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Nashville-based Big Loud, home to artists including Morgan Wallen and HARDY, has revealed a joint venture with Nashville-based indie modern rock label Severance Records.
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Former Elektra Entertainment co-president Mike Easterlin, along with former Atlantic Records GM/senior vp of A&R Steve “Stevo” Robertson, serve as co-presidents of Severance Records. The new label launches with flagship signing Dexter and The Moonrocks, who are booked by WME’s Mike Krug, and managed by Lion’s Claw Entertainment’s Chris Schoemann, and Joe Greenwald (Marketing & Promotion).
“Stevo and I could not be more excited to be joining the Big Loud family,” Easterlin said in a statement. “(Big Loud Partners) Seth (England), Joey (Moi), Craig (Wiseman), and (Big Loud Rock / Big Loud Management Partner + President) Greg (Thompson) have been so supportive from the first time we met about building this partnership together. Watching the company that Big Loud has become in the country space only drives Stevo and I to want to make Severance Records the same kind of force in the alternative space. Our goal is to be rooted in Nashville, but global in vision.”
Prior to his work as co-president of Elektra, Easterlin had worked as president and GM at two of the company’s labels – Fueled By Ramen and Roadrunner Records. His career also includes roles at Virgin Records and Island Def Jam. Along the way, he’s worked with artists including Smashing Pumpkins, Lenny Kravitz, Nickelback, Panic! At The Disco, Paramore and Bailey Zimmerman.
During his 25-year tenure at Atlantic Records, Robertson signed Shinedown, Paramore, Rainbow Kitten Surprise, Knox and A Day to Remember, and helped develop artists including GAYLE, Collective Soul, Seven Mary Three, Matchbox 20 and more.
“I’m a fan of so much of the music Mike and Stevo have discovered and promoted throughout their careers,” Big Loud Partner / Producer / President of A&R Joey Moi said in a statement. “Working with them on building and establishing some incredible new rock and alternative acts is something we’re all really looking forward to.”
“Mike and Stevo have championed some of the most exciting, culture-driving music of the last two decades, so when the opportunity to work with them in this capacity came up, it was an instant ‘yes,’” Big Loud partner and CEO Seth England said in a statement. “We’re grateful to partner with them and build a legacy together with Severance.”
“When Mike (Easterlin) and I laid the groundwork for Severance Records, we were driven by a genuine love for rock music and an instinct to follow its evolving path,” Robertson said in a statement. “In an industry that seemed to have momentarily turned away from rock, we felt a strong undercurrent – a shift back towards the authentic sounds of guitars and raw attitude. Dexter and The Moonrocks struck a chord with us immediately. While being influenced by greats like Nirvana and Kings Of Leon, they’re a bridge to the future of rock, blending influences from rock legends and contemporaries like Rainbow Kitten Surprise and Colter Wall. Their sound is the DNA of Severance Records – rediscovering and redefining rock with a fresh perspective, especially with a nod to Southern roots.
“We’re shaping a unique culture. Our focus is alternative – alt-rock, alt-pop, alt-country, and indie rock. We’re drawn to authentic, unconventional sounds. Dexter and The Moonrocks are at the forefront of that. As our first signing, they represent the distinct sound of Severance Records.”
Singer-songwriter Maggie Rose, known for her blend of rock, soul and Americana/folk stylings, has signed with Big Loud Records.
The deal is the latest under the label’s aim to sign talent in an array of genres, including Americana, pop, folk, alt-country, and more. Big Loud Records vp of A&R Nate Yetton is leading those efforts, with Rose being among Yetton’s first new signings, following the label’s signing of Charles Wesley Godwin earlier this year.
Rose, who is managed by Starstruck Entertainment, is set to join a nationwide tour with St. Paul & The Broken Bones and promises new music soon. Rose has been a Nashville mainstay, having played the Grand Ole Opry nearly 100 times, and was recently elected as governor of the Recording Academy’s Nashville chapter. Her multi-genre talents have led her to performance slots on festivals including Newport Folk Fest, Bonnaroo, Austin City Limits and more.
Rose said in a statement, “Big Loud dove in headfirst and defied my preconceived notions of what I’d come to expect from a big label; they didn’t want me to change the music I was working on or ‘chase’ the trends. They understood the vision and believed in me from the outset. I’m so excited for this new chapter.”
