Publishing
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Sony Music Publishing swept Billboard’s Publishers Quarterly rankings for the first three months of 2024 — its fifth consecutive quarter atop the Top Radio Airplay and Hot 100 Songs lists.
Sony also had a piece of the song that ruled both charts — Jack Harlow’s “Lovin on Me.” The other top 10 publishers with a stake in the song: Universal Music Publishing Group (UMPG), Warner Chappell Music and Kobalt.
The first quarter’s top songwriter on the Hot 100 Songs ranking was Noah Kahan. He landed at the peak due to two songs, including the No. 10 track on the chart, “Stick Season.” Not surprisingly, on Top Radio Airplay, Taylor Swift was the No. 1 songwriter thanks to the success of three songs on that list, including “Is It Over Now (Taylor’s Version) (From the Vault)” at No. 5.
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Returning to Sony, the publisher finished the quarter with a 29.19% slice of market share on the strength of shares in 66 songs — an improvement over the 64 songs and 27.69% the company claimed in the prior quarter. For the first quarter’s Hot 100 Songs chart, Sony ended up with a 28.60% share with 58 songs — again, an improvement over the prior quarter’s 27.14% share, but one song less than the 59 tracks it snared in that quarter.
Sony’s showing marks the 12th quarter in a row that it ranked No. 1 among Top Radio Airplay publishers. Remarkably, it has held the top spot for 25 of the last 26 quarters. On the Hot 100 Songs chart, Sony ranked No. 1 for the fifth consecutive quarter.
Meanwhile, Warner Chappell Music continued its surge, finishing in second place for a second consecutive quarter on both publisher rankings. The publisher increased its quarter-to-quarter market share in both rankings — from 19.12% to 21.93% on Top Radio Airplay and 20.65% to 22.05% on Hot 100 Songs. Warner Chappell’s Top Radio Airplay song count also grew from 54 to 63 quarter to quarter, and its Hot 100 song count ballooned from 44 to 58. It was also No. 1 on the Country Airplay publisher rankings.
UMPG came in third on both charts, posting a stronger showing on the Hot 100 Songs ranking, with a 17.42% share and 43 songs. That’s up from the prior quarter’s 15.78% and 41 songs. Its top track on both charts was Harlow’s “Lovin on Me.” On Top Radio Airplay, UMPG posted a 14.65% share with a stake in 44 songs, down from the prior quarter’s 18.47% and 48 songs.
Kobalt and BMG, respectively, came in at No. 4 and No. 5, their usual spots on both publisher rankings. Kobalt upped its game in the Top Radio Airplay category, amassing a 9.65% share of the market with stakes in 31 songs — an improvement over the fourth quarter, when it had an 8.81% share and 30 songs. Kobalt performed even better on the Hot 100 Songs chart with a 10.19% market share, but that was still down from the 10.83% share it had in the fourth quarter of 2023.
BMG’s market share declined on both charts. Its Top Radio Airplay share fell from 6.77% to 5.86% quarter to quarter and from 5.95% to 5.47% on Hot 100 Songs, while its song counts fell from 18 to 14, and from 16 to 14, respectively. Its top song on both charts was Doja Cat’s “Paint The Town Red,” which ranked No. 7 on the Top Radio Airplay chart and No. 12 on the Hot 100 chart.
The publishers that ranked sixth through ninth on Top Radio Airplay were Concord, Hipgnosis Songs Group, Tracy Chapman’s Purple Rabbit Music and Pulse in that order. Concord held steady at No. 6 for its second consecutive quarter, albeit down slightly from 3.71% in the fourth quarter to 3.38%. Its song count also fell from 14 to 10. On the other hand, Hipgnosis rose from No. 9 last quarter to No. 7, growing its market share from 1.48% to 2.29%, even though its song placement on the chart stayed the same — six —in both quarters. The wattage of Luke Combs’ cover of “Fast Car” finally seems to be fading as Purple Rabbit’s market share decreased from 2.07% to 1.67%, despite holding on to its No. 8 berth for a second quarter. Pulse traded places with Hipgnosis, falling from No. 7 in the fourth quarter with a 2.66% share to No. 9 in the first with 1.52%.
On the Hot 100 publisher ranking, Purple Rabbit fared better, rising from No. 7 to No. 6 quarter-to-quarter thanks to a slight uptick in market share from 1.99% to 2.06%. Likewise, Pulse rose from No. 10 to No. 8 over the same period, its market share growing from 1.31% to 1.96%. And Hipgnosis returned to the Hot 100 chart after being absent since the fourth quarter of 2022. Its 1.59% share put it in ninth place. Big Machine took Top Radio Airplay’s tenth slot, returning to that ranking for the first time sinced the fourth quarter of 2022. And Empire Publishing made its Billboard Publishers Quarterly debut at No. 10 on the Hot 100 list, with a 0.97% share, based on the strength of three song placements: Justin Timberlake’s “Selfish,” 310babii’s “Soak City (Do It)” and Morgan Wallen’s “Spin You Around.”
