Publishing
Welcome to Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since the last time we rapped, NMPA chief David Israelite gave his annual State of Music Publishing address at a conference for indie publishers, Canada’s SOCAN reported a record-high number in total royalty distributions, and Billboard Español had a chat with Rimas Publishing president Carlos Souffront and managing director Emilio Morales about their vision for the company.
The Independent Music Publishers International Forum (IMPF) released its fourth Global Market View report, analyzing the indie music publishing industry’s performance and trends, including the impact of Generative AI. The report shows that the sector grew by 5.7% in 2023, the last full year of data, reaching a total value of 2.57 billion euros ($2.83B, as of the exchange rate on Dec. 30, 2023), up 105.6% since 2018. Despite a slight decline in market share from 26.7% to 26.3%, independent publishers collectively hold a larger market share than major companies like Sony Music Publishing, they said. Key priorities outlined in the report include addressing AI challenges and advocating for fair compensation from DSPs. The study warns that unchecked growth of AI-generated content could lead to a 24% revenue dip in music and a 21% drop in audiovisual by 2028, resulting in a cumulative loss of 22 billion euros, with 10 billion euros affecting music. The IMPF, which reps 230 indies, emphasizes the need for supportive tax policies and plans to monitor the U.S. Mechanical Licensing Collective for equitable practices. The report also raises concerns about consolidation/acquisitions of catalogs and indie publishers, which could negatively impact cultural diversity by reducing independent routes to the music market.
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Sony Music Publishing signed producer, engineer and multi-instrumentalist MTech (Matthew Bernard) to a global publishing deal. This agreement covers his existing catalog and future songs, and is in collaboration with producer Sounwave’s new production division, new.ordinary. Mtech contributed on six tracks on Kendrick Lamar’s GNX album, which reached No. 1 on the Billboard 200 albums chart. His credits on GNX include “Luther” and “Squabble Up,” both Hot 100 No. 1s. He has also worked on Lamar’s Euphoria, Kali Uchis’ Orquídeas, and Blxst’s I’ll Always Come Find You. Born in Los Angeles, MTech began his career at 17, later moving to Atlanta where he secured his first major TV placement on FOX’s Star and worked on The Four: Battle for Stardom. Returning to LA in 2022, he was introduced to Sounwave, who calls him a “superstar.” Sony Music Publishing manager, creative A&R Lauren Munroe said, “MTech’s exceptional talent is truly inspiring to be around, and I’m grateful for the opportunity to work with him. We’re honored to welcome MTech to the Sony Music Publishing family alongside the visionary Sounwave and excited for the incredible music ahead.”
Kobalt signed rock band Pierce The Veil to a global publishing deal. The band is on a successful tour following their fifth studio album, The Jaws Of Life, with sold-out shows at Madison Square Garden and The Forum. Their I Can’t Hear You world tour will continue across Europe, Mexico and South America. With over a decade in the industry, PTV blends post-hardcore, emo and progressive rock, earning a devoted global fanbase, especially within the Latinx community due to their Mexican-American roots. Melissa Emert-Hutner, Kobalt’s senior vp of creative, praised the group’s unique sound and significant fanbase in both rock and Latin music communities. “We look forward to working closely with the band and their team to provide the support and resources they need as they continue to grow their fan base around the world,” she said.
Peermusic signed songwriter and producer Clint Lagerberg to a worldwide publishing deal, covering future works and select back catalog. Lagerberg’s career highlights include Rascal Flatts’ “Here Comes Goodbye” and co-writing and producing Josh Kelley’s “Georgia Clay.” He achieved massive success with Keith Urban’s “Blue Ain’t Your Color,” the singer’s top song on Spotify and his highest-charting hit on the Hot 100 (at No. 24, in 2016). His songs have been recorded by country stars like Blake Shelton, Brad Paisley, Tim McGraw and Matt Stell. Recently, Lagerberg contributed to Brad Paisley’s upcoming album as both a writer and producer, with additional production credits include Matt Stell, LoCash, Leanna Crawford, Kevin Jonas and Backstreet Boys, among others. Knox praised Lagerberg’s talent and process. “He’s already proven his ability to land songs on the top of the charts, but it’s his process that is really impressive to me,” he said. “Clint has the technical knowledge and ability to see it through from conception to song production and delivery.”
Concord Music Publishing signed music producer Dom Martinez to a worldwide publishing deal, covering his full catalog and future works. Originally from Denver and now based in Nashville, Martinez is known for his versatility across genres like pop, rap, folk, singer-songwriter, and R&B. Martinez has collaborated with emerging talents such as Myles Smith, Caleb Hearn and Braden Bales. Lily Bunta, A&R Manager at Concord, praised Martinez’s passion and “truly infectious” enthusiasm for music.
