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Jonas Group Entertainment (JGE) and the company’s founder Kevin Jonas Sr. have launched the Nashville-based Red Van Records, under the leadership of CEO Phil Guerini.
The label’s first signing is Nashville singer-songwriter Levi Hummon, who’ll release his first song under the label on Oct. 27, with a new version of his Walker Hayes collaboration “Paying For It.” Dan Pearson‘s Lakeside Entertainment Group will provide label services for Red Van Records.
JGE was founded in 2005 while Jonas was managing his sons, the sibling music group Jonas Brothers. The namesake for Red Van Records is the red van that the Jonas family originally toured the country in. “I can’t begin to guess how many hours and miles we logged driving the guys around the country in that van, but it represents the commitment you make to be in the music industry,” said Jonas Sr. in a statement. “We were always building and in motion and that’s the philosophy of Red Van Records.”
“With the values and ideals that are the foundation of Red Van Records, Levi is the perfect artist to launch our label,” Guerini said in a statement. “He is so well respected in the music community as a complete artist, and he has been tireless in his pursuit of music and taking it to the fans on the road. It’s the unrelenting pace and ‘firsts’ of the early days that may seem small at the time, but like the red van, they are the start of something truly special.”
“So excited to be working with Kevin, Phil, and honored to be Red Van Records first signing,” Hummon added. “I’m so grateful to them for dreaming big with me and I couldn’t imagine my music in better hands. Family is everything to me and they have made feel like part of their family since day one. This next chapter is going to be a wild ride.”
Jonas Group Entertainment’s artist roster includes Bailee Madison, Darby, Franklin Jonas, Harper Grace, Levi Hummon, LIVVIA, Mallary Hope, Mandy Harvey, Tayler Buono and The Band Light. Meanwhile, Jonas Group Publishing’s roster includes Franklin Jones and Terri Jo Box.
Hummon, the son of songwriter Marcus Hummon, previously issued his debut self-titled EP in 2016 through Big Machine Label Group, followed by 2018’s Patient via Iconic Records.
After a 17 year run with Republic Records, Jessie J announced in a video on Friday (Sept. 29) that she has split with her longtime label home and is planning on releasing her next project independently.
“My lawyer said that I need to make a statement about the decision that I have made. I don’t want it to feel like a huge, big thing,” said J, 35, in the selfie vid in which she is walking through a park. “After 17 years I have decided to leave Republic Records. I was about six months pregnant when I made this decision.”
She credited label founders Monte and Avery Lipman and former A&R rep Jason Flom for being “so gracious and kind in supporting my decision and letting me go. It’s been, honestly, the most amazing high and low ride of my life being signed to Republic,” added the singer whose last album of new material for the label was 2018’s R.O.S.E. “I just feel so grateful that I’ve got to experience being signed to the best record label in the world…. But I have to just be honest with who I am and what I want from my career now.”
Joking that she was now “unemployed,” the English singer born Jessica Ellen Cornish rose to prominence in 2011 with her debut single, “Do It Like a Dude” and the Dr. Luke-produced follow-up, “Price Tag,” which peaked at No. 23 on the Billboard Hot 100. Her third album, 2014’s Sweet Talker, hit No. 10 on the Billboard 200 album chart, fueled in part by her single “Bang Bang,” which also featured Ariana Grande and Nicki Minaj; that track peaked at No. 3 on the Billboard Hot 100, marking her U.S. singles chart peak.
“There’s no negative spin, nothing’s happened, it’s not dramatic. It’s just me literally saying, ‘This doesn’t feel right’ and it hasn’t for years,” she said in the video. “So, I need to stop just trusting my instincts and ask for them, so i asked and now I am unemployed.”
The “Domino” singer revealed that she was diagnosed with the vertigo-inducing disorder Ménière’s disease in 2021 and opened up about suffering a miscarriage later that year. She said in an interview in May 2022 that she had recorded her sixth album but scrapped the whole thing after thinking that it didn’t “feel right.” J gave birth to a baby boy in May of this year.