Last Quarter: Taylor Swift and Doja Cat Score Top Songs
Prescription Songs and Emily Warren‘s Under Warrenty have signed singer-songwriter bülow to a global publishing deal. Fresh off the release of her two co-writes “Texas Hold ‘Em” by Beyonce and “Yuck” by Charli XCX, bülow says of her deal, “I’m very excited to start this journey with Emily and Prescription. So many serendipitous moments led us here organically, and I have the utmost admiration for this team.”
Kobalt has signed songwriter Imani “Mocha” Lewis. News of her signing comes after the whirlwind success of Tyla‘s Grammy-winning track “Water,” which was co-written by Lewis, along with eight other tracks on the South African artist’s debut album.
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Position Music has signed Golden to a worldwide publishing deal as part of a joint venture with Global 7 Publishing. A Colombian writer, musician and Grammy-nominated producer, Golden has worked on tracks for Coco Jones, ¿Téo? and Shenseea.
peermusic has signed award-winning Chilean producer and songwriter Vladi Cachai (Don Omar, Gloria Trevi, Bryant Myers, J Quiles) to an exclusive worldwide publishing deal. The deal was signed jointly by peermusic Spain and peermusic Chile and will encompass both Cachai’s existing song catalog and his future works.
Budde Music has signed songwriter Billy Mann to a go-forward “creative and administrative” publishing agreement. A hitmaker with thirty years of expertise, Mann has worked with stars like P!nk, Backstreet Boys, David Guetta, John Legend, Céline Dion, Carole King, Burt Bacharach and more.
Warner Chappell Music and The Core Entertainment have signed a joint global publishing deal with Hannah McFarland. A rising singer-songwriter and opener for artists like Kelsea Ballerini, Old Dominion, and Travis Tritt, McFarland was recently invited to sing “I Remember Everything” alongside Zach Bryan at a show in Alabama, introducing her talent to a stadium of new listeners. “We are so excited to work with Hannah McFarland and represent her unique talent,” says Bryce Sherlow, A&R manager at WCM Nashville.
Sony Music Publishing Nashville has announced the signing of country songwriter Brian Fuller to a global publishing deal. Fuller is a fast-rising songwriter in Nashville, and news of his SMP deal follows the release of his first-ever major label cut “I Could Be That Rain,” from Randall King’s 2024 album Into The Neon.
Nashville-based rights management company Muserk is expanding its royalty and administration services in Asia. This includes the signing of a series of new clients with impressive cultural impact in their home markets, including Thai neo-soul artist Phum Viphurit and Japanese label and publishing company Midi Inc/Yano Music Publishing. In the coming months, the company says it also plans to bring in more Chinese and Indonesian clients.
Nick Ditri’s career as a dance music producer got a big boost when Tiesto used a 2013 bootleg remix of Avicii’s “Silhouettes” by his duo, Disco Fries. But like countless other unauthorized remixes, “Silhouettes” isn’t found on most of the popular streaming platforms. “Unfortunately, that doesn’t live anywhere outside of YouTube when Tiesto played it,” Ditri tells Billboard.
That could soon change. Eleven years later, Ditri is trying to give commercial legitimacy to tracks in that commercial gray area. He is a managing partner of ClearBeats, a startup that enables derivative works — remixes, interpolations, mashups and alternate versions — to become properly licensed tracks. ClearBeats’ other managing partner, Bob Barbiere, is a former Dubset executive and veteran in digital technology and rights clearances. Ditri and Barbiere created the company with Suzanne Coffman and Yolanda Ferraloro of veteran music sync company Music Rightz.
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Digital platforms are awash in unauthorized derivative works because “it’s the easiest way to get your foot in the door, especially in dance music and in hip hop,” says Ditri. In a perfect world, those tracks would be licensed for distribution to digital platforms or synchronizations in TV shows, advertisements or movies. “But the problem is it usually ends at SoundCloud where it might get muted or pulled down,” he says. “[Or] it ends at YouTube or a DJ pool.”
ClearBeats wants to address what Barbiere calls the “90/90 irony.” He estimates that 90% of artists who create derivative works want publicity and promotion, not the original artist’s rights or royalties. Additionally, 90% of rights owners would rather make money from a derivative work than take it down from a digital platform. But because the proper infrastructure doesn’t exist, Barbiere estimates that less than 5%, and maybe as little as 1%, of derivative works have proper attribution and are earning money for rights holders.
“Why shouldn’t 90% of that content live in an ecosystem where everybody can distribute into it, consume it, be properly attributed to it, and royalties paid downstream?” asks Barbiere.
The status quo not only prevents original recordings’ ability to generate revenue from derivative uses, but it also limits creators’ ability to build their careers, says Ditri. “If [producers] built a playlist network of five amazing Spotify playlists or Apple music playlists, and that’s their main source of promo and then they go and do a bootleg, that bootleg’s only gonna live wherever they posted — which is not going to be Spotify. So, they can’t even tap into their own networks. And it’s limited on Instagram and other socials as well.”
