Management
Page: 13
Paladin Artists announced on Thursday that veteran agent Bruce Solar has joined the company, effective immediately. He’ll focus on expanding the company on a global scale. Solar will be based in Los Angeles and brings his roster of clients with him, including Blondie, Cake, Psychedelic Furs, The Zombies, Radical Face, Eels, Fantastic Negrito, The Monkees […]
Anitta has parted ways with her longtime manager Brandon Silverstein, according to a source familiar with the situation. The split was first reported by Variety. The change comes on the heels of Anitta’s April 4 departure from Warner Music Group after having long voiced irritation with the label on social media, including a tweet thread […]
Ten years into his career, Lil Durk keeps putting up numbers. The Chicago rapper first broke onto the scene in 2013 from the drill scene in his hometown, before cycling through the Def Jam system and re-igniting his career a number of years later, landing his first No. 1 album on the Billboard 200 as a solo artist last year with 7220. But this week, he one-upped himself again: Durk’s new album, Almost Healed (Alamo Records), debuted at No. 3 on the Billboard 200 — behind heavyweights Taylor Swift and Morgan Wallen — and became his fourth straight No. 1 on Top R&B/Hip-Hop Albums, moving 125,000 equivalent album units, his best mark of his career and the biggest debut week for a project on the R&B/Hip-Hop Albums chart this year so far.
But that’s not all — Durk also landed his highest mark as a lead artist on the Hot 100, when his single “All My Life” feat. J. Cole debuted at No. 2 on the chart, matching the highest mark for each artist (Durk previously hit No. 2 as a featured artist on Drake’s “Laugh Now, Cry Later”) amid 15 songs he landed on the Hot 100 this week. It’s a high-water mark for Durk’s career in a number of ways — and the success helps his manager, Grade A Productions partner Peter Jideonwo, earn the title of Billboard’s Executive of the Week.
Here, Jideonwo, who started working with Durk ahead of this album, talks about the work that went into making this a success, helping push Durk’s career forward after a decade in the game and the state of hip-hop in a year dominated by country, R&B and Latin music on the charts.
“We are sometimes too focused on the music and not everything else around it,” he says, eyes to the future. “Durk can be bigger than what we have just accomplished.”
This Week, Lil Durk’s Almost Healed debuted at No. 3 on the Billboard 200 with 125,000 equivalent album units, the biggest week of his career as a solo act. What key decisions did you make to help make that happen?
Picking the right single. Making sure all the creatives were on point, picking the right directors, photographers, interviews as well as directing videos. Making sure features were completed. Introducing Durk to Dr. Luke, who helped create “All My Life.” “All My Life” was the first record me and Durk did together and “Stand By Me” was the second. Visiting all the DSPs ahead of time before the album came out. Creating outside-the-box marketing strategies to push the narrative of a new and better Durk.
Lil Durk performs during Future and Friends “One Big Party Tour” at United Center on Jan. 20, 2023 in Chicago.
Prince Williams/Wireimage
The album was set up by “All My Life” feat. J. Cole, which matched Durk’s all-time high on the Hot 100 when it debuted at No. 2. What did you do to help that song cut through immediately and debut so high?
The song was created by Durk, Luke and J. Cole. The first session I ever did for Durk was putting that record together. Durk and Cole had a relationship, but I had to follow up for over five weeks to get the verse from J. Cole. The video was shot by my production company and produced by me. Setting up Durk’s scholarship fund with Howard [University], meeting the Mayor [of Chicago] and doing positive things in the community, was what we had to do to make sure the record connected properly.
Almost Healed’s first week is also the largest debut week for a project on the R&B/Hip-Hop Albums chart in 2023. In a year where the top of the charts have been dominated by country, R&B and Latin music, is it tougher to break through with a hip-hop album, or do you just see these things as going in cycles?
Yes I think so; hip-hop is dying, unfortunately. I say so because we have lost Juice [WRLD], X[XXTentacion], Mac Miller, [Young] Thug to jail, careers like Boston Richey and Gunna tainted by snitching accusations. Our industry in is a self-inflicted turmoil that I do not see reversing anytime soon. We don’t have a stronghold of artists anymore and there is no togetherness. We are also dealing with over-saturation and not enough love shown to our currently-established artists. The only way to fix it is to reduce the amount of people making this music and for our current artists to think outside the box to create new sounds. Everyone makes the same music and the same topics — cars, money, clothes, girls — and that’s not going to take us far anymore. Especially when streamers like Adin Ross and Kai Cenat are pulling hundreds of thousands of kids for hours. They don’t have time to listen to new music, so if you are going to release music it needs to be undeniable or it will not sell.