The birth of her child appears to have sparked a change in J’s outlook on her music career, with the singer saying she wants to move forward on her own. “I am now in the process of doing all the legalities and sorting out the music so I can put out new music and do it my way. On my time, on my terms and do it independently,” she said. “Now that I’ve had a baby there is just no stopping me. Something happens when you have a baby and just start giving zero f–ks… There’s nothing but good vibes on this.”
She promised that “new music is coming,” though at press time no release date or title was available for her next project. The video ended with J hoping that there some “12-year-old” out there who might spark a TikTok trend by dancing to one of her songs, joking that viral influencers are the “new record labels.” At press time a spokesperson for Republic Records had not returned Billboard‘s request for comment on J’s news.
Watch Jessie’s video below.
Over the past week, Oliver Anthony has summited the music charts, thanks to his viral hit “Rich Men North of Richmond,” which highlights working-class frustrations (and, in some of its most controversial lyrics, the country’s welfare system) and has been met with both intense praise and backlash.
The song first gained national attention late last week, when RadioWV’s YouTube live video for the song began gaining millions of views (that YouTube post now has more than 16 million views). By the end of Aug. 11, “Rich Men North of Richmond” topped the iTunes country chart, and since then, “Rich Men” has soared to the top of the all-genre iTunes chart. According to Luminate, the daily official on-demand U.S. streams for “Rich Men North of Richmond” grew to over 3 million on Tuesday (Aug. 15). The song also resides at No. 1 on the Spotify Top 50-USA chart, as of Wednesday afternoon (Aug. 16).
The song and YouTube video gained traction initially, in part, through various media personalities who shared the video, including John Rich, Joe Rogan and Matt Walsh, as well as Barstool Sports and conservative outlet Breitbart posting it on social media.
The consumption of Anthony’s music extends beyond “Rich Men.” His song “Ain’t Gotta Dollar” is currently No. 1 on Spotify’s Viral 50 chart, with five of his other songs resting in the chart’s top 10 on Wednesday afternoon, as of publishing.
These numbers have swiftly led to an industry feeding frenzy for Anthony, with one label head telling Billboard, “I don’t think I’ve ever seen anything like this before.”
Anthony acknowledged the rush of record labels trying to sign him on Wednesday, when he posted on social media to let his followers know about a show this coming Saturday at Eagle Creek Golf Club and Grill in Moyock, North Carolina.
“We are working on a full line up of shows with bigger accommodations in the near future,” Anthony wrote on his official music Facebook page. He also noted, “Everyone in the ‘industry’ is rushing me into signing something, but we just want to take things slow right now. I appreciate your patience.”
EMPIRE is pushing further into clubland, with big ambitions for helping DJs and producers get paid.
Today (Feb. 1), the San Francisco-based label announced that Moody Jones will step into the newly created general manager of dance role. Jones was previously EMPIRE’s svp of digital & creative, a position from which he worked across genres including dance projects by artists like The Martinez Brothers and Santino Le Saint.
Jones tells Billboard that this position will allow EMPIRE to “prioritize our expansion in this scene.” Jones’ new role follows EMPIRE’S acquisition of Claude VonStroke‘s storied Dirtybird label last October, with Jones adding that EMPIRE Dance is currently in talks with other labels and properties and “are open to other opportunities including catalog acquisitions.” Jones — a 2022 Billboard Indie Power Player honoree — will lead a dance team made up of the Dirtybird team, along with a team of new hires.
In this new role, his day-to-day involves signing artists, working on reintroducing songs from the EMPIRE catalog, and developing ways to incorporate dance strategies into the company’s daily priorities. Most crucially though, is time spent “getting obsessed with artists that deserve more exposure and figuring out where EMPIRE Dance can add value to them,” Jones says.
“The music industry has been evolving over the last five years and the dance labels haven’t caught up yet,” Jones says. “Our goal is to improve dance artist and label deals and reintroduce strong communities. DJs and dance artists have gotten used to making pennies on their music and making majority of their income on touring, which unfortunately means less quality time in production and more negative impact on their mental and physical health. I’m trying to help artists turn the pennies they are making on music into profits to better their livelihood.”