Across the pond and then some, Concord Music Publishing ANZ signed up New Zealand power-pop band The Beths for worldwide representation. The deal covers their growing catalog, including albums Future Me Hates Me, Jump Rope Gazers, and Expert In A Dying Field. Formed in 2014 and led by vocalist Liz Stokes, The Beths have gained acclaim with their indie rock sound and performances at major festivals like Coachella. They were the first New Zealand act to win the Levi’s Music Prize in 2020. Jaime Gough, managing director at Concord Music Publishing ANZ, praised Stokes’ “deft lyricism and unique turn of phrase,” while Pennie Black, director at CMPNZ, called out their “infectious” indie pop sound as “a true reflection of their exceptional songwriting talent.”
Sony Music Publishing locked in multi-instrumentalist and songwriter Jesse Fink to a global publishing deal. Based in Los Angeles, Fink has written major hits, including Myles Smith’s Stargazing, which spent 44 weeks on the Billboard Hot 100 and topped international charts, and Artemas’ i like the way you kiss me, which surpassed 1 billion Spotify streams and reached #1 on Billboard’s Global 200 Excl. US chart. His songwriting credits include work with John Legend, Dove Cameron, and Leyla Blue. A GRAMMY winner for Best R&B Album in 2021 with Legend’s Bigger Love, he recently earned two BRIT Award nominations for Song of the Year. Sony Music Publishing A&R manager Clark Adler lauded Fink’s passion and work ethic, saying these traits “elevate everyone around him.”
Over in The Volunteer State, SMP Nashville signed singer-songwriter Averie Bielski to a global publishing deal. Originally from Roswell, GA, Averie has quickly made a name for herself, first gaining attention in 2021 with her viral debut single I Do Too, which gained traction on TikTok. Since moving to Nashville, her songs have been recorded by artists like Callista Clark, Zach John King, Carson Wallace, Ashley Anne and Grace Tyler. Sony Music Publishing Nashville’s manager of creative A&R, Synnovea Halsel, praised her “fresh” lyricism and unique melodies — “From the moment I heard her first song, I was taken aback.”
Warner Chappell Music‘s Miami team signed Afro-Colombian artist Hamilton, also known as AfroRockStar. As a prominent figure in the Afrobeat movement, Hamilton has already amassed over 250 million career streams. He is gearing up to release his debut album, which includes “Mi Reina,” a new single with Nanpa Basico. Recognized as an artist to watch, Hamilton’s Afrobeats collaborations include Ryan Castro’s “A Poca Luz” and Justin Quiles and Lenny Tavárez’s “Atardecer.” He is signed to Cigol Music on the label side and Globalatino/Cigol Publishing.
PUB BRIEFS BRIEFS: Centricity Music signed the Texas-based duo Band Reeves to a recording and publishing contract. The duo features Reeves brothers Jeramy and Cody, who have crafted a sound that blends country and Christian music. Band Reeves is managed by Proper Management and will release a debut single soon … Electronic music producer Anyma signed a global publishing deal with Kobalt. The agreement covers Anyma’s entire catalog, including his work with the duo Tale of Us, as well as future releases.
Last Publishing Briefs: El DeBarge Signs With Reservoir
National Music Publishers’ Association (NMPA) president/CEO David Israelite joined the Association of Independent Music Publishers (AIMP) to give his annual State of Music Publishing address on Wednesday (April 2) at Lawry’s in Beverly Hills. In his speech, Israelite discussed hot button issues for publishers, including Spotify bundling (“we are still at war”), AI concerns, PRO reform and more.
Israelite started by sharing the NMPA’s data on the revenue sources for songwriters and publishers. It found that songwriters and publishers earn 45% of revenue from streaming services, 11% from general licensing and live, 9% from traditional synchronization licensing, 8% from mass synch (licenses for UGC video platforms like YouTube), 8% from radio, 7% from TV, 4% from labels, 2% from social media, 1% from sheet music, and 1% from lyrics. The NMPA says that 75% of its income is regulated by either a compulsory license or a consent decree, while the remaining 25% is handled via free-market negotiation.
On the AI front, Israelite explained that the NMPA is actively watching and supporting pending legal action.
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“We have not filed our own lawsuit yet, but I can promise you that if there is a path forward with a productive lawsuit, we will be filing it,” he said. As far as trying to regulate AI through policy, Israelite added, “We’re doing everything that can be done.” The NMPA is participating in both a White House initiative and a Copyright Office initiative, but he added, “If you are waiting for the government to protect your rights and AI models, I think that is a very bad strategy.”
Instead, Israelite said that the “most emphasis” should be placed on forming business relationships with AI companies. “When that date comes [that AI companies are willing to come to the table to license music], I believe the most important principle is that the song is just as valuable, if not more, than the sound recording in the AI model,” he continued.
During the speech, Israelite said he had a recent conversation with “the CEO of one of the major AI companies” who told him that “by far, the song [as opposed to the sound recording] is the most important input into these models. I tell you this because I am fearful that as these models develop, if we do not protect our rights, we will find ourselves in a situation where we are not getting as much or more than the sound recording when it comes to revenue…that is a responsibility of this entire community to fight for that.”