Durk is now 10 years into his career, and still setting high-water marks in terms of first-week numbers and chart positions. How do you continue pushing his career forward in an era when so much is focused on the next new thing?
We are going to focus on pushing his sound to the next level. I am also focused on making him a household brand, bigger than music. We are sometimes too focused on the music and not everything else around it. Durk can be bigger than what we have just accomplished. Putting out this classic album was very tedious but we are ready to get into tech, gaming, sports, movies: all around new challenges which he hasn’t done yet. We are almost healed.
You’ve been a manager and a label executive in your career. How do you balance the expectations and demands from both?
The easiest way to put it is that I dedicate my life to my clients. I only touch what I love. I am answering these questions on my birthday instead of chilling. We are still working on new things every day, which excites me. I have also been lucky to mostly only work with artists who are signed to me; that has also made my life easy. The music industry is very difficult and the most important thing is to stay ahead of the curve.
How else are you guys planning on continuing to push this Durk project forward?
We are going to keep releasing new music videos. We have an arena tour coming up where we will be performing new records from the album. We are going to put out some new versions of the records, maybe we will get to hear the Kanye West mixes that Durk spoke about in an interview.
Previous Executive of the Week: Austin Neal of The Neal Agency
Cory Litwin, founder/CEO of 2wenty2wenty Music Group, is joining Range Media Partners as the newest managing partner in the music division, the company tells Billboard.
Litwin brings with him his roster of more than 25 writers, producers and engineers encompassing multiple genres, including Murda Beatz, Jason “Cheese” Goldberg and Autumn Rowe. Litwin’s team, including managers Brennan Bryant and Ky Zaretsky as well as coordinator Edson Higareda, are also joining Range.
Since taking on management of Murda Beatz in 2014, Litwin has helped the producer rise to become one of the most in-demand hitmakers in hip-hop thanks to successful collaborations with Drake, Travis Scott and Migos. In 2022 alone, Litwin signed Murda Beatz to a global distribution deal with ADA Worldwide, negotiated a catalog sale with Canadian music rights manager Kilometre Music Group and scored him a Las Vegas residency at Hakkasan. Litwin and Murda Beatz also recently co-founded and launched Murda Beatz Psychedelic Water, a non-alcoholic herbal supplement.
Litwin began his career as a party and concert promoter in Toronto. Before joining Range, he served as executive vp at Neil Jacobson‘s Hallwood Media from 2020-23. He has twice been named to Billboard‘s R&B/Hip-Hop Power Players list.
“Cory Litwin adds a much-needed dimension to our already dynamic business,” said Range Music co-founder/managing partner Matt Graham. “He and his team understand the producer and writer representation landscape at the highest level and provide access to tremendous hitmakers that enrich Range Music, feed our burgeoning label and publishing business. Additionally, I have found him to be a leader who acts; motivating those around him to move his client agendas forward at every turn.”
Range Music managing partner Tyler Henry added, “Cory is one of the best managers in the industry, and I couldn’t be more excited we get to partner again after all of these years. He goes above and beyond for his artist, partners, team and family. His abilities as an executive go far beyond music and I can’t wait to see what he accomplishes at Range.”
“I chose Range because I loved the company culture and the partners that had already been assembled,” said Litwin. “One of my favorite quotes is, ‘It’s not about the destination, but about the journey.’ Being able to join somewhere at this point in my journey with so many great partners having varying expertise and experience is exciting and inspiring to me. I’m looking to grow as much as I can and work alongside great people who can help with my growth and the growth of my clients. Here at Range there is an opportunity to expand into the arenas of some of my other passions, including film, television and sports.”
In addition to Litwin, Graham and Henry, the Range Media music division is headed up by Jack Minihan, Melissa Ruderman, Chris Thomas and Evan Winiker, as well as partners Michele Harrison, Greg Johnson, Rachel Douglas, Ace Christian and Joel Zimmerman.
Since launching just over two years ago, the Range music division has established its own label in partnership with Capitol Music Group and Virgin Music & Artist Label Services and brought on clients including Jack Harlow, Saweetie, Justin Tranter, Cordae, Midland, Nova Wav, Nicky Romero, D Smoke, PARTYNEXTDOOR, Hailey Whitters, Lauv, MAX, HARV, Sean Douglas, Wondagurl, Disco Biscuits, Rich the Kid, Yola, Eric Bellinger, Tkay Maidza and Pentatonix.