Yetton added, “Maggie is a world-class vocalist, performer, and songwriter. Earlier this year I was privileged enough to hear her new, unreleased album, and after one listen through, I knew that we had to find a way to partner with her and release this body of work via Big Loud Records. I truly believe it is her best, most undeniably authentic, compelling and complete work to date. This is the kind of art that transcends genre and will be playing at dinner parties and on stages across the globe for decades to come.”
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Joey Moi, partner/producer/president of A&R, Big Loud said in a statement, “When I heard some of Maggie’s upcoming new music, I just loved the sound of it. The songs are something entirely their own; her voice speaks for itself. Happy that Big Loud is putting this music out and helping Maggie tell her story.”
Narvel Blackstock, manager, Starstruck Entertainment said, “Starstruck has been fortunate to work with Maggie for the last several years. It’s been incredible to watch Maggie as she has defined her career as a vocalist, songwriter and undeniable artist. We look forward to the future with Big Loud and looking forward to the future with Maggie.”
Megan Thee Stallion is taking her music back into her own hands amid a grueling legal battle with her record label 1501 Certified Entertainment. During an Instagram Live on Thursday (Oct. 12), the rapper revealed that she’s not signed to a label and will be funding her own music projects moving forward, as seen in […]
ONErpm Nashville has launched a joint venture with Huff Co., a production company spearheaded by brothers Dann Huff and David Huff, to help guide artists from various musical genres into the marketplace.
Dann, a Billboard producer of the decade honoree, will be at the helm, with creative input from David, as they produce artists signed to the joint venture. Meanwhile, ONErpm will fund production and oversee distribution and marketing for the artists. Artists will be signed directly to the joint venture, with ONErpm acting as a record label and co-owning the master recordings.
Tim Wipperman, the MD for ONErpm Nashville, previously spent nearly three decades as the head of Warner Bros. Music. He also served as CEO of Rezonant Music and then as president of Anthem Music Publishing Nashville.
“For some artists, the traditional model isn’t viable or necessary,” Wipperman tells Billboard. “There are advantages and disadvantages to working within that kind of corporate structure, and there are a lot of advantages to working outside of that corporate structure with a more nimble organization. We did 70 billion Spotify streams last month and 20 billion YouTube streams, so this company has leverage and reach.”
Musician and producer Dann has played on and/or produced recordings by Barbra Streisand, Reba McEntire, Celine Dion, Rod Stewart, Shania Twain, Keith Urban, Megadeth and more. He has won the CMA musician of the year honor three times as well as CMA Awards for his production work on CMA single of the year-winning songs in 2016 (Thomas Rhett’s “Die a Happy Man”) and 2017 (Urban’s “Blue Ain’t Your Color”). Dann will continue to produce artists outside of the joint venture.
David’s resume includes work as a producer, music director, consultant and artist development executive. In the studio, he’s collaborated with Rhett, The Smashing Pumpkins, Avicii, Sheryl Crow, Twain, Michael W. Smith and more.
Though specific artist signings will be revealed later, Dann tells Billboard that he expects the joint venture will ultimately work with a mix of new artists who have made an impact in the streaming arena as well as established artists seeking more freedom than they can get in a typical label deal structure.
“Because I have this long history in Nashville, there’s been talk of finding homes for some of these artists that maybe aren’t [still] in the mainstream, doing what they’ve done through the course of their career, but they are very viable in the sense that they have active audiences who want new music,” Dann says. “I like the fact that not everything has to go through the prism of being radio-driven. It just opens so much more…for someone who loves music, there’s nothing better.”
Wipperman adds, “We want ONErpm to be at the forefront of finding new ways to build careers. When artists look at a non-major [label operation], there’s a concern about production and the ability of a non-major to leverage what they are doing. I think getting into business with producers [with] the quality of Dann and David, that eliminates one of those impediments. You grow a company by creating alliances with talented people.”
ONErpm’s services include music distribution, marketing support, publishing, accounting and global payment systems. The company operates in 43 offices around the world, with more than 500 staffers globally. Artists currently working with the company include country artist William Michael Morgan, reggae artist I-Octane, Jamaican dancehall superstar Sean Paul, pop band Nightly, singer-songwriter Jay Allen, singer-songwriter Chance Peña and Americana artists Mark and Maggie O’Connor.