Israelite added that his “number one problem when it comes to revenue is how we are treated with these bundled plans,” pointing to publishers’ ongoing issues with Spotify. Last year, Spotify added audiobooks into its premium tier offerings and began claiming those tiers as “bundles,” a term referring to a type of subscription that qualifies for a discounted rate for music. Spotify claimed that it now had to pay to license both books and music from the same subscription price and subsequently started paying songwriters and publishers about 40% less for music, according to the NMPA. At the time, Billboard estimated that this would lead to a $150 million reduction in payments to publishers in the next year, compared to what publishers would have been paid if the tiers had never been reclassified.
In January, news broke that Universal Music Group (UMG) and Spotify had forged a direct deal that gave UMG’s publishing arm improved terms, effectively minimizing the harm caused by the previous year’s bundling change. Shortly after, Warner Music Group (WMG) followed suit with its own direct deal with Spotify for improved publishing remuneration. “I know in this room in particular, there is a great concern about what those market deals mean for the whole industry,” Israelite says. “I want to be very clear about this. I believe those market deals are a good thing, but until everybody benefits from the same protections about how bundles are treated, we are still at war. Nothing has changed.”
Israelite added later that UMG and WMG’s direct deals could be cited as “evidence” to support the publishers’ position during the next Copyright Royalty Board (CRB) fight, which will determine the U.S. mechanical royalty rates for publishers in the future. The CRB proceedings begin again in 10 months, and Israelite estimates his organization will spend $36 million in the next trial to fight for the publishers’ position. While he often noted that “we shouldn’t be in this system in the first place” during his address, Israelite conceded that despite his calls for a legislative proposal that would give publishers and writers the right to pull out of the 100-year-old system of government-regulated price setting for royalties, the “brilliant idea” is “next to impossible to accomplish.”
Israelite went on to detail all the ways the NMPA and others are still fighting back against Spotify over the bundling debacle. He noted that the Mechanical Licensing Collective (MLC) “is doing a fantastic job of continuing the fight” against Spotify, adding that its lawsuit, which was dismissed earlier this year by a judge who called the federal royalty rules “unambiguous,” has “been revived.” He added, “[It’s] our best chance of getting back what we lost.”
Elsewhere in his speech, Israelite told the crowd of independent publishers that the NMPA has now sent three rounds of takedown notices to Spotify for various podcast episodes, citing copyright infringement of its members’ songs, and that “over 11,000 podcasts have been removed from Spotify” as a consequence.
The recent calls for performing rights organization (PRO) reform are also top of mind for publishers in 2025. Last year, the House Judiciary Committee sent a letter to the Register of Copyrights, Shira Perlmutter, requesting an examination of PROs, citing two areas of concern: the “proliferation” of new PROs and the lack of transparency about the distribution of general licensing revenue. This spurred the Copyright Office to take action, opening a notice of inquiry that allows industry stakeholders to submit comments, sharing their point of view about what, if anything, should be reformed at American PROs. However, some fear that the notice of inquiry could lead to increased regulation at the PROs, further constraining publishing income.
Israelite addressed this by giving publishers a preview of the NMPA’s forthcoming comments. “I will tell you today exactly what our comments are going to say,” he said. “It is very simple. Music publishers and songwriters are already over-regulated by the federal government. Congress should be focused on decreasing regulation of our industry, not increasing regulation of our industry, and to the extent that any of these issues are substantive issues. This should be dealt with between the PROs and their members. It has nothing to do with the Copyright Office. It has nothing to do with Congress. It has nothing to do with the federal government.”
SOCAN, Canada’s largest member-owned music rights organization, turns 100 this year. It’s celebrating with a major milestone — but also issuing a warning to the Canadian music industry.
The organization has reported a record-high half-billion dollars in total royalty distributions to music creators and publishers.
Today (April 2), SOCAN released its 2024 Annual Report, which shows a total of $512.4-million in distributed royalty payments. SOCAN revenue also grew to $559.4-million in 2024, a 7% increase over 2023. SOCAN currently has nearly 200,000 songwriter, composer, and music publisher members.
SOCAN’s record royalty distributions were 17.5% higher than 2023. That includes royalties paid to music creators and publishers derived from data matched to revenue received in 2023 and beginning of 2024.
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That would seem to be unqualified good news, but in a statement, SOCAN called the results “bittersweet for the member-owned, not-for-profit.” That’s because SOCAN data shows less than 10% of music consumed online in Canada was written or composed by Canadians.
“Never in history has consuming Canadian meant more to our nation,” SOCAN writes. “As SOCAN celebrates 100 years, the organization urges Canadians to support homegrown talent. The music that Canadian songwriters and composers create is important to Canada’s local economy, our culture, our storytelling, and our global identity.”
SOCAN CEO Jennifer Brown (one of Billboard Canada‘s 2024 Power Players) drives home the “support local” message.
“Canadians are increasingly choosing local products and services, driving the success of Canadian businesses and entrepreneurs. It’s important to show the same support for our songwriters and composers — not just today, but always,” she says. “Canadian music fans, businesses and government, alongside the international music companies choosing to grow their business in Canada, all play a role in showcasing music as part of Canada’s cultural identity.”