While EMPIRE has previously worked largely in genres like hip-hop and Latin, it’s bringing a significant competitive edge to the dance space. The company has its own publishing division and boasts “our own distributor so we have better data insights and audience analytics that empower us and our artists to make more proactive decisions,” he says.
EMPIRE also has its own studios, synch and partnership team and international staff in more than a dozen cities to help with regional rollouts.
“Moody has been an integral part of EMPIRE’s growth over the years,” EMPIRE CEO Ghazi adds in a statement. “As we expand into Dance, I’m confident in Moody at the helm with his ability to identify and develop artists that are impacting culture.”
Katie Dean is exiting her role as senior vp of promotion at MCA Records Nashville to pursue new opportunities, following a two-decade career at Univeral Music Group Nashville (UMGN). Dean has led the promotion team at MCA Records Nashville since 2015.
Elsewhere, David Friedman has been named vp of promotion for MCA Records Nashville while Miranda McDonald rises to vp of national promotion.
Friedman began his major label career at Capitol Records Nashville and also spent time at Arista Nashville and Columbia Nashville. For the past seven years, he’s worked as vp of national promotion at UMG Nashville. In his new role, he heads up the MCA Nashville promo staff, leading strategies for an artist roster that includes Kassi Ashton, Jordan Davis, Vince Gill, Parker McCollum and George Strait.
“Having David move to run MCA’s promo department is one of the easiest decisions I’ve made in a long time,” UMGN executive vp of promotion Royce Risser said in a statement. “He has been ready for this position for years, and I have been selfishly keeping him in his former role because I loved having him there. He will be an incredible asset to MCA’s iconic roster, and I have every bit of confidence that he will continue the building success story at MCA Nashville.”
“Like Lynyrd Skynyrd once said, I’m ‘Workin’ For MCA!’” added Friedman. “I’m beyond excited to transition within the UMGN family to the MCA promotion team and look forward to working alongside these flamethrowers in breaking new artists and growing the careers of this phenomenal roster. Thank you, Royce, Mike Dungan, and Cindy Mabe, for this amazing opportunity.”
McDonald joined MCA Nashville in 2012, working as the label’s Southwest regional director. She had previously worked as a radio regional for Valory Music and as a radio host and reporter for CMT Radio. In her new role, McDonald will work with Risser on radio initiatives for the label group’s four imprints: Capitol Records Nashville, EMI Records Nashville, MCA Nashville and Mercury Nashville.
“Miranda McDonald has been our secret weapon for years,” Risser said. “Not gonna be so secret anymore. Her intuitive nature and deep relationships are some of the best I’ve ever seen in radio promotion. She is also a true ‘creative’ and now I will have the ability to utilize her skills for all four of our labels. I am so excited for her to begin ripping it up for UMG Nashville.”
“MCA has been my beloved chosen family for over a decade now,” McDonald added. “So, to be given the opportunity to not only continue working alongside MCA, but also with my extended family at each of the imprints, their incredible artists, and an entirely new group of partners in radio, is an honor. I am so fortunate to continue to grow my career with the best team in the industry. Answer my calls please.”
The shift at MCA Nashville follows the recent news that Cindy Mabe will succeed Mike Dungan as chairman/CEO of UMG Nashville, effective April 1. Dungan recently announced his upcoming retirement after more than four decades in the music industry. Mabe was named president of UMGN in 2014. With her ascension, she becomes the first woman to serve as chairman/CEO of a Nashville-based major-label group. Dungan will continue to serve as an adviser to UMG chairman/CEO Lucian Grainge.
Twenty years ago, Red Hot released the album Red Hot + Riot: The Music and Spirit of Fela Kuti, a tribute to the great Nigerian musician Fela Kuti who succumbed to complications related to AIDS five years earlier in 1997 at the age of 58. Fela was more than a musician. He was an activist and spiritual leader who fused American funk with African rhythms to create Afrobeat, which is more popular today than it was during his lifetime. Red Hot was invited by the Kuti family to produce the album with access to his publishing and master recordings (courtesy of Knitting Factory Records who had recently acquired his catalog).