Kevin “Chief” Zaruk and Simon Tikhman, co-founders of entertainment and talent management company The Core Entertainment (TCE), have partnered with Universal Music Group (UMG) to launch the global label venture The Core Records. The label venture will sign and develop new artists, working with UMG’s global network of labels. Tikhman and Zaruk, who were both […]
Universal Music Group Nashville has named Charlene Bryant as senior vp of business development & strategy.
Bryant brings with her a track record of experience and success in genres including country, Christian and hip-hop. The Ohio native and Belmont University graduate previously spent five years leading artist management company Riveter Management, which she founded in 2018. Bryant was named one of Billboard‘s R&B/Hip-Hop Power Players in 2020 and 2021 and was part of CMT and mtheory’s inaugural equal access development program.
“Charlene has spent her career in artist development and learning to merge cultures of Christian, R&B, Hip-Hop and Country music,” says UMG Nashville chair & CEO Cindy Mabe. “She’s had success at major labels and independents, as well as success as an entrepreneur. As Universal Nashville is investing deeper to expand our growth in partnering in innovation with entrepreneurs, the independent label sector as well as our sister labels, Charlene is the perfect person to help merge those worlds and cultures to help build the next era of Universal Music Group Nashville. I could not be more excited to have Charlene Bryant help build our vision.”
UMG Nashville’s latest hire comes under the leadership of Mabe, who officially took the chair/CEO reins of the label in April. In a memo to UMG Nashville staffers at the time, Mabe laid out a vision for the company going forward. Among her plans are to “dramatically expand our partnerships with independent labels and entrepreneurs.” Mabe added, “Inspiration and new ideas are coming from everywhere. Much of that innovation is coming from the independent sector, but by the same token there is so much more they could do if they partnered with us in key areas. Universal Nashville will actively take a role to position ourselves as the best partners to expand their growth and help develop and support these artists.”
As Mabe continues to build the leadership team at UMG Nashville, the company is also pulling from other industry sectors. In May, Chelsea Blythe was appointed as executive vp of A&R for UMG Nashville. Blythe previously served as senior vp of A&R at Def Jam, leading A&R efforts for artists including Armani White and 26AR. Blythe also worked at Columbia Records, signing artists including Baby Keem and developing artists including The Kid LAROI.
In the memo to UMG Nashville staffers in April, Mabe said the company also aims to “collaborate even closer (and more creatively) with our label colleagues around the world where we can leverage each other’s strengths to break artists who are either signed to their rosters or ours. There’s so much more we can do together.”
As part of that work with UMG Nashville’s sister labels, the label also recently announced its partnership with Capitol Christian Music Group to release new music from Grammy-nominated artist Anne Wilson (“My Jesus,” “Sunday Sermons”).
Facet Records will now grant songwriters three percentage points (colloquially referred to as “points”) on every recording they release from the label’s share of the track, founder Justin Tranter tells Billboard. A songwriter with credits on hits like Imagine Dragons’ “Believer” and Justin Bieber’s “Sorry,” among others, Tranter hopes to start a trend of labels sharing master income with songwriters and to bolster “the middle class of songwriters” that they feel has “been decimated” in recent years.
Home to emerging talent like Jake Wesley Rogers, Shawn Wasabi, Shea Diamond and YDE, with today’s announcement Facet Records is “the first company in the world to make this a standard practice,” says the company founder. While already revered hitmakers, such as Tranter, can occasionally negotiate for a half or single point on the master recording, working class songwriters typically never see revenue or ownership on the master side, “unless they also produced the song,” says Tranter.
The independent label’s team opted to offer three points specifically because it will align songwriters with the industry standard already granted to producers on the recorded music side. Historically, producers earn anywhere between one to five points on a master, given their role in the recording process. The three points will never be taken out of the artists’ share of the song at Facet Records and will be shared equally with all the songwriters on a track that are not also an artist or producer.
“I figured instead of complaining and begging for change, I could fight the good fight myself first and at least do what I can to control the situation,” says Tranter. “Songwriters are the backbone of the business, the embryo, but only a few writers are living a life like mine, most everyone is left to starve.”