Clearly, the performing rights org is hopeful that the current surge in patriotic Canadian pride in the face of a trade war with and threats of annexation from the U.S. may have an impact on the way we all use and consume music.
The report features other data, including an increase in revenue from music uses that took place in Canada by $18.1-million to a high of $421.6-million. The increase is led by revenue from digital sources totaling $208.7-million, a 10.8% year-over-year increase, and General Licensing and Concerts increasing 15%. Revenue from music uses in international territories, meanwhile, increased an impressive 14.9% to $137.8-million, a testament to the talent and success of Canadian music creators on the global stage.
SOCAN also boasts a new software platform to be be complete in 2025, improved distribution processing times, an educational SOCAN Academy initiative, and development and networking programs. “Even with these essential enhanced efforts, SOCAN was able to maintain their expense-to-revenue ratio at 12%” the report says.
SOCAN’s Annual and General meeting is scheduled for May 21, in Toronto.
This story was originally published by Billboard Canada.
The ASCAP Foundation has announced the recipients of the 2025 Herb Alpert Young Jazz Composer Awards. Established in 2002, the program recognizes gifted young jazz composers, defined as up to the age of 30. It carries the name of music legend and ASCAP member Herb Alpert in recognition of The Herb Alpert Foundation’s multi-year financial commitment to the program. The recipients, who receive cash awards, are selected through a juried national competition.
“With The Herb Alpert Foundation’s unwavering support, the Young Jazz Composer Awards continue to elevate emerging voices of jazz, one of our most vital art forms,” ASCAP Foundation president Paul Williams said in a statement. “These gifted young composers are the future of the genre, and we are honored to be a part of their musical journey.”
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“The ASCAP Foundation has been dedicated to nurturing the musical talent of tomorrow for 50 years,” added ASCAP Foundation executive director Nicole George-Middleton. “We are incredibly grateful for the generous support of The Herb Alpert Foundation that allows us to do what we do best — uplift the next generation of music creators.”
The 2025 ASCAP Foundation Herb Alpert Young Jazz Composer Award recipients are listed below with their age, current residence and place of origin:
Jonah Barnett, 25 of Washington, D.C. (Alexandria, Va.); Eli Feingold, 27 of Brooklyn, N.Y. (Marlboro, N.J.); Michael Hilgendorf, 26 of New York (Chesterfield, Mich.); Benedict Koh, 25 of Boston (Singapore); Aditi Malhotra, 27 of Boston (New Delhi, India); Giovanni Martinez, 20 of New York (Jacksonville, Fla.); Alan Montaño, 20 of Brighton, Mass. (Concord, Calif.); Bakhari S. Nokuri, 19 of Los Angeles (Dayton, Md.); Marc Perez, 24 of Los Angeles; Artur Ponsà of Boston (Barcelona, Spain); Jahari Stampley, 25 of Chicago; Katie Webster, 24 of Brooklyn, N.Y. (Seattle); and Alejandra Williams-Maneri (Alejandra Sofia), 26 of Brooklyn, N.Y. (Barre, Mass.).
The restriction that recipients need to be under age 30 keeps the focus on young talent. Alpert reached his career peak at age 30 in 1965 with the release of Whipped Cream & Other Delights, his first of five No. 1 albums (all recorded with his Tijuana Brass ensemble) on the Billboard 200. Alpert and Jerry Moss had formed A&M Records three years earlier.
Additional funding for the program is provided by The ASCAP Foundation’s Bart Howard Fund. Howard, who died in 2004, is best known as the composer of the jazz standard “Fly Me to the Moon.”
The Herb Alpert Foundation, a non-profit, private foundation established in the early 1980s, makes significant annual contributions to a range of programs in the fields of arts, arts education, and compassion and well-being. Its funding is directed toward projects in which Herb and Lani Alpert and Foundation president Rona Sebastian play an active role. [The Foundation does not accept unsolicited proposals.]
Founded in 1975, The ASCAP Foundation is a charitable organization dedicated to supporting American music creators and encouraging their development through music education, talent development and humanitarian programs.
Electronic music producer Anyma has signed a global publishing deal with independent music publishing company Kobalt. The deal encompasses the artist’s catalog (including some of his work as part of the duo Tale of Us), along with future releases. The deal announcement follows the conclusion of Anyma’s buzzy residency at Sphere Las Vegas earlier this […]
From its new headquarters in Milla de Oro in San Juan, Rimas Publishing is redefining what it means to champion music from Puerto Rico for the world. Celebrating one decade of success as an independent publishing house — and with more than 150 authors in its catalog, including major names like Bad Bunny and Eladio Carrión — the company has established itself as one of the most influential indie players in the Latin music industry. This includes ranking at No. 1 on Billboard‘s Hot Latin Songs Publishers year-end chart for 2021 and 2022.
