Management
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Lasso has inked a management deal with WK Entertainment, the company tells Billboard.
The signing entails a comprehensive 360 contract — supporting the Venezuelan singer-songwriter in touring, brand partnership strategies, A&R and marketing at a global level — under the leadership of WK Entertainment GM Andres Gomez.
“I have always been a fan of the artists that WK manages,” Lasso (real name: Andres Vicente Lazo Uslar) said in a statement. “I’ve always thought of it as a far reached goal and to be able to form part of their roster is still unbelievable. I’m very excited for everything that is to come, for all the changes for my music and my career.”
“I am thrilled to be able to work with Lasso and support his creative vision in this new chapter,” Gomez added. “He is an artist who has become one of the industry’s most respected live performers — a singer-songwriter who will continue to push the boundaries of the contemporary pop genre for years to come.”
Kolm added, “We are very excited to be a part of this new phase in his career.”
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Lasso simultaneously unveiled the dates for his first U.S. tour dubbed Quedarse Solo Para Siempre (translation: “staying alone forever”). Promoted by Live Nation, the 15-date stint kicks off Sept. 11 in San Francisco and wraps Oct. 26 in Houston (see more below). General tickets go on sale on June 19 at 10 a.m. local time via LassoMusica.com.
In addition, Lasso revealed that his fifth studio album is set to release this fall. Its 13 tracks will include the previously-released singles “Bilingües” with Mau y Ricky and the Micro TDH-assisted “No Escuches Esta Canción.”
Recognizing Lasso’s talent and versatility, Hans Schafer, senior vp of global touring at Live Nation, added, “We see a bright future for him […] and are excited to develop a tour showcasing his unique sound to his dedicated followers and new audiences.”
Lasso released his debut album, Sin Otro Sentido, in 2012. In 2021, he was nominated for best new artist at the 2021 Latin Grammys; the following year, he entered the Billboard charts for the first time with “Ojos Marrones.” The feel-good pop tune peaked at No. 66 on the Billboard Global 200 chart and No. 39 on the Billboard Global Excl. U.S. chart. The single also won him best pop rock song at the 2023 Latin Grammys.
Lasso
Courtesy Photo
Scooter Braun announced his retirement from artist management on Monday (June 17), officially putting a cap on a 23-year run during which he guided the careers of some of the biggest pop stars of the 21st century, including Justin Bieber, Ariana Grande, Demi Lovato, J Balvin, Carly Rae Jepsen, The Kid Laroi and others.
“I have been blessed to have had a ‘Forrest Gump’-like life while witnessing and taking part in the journeys of some of the most extraordinarily talented people the world has ever seen,” Braun said in a statement issued on social media. “I’m constantly pinching myself and asking ‘how did I get here?’ And after 23 years this chapter as a must manager has come to an end.”
Braun sold Ithaca Holdings, the parent company of his management company SB Projects, to South Korean entertainment conglomerate HYBE in 2021.
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Braun will continue his work as HYBE America’s CEO.
A good portion of Braun’s 1,300-plus word send-off is spent recalling some of his fondest memories as a manager, including seeing Andrew Wyatt win a producer of the year Grammy, watching Quavo succeed as an entrepreneur, seeing Dan + Shay “go from local Nashville writers to sold out headliners,” and enjoying “brother Usher dominate the Super Bowl this year.” He also said he was “Kanye’s ‘gateway drug to business’ as we had amazing years of success when I was once able to call him my friend.”
He made sure to single out his two crowning clients — Bieber and Grande — “a 13 year old kid busking in Canada” and “a young actress on Nickelodeon” when he signed them.
“To see them both come up to be the legends they are today will forever be one of my greatest honors,” he said. “As we change our working relationships now, I will continue to root for them with the same passion that I did at each of their humble beginnings… There will never be a day where I don’t take great pride and honor in what we accomplished together.”
Read Braun’s full announcement:
23 years. That’s how long I have been a music manager. 23 years ago a 19 year old kid started managing an artist named Cato in Atlanta, GA and my journey began. Along the way I have had so many experiences I could never have dreamt of. I have been blessed to have had a ‘Forrest Gump”-like life while witnessing and taking part in the journeys of some of the most extraordinarily talented people the world has ever seen. I’m constantly pinching myself and asking “how did I get here?” And after 23 years this chapter as a must manager has come to an end.”