For 2023, Billboard has introduced the Country Power Players’ Choice Award, a peer-voted accolade chosen by Billboard Pro members to honor the executive they believe has made the most impact across the country music business over the past year. Across three rounds of voting, Billboard Pro members have chosen Seth England, partner and CEO of […]
James Vitalo‘s Gold Theory Artists has added managers Jack Babnew and Max Dubois, the company announced Tuesday (May 30).
Vitalo, who has helped steer the breakout success of Turnstile, founded the full-service boutique management company last year. Babnew, previously at TMWRK, will co-manage new client Beach Fossils alongside Vitalo, while Dubois, who launched his own management company in 2020, will bring Deafheaven and MSPAINT, co-managing both with Vitalo.
“When I set out to start Gold Theory, I knew I wanted to eventually expand beyond myself and my team to include other managers, but only those that felt aligned with the company’s ethos and possess the same all-or-nothing mentality,” says Vitalo in a statement. “I’ve seen both Max and Jack’s work over the years and deeply respect their knowledge of and passion for the industry, so it was a no-brainer to bring them into the fold when the stars aligned.”
The expansion comes at a great time for Vitalo, as Turnstile scored three Grammy nominations ahead of the 2023 ceremony. The punk band is currently on tour with Blink-182. Meanwhile, Gold Theory client Knocked Loose has taken on the festival circuit, with the hardcore band performing at Coachella and Bonnaroo this year. Gold Theory’s roster also includes Gatecreeper, Hana Vu, Harm’s Way, julie, Terror, SeeYouSpaceCowboy and Undeath.
Gold Theory’s growth signals a potential shift in the management space, with young managers opting to leave larger firms — or never sign with one to begin with — to either operate independently or work together at a company that operates independently.
“My whole life, I’ve been drawn to those who do things on their own terms — the risk-takers, the rule-breakers, the people who hear ‘you can’t do that’ and respond, ‘Watch me,’” says Babnew. “James and his roster at Gold Theory embody that spirit. As I grow my own career and define the terms for myself, I wouldn’t want to do it alongside anyone else.”
“Finding great people who happen to work with great artists is an incredibly difficult needle to thread,” adds Dubois. “I’ve always been excited about building something meaningful and impactful with people who push me to be the best version of myself. What James has done with the roster at Gold Theory has been undeniable and the people he’s brought in to drive the machine is exactly the combination I’m grateful to be a part of.”
Artist management company WHY&HOW has merged with Red Light Management, effective immediately.
WHY&HOW CEO/founder Bruce Kalmick launched the company in 2020 after more than a decade in the music industry. The firm, which will keep its own branding following the merger, is now a full-service management operation, allowing it to collaborate across all areas of the industry and offer enhanced resources to its roster of clients. Under the deal, all 20 WHY&HOW staff members in marketing, creative and brand endorsements will join Red Light Management’s operations.
WHY&HOW’s artist roster includes Breland, Kaleo, Whiskey Myers, Danielle Bradbery, Drake White, Read Southall Band, William Clark Green and Chase Rice.
“With our new partnership, WHY&HOW is gaining the opportunity to learn from one of the most influential executives in the music business, [Red Light Management founder] Coran Capshaw,” said Kalmick in a statement. “We can’t wait to get started on this exciting new chapter.”
“We’re excited about our new partnership with WHY&HOW,” Capshaw added. “Bruce has put together a great group of artists as well as a very talented management team. We look forward to working alongside them to help enhance all aspects of their business.”
Capshaw founded Red Light Management in 1991 in Charlottesville, Virginia, while helping spearhead Dave Matthews Band‘s career from local club favorite to renowned touring group. In addition to Dave Matthews Band, Red Light Management’s roster includes Luke Bryan, Lionel Richie, Enrique Iglesias, Brandi Carlile, Dierks Bentley, ODESZA, Chris Stapleton and more. The company’s work also extends into the fields of touring, commerce, festivals, licensing, branded entertainment and artist-driven philanthropy.
Colombian star J Balvin has officially joined Roc Nation as a management client, where he will be overseen directly by Jay Brown and Chris Knight.
Balvin was previously managed by Fabio Acosta and Scooter Braun’s SB projects. He parted ways with the latter on June 30, 2022, after nearly three years together. He continued working with Acosta and his company, Akela Family Music, through March. Acosta had managed or co-managed Balvin in some capacity for the past decade. Sources say the two parted on amicable terms.
Balvin, one of the biggest Latin stars in the world, has had a series of management shifts over the past five years. In 2019, he parted ways with manager Rebeca León, who had managed him since the onset of his career in the United States, and signed with Braun. Throughout both deals, Acosta remained part of his management team and worked in partnership with SB Project, helping bring in groundbreaking deals and partnerships. These included his celebrity menu collaboration with McDonald’s — a first for a Latin act. Balvin was also the first Latin artist to collaborate with Nike and Michael Jordan on an Air Jordan collaboration, and in November of 2020, he performed in Fortnite, marking the first performance ever by a Latin act for a gaming company.