The story of the publishing house began in 2014, when its founders launched an innovative idea that initially seemed “crazy” at the time, explains Rimas Publishing president Carlos Souffront, who was involved since its inception. “It’s a concept born from two partners who had a vision,” he tells Billboard Español. From the beginning, Rimas Publishing was tied to Rimas Entertainment, but in 2023, it became a completely independent entity. According to Souffront, “The decision was based on a change in equity within the group of companies.” From that moment, they relocated to their new offices in Puerto Rico.
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This independence has allowed them to explore new territories and expand their global approach beyond the Caribbean, reaching markets like Chile, Mexico, and the Dominican Republic. “It was in 2020 that we signed our first talents in Chile. Today we represent six of the top 10 artists in Chile, which I consider a significant responsibility, even with the Chilean society. This reflects our global commitment,” says the company’s CEO, Emilio Morales.
In addition to its geographic expansion, Rimas Publishing is also diversifying its catalog — signing 12 new authors in the past year — moving beyond its roots in urban music to explore genres like pop, regional Mexican music, and Christian music. “Our commitment is to creators, regardless of genre,” Morales emphasizes. “We were born in urban music, but today we work with writers in various styles who are making a difference in the industry.”
Billboard Español spoke with president Carlos Souffront and CEO Emilio Morales to gain insight into the company’s journey and its vision for the years ahead.
10 years have passed since the beginnings of Rimas Publishing. How has the journey been from its creation in 2014 to now? Could you also share a little about the origins of the company?
Carlos Souffront: I had the pleasure and opportunity to be here in 2014 when this idea was created. It’s a concept born from two partners who came together with an idea that initially seemed crazy to me. But clearly, they both had a vision, and from that vision came the publisher and the record label [Rimas Entertainment], which grew together — up until 2023, when we separated.
The decision was based on a change in equity within the group of companies. This week (week of March 17), we are inaugurating the new offices, completely separating operationally from everything that was previously connected. We were integrated in areas like human resources, accounting, legacy marketing, and now we’re fully separated both physically and operationally.
You’ve worked with renowned artists like Bad Bunny and Eladio Carrión, as well as emerging talent. How has the process of supporting both established artists and new generations been, and what kind of impact has this had on Rimas Publishing’s international expansion?
Emilio Morales: On the creative side, the company’s beginnings were very closely tied to artists shared between Rimas [Entertainment] and Rimas Publishing. Originally, we supported a group of Puerto Rican artists led by Eladio Carrión, Lyanno, Súbelo NEO, and Bad Bunny, who was part of that initial phase. Between 2016 and 2017, the company began expanding beyond those initial artists, reaching talents from Colombia and eventually Chile. If you look at it from the point of view of urban and pop music, when we started, it was that 2016 generation — Bryant Myers, Anonimus, Bad Bunny — that were all the talk.
In 2019-2020, with Carlos’s help, we extended the company’s footprint internationally, focusing especially on Chile and Medellín, Colombia, where we now have an established presence. In 2020, we signed our first Chilean talents, marking an important step in Rimas Publishing’s evolution, which had previously been primarily Caribbean-focused. In the early days, we worked with creatives like Amenazzy and La Manta in the Dominican Republic, but our focus was largely regional.
With Chile’s connection to other international markets, our agenda became much more global. This led us to build an extraordinary professional team, composed of Puerto Rican local talent, collaborators from regions like Mexico, Colombia (especially Medellín), and the Dominican Republic, and support from our CFO based in Miami. We now represent six of the top 10 artists in Chile, which we view as a significant responsibility, not just to the artists but also to Chile’s society.
In Puerto Rico, musical talent has always been abundant, but many artists signed with companies based in places like Miami. For us, it’s been special to witness how this new generation of creatives has fostered an extraordinary scene, with songs like “Gata Only” and “Una Noche en Medellín.”
In Mexico, we’ve also observed a major movement, particularly in regional Mexican music. Michelle Maciel, who writes for artists like Carín León and is part of our roster, exemplifies the way we’ve expanded in the last five years. Beyond entering new territories, our focus has always been on broadening the repertoire and supporting creatives’ dreams.
You’re opening a new office in Puerto Rico. What strategic role does this location play in Rimas Publishing’s global operations now that you have this new headquarters?
Souffront: Although we are based here, as Emilio mentioned, we continue serving clients worldwide, and that will always be a key part of our approach. Not only are we expanding globally, but we’re also diversifying into other genres, such as Christian music, where we’re investing heavily in the talent we’ve signed and continue looking to sign. Why Puerto Rico? Because the team is Puerto Rican, the company was founded here, and our roots are here. Almost exclusively, with one or two exceptions, everyone on our team is Puerto Rican, and we take great pride in that. In addition, many of the artists we represent are based here. We want them to understand that they don’t need to hold Zoom meetings or travel to Los Angeles; we’re just 15 minutes from their homes, ready to welcome them with our full team. That’s something that sets us apart from many large publishing companies.