It’s a strange feeling because I think I have wanted this for a while, but I was truly afraid to answer the question “who would I be without them?” I was really just 19 years old when I started. So for my entire adult life I played the role of an artist manager on call 24 hours a day, 7 days a week. And for 20 years I loved it. It’s all I had known. But as my children got older, and my personal Iife took some hits, I came to the realization that my kids were 3 superstars I wasn’t willing to lose. The sacrifices I was once willing to make I could no longer justify. It was time to step into a new role.
In this next chapter I have been honored to join as a board member of Hybe and serve as the CEO of Hybe America. My brilliant partner these past 3 years, Chairman Bang, has a vision I truly believe in. But even beyond that he has become a true friend who understands where I must be in my life these days. And that is a father first, a CEO second, and a manager no more.
Over the past 2 years I have been heading towards this destination, but it wasn’t until last summer that this new chapter became a reality. One of my biggest clients and friends told me that they wanted to spread their wings and go in a new direction. We had been through so much together over the last decade, but instead of being hurt I saw it as a sign. You see, life doesn’t hand you YOUR plan, it hands you GOD’s plan. And God has been pushing me in this direction for some time. I have nothing but love for those I have worked with over the years, and as we develop a different working relationship, I will always be in their corner to consult and support them whether it be directly or from afar. Every client I have had the privilege of working with has changed my life, and I know many of them are just beginning to see the success they deserve. I will cheer for every single one of them.
I have gotten to see my friend Andrew Watt win the Grammy for Producer of the year. I have laughed and cried as Lil Dicky truly became DAVE. I have witnessed an angel of a human Tori Kelly win Grammys and star in films. I have seen J Balvin live out his dreams of breaking boundaries, and Demi show kindness and grace that few megastars have. I have been moved as Zac Brown Band raised our flag and delivered the hits. I was excited the first time I heard Animals with Martin Garrix, and learned a new world with David Guetta and Steve Angello. I have danced to Carly Rae Jepsen’s Call Me Maybe and smiled ear to ear as PSY brought us Gangnam Style. I have watched Quavo grow to be an entrepreneur, and served as Kanye’s “gateway drug to business” as we had amazing years of success when I was once able to call him my friend. I have marched with YG and flown to Australia with Laroi to see the hometown kid rock an arena. I have seen Dan Shay go from local Nashville writers to sold out headliners and award winners. The list of artists goes on and on over 23 years. So many stories it would take me forever to name. From those first years with Asher Roth to watching my partner and brother Usher dominate the Super Bowl this year, it is truly overwhelming.But it was this past Christmas Day when Ariana and Justin became the biggest male and female in the history of the Spotify Billions club that I just smiled and thought “what a ride.” Justin and Ariana were both young teenagers when I began with them. Justin a 13 year old kid busking in Canada and Ariana a young actress on Nickelodeon. To see them both come up to be the legends they are today will forever be one of my greatest honors. As we change our working relationships now, I will continue to root for them with the same passion that I did at each of their humble beginnings. I remember the pranks and the water park shows with Justin, and the first time Ari opened an arena tour and her excitement side stage. I remember as they both stepped up for others and I got to witness them each change the world and make history. There will never be a day where I don’t take great pride and honor in what we accomplished together. The same can be said for so many I have had the pleasure of once being called “manager”.
There has been a lot said about what is happening in our company… and in my career. When we had success I smiled, and when we were attacked I tried to always take the high road. But for the last 3 years I have begun to feel that taking the high road has created confusion and ambiguity as to who we are. I may have left my role in management, and my business relationship with many clients will alter and change, but this does not mean we as a company are leaving. Both Allison Kaye and Jennifer McDaniels are more than capable to lead and as we combine new resources the opportunities with their leadership are endless. These two incredibly powerful women will now step into a role that I know will grow into the most impressive women-led management business our industry has even seen. While my name may have been on the door all these years, the truth is there is no one as brilliant as Allison Kaye, and few who can manage with the grace and poise of Jen McDaniels.