Earning a livable wage as a working songwriter has become harder in recent years due to a convergence of factors. In general, the publishing side of music produces less royalties than the master recording side does, but now, during the streaming era, songwriters face additional challenges. In a time of physical media like CDs, cassettes and vinyl, songwriters across all of the album’s tracks would get paid evenly for sales of full albums, meaning that even if the songwriter wrote on a less popular track, they could still see decent income, even if their song did not make it to the radio, where many songwriters say is where the real money is. The emergence of single downloads, and now streaming, has created an increasing disparity between the income generated by radio singles and a regular album track.
While artists can bolster their income by looking to brand partnerships, touring and other revenue sources, songwriters are left to pay their bills with streaming, radio and sales alone. While the Copyright Royalty Board proceedings have led to some increases in U.S. streaming rates for songwriters in recent years, many feel it is not enough.
In 2021, Tranter — along with other hitmakers like Emily Warren, Ross Golan, Tayla Parx, Victoria Monét, Savan Kotecha and Joel Little — created an advocacy group called The Pact to voice some of the issues facing the modern songwriter. Among their grievances, The Pact noted that artists who do not contribute to writing the song now expect “particularly aggressive” cuts of the publishing, something most songwriters do not have the leverage to refuse.
There are also other, more universal difficulties songwriters today have to account for, including inflation and cost of living increases, the latter of which has particularly hurt Nashville songwriters.
When asked if Facet would adjust another area of its business to account for losing the three points of income, Tranter says though they expect the change to be an “accounting headache” they add, “if I’m lucky enough to have a hit song where we own or co-own the master, that’s going to be great. I don’t need to make this up. In my opinion, labels are being greedy, they’re just being f-cking greedy.”
Tranter hopes that by opting to announce the new standard publicly that “it will inspire other labels to follow.” “We especially need the major labels to join this if we want it to be a real thing, but if it inspires other smaller labels, who can make this change quickly and overnight like I did, and it gets majors to at least have the conversation, then that’s a step forward.”
The Cadillac Three members Jaren Johnston and Neil Mason have teamed with Warner Records via a joint venture to launch the Nashville-based label War Buddha Records.
The first signing to the venture is Los Angeles-based singer-songwriter Rett Madison, who recently wrapped a run of shows with St. Paul & The Broken Bones and is slated to play during SXSW 2023.
“As artists ourselves, we created War Buddha first and foremost as a home for artists,” Johnston said via a statement. “In partnering with our longtime friend Aaron Bay-Schuck, alongside Tom Corson and the stellar Warner Records team, we saw the opportunity to mix our dirt with Warner’s power to create a venture fostering both creative expression and commercial success.”
“We want the label to offer a platform for artists with unique perspectives who fit out, not in, and feel unafraid to tell their stories unapologetically,” Mason added. “Rett is the perfect first signing for the label: an artist with the incredible ability to capture life experiences in songs that make the listener feel they are in those moments with her. We’re so grateful to Aaron and Tom for the chance to build this label together.”
Nashville natives Johnston and Mason, along with their The Cadillac Three cohort Kelby Ray, have released albums via Big Machine Records including 2016’s Bury Me in My Boots, and a pair of 2020 projects, Country Fuzz and Tabasco and Sweet Tea. As songwriters, Johnston has written songs recorded by artists including Tim McGraw (“Southern Girl”), Keith Urban and Eric Church (the duet “Raise ‘Em Up”). Mason has written songs recorded by artists including Miranda Lambert (“Old Sh*t”), and Jake Owen (“Days of Gold”).
“For as long as I have known Jaren and Neil, they have never taken a conventional path,” said Bay-Schuck, co-chairman & CEO of Warner Records, via a statement. “They’ve been fearless in their pursuit of great art, never compromising any integrity or authenticity in their approach to their own artistry or collaborations as songwriters and producers for other artists. As we continue to build the Warner Records brand as one that is always a safe and encouraging place for artists who dare to be different, take risks, and have a point of view, it made total sense to partner with War Buddha on their mission to do the same. We are very excited to welcome Rett Madison as the first artist from this partnership and we can’t wait to see what other unique and amazing talent Jaren and Neil discover.”