Rimas Publishing Office in Puerto Rico
Courtesy of Rimas Publishing
Morales: Being in the Caribbean is strategically a huge advantage. It allows you to travel to Colombia in two hours, which is challenging for large companies based in Los Angeles. For us, it’s much more efficient. We can move quickly to South America, North America, or even Europe directly. Additionally, Puerto Rico has immense talent and individuals who, unfortunately, often end up in industries unrelated to music. Someone had to take on the challenge and create jobs here, especially in something as dignified as music publishing. Today we are proud to serve as a business model for our city and our country. We believe this represents a new economy for Puerto Rico and a new chapter for our company. We chose to invest in families who needed opportunities the most. Many talented people here have been educated in prestigious institutions like Berklee College of Music or Loyola University Museum of Art, and were perfectly prepared. However, they couldn’t find jobs aligned with their true passions. We’re proud to welcome them, provide opportunities, and support Puerto Rican families.
What are some of the most important plans for Rimas Publishing in this new phase as an independent publishing company?
Morales: First, we are undergoing a strategic expansion of our business, as I mentioned, into places like Chile, Mexico, and the Dominican Republic, where we’re increasing talent investments. Second, we have a very important project called Faith Sounds. It’s a program in which we support the best composers from our roster and aim to impact the region with faith-based and Christian music. Featured artists in this project include Shammai, Gabriel EMC, Lizzy Parra — a Dominican artist with an impressive career trajectory — and Barajas, with a presence in the U.S., Puerto Rico, and other countries. The goal is to enhance their creations and strengthen our licensing efforts because we see significant opportunities in this space.
Over the past 18 months, we’ve hired key personnel to optimize our synchronization and commercial licensing operations. This includes everything from Christian films and positive music to broader markets aligned with that philosophy. Furthermore, we’re making strategic alliances with important brands like Netflix, Hulu, Amazon Films, and others we’ve historically collaborated with.
Souffront: From a broader perspective, our vision rests on three main pillars. First, growing responsibly. We currently have 150 artists under contract, and our goal is to maximize their output — their art. Current technology provides tools that allow us to further amplify their work and optimize their impact. Second, expanding into other genres. While our roots are in reggaeton, and we will never abandon that essence, our aspirations extend far beyond being just a reggaeton publisher. Third, we are actively exploring the acquisition of existing catalogs, which is critical for our future. Our growth plan is clear and systematic.
Rimas Publishing Office in Puerto Rico
Courtesy of Rimas Publishing
Looking ahead to the next five to ten years, what is your vision for the publishing company? What impact do you want to have on Latin and global music?
Morales: Our goal as a company is to become a worldwide leader in service and technology for our clients — a core part of our DNA that we embody daily in our mission and vision. We want to be recognized not only for the success of working with the biggest Latin artists in the world but also for delivering the best technology, service, and attention. We aim to take that to the next level, increasing our cultural impact and creating opportunities to connect with the global movement. We’re investing heavily in developing our authors, taking them to places like Brazil, France, and other destinations to collaborate with companies of all sizes—from major American record labels to companies in China, Africa, and beyond. Our goal is to build a sustainable and successful ecosystem for authors in Latin America and the world. We’re getting closer to achieving the milestone where people say: “They’re not the biggest, but they’re the best.” That’s our true aspiration, and we’re on the right path.
Souffront: Beyond the plans I mentioned earlier, within the next ten years, one of my aspirations is for us as an independent Latino company to provide services to other small independent publishers in Latin America or Spain. We want them to join the family of this publishing house, letting us provide them with services. That will only come when people continue to know and recognize us as the best.
Originally in Spanish, this interview has been edited for length and clarity.
Welcome to Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since we last spoke, Primary Wave bought a stake in a Notorious catalog, Eslabon Armado frontman Pedro Tovar inked a deal with Kobalt, reggaetón star Ryan Castro signed with Warner Chappell, BMI said it will no longer charge an application fee when new songwriters seek to join, Sevdaliza signed her first-ever publishing pact with Sony Music Publishing, Word Collections launched a royalty collection service, and Joaquina signed a global deal with WCM.
Caught up? Here’s what else is going on:
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Reservoir Media signed a new publishing deal with five-time Grammy-nominated R&B artist El DeBarge. The agreement covers his solo catalog and hits from his time with the family group DeBarge, along with future projects. El DeBarge’s career began in the 1980s when Berry Gordy signed him and his siblings to Motown Records, leading to hits like “You Wear It Well,” “Time Will Reveal,” “Love Me in a Special Way” and “All This Love.” His solo career took off in 1986 with the hit “Who’s Johnny,” which reached No. 3 on the Hot 100, and he continued to release successful albums, including 1994’s Babyface-assisted Heart, Mind and Soul. Over the years he has collaborated with legends like Dionne Warwick, Quincy Jones, Al Green and the Isley Brothers. “I’ve been a fan of DeBarge and El in particular since I was 16 years old, so I’m incredibly humbled to welcome him and his evergreen hits to the Reservoir family,” said Reservoir evp of A&R and catalog development Faith Newman. “His music has touched generations, and we are excited to work with him to further amplify his incredible catalog.”