We at Hybe will continue to grow. With the addition of QC to Hybe America and our existing business at Big Machine, we will continue to add amazing execs and artists to the roster. Our WeVerse platform and growing gaming unit is something the whole industry can celebrate and join. Getting the opportunity to A&R and Executive Produce the solo career of Jung Kook last summer, and work with the other members of BTS as we break worldwide records, has been an absolute honor. With new acts like NewJeans, TXT, LE SSERAFIM, Seventeen, ILLIT, The Scarlet Opera, Ava Max, and many other new artists and ventures, the future is bright. I’m honored to join Chairman Bang and Jiwon Park as we grow HYBE from the multi-billion dollar publicly traded company it is today to the worldwide multifaceted entertainment platform it is destined to be.
With Hybe going strong I am also looking forward to continuing to invest in a new generation of entrepreneurs and serve as a national board member of Make A Wish and help individuals and communities through our family’s Braun Foundation. Between all of this and coaching my kids I’m not worried about being busy 🙂
So yes, it’s been 23 years. And yes, this chapter has come to an end. But the great Berry Gordy once told me “young man, it never ends the way you wanted, but it doesn’t mean it didn’t happen.” That wisdom has proven to be correct. I never saw how this chapter would end, hell, I never even saw it happening. But it did. And I will cherish every moment of it. I made my plan… but it turns out I like God’s plan better. Cheers!
Rauw Alejandro, in the midst of touring and releasing new music, has assembled a new core management and business team, Billboard has learned.
Leadership includes his longtime attorney and business manager José Juan Torres and his longtime personal manager Matías Solaris.
In addition, sources confirm Alejandro has brought in Jorge “Pepo” Ferradas, founder of and CEO of FPM Entertainment, to head overall strategy of his career moving forward.
Rauw Alejandro was previously managed by Eric Duars, who signed him in 2017 and with whom he split last year.
“It’s a different vision, a different perspective,” Alejandro told Billboard last week about his new team during the Governors Ball music festival, where he was performing. “What we did together was great,” he said about working with Duars, and added: “I have a great team right now. I’m 31 years old, a grown ass man. I feel really happy at this moment of my life. I feel in control of my whole career. I know what I want to do. I have my notes. I learned. It’s just part of growing.”
Ferradas is Camilo and wife Evaluna’s longtime manager, and also co-manages Rels B along with Fede Lauria of Dale Play. Prior to launching FPM, Ferradas’ management experience includes managing Colombian star Shakira in all Spanish-speaking markets as well as overseeing her deal with Live Nation. Ferradas later helped found and develop GTS, Universal’s tour and management company, and was president of music at Univision.
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In the crowded world of reggaetón acts who came up in the mid-to-late 2010s, Rauw Alejandro (born Raul Alejandro Ocasio Ruiz) stands out as an artist who also performs dazzling choreography and experiments with genres like dance. That mix has continued to yield hits; to date, Alejandro has placed 53 songs on Billboard’s Hot Latin songs chart, including 11 top 10s, among them “Santa,” with Rvssian & Ayra Starr, which peaked at No. 8 in May. Thanks to his combined touring, streaming and sales numbers, Alejandro ended 2023 at No. 6 on Billboard’s year-end Top Latin Artists chart.
Alejandro is currently signed to Sony Music U.S. Latin.
Ariana Grande and HYBE, led by CEO Scooter Braun, look forward to continuing their long-standing business partnership and pursuing creative opportunities in Weverse and REM Beauty, according to representatives for the superstar and global company. Grande in this new chapter will continue to be managed exclusively by Brandon Creed and his Good World Management, to […]
Asked to recall his first musical memory, James Rosemond Jr. is quick to answer: R&B duo Groove Theory’s 1995 R&B/pop classic, “Tell Me.” He sings a snippet of the song’s infectious refrain — “Tell me if you want me to…” — and says with a laugh, “I was 4 years old, but that’s the way I fell in love with music.”
Growing up, there was plenty of music to love. Rosemond, now 31, is the son of former artist manager Jimmy Rosemond, who represented Gucci Mane, The Game, Salt-N-Pepa and others. And over the past two years, he has blazed his own path in the profession, helping guide rapper Ice Spice to crossover stardom. Since breaking through in 2022 with the viral TikTok hit “Munch (Feelin’ U),” Ice has garnered four Grammy Award nominations, and in 2023, she released four top 10 Billboard Hot 100 singles: “Princess Diana” with Nicki Minaj, “Boy’s a Liar, Pt. 2” with PinkPantheress, “Karma” with Taylor Swift and “Barbie World” with Minaj and Aqua.
