Management
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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
Veteran artist managers Cliff Burnstein and Peter Mensch are joining forces with Aaron Frank for a new venture — Q Prime AF.
Announced today (May 3), the fresh division will sit under the umbrella of Burnstein and Mensch’s Q Prime, the artist management company through which they guide the careers of Metallica, Muse, Foals, Disturbed, Cage The Elephant, Gillian Welch and David Rawlings, Three Days Grace and more.
Through the alliance, Frank will bring his Nashville-based team, plus an artist roster that includes Greta Van Fleet, Marcus King, St. Paul and the Broken Bones, Houndmouth and All Them Witches.
“Cliff and Peter are the reason I became a manager,” comments Frank. “They have always been the gold standard of managers in my eyes, and their independent spirit and savviness is unmatched. I’m so excited to join their amazing team to elevate our work, and excited for what we can build together at Q Prime AF.”
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The partnership is at least eight months in the making. Over lunch, “Cliff and I decided that we needed to move Q Prime past the normal standard of management company rating: Gold, platinum standard just wasn’t enough,” explains Mensch in a statement. “We wanted to establish a new standard. Tantalum, a rare earth precious metal found in eight countries and an absolute necessity in the digital world, totally fit the bill.”
Frank, with his group of “amazing artists, had a similar vision and, under the theory that the modern age needed a new standard of excellence, agreed to create the Tantalum standard of management companies.”
Frank cut his teeth in 2009 working for the Trans-Siberian Orchestra’s management company, Night Castle Management, in New York. In 2014, he relocated to Nashville where he co-founded ABI Management, and subsequently forming AMFM — nabbing GVF as his first client.
Q Prime also houses Q Prime South, founded 2001 in Nashville by John Peets; and Q Prime U.K., established 2007 in London and run by Steve Matthews and Tara Richardson.
Los Angeles punk/hardcore band Militarie Gun have signed with Roc Nation for management, Billboard can reveal.
The signing follows the announcement of the group’s debut album, Life Under the Gun, which is due out June 23 on Loma Vista Records. The 12-track project, engineered by Taylor Young at the Pit Recording Studio, will include the band’s previously-released single, “Do It Faster,” as well as its latest single, “Very High.” The album is available for pre-order on vinyl, CD and cassette here.
“When I first heard the demos for Militarie Gun’s forthcoming album, I literally couldn’t stop listening,” says the band’s manager Blaze James. “[Frontman] Ian [Shelton] has a knack for writing pop melodies layered into punk songs with an emotional pull. It was right in my wheelhouse.”
Life Under the Gun follows the release of several EPs by the band, including My Life Is Over and All Roads Lead to the Gun/All Roads Lead to the Gun II. Militarie Gun formed in 2020 amid the COVID-19 pandemic; influences include Guided By Voices, Fugazi and The Jesus Lizard. In addition to frontman Shelton, the current lineup includes guitarists Nick Cogan and William Acuña and drummer Vince Nguyen. The band, which played South by Southwest in March, is slated to kick off a run of North American and European tour dates on Saturday (May 6) in San Pedro, Calif.
Militarie Gun also recently scored a high-profile synch, with the band and Dazy’s single “Pressure Cooker” being featured in Taco Bell’s new “Build Your Own Cravings” commercial; the ad is part of the brand’s “Feed the Beat” program.
Talent manager Brendan Rich has opened the Nashville-based, boutique artist management company Rich MGMT.
New York native Rich began his music industry career with stops at Buddy Lee Attractions and Paradigm before joining United Talent Agency, where he signed Matt Stell, Chris Bandi, Jimmie Allen and Logan Mize. He followed his time at UTA by segueing into artist management and spending five years as a manager at Ash Bowers’s Wide Open Music.
Joining Rich at his new company are former Wide Open Music management clients Stell, George Birge and Bandi, as well as new signee Darren Kiely. Stell has notched two Billboard No. 1 Country Airplay hits with “Everywhere But On” and “Prayed For You.” Meanwhile, Birge’s song “Mind on You” is currently at No. 46 on Billboard’s Country Airplay chart.
Also joining Rich from Wide Open Music is Sarah Paravia, who will serve as day-to-day coordinator.
“Since my first days in the music business, I’ve always dreamt of opening my own management company, ” Rich said via a statement. “Those dreams have now come to fruition as we open our doors to manage world class artists, who we are honored to represent and guide in their careers.”
A statement from Rich MGMT notes the company’s mission “is to operate with integrity in every aspect of its business while helping its artists to build successful and long-lasting careers.”
Additionally, former Wide Open Music management client Jimmie Allen recently joined California-based firm The Familie, which also represents Machine Gun Kelly, Avril Lavigne and more. Wide Open Music’s Bowers did not immediately respond to a request for comment.
CMT and management services company mtheory have revealed the six new candidates selected to take part in the Equal Access Development Program, its yearlong artist and management training program designed to support underrepresented voices and communities in country music, including Black, Native and Indigenous, Latino, LGBTQ+ and women.
This year’s participants are artists Angie K, Camille Parker and Denitia, as well as music industry executives Ahsaki LaFrance-Chachere, Alex Evelyn and Roberto Martinez.
The Equal Access Program launched in April 2022, spearheaded by mtheory CEO Cameo Carlson and Tiffany Provenzano, as well as CMT senior vp of music & talent Leslie Fram. The program provides funding and training, as well as access to industry leaders, with the goal of creating a multifaceted pipeline of diverse talent in country music.