Artist House signed award-winning songwriter and producer Sam Hollander to an exclusive global administration deal. Known for hits with Panic! At The Disco, Weezer, Katy Perry, Fitz and the Tantrums, Cobra Starship, One Direction and more, Hollander is “one of the best topliners of the last 20 years and one of the highest-quality people you’ll ever meet,” said Artist House co-founder Gregg Wattenberg. In the early 2000s, Hollander gained recognition as one-half of the production duo S*A*M and Sluggo, alongside Dave Katz. Together, they played a key role in shaping the pop-punk sound of Fueled By Ramen’s golden era. His work has also appeared in films and TV, and he notably held the No. 1 spot on the Billboard Rock Songwriters Chart for nine weeks. In 2022, Hollander released his memoir, 21 Hit Wonder, providing an insider’s look at his journey through the industry. Hollander, with 23 U.S. Top 40 hits to his name, said joining Artist House “feels like coming home,” adding that “their vision for the future of the music business and their dedication to revitalizing the New York songwriter community align perfectly with my passion for this city’s rich musical legacy.”
Billy Steinberg and his son Ezra Steinberg signed new global publishing deals with Sony Music Publishing. This expands SMP’s partnership with Billy, which began in 1992, and introduces Ezra to SMP’s roster. Their works will be under Steinberg Music, their newly formed company. The elder Steinberg’s latest deal with SMP covers his newer catalog, including hits like “I’ll Stand by You” by The Pretenders and “Give Your Heart a Break” by Demi Lovato. This move consolidates his newer catalog with his original SMP catalog, featuring Hot 100 No. 1s like Madonna’s “Like a Virgin,” Cyndi Lauper’s “True Colors” and The Bangles’ “Eternal Flame,” among others. Billy was inducted into the Songwriters Hall of Fame in 2011. Brian Monaco, president and global chief marketing officer of SMP, expressed excitement about expanding their partnership with Billy — “an extraordinary songwriter whose music speaks to all generation” — and welcoming Ezra. “Representing Billy’s catalog continues to be one of our greatest privileges and we are honored that he’s entrusted us to champion these treasured songs,” he said.
SMP president and head of US A&R Katie Welle, Ezra and Billy Steinberg, and chairman/CEO Jon Platt
Sony Music Publishing
Raleigh Music Publishing and the ICM Crescendo Music Royalty Fund have partnered to acquire a majority interest in the Cal Mann publishing catalog, which includes such songs as Chubby Checker’s “Let’s Twist Again,” The Dovells’ “Bristol Stomp” and House of Pain’s “Jump Around.” The latter song is in the Mann catalog through sampling Mann’s co-written song, “Popeye the Hitchhiker,” also by Checker. Terms of the deal were not disclosed. The acquired catalog includes over 200 songs in all, according to the announcement. Besides the above songs, Mann also was involved in writing songs for Elvis Presley Bobby Rydell, Pat Boone and Charlie Grace, among others. Raleigh Music Group co-president Peter Raleigh expressed excitement about the partnership, highlighting the potential for new opportunities through sync placements and creative initiatives to “introduce these classics to new audiences.” –Ed Christman
Sony Music Publishing UK signed singer-songwriter Freya Ridings to an exclusive global publishing deal, covering her future works, including her upcoming third studio album. Ridings rose to fame in 2018 with “Lost Without You,” earning a BRIT nomination and leading to her debut album. Her sophomore release, Blood Orange, featured hits like “Castles” and “Weekends” and helped her accumulate nearly 4 million monthly Spotify listeners. Sony Music Publishing UK president David Ventura lavished praise upon Ridings’ songwriting and voice, calling it a long-awaited partnership. “For almost a decade, I have been trying to work with Freya, simply because her songwriting and voice are hypnotizing,” he said. “After all this time, it is exciting to have the opportunity to finally be in her team. Freya’s songwriting is inspired – she has many things to write about and her work ethic is incredible.” For her part, Ridings said “it’s been a dream of mine since 19 to sign” with Sony.
Concord Music Publishing has signed Nashville-based singer-songwriter Zachary Knowles, with the deal including all Knowles’ future works. In 2021, Knowles released his debut album, tendency to be a loner, and this past July issued his latest EP Look Mom, No Hands. “When I first met Zachary, I felt an instant creative connection,” said Melissa Spillman, vp of A&R at CMP. “He is a multi-faceted songwriter and artist who can create great music in so many different genres, and I am thrilled to have him join the Concord family.” –Jessica Nicholson
Melody Place signed singer-songwriter Melody Federer as the first standalone writer under its publishing arm, Melody Place Publications. Melody Place president Sandy McGraw, who has long admired Federer’s work, highlighted her innovative songwriting and said he’s thrilled to have her on board. Federer will play a key role in artist development, collaborating with artists like Katharine McPhee. Federer has worked with major artists such as Pink, Michael Bublé, and Kelly Rowland, and co-written with legends like Burt Bacharach. Federer has also released solo material, including “This Town” and “The Wonder Years,” featured on “Elton John’s Rocket Hour” radio show. Her latest release is the indie-pop track “Knocked Up.”