Ice is not Rosemond’s sole client. His Miami-based Mastermind Artists also manages the young rapper’s go-to producer, RIOTUSA, as well as DJ-producer Diablo, who works with Diplo. Former clients include Sean Kingston and songwriter Infrared (Fat Joe, French Montana). Prior to launching Mastermind 12 years ago, Rosemond honed his business skills while brokering publishing deals for songwriters and producers with Primary Wave Music CEO Larry Mestel and Ultra International Music Publishing founder Patrick Moxey.
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A painting of the iconic 1968 Esquire cover depicting Muhammad Ali as St. Sebastian. “The photo was shot during the Civil Rights movement and represents sacrifice. As a talent manager, that’s the space I occupy,” Rosemond says.
Alfonso Duran
Rosemond achieved these wins in the face of family upheaval. His father is serving life in prison after being convicted in 2013 of crimes tied to a cocaine-trafficking operation and in 2014 to the 2009 death of G-Unit affiliate Lowell “Lodi Mack” Fletcher. Rosemond says he speaks to his father “all the time” and continues to receive “life advice” from him — “like what any father would give his young adult son in this world.” As for business counsel, he adds, “Times change, and I don’t think he understands streaming, TikTok and other data the way I do, so there’s not much advice there.”
That said, Rosemond came of age watching his father successfully navigate the music business and continues to use much of what he absorbed — especially “creative deal-making,” he says. “Those conversations of how to negotiate and secure a deal, and what to look for in a deal. That always stuck with me.”
He is using some of that advice as he conducts “strategic conversations” to strengthen the firm’s infrastructure, including expanding into more musical genres. Meanwhile, he’s busy preparing for Ice’s debut studio album, Y2K, which is due July 26 on 10K Projects/Capitol Records. The album has been teased by two singles: “Think U the Shit (Fart)” and the latest, “Gimmie the Light,” which she performed at Coachella in April. Also stoking anticipation for the album: 50,000 MetroCards featuring Ice’s image were recently made available in collaboration with Capitol Records at four New York subway stations.
Rosemond says that kind of creative thinking keeps him excited about the music industry. “I love that it keeps me on my toes. I want to feel the challenge.”
A “blur figure” of a $100 bill that friends at the Brooklyn art collective MSCHF gifted to Rosemond.
Alfonso Duran
What was it like growing up with a parent who was such a force in the music industry?
It was definitely an eye-opener. I like to say to people that I live in dog years because of the information and experience that I was privy to early on — the lingo, the conversations and the behind-the-scenes scenarios that I was able to experience. I have to give credit to all of that for where I am today success-wise.
What key lessons did you learn that you use today?
To really listen and forever be a student. A lot of people come into this business quickly and feel like they know it all. No matter what artists my father represented, he still felt like a sponge; always learning new things. I carry that with me to this day.
How has being Jimmy Rosemond’s son affected the way people in the industry deal with you?
I would say that a lot of veterans look out for each other in the way that peers look out for each other. That has always been the spirit in the music industry. There hasn’t been much of a difference between my father being home and not being home.
How did you get into brokering publishing deals?
I always found myself in the same circle as songwriters and producers, who had income or pipeline hits and needed help. And through my relationships with Larry and Patrick — and having a good lawyer by my side — I was able to connect the dots. It’s also how I was able to kick off my company.
A gold record plaque (left) for Ice Spice’s “Munch” single, “the breakthrough that started it all,” and a platinum plaque for “Boy’s a Liar, Pt. 2,” the record “that crossed us over to top 40,” he says.
Alfonso Duran
Did that prompt your pivot into artist management?
Yes, because I’m a nerd when it comes to business, especially the deal-making. Outside of the day-to-day with an artist, it’s about brokering amazing deals for artists; helping them really understand the difference in what they have versus what others have and then having them see the value of what I can bring to the table. I get high on that.