Last year, Balvin also briefly split with his longtime agency, WME, and went to UTA, after postponing his 25-date José tour. But after four months, he returned to WME.
Balvin is currently featured on the Fast X soundtrack with the track “Toretto.” He’s also announced a series of European tour dates, mostly festivals, beginning with a June 24 performance at the Solydays festival in Paris.
Balvin’s full touring schedule is below.
6/24 – Paris – Solydays 25th Anniversary Festival6/26 – Ibiza – Pacha Nightclub6/30 – Seville – Puro Latino Fest7/1 – Madrid – Puro Latino Fest7/3 – Ibiza – Pacha Nightclub7/8 – Liege, Belgium – Les Ardentes Festival7/9 – Constanta, Romania – Neversea Festival7/11 – Milan – Milano Latin Festival7/12 – Bern, Switzerland – Gurten Park7/14 – Tenerife – Ritmo del Mundo7/15 – Vila Nova de Gaia, Portugal – Meo Mares Vivas Festival7/21 – Byron Bay, Australia – Splendour in the Grass7/23 – Melbourne – Margaret Court7/25 – Sydney – Hordern Pavillion
Jimmie Allen‘s management company The Familie and booking agency UTA both announced they were suspending their work with the country singer-songwriter on Friday (May 12), following a new lawsuit alleging him of rape, sexual assault and battery.
“Given the nature of the allegations in the lawsuit filed on Thursday, The Familie has decided to suspend management activities with Jimmie Allen effective immediately,” a spokesperson for the management firm told Billboard in a statement. The Familie began working with Allen in 2022, after he parted ways with his former management company, Wide Open Music.
“We have suspended our representation of Jimmie Allen due to the recent allegations against him, which we take seriously,” said a UTA spokesperson in a separate statement.
In a civil lawsuit filed Thursday in Tennessee federal court, an anonymous “Jane Doe” accuser says that Allen “manipulated and used his power” over her job as a day-to-day manager in order to “sexually harass and abuse her” over a period of 18 months from 2020 to 2022.
“Plaintiff expressed in words and actions that Jimmie Allen’s conduct was unwelcome, including pushing him away, sitting where he could not reach her, telling him she was uncomfortable and no, and crying uncontrollably,” the woman’s attorneys wrote in the complaint. “However, Allen made clear that plaintiff’s job was dependent on her staying silent about his conduct.”
Allen denied the allegations in a statement to Billboard, saying, “It is deeply troubling and hurtful that someone I counted as one of my closest friends, colleagues and confidants would make allegations that have no truth to them whatsoever. I acknowledge that we had a sexual relationship — one that lasted for nearly two years. During that time she never once accused me of any wrongdoing, and she spoke of our relationship and friendship as being something she wanted to continue indefinitely.”
The artist continued to say he intends to “mount a vigorous defense to her claims and take all other legal action necessary to protect my reputation.”
Since the report came to light, Allen has also been suspended by his record label, BBR Music Group, which includes halting of promotion for his latest radio single, “Be Alright,” which fell 57-60 on Billboard’s Country Airplay chart dated May 20. He has also been pulled from the performer lineup at CMA Fest, which is slated from June 8-11 in downtown Nashville.
The suit follows previous news that Allen and his wife Alexis Gale announced their separation on April 21; at that time, they also shared that Gale is pregnant with their third child.
Assistance on this story provided by Melinda Newman.
Stories about sexual assault allegations can be traumatizing for survivors of sexual assault. If you or anyone you know needs support, you can reach out to the Rape, Abuse & Incest National Network (RAINN). The organization provides free, confidential support to sexual assault victims. Call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or visit the anti-sexual violence organization’s website for more information. (edited)
Over the past few years, country superstar Luke Combs has succeeded in crossing over to a pop audience with a pair of Billboard Hot 100 top 10 hits: 2020’s “Forever After All” (No. 2) and last year’s “The Kind of Love We Make” (No. 8). Now he’s gunning for a third, with his cover of Tracy Chapman‘s 1988 hit, “Fast Car,” reaching No. 14 on the tally this week (it’s also sitting pretty at No. 2 on Hot Country Songs).