Centricity Music, an indie Christian music company, signed indie-rock/alt-pop artist and California native John Allan to a recording and publishing contract. Allan’s music is inspired by artists including The National, Gang of Youths and The Killers, and he’s set to release his debut single via Centricity later this month. “People are going to believe something about God based on what the song is saying,” said Allan, who released a pair of EPs in 2022. “I really believe it’s about stewarding what He’s planted and chasing the idea until it’s healthy enough to thrive in someone else’s life.”
Last Publishing Briefs: Reservoir Makes a ‘Key’ Move in Egypt
Primary Wave said on Thursday it partnered with The Notorious B.I.G.‘s estate to acquire a stake in the Brooklyn rapper’s music publishing and recordings, as well as certain name, image and likeness rights.
Terms of the deal were not disclosed. The Wall Street Journal reported earlier on Thursday that Biggie Smalls’s late mother, Voletta Wallace, reached the deal with Primary Wave shortly before her death earlier this year, and that it valued his estate at $200 million.
The celebrated MC was born Christopher Wallace on May 21, 1972, in Brooklyn, and while he was killed in 1997, his influence on hip-hop and rap and his role in launching the careers of artists like Lil Kim and Junior M.A.F.I.A. has led to the sale of more than 28 million albums in the United States and a steady rise in the value of his works.
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Biggie’s albums Ready To Die, Life After Death and the posthumously released Born Again spent the combined equivalent of more than 3 years on Billboard‘s top album sales chart, with Life After Death and Born Again both hitting No. 1.
The rap icon had 15 songs chart on the Billboard Hot 100, including “Mo Money Mo Problems” featuring Puff Daddy, Ma$e and Kelly Price, which was No. 1 for two weeks in 1997, “Hypnotize,” which spent three weeks at No. 1 the same year, “One More Chance/Stay With Me,” “Big Poppa/Warning” and “Juicy/Unbelievable.” Biggie was inducted into the Rock and Roll Hall of Fame in 2020.
Primary Wave’s portfolio of songs includes works by Whitney Houston, The Doors, James Brown, Stevie Nicks, Nirvana, Prince and Bob Marley. The company and estate described this as a “panoramic partnership that will encompass The Notorious B.I.G.’s music publishing and recordings, as well as his name, image and likeness.”
Name, image and likeness rights are needed to license an artist’s work for films. Known for its role in licensing music for biopics, like Bob Marley: One Love and Whitney Houston: I Wanna Dance With Somebody, Primary Wave is currently involved in biopics about Boyz II Men and Boy George—both of which are in production.
“The estate and Primary Wave will collaborate on all business moving forward in an effort to continue the incredible and innovative ork done thus far with one goal in mind, to keep the legacy of The Notorious B.I.G. alive,” the company said in a statement.
Eslabon Armado‘s frontman and songwriter Pedro Tovar has signed a worldwide publishing deal with Kobalt, the company tells Billboard. The agreement was done via Tovar’s Armado Publishing; Kobalt will administer the Mexican-American artist’s entire catalog and future songs globally.
“I’m excited to join the Kobalt Music family in this new career stage,” Tovar said in a statement. “As a songwriter, I have always sought a company that values creativity and provides the necessary support to elevate my music to a global audience. I know that with Kobalt, I’ll continue growing and sharing my stories through my songs.”
Since having a major breakthrough in 2020, the sierreño act has been on a winning streak and fueling the música mexicana movement along the way.
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Over the course of four years, Eslabon released six consecutive chart-topping albums — all of which hit No. 1 on Billboard’s Regional Mexican Albums chart. In 2022, the group made history, with Nostalgia becoming the first top 10-charting regional Mexican album ever on the Billboard 200. A year later, Eslabon released its blockbuster hit “Ella Baila Sola” with Peso Pluma. The song was a runaway success and made history when it entered the Billboard Hot 100‘s top five. Last week, Eslabon released its eight studio album, Vibras de Noche II, a follow-up to the band’s 2020 set Vibras de Noche.
“Pedro Tovar is one of the most exciting artists and songwriters making music today,” added Nestor Casonu, president of Kobalt Music Latin America. “Through this partnership, we’ve had the privilege of understanding the values of an extraordinary family, led by Doña Nelly, with whom we’ve built both a professional and personal bond. I’m excited about the great things we’ll achieve together in the future.”
“At Kobalt, we want to sign songwriters who have singular voices that resonate with a wide audience,” said Teresa Romo, Kobalt’s senior creative director for Latin America. “Our partnership with Pedro Tovar represents an exciting new phase in his songwriting career, and we’re honored to support his creative independence and nurture new opportunities.”
Armado Publishing was represented in the deal by Christopher Navarro, partner at Singh, Singh & Trauben LLP.
Colombian reggaetón star Ryan Castro has signed a global publishing deal with Warner Chappell Music, the company tells Billboard. Born in Medellín, Castro released his debut album El Cantante del Ghetto, a nod to his journey from street busking to bona fide hitmaker, last year. “Joining Warner Chappell is a big step in my career as an […]