What was it about Ice Spice, your first female client, that caught your ear?
It was her tone and the production she was picking. When I came across her early on, she only had about two or three songs out. She didn’t have the crazy monthly listeners and social numbers. Then I came across a song called “No Clarity,” a drill flip of Zedd’s “Clarity,” and heard the song’s possibilities. Next, I heard “Name of Love.” One, she’s working with the same producer [RIOTUSA] and they’re creating a sound. Two, her tone, and three, they’re flipping these crossover samples in drills. That got me. Then I saw her image — the curls, which was different — and I’m like, “Whoa!”
Talk about the marketing strategy behind Ice Spice with Dunkin’ and New York’s subway system.
Coming out of the gate, it was always three-dimensional chess. “Less is more” was our conversation and “Let’s not saturate.” Strategically, it was also about digital. When we put “Munch” out, we got the right digital team, which was Create Music Group. Its sister companies include WorldStar and Genius. I never want to feel like an artist is on a treadmill. I always want them to feel like they’re moving forward from A to C, C to E. So I did a strategic play on the digital side to accelerate her growth, social and in the market. “Munch” was everywhere that first week we put it out. And that was due to the strategic play that I was able to put together using the song as currency.
That led to Dunkin’?
Yes. When that opportunity came to us, it was a no-brainer because her fan base is called Munchkins. We always like to tap into social media and see what people are thinking or talking about. It’s not like we’re coming in and saying, “Yo, we should do Dunkin’.” It’s coming up with the idea because we’re hearing the conversations about what fans want to see. It’s there; we’re just listening.
Gold camel souvenir from a vacation in Abu Dhabi, United Arab Emirates: “Camels, known for their resilience and adaptability, also represent patience and determination.”
Alfonso Duran
How did you enable her to retain her masters?
It was really about giving her all the right information. Like, this is where the market is going. It’s about independence. It’s about retaining ownership; about intellectual property and generational wealth. That sometimes there are sacrifices — that people may be dangling money. But if you want a certain type of deal, you have to be patient as we do the work to have leverage. That was the conversation early on. And thank God she listened and was able to hold out while we kept running up the numbers on “Munch.” Then it became, “Let’s entertain these deals” and, as I said earlier, begin to shape one in a creative way. Now, she not only retains her masters but also her publishing rights and still gets upfront money as if she’s a work for hire. It’s a hybrid type of deal that you don’t see often. And it comes with doing the work, having patience and creating leverage.
In the wake of major-label restructuring and shrinking promotion departments, is radio still important?
Absolutely. I tell my clients, “Streaming is the club, radio is VIP.” We want to get into the club and we want to get into the VIP section. And radio still feels somewhat exclusive. People are still driving and listening to the radio. And it’s not only about an artist breaking through. Once again, there’s the economics of it. If you have a publishing deal, one important factor is radio airplay. So why wouldn’t you want to have music on the radio?
Is there one thing you always tell a new client up front?
That economics is always going to play its part. That’s No. 1. Artists come in with big expectations like wanting the luxurious stuff. To keep them grounded on that front, I always remind them that it’s about profit and loss. So the more money they spend, they’ve got to crank out hits to make sure labels and publishers will want to continue to spend money on them.
It’s 9 p.m. on a Wednesday evening in Miami, and Ty Baisden is still taking care of business with an energy level that belies the hour.
“I’m a firm sleeper who gets my eight hours,” says Baisden, his Georgian drawl giving way to laughter. “But what I don’t do is the bulls–t. So subtract the bulls–t, and you’ve got a lot of time to work and a lot of time to rest.”
That philosophy has anchored Baisden since he broke into the business as a manager in 2008. During that time, the native Atlantan also closely observed successful creative/business partnerships including Disturbing Tha Peace Records with Ludacris and Chaka Zulu and Grand Hustle Records with T.I. and Jason Geter.
Given the tenuousness of most manager-artist relationships, Baisden wanted to apply that collaborative model to the right act. “I was like, ‘I’ve got to find an artist that will want to partner with me where they deal with all the creative and I deal with all the business. Then we can build a company together, and we’ll be protected because the company is our protection.’ ”
In 2014, he found an ideal artist-partner in Brent Faiyaz after discovering him on SoundCloud. “It wasn’t an easy thing,” Baisden recalls. “I had executives telling me, ‘Don’t partner with artists; that’s dumb.’ And I had artists thinking, ‘No, I’d rather do something with a major label.’ Brent was the first artist that really believed in the overall process of that kind of partnership.”