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The project kicked off with a superstar session brought together by Questlove led by D’Angelo and Fela’s son Femi Kuti. The musicians were a mix of Femi’s band Positive Force and the Soulquarians who often backed D’Angelo and Questlove (notably James Posner and Pino Palladino) along with Nile Rodgers, Macy Gray and others covering the song “Water No Get Enemy.” The idea for the project began with a conversation with Questlove at sessions for an earlier album – Red Hot + Rhapsody – where the Roots were collaborating with Bobby Womack on “Summertime.” Quest suggested that Red Hot should do a tribute album – track by track – to Sly and the Family Stone’s There’s A Riot Goin’ On, but we couldn’t clear the rights. Fela’s death and music was in our head, so we went back and suggested taking the Riot title and making an album raising awareness about AIDS in Africa.
The next session we produced after “Water No Get Enemy” was Baaba Maal covering Fela’s “Trouble Sleep.” We had built a studio, Fun Machine, run by Andres Levin, in the office on Spring Street where Red Hot’s sister company had grown to be a successful digital studio. You could see the World Trade Towers from the studio the day we recorded: September 10, 2001. They weren’t there the next day. Because of the struggle keeping the company going in the aftermath of 9/11, Andres copied the sessions onto disc so I could listen to them at home. I carefully saved all of them as well as the ProTools sessions. Because of that, the 20th anniversary release of Red Hot + Riot not only puts it on streaming platforms for the first time but also two hours of bonus material — including the acoustic Baaba Maal session and a cover of “Sorrow Tears and Blood” by Bilal, Common and Zap Mama that was never finished back then, but completes the album twenty years later.
Courtesy Photo
From the first Red Hot album, Red Hot + Blue, we included African musicians and talked about the terrible impact of the HIV pandemic on the Continent. But it was hard getting people to pay attention to the issue and to African music at the time. A Fela tribute wasn’t the obvious choice back then that it is now. It was an uphill struggle to get label support and the right mix of artists to do it. But we did.
Red Hot projects have always been hard to pull off. The music industry is charitable but doesn’t often support charity records that compete with commercial releases. When we did Red Hot + Dance, we got caught up in the struggle between George Michael and his label. It was hard to get Nirvana to donate a track to No Alternative and even more difficult to deal with their label, who didn’t let us use the band’s name on the packaging or marketing materials. Ironically that became our best marketing strategy of all time: the album with the hidden Nirvana track. But our struggles are nothing really compared to what it has been like for people with AIDS or the LGBTQ+ community.
Fortunately, over the past few decades, things have improved in the U.S. Medication allows people to live with HIV (thanks in large part to activists at ACT UP and TAG that that Red Hot helped fund in the early 1990s) and just recently two people who identify as lesbians were elected governors for the first time. But sadly, that’s not the case in much of the Global South. It’s shocking that HIV infection in sub-Saharan African remains at roughly the same level as when we released Red Hot + Riot in 1992. Sub-Saharan Africa accounts for 71% of people living with HIV, a devastating reality where 75% of global HIV related deaths and 65% of new infections occur. Of the 38.3 million people living with HIV worldwide, 27.3 million are in Sub-Saharan Africa; 7.8 million of the 27.3 million infected people are in South Africa including about 6.3 million young adults and children. To put that in context, 11% of humans live in Sub-Saharan Africa, but it accounts for over 71% of the global impact of AIDS in terms of infections and mortality.
The stigma around men who have sex with other men, women’s lack of resources and agency and the vilification of sex workers and drug addicts has inhibited progress to aid the HIV/AIDS epidemic. Often ignorance is used to distance the culture from topics like intimate partner violence, sex education, the LGBTQ+ community and women’s lack of agency and access to care. Unfortunately, young women and girls bear the brunt of the impact from cultural silence and their pain and misfortune is passed onto future generations. The HIV/AIDS epidemic’s root is the intersection of structural and cultural setbacks in awareness, acceptance, understanding and treatment. Music hasn’t been able to change that – even supercharged with Fela’s Afrobeats and activism – but it remains a powerful force to raise awareness and make people reflect on the devastation of this preventable disease around the world.
