one of the first female managers in India, she said, and acknowledged she couldn’t have done it without the “global artist of the decade” Diljit Dosanjh. Together, the two made history this year, putting on the biggest Punjabi concert outside of India in Vancouver and repeating it with a stadium show in Toronto.
Meg Symsyk, CEO of FACTOR, and Amy Eligh, Director of Publishing & Licensing of Arts & Crafts, both took the stage and recognized the importance of royalties and rights for songwriters. Lola Plaku, SVP, IGA Urban Marketing & Strategy at Interscope, Geffen and A&M and founder of Girl Connected, talked about the importance of mentorship. The powerful women in the room extended beyond music — Joanna Griffiths, CEO of underwear company Knix Wear, introduced Jully Black while remembering when she worked as Black’s publicist, helping Black to make her mark in the industry.
That just scratched the surface of the powerful and influential women at the event, who connected and celebrated each other throughout the night.
This story originally appeared in Billboard Canada.