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Over the last nine years, the business alignment between Baisden’s firm COLTURE — an acronym that stands for Can Our Leverage Teach Us Real Equity — where he is head of ventures and innovation — and Faiyaz’s Lost Kids label has yielded several successes. Among them: Faiyaz’s 2020 EP, F–k the World, bowing at No. 20 on the Billboard 200, followed by his momentous No. 2 debut with second studio album Wasteland — against Bad Bunny’s multiweek No. 1 juggernaut Un Verano Sin Ti — in 2022.
Then in 2023, Faiyaz’s F*ck the World, It’s a Wasteland Tour grossed $5.3 million and sold 68,000 tickets over 18 shows, according to Billboard Boxscore. Separately, in 2023, he launched his own creative agency, ISO Supremacy, in partnership with UnitedMasters. (Baisden is not involved.) ISO joined forces with PULSE Records in an artist development joint venture, and in May struck gold with genre-melding R&B singer Tommy Richman, whose “Million Dollar Baby” has spent two weeks at No. 2 on the Billboard Hot 100.
Splitting his time between Atlanta and Miami with a 22-member staff, Baisden, 40, works alongside COLTURE co-founder and head of creative services Jayne Andrew and partner Paris “PK” Kirk. The three are also co-founders and equity partners in COLTURE Holdings, which houses the firm’s nonmusic-related businesses.
“I don’t manage artists,” Baisden says of the business he has built with Faiyaz. “The skin that I have in the game is seeing another Black man be successful in whatever they want to do.”
Devin Christopher
What COLTURE accomplishment stands out over the last 18 months?
Our company vertically integrated and built Brent’s [2023] tour from start to finish. Usually, management will hire out for everything to get done. I partnered with Wasserman Music’s Callender to route it and negotiate the deals. Meanwhile, I handled the entire budget. Jayne handled all the band details, creative direction and making sure Brent felt comfortable onstage while PK handled all the lifestyle and afterparty events. And we each split time going to the different [tour stops] and booking the buses, freight and travel.
That’s not the job of managers, but we’re not managers; we build businesses. To build a business, you’ve got to manage the budget so you can determine your margin. Brent’s tour profited because we controlled every single dollar that was spent. I just think that’s very loud. So many people go out on the road and don’t make money. The artist gets paid, but when it’s time to do your balance sheet, you come out in the red. Many times, when you have other people managing a big lift, you’re going to get blindly overcharged.
How does the COLTURE partnership with Faiyaz and Lost Kids work?
Christopher Brent Wood [Faiyaz’s birth name] and I are business partners. When Christopher turns into the artist Brent Faiyaz and I’m operating on the latter’s behalf, then my job title is manager, for which I get a percentage. That’s probably the best way I can put it. We’re 50/50 partners in Lost Kids, under which we have multiple businesses. That was basically our handshake to one another in the beginning. Those projects and his tours are the financial seeds for Brent and me to go out and make individual investments. Lost Kids gave Brent the opportunity to invest in ISO Supremacy with his high school friend Darren Xu, and now they’re having a huge success with Tommy Richman. Beyond music and publishing, our biggest investments under Lost Kids involve real estate in Atlanta and Dallas and more than 20 startup companies, including Athletic Greens, Therabody, Audio Shake and Seed. And the great thing is three of those four companies — Seed, Audio Shake and Athletic Greens — are led by women.
Lost Kids also sponsors annual initiatives on behalf of female executives and entrepreneurs.
We just finished our fourth annual Show You Off grant program, giving 12 women $10,000 grants each to run their own business or launch a new idea. One of the policies of the grant is to reward Black women that are from the DMV [Washington, D.C., Maryland and Virginia] area. This year was a heavy one with new ideas involving STEM companies, [artificial intelligence] technology, electric batteries, etc. Thus far, we’ve donated about half a million dollars or more to Black women-helmed businesses.
What additional clients and businesses are under the COLTURE umbrella?