“I couldn’t be more thrilled to be joining the Warner Records family with War Buddha!” Madison said. “I’ve felt such genuine enthusiasm from Neil and Jaren in regards to my music and their total support of me sharing my most authentic, artistic voice feels refreshing. I can’t wait to see what we all build together.”
Music curator Ari Elkins and Avex USA have joined forces to form the new label co-venture Blue Suede Records. Seeking to sign undiscovered talent, Blue Suede will provide its signees with hands-on development and a non-traditional approach to the changing music business.
Elkins is possibly TikTok’s most popular music curator and has helped his nearly 2 million followers find new music and undiscovered artists to add to their playlists for the last few years. The 22-year-old’s presence on the short-form video app has led him to become host to Spotify Live’s Soundtrack Your Day and Simon Cowell’s newest show, Stem Drop. But through the creation Blue Suede, Elkins will now be able to not only recommend new artists, but build with them as well.
Avex USA, the American operation of leading Japanese music/entertainment company, is also new to the record label sector of music. Just over a year ago, the company launched its label SELENE, and since then, has signed artists like Sadie Jean, Austin George, Sophie Holohan, Billianne and Zach Hood, many of which have gone viral on TikTok.
Together, Elkins and Avex bring a fresh approach to the label business and a penchant for digital marketing.
“Ari has built a dedicated audience of millions through his love of discovering new music,” said Lucas Thomashow, svp of Avex USA and head of SELENE. “His passion for finding and championing new artists is infectious, and something we share at Avex USA. Ari has found new ways to connect audiences and music and to help songs cut through, we felt he was perfect to partner with and launch a disruptive new label venture.”
“I’m so excited to take my love for finding new artists and sharing them with the world to the next level with Avex and the launch of Blue Suede. What we are building is a unique opportunity for emerging artists to get best-in-class traditional label services but also truly tangible and contemporary marketing power. I’ve been following AVEX and SELENE’s work since inception and have always admired their swift mobility and unconventional approach to the music industry, which in 2023 is so crucial,” adds Elkins.
Jake Basden, who has enjoyed a nearly 12-year tenure at Big Machine Label Group, is exiting his role as senior vp of communications to pursue new opportunities. There is no word yet on his next steps.
“The trouble with working with Scott Borchetta and a company as dynamic as the Big Machine Label Group is, honestly, there is no reason to leave,” Basden said via a statement on his decision. “There comes a moment when you realize you must seek new horizons. You can get very comfortable working with incredible acts, these teams, and Scott’s many endeavors. Something I learned during my years in New York is don’t ever stop growing and reaching for new challenges. The culture at Big Machine always encouraged me to aggressively go in new directions.”
“Jake came to us right when I needed him most – right as Big Machine was exploding. He has been my communications foil and strategist and we’ve had an incredible run together,” BMLG chairman Scott Borchetta added. “Jake always presented me and the label group in very creative ways that caught the attention and landed very important pieces in Fortune, Fast Company, Rolling Stone, the Wall Street Journal and so many more. I’m very proud of all that he’s accomplished here and I’m sure he will continue to reach new heights in his next adventure. He will always be part of the fabric of Big Machine.”
Basden, a University of Oklahoma graduate, joined Big Machine from the New York offices of public relations firm Edelman, where he served as a director in their sports and entertainment division. Basden, who was named Country Music Association (CMA) publicist of the year in 2018, has worked on projects including Midland‘s re-opening of the Palomino Club, the Academy Award-nominated Glen Campbell… I’ll Be Me documentary, Jennifer Nettles‘ “I Can Do Hard Things” video and campaigns that aided in Carly Pearce earning accolades from the CMA and Academy of Country Music (ACM).
“With over 30 artists and multiple label imprints spanning country, Americana, hip-hop, rock and pop, every day was a fresh set of prospects to explore,” Basden added. “I’ve gone places I once only dreamed of and worked with some of the best media, marketing, and brand people in not just America, but the world. I’m forever grateful for Scott, the BMLG family, artists, managers, agents, and media people who’ve made this decade one that flew by. It inspires me, knowing wherever I’m going, it’s going to be a foundation unlike any other to build from.”
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