According to the CDC, AIDS in Africa peaked in 2002, the year Red Hot + Riot was released, at 4.69 million people infected the prior year. Now, 20 years later there remains over 25 million people infected with HIV on the Continent. To put that in context, the total number of COVID cases in Africa is projected to be about 4 million, with around a hundred thousand deaths. The estimated annual deaths from AIDS in Africa in 2018 was 470,000. In a global context, worldwide deaths from COVID to date is the tragic number of 6.61 million people. Over 40 million people have died from AIDS-related illnesses.
In “Water No Get Enemy,” Fela Kuti embodied a philosophy larger than his music. “If your child dey grow, a water he go use/ If water kill your child, na water you go use.” Fela symbolically compares an institution to a parent who continues to use water after their child drowns. Regardless of setbacks, the community must continue to provide solutions for our social ailments. Fela conveys that living necessities are non-negotiable regardless of circumstance. The charge to support vulnerable people fighting against global pandemics is non-negotiable.
We cannot let the silent continue to suffer. “Ko s’ohun to’le se k’o ma lo’mi o,” Fela writes. “There is nothing you can do without water.”
Warner Music Group, helped by digital revenue growth across recorded music and publishing, reported quarterly revenues rose 16% at constant currency (9% as reported) to $1.5 billion in the fiscal fourth quarter ended Sept. 30, the company announced Tuesday (Nov. 22). Adjusted earnings before interest, taxes, amortization and depreciation (EBITDA) grew by 16% to $276 million.
In his final quarterly earnings after 12 years as Warner Music’s chief executive, Steve Cooper said, “Against the backdrop of a challenging macro environment, we once again proved music’s resilience, with new commercial opportunities emerging all the time. We’re very well positioned for long-term creative success, and continued top and bottom line growth. We’re excited to have Robert Kyncl joining next year as WMG’s new CEO, as we enter the next dynamic phase of our evolution.”
WMG’s share price edged slightly lower in pre-market trading, down 0.88% to $26.98 on Tuesday at 8:19 a.m. New York time. Warner Music executives will discuss the company’s quarterly and full year results on a call with analysts at 8:30 a.m. ET.
Digital revenue grew 12.3% at constant currency or 6.8% as reported to $989 million, including a $38 million settlement related to certain copyright infringement cases. Total streaming revenue increased by 8.9% at constant currency (3.5% as reported) due primarily to driven by music publishing streaming revenue, which rose by 37.0% at constant currency (or 29.8% as reported).
Recorded music streaming revenue increased by 4.7% at constant currency, but decreased by 0.4% as reported. Digital’s share of total revenue comprised 66.1%, compared to 67.3% in the prior-year quarter, due to the double-digit growth of recorded music artist services and expanded-rights and licensing revenue.
Music publishing revenue improved 32.3% at a constant currency (23.9% as reported) to $254 million on the strength of digital and performance revenue. Digital revenues jumped 39.5% at constant currency (32.5% as reported) to $159 million. Streaming revenue increased 37.0% in constant currency (29.8% as reported) helped by streaming services and new digital deals.
In WMG’s recorded music segment, revenues rose 13.1% at constant currency (6.1% as reported) to $1.25 billion. Expanded rights revenue improved 33% to $204 million at constant currency (21.4% as reported) due to an increase in concert promotion revenue following the disruption of the touring business in 2021.
Physical revenue of $123 million was up 6% at constant currency but down 3.1% as reported, primarily due to volatility in exchange rates that offset higher vinyl sales and strong sales in Japan. Digital revenues of $830 million rose 8.1% in constant currency (up 2.9% as reported), and now represents 66.7% of total recorded music revenue compared to 68.9% in the prior-year quarter.
Music publishing contributed nearly 17% of overall company revenues in the quarter, up slightly from the year-ago quarter when music publishing made up 15% of overall revenues. Recorded music revenue contributed 83% of overall revenues in the quarter, down slightly from the year-ago quarter when recorded music revenues comprised 85% of overall company revenues.