On the producer side, we have Nascent, who’s just finishing his project, Don’t Grow Up Too Soon, that we’ll distribute independently; Jordan Waré and Dpat, who have both worked with Brent. We have a partnership with [podcast] Million Dollaz Worth of Game to help [former rapper/co-host Gillie Da Kid] build out a music division. We’re doing their artist N3wyrkla’s first rollout with Troy Carter’s Venice Music. We collaborate as well with [pop duo] Emotional Oranges on distribution and creative direction when needed. Then, in the same kind of partnership I have with Brent, there’s Canadian female artist Kalisway, who writes and produces funk and R&B. Lastly, we’re helping actor Malcolm Mays [Starz’s Raising Kanan] launch his music career to diversify his business.
What’s the biggest issue facing the independent community right now?
An indie company can put out a song and the song can blow up, but more than likely, the company doesn’t have sufficient infrastructure to make sure everybody’s paid fairly based on their contributions to the record that just changed their artist’s life. The artist and the label are going to get big checks, but the songwriters and producers are probably going to get paid a year or two later, depending on how savvy their manager is — if they even have a manager.
Where do you envision COLTURE three to five years from now?
We have a 10-year plan outlining that parent company COLTURE Holdings will be generating $100 million in revenue by 2030. That’s the goal. Over the next three years, we’re launching our full-fledged media department, including TV, film, podcasting and digital content. The sports division is developing, and we’re continuing our real estate operation. We’re basically building a community and a pipeline for disrupters who can either stay within our ecosystem or build their own businesses.
Additional reporting by Shira Brown.
This story originally appeared in the June 8, 2024, issue of Billboard.
The Black Keys has parted ways with its managers, Irving Azoff and Steve Moir, following the abrupt cancellation of the band’s arena tour in North America late last month. First reported by the New York Times, a representative for Azoff has confirmed the split, telling Billboard it was an “amicable parting.” Representatives for The Black […]
Range Music has promoted Jared Cotter to partner, the company announced Thursday (May 23). Cotter, who has been at Range since 2022, had been vp of A&R for the management company, which operates as the music division under the umbrella of Range Media Partners. Cotter manages Paul Russell, whose song “Lil Boo Thing” reached No. […]
Last year, an unknown artist named Tommy Richman stunned as a guest on Brent Faiyaz’s Larger Than Life, appearing on “Upset” alongside FELIX! (The song reached No. 12 on Hot R&B Songs last November.) But now, Richman, who is signed to Faiyaz’ ISO Supremacy label, is making a much larger impression with a hit of his own.
On April 26, Richman released the bouncy “Million Dollar Baby,” on which he flexes his falsetto and genre-blurring sensibilities. The song debuted with 38 million official U.S. streams in its first week of release (April 26-May 2), according to Luminate. “Million Dollar Baby” also scored Richman his first Hot 100 entry, debuting at No. 2 — behind only Taylor Swift and Post Malone’s “Fortnight.” The song also debuts atop the Steaming Songs chart, making Richman the first artist since Olivia Rodrigo with “Drivers License” in 2021 to launch a solo first entry atop the chart.
As previously reported by Billboard, the song’s grand entrance resulted in a boost for Richman’s discography; not including “Baby,” Richman’s catalog posted nearly 2.1 million on-demand U.S. audio streams (across April 26-29), a gain of 106% from the four-day period before. And now, in its second week, the song not only remains at No. 2 on the Hot 100, it climbs to No. 2 on the Billboard Global 200 and reaches No. 1 on the TikTok Top 50, as it continues to gain steam.
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The Woodbridge, Va.-born artist was the first to sign to ISO Supremacy (in partnership with PULSE Records). In addition to scoring a feature on Faiyaz’s last album, Richman also opened for the label boss on his 2023 F*ck the World, It’s a Wasteland Tour. And now, Darren Xu, COO of ISO Supremacy, earns the title of Billboard‘s Executive of the Week.
Despite much of this success seemingly coming out of nowhere, Xu can’t help but look back knowingly, having always believed Richman would reach this moment. As “Baby” continues to grow — thanks in large part to TikTok, where the song has soundtracked 218.3K clips and counting — his team is focused on the future. As Xu, says: “It’s going to be all gas, no brakes.”