Angie K previously competed with Team Blake on NBC’s The Voice and is part of CMT’s Next Women of Country Class of 2023. Her music often blends country with her Latin roots, such as her bilingual release “Real Talk,” which made her a Highway Find on SiriusXM. Parker, a member of CMT’s Next Women of Country Class of 2022, also recently competed on AppleTV+’s My Kind of Country. Parker is also currently recording her debut EP with producers Chris McClenny and David Phelps. Texas native Denitia is a multi-instrumentalist who has played saxophone, trumpet and guitar and has roots in a myriad of musical genres, including gospel, folk and alternative rock.
LaFrance-Chachere is a Diné (Navajo) tribal member and African-American woman, who aims to demonstrate that Native Americans/Indigenous people are diverse despite stereotypical depictions. Her LaChachere Management & Publishing represents country music artists Dzaki Sukarno, C’ing Jerome and Jay Brown. Evelyn is CEO/founder of management and development company Big Al Management, which includes clients YSA and Khrys Hatch. Evelyn also serves as radio/TV producer/show host at YoCo 96.7 FM in Nashville. Martinez has worked as a songwriter, producer and recording engineer. After a five-year stint at Warner Music Group, Martinez manages artists in multiple genres as CEO of The Exos Group and is partner in Coco’s Backstage.
Carlson, CEO of mtheory, said via a statement, “Research continues to show the enduring racial and gendered hierarchy within the industry, and its ripple effect throughout every facet of the business: radio airplay, songwriting, publishing, streaming, record label signings, artist development, touring and more. Only through deliberate, consistent efforts like Equal Access, will we begin to see stronger representation of underserved groups in the format, and we’re committed to helping this new group of exceptionally talented individuals successfully prepare for careers in country music, particularly in this current legislative environment that has become an increasingly prohibitive place for creativity to grow and flourish. Thank you to all of our supporters for making this program possible, particularly our title sponsors at CMT and across the Paramount companies.”
Fram added, “CMT, along with Paramount Global and its Content for Change initiative, is proud to partner with mtheory once again and is committed to leading the industry in igniting systemic change. Equal Access accentuates our roster of groundbreaking initiatives including CMT Equal Play and CMT Next Women of Country, and contributes significantly towards leveling the playing field in country music. We look forward to collaborating with this amazing new group of artists and managers to amplify their work to CMT audiences and beyond.”
The inaugural 2022-23 Equal Access cohort included artists Madeline Edwards, Miko Marks and Valerie Ponzio and music management professionals Charlene Bryant, Kadeem Phillips and Marques Vance.
Over the past year, the 2022-23 Equal Access class members have reached numerous goals. Edwards signed a publishing deal with Sony Music Publishing, a recording deal with Warner Music Nashville and has toured with Chris Stapleton and Ingrid Andress. Marks released the album Feel Like Going Home with music reaching the top five on the Americana Radio Albums chart, while her single “One More Night” reached the top 20. Ponzio released her EP Frontera and had her music featured on the Times Square billboard and on CMT. Marks and Edwards both made their Grand Ole Opry debut performances.
Bryant now manages artist Harper Grae and is a consultant for Universal Music Nashville. Vance began a full-time job with a major label and launched a website to feature his work as a manager and marketing consultant. Phillips launched the Empower the Block website to showcase his work as a manager, publisher, distributor and studio owner, and launched a monthly showcase, Spirit of Country, to highlight country artists of color.
Singer-songwriter-actor Tim McGraw is expanding his business ventures with a new entertainment, media and marketing company called Down Home. The Nashville-based firm is a collaborative effort between McGraw, his management company EM.Co and social content studio Shareability.
EM.Co’s Brian Kaplan, also a co-founder of Down Home, will serve as chief strategy officer, while Shareability founder and Down Home co-founder Tim Staples will serve as CEO. The venture is aimed at connecting McGraw’s country music audience with Hollywood and brands by producing film, TV and digital media “that focuses on relatable stories that capture the essence and spirit of everyday Americans,” according to a press release.
Down Home has secured a private investment deal with Nashville-based TriScore Entertainment and The Laurel Group, a boutique merchant bank that continues to advise the company.
At launch, Down Home has an investment and first-look deal in place with Skydance Media. Under the agreement, Skydance will develop film and television projects with Down Home, in addition to channeling IP and other material to the company. Down Home currently has two scripted series in development with Skydance, with plans for additional features and animation. Skydance founder/CEO David Ellison will serve on the Down Home board.
Down Home additionally plans to establish a social content studio to nurture Nashville’s emerging talent, fostering connections across music, sports, entertainment and brands.
“Country music has always been about storytelling,” McGraw said in a statement. “Our stories are honest vignettes of life and family and community. I think there’s a longing for that. For me, that’s Down Home. That’s how I grew up, those are the stories I like to tell, and that’s what I want our company to be about.”
Ellison added, “Tim McGraw is an outstanding artist and entertainer. He is truly gifted at telling stories across mediums that deeply connect with the audience and has built an unmatched community of fans around the world. We are thrilled to partner with him, Tim Staples, Brian Kaplan, and everyone at Down Home as they have created a dedicated infrastructure to tell stories across film, TV, and music, to fulfill a massive demand for authentic, inspiring stories.”
“From 1883 to Friday Night Lights, or songs like ‘Humble and Kind’, Tim McGraw knows how to connect with this audience in a way that can be really powerful for both Hollywood and brands,” said Staples.
“We’re thrilled to be a part of the next chapter in Nashville’s evolution in empowering artists and visionaries to create a new hub for storytelling that combines talent, passion, and innovation,” Kaplan added.
McGraw was represented in the transaction by EM.Co’s Scott Siman and Kelly Clague. He continues his long-time affiliation with CAA.