It’s rare for a country artist to record a cover of a pop hit, but as a fan-favorite staple of Combs’ live shows, “Fast Car” built up a head of steam that was undeniable, making the choice to get it on record an easy one (the song is included on Combs’ latest album, Gettin’ Old). But the decision to release it as a single — an even more unusual move — was part of a strategy to continue expanding Combs’ fanbase to a pop audience. And that helps Combs’ manager, Make Wake Artists founder Chris Kappy, earn the title of Billboard‘s Executive of the Week.
Below, Kappy discusses the choice to finally record “Fast Car” six years after Combs first released a snippet of it, the track’s embrace by radio programmers and how it ties into Combs’ success as a worldwide touring phenomenon. “Being able to have a hit that is globally recognized and accepted outside of country radio, and into the ears of CHR and Hot AC listeners, is very much the same thing as being able to do sold-out shows in places we have never been,” says Kappy. “The music is traveling and we want to be on the forefront in any way possible.”
This week, Luke Combs’ cover of “Fast Car” hit No. 14 on the Billboard Hot 100 and No. 2 on Hot Country Songs. What key decision did you make to help make this happen?
I got out of the way. I know that sounds weird, but it truly is what we do with Luke. He knows his fanbase so well, and he also knows what works. The song felt right when he sang it in the studio, and we all just nodded in the control booth.
Luke Combs performs onstage during Day 3 of the 2022 Stagecoach Festival at the Empire Polo Field on May 01, 2022 in Indio, Calif.
Amy Sussman/GI for Stagecoach
“Fast Car” was a popular staple at Luke’s live shows, but the decision to record the cover for Gettin’ Old — and especially to release it as a single — feels like an outside-the-box move. What was behind that?
The demand from our fans has been rabid for “Fast Car” since he first released a snippet of it more than six years ago. We also felt that it would help draw non-country fans into the genre and experience the wonder that is country music. This song is an iconic masterpiece and we all felt that it was the perfect song to crossover to a new audience that we didn’t particularly have.
It’s interesting to note that Luke kept the “checkout girl” lyric instead of changing it to “checkout boy.” What was behind the decision to stay 100% faithful to the original lyrics?
Luke is a songwriter too and Tracy is one of his favorite artists. So his goal was to never change the song. His goal was to honor the perfection that it is, and changing the gender never crossed his mind.
Was there a good-faith attempt made to reach out to Tracy and ask her permission to cover the song, even though that wasn’t required? If so, did you all track her down, and what, if anything, was her response?
At this level, our labels and teams have been in communication and we were always going to follow her lead. Luke, nor I, have spoken directly to Tracy. This is her song and we were going to live within any parameters she had for her song. We are just happy we were able to release it and see the response of fans enjoying it.
Are there plans to make a video?
If given the opportunity, we would love to be able to create a visual piece that would only enhance this already amazing song.
Are there any plans for Luke and Tracy to perform the song together?
As of right now, no. But we never say never to anything.
Big pop covers are a bit of a rarity these days — the trend has swung more toward interpolations recently, which allows songwriters to keep a bigger piece of the publishing pie. But are there advantages to trying to break a cover as opposed to an interpolation?
I don’t think we were looking to make money off of this, as much as Luke wanted to be able to deliver a great song, that has shaped his musical career, and give it to a new generation and genre of fans. Luke doesn’t think, “How can I make money off of this,” more so, how can he give the fans a look into the music that shaped him?
Is it tough going to radio with a big cover in 2023? There are so few conventional covers on the airwaves these days. Do you have to demonstrate a song’s strength at streaming before program directors will even start a conversation with you about putting it in rotation?
Luckily, this song has hit home with a lot of programmers. It has given them the opportunity to showcase a song they also love. We are having streaming success, very early out of the gate, but we are also having radio success running parallel with it. It’s fun to see the both running, hand in hand, with one another.
Luke already saw success with Billboard top 10 hits like “Forever After All” and “The Kind of Love We Make.” What could the success of “Fast Car” at pop radio mean in terms of exposing him to a new audience?
We have always wanted to bring our genre to the ears of more people. That’s why we play shows internationally and invest in Europe, Australia, and Canada. Being able to have a hit that is globally recognized and accepted outside of country radio, and into the ears of CHR and Hot AC listeners, is very much the same thing as being able to do sold-out shows in places we have never been. The music is traveling and we want to be on the forefront in any way possible.
Speaking of crossover success, Luke is at such a career high point all around, including as a global touring star — rare for a country artist. Do these kinds of big successes at pop radio help his act translate to an international audience?
Luke has already laid the groundwork for his global success before this release. What I think happens now, is that we are able to widen our focus so when we do come back to other countries, we can welcome more fans and give them the experience that is three chords and the truth. It’s all we have ever wanted to do.
Previous Executive of the Week: George Prajin of Prajin Records