Since the Hot 100 began in 1958, only five other acts have debuted in the chart’s top two with no prior history on the chart. Why is “Million Dollar Baby” connecting so strongly?
I feel like “Million Dollar Baby” is a real testament to the climate of social media today. It really shows that if you make good music, it will reach the right audience. Tommy is creating new sounds and the music will speak for itself.
Tommy was the first artist signed to Brent Faiyaz’s ISO Supremacy — what were Tommy and the team looking to gain in signing with Brent?
There was a mutual respect and collaborative energy between the two of them from day one, so the connection just made sense. We knew we’d all win big.
What’s the key to managing an emerging star today?
Don’t let people rush or pressure you into taking steps you don’t need to, and prioritize the artist’s taste and vision.
How are you planning to keep momentum going — for the song and Tommy more broadly?
You guys are going to have to just stay tuned and keep an eye on what we do next. All I can say is it’s going to be all gas no brakes.
LONDON — Two of the United Kingdom’s leading music management companies have joined forces after ATC Management acquired a majority stake in Raw Power Management, whose clients include rock bands Bring Me The Horizon and Bullet For My Valentine.
Financial terms reveal that ATC paid £1.4 million ($1.8 million) for a 55% stake in Raw Power, which was founded in 2006 by CEO Craig Jennings, Rod Smallwood and Andy Taylor. Headquartered in London and with offices in Los Angeles, Raw Power’s other clients include The Mars Volta, The Damned, You Me At Six, Don Broco, Heartworms, Kid Kapichi, The Chisel and Refused.
Under the new partnership, Raw Power’s U.K. team, including Jennings and commercial director Don Jenkins, will relocate to ATC Management’s London headquarters. Both companies’ LA-based operations will also merge with immediate effect.
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Raw Power employs 14 staff across its U.K. and U.S. offices. The firm said there will be no job losses because of the deal.
According to a regulatory financial filing, Raw Power generated £2.3 million ($2.9 million) in revenue in the year ending Feb. 28 2023. Profit before tax was £326,000 ($412,000).
As part of the majority stake deal, ATC will loan Raw Power up to £1.3 million ($1.6 million) in additional funds to pay off historic debts. Listed among those liabilities in Companies House records is a £1.9 million ($2.4 million) loan from Phantom Music Management, the company of Iron Maiden’s long-time manager (and Raw Power co-founder) Rod Smallwood.
Since its formation in 2006, Raw Power has built itself into one of the leading rock artist management companies in Europe.
Bring Me The Horizon, who are managed by Jennings and the firm’s U.S. president, Matt Ash, won best rock/alternative act at this year’s Brit Awards and have surpassed 1 billion Spotify streams and more than 5 million equivalent album sales worldwide.
The British band’s most recent album, 2020’s Post Human: Survival Horror, topped the charts in the U.K. and peaked at No. 3 on Billboard’s Hard Rock albums chart. A sold-out U.K. and Ireland tour in January sold 140,000 tickets across 10 dates, says Raw Power.
ATC Management was founded in 1996, initially as a boutique ticketing and marketing business, before focusing on artist management. Part of the independently owned ATC Group, which also encompasses live booking agency ATC Live, merchandise company Sandbag and livestream business Driift, the management business represents more than 60 artists, including Nick Cave, The Smile, PJ Harvey, Yaeji, and Johnny Marr. ATC Live represents more than 500 acts, while Sandbag has relationships with 750 artists.
In 2021, ATC Group, which is headquartered in London and operates offices in Los Angeles and New York, listed on the U.K.’s Aquis Stock Exchange.
Commenting on the deal, Raw Power’s Jennings said the merger with ATC marked “a new era” for both companies and would turn them into a “powerhouse organization.”
“Both ATC and Raw Power value integrity, belief in the acts we look after, passion for the music and doing everything for the benefit of our artists,” said Jennings in a statement. “This feels like a massive opportunity to take our artists to a whole new level.”
“At heart, our two companies have a common purpose – to support artists and empower them to achieve their creative and commercial goals,” said Adam Driscoll, CEO, ATC Group. “By coming together and combining forces, the capacity to deliver on those goals has increased substantially.”