Currently, ClearBeats is helping labels, distributors and artists with bespoke licenses, working on a few long-term, strategic projects and helping companies identify and collect unpaid or suspended royalties. Barbiere says he has been contacted by distributors who want to help clients get licenses for tracks that incorporate samples as well as streaming platforms that want to license music catalogs to allow their users to create derivative works. A subscription-based registry for licensors and licensees is expected to roll out at the end of 2024 into 2025.
As for Ditri, co-founding ClearBeats provides him an opportunity give Disco Fries’ derivative works like “Silhouettes” a life outside of YouTube. “I’m thankful for the video clip,” he says, “but wouldn’t it be wonderful if this had existed back then?”
Olivia Rodrigo and co-writer Daniel Nigro are the 2024 ASCAP Pop Music Songwriters of the Year. It is the second award in the top category for Rodrigo, who first received the honor in 2022.
Chappell Roan, who has a fast-climbing hit with “Good Luck, Babe!,” which she co-wrote with Nigro and Justin Tranter, was scheduled to present Nigro with his award on Wednesday (May 8) at an invitation-only event in Los Angeles celebrating this year’s ASCAP Pop Music Award winners.
Rodrigo and Nigro have shared two Grammy nods for song of the year (for “Driver’s License” and “Vampire”) and one for best rock song (for “Ballad of a Homeschooled Girl”). In less than three and a half years, Rodrigo has amassed 17 top 20 hits on the Billboard Hot 100, including three songs – “Driver’s License,” “Good 4 U” and “Vampire” – that entered the chart at No. 1.
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“Calm Down,” performed by Rema and featuring Selena Gomez, wins ASCAP Pop Song of the Year. Co-written by Rema, Gomez, Michael “LONDON” Hunter, Amanda “Kiddo AI” Ibanez and Andre Vibez, the song reached No. 3 on the Hot 100 and rode the chart for 57 weeks. “Calm Down” is published by Hook Like Behavior, Kobalt Music Publishing, Livelihood Music Company, SMG Tunes, Sony Music Publishing, Universal Music Publishing Group and Warner Chappell Music.
Publisher of the Year goes to Universal Music Publishing Group for songs including “Calm Down,” “Cuff It” (Beyoncé), “Dance the Night” (Dua Lipa), “Barbie World” (Nicki Minaj & Ice Spice with Aqua), “Lavender Haze” (Taylor Swift), “Paint the Town Red” (Doja Cat), “Star Walkin’ (League of Legends Worlds Anthem)” (Lil Nas X) and “Sure Thing” (Miguel).
Other 2024 ASCAP Pop Music Award-winning songwriters include Mariah Carey and Walter Afanasieff (their holiday evergreen “All I Want for Christmas Is You”), Noah Kahan (“Dial Drunk”), St. Vincent (“Cruel Summer”), Meghan Trainor (“Made You Look”) and Leon Thomas (“Snooze”).
As previously announced, Charli XCX received the ASCAP Global Impact Award. Charli is gearing up for the release of her sixth solo album, BRAT on June 7 and a North American tour with Troye Sivan, who was set to present her with the award.
The ASCAP Pop Music Awards honor the songwriters and publishers of ASCAP’s most-performed pop songs of 2023. The winners are determined by data on terrestrial and satellite radio and for programmed and on-demand audio streams, all provided by Luminate Data LLC.
More information on the 2024 ASCAP Pop Music Award winners is available here.
Warner Chappell Music has announced Delia Orjuela as its new head of creative Mexican music/música mexicana. Based out of Los Angeles, the veteran executive will report to Gustavo Menéndez, WCM’s president, U.S. Latin & Latin America.
In 2021, Orjuela joined Warner Music Latina to lead the label’s Mexican music division where she guided the careers of artists like DannyLux, who is among the new generation of música mexicana hitmakers. Last year, her and Ruben Abraham were appointed co-leaders as the label doubled down on their commitment to música mexicana.
According to a press release, in her new position, Orjuela will continue to “collaborate closely” with the recorded music team and look for cross-collaboration opportunities between the label and publisher.
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“I have spent most of my career advocating and championing songwriters, and they’ve remained my true passion,” Orjuela said in a statement. “Music is incredibly powerful, and I love how a great song with meaningful lyrics can impact people’s lives. I’m so glad to once again be a part of the songwriting process from the beginning, helping to set up collaborations and nurture creative connections. This next step in my career brings everything full circle, and I can’t wait to hit the ground running with Gustavo and the incredible team at WCM.”
Prior to joining Warner, Orjuela was the longtime vp of Latin creative for BMI, where she worked for 22 years. She left in 2019 to start “a new chapter” in her life. That same year, she was appointed president of Latin Songwriters Hall of Fame.
“Delia and I have known each other for years, and what started as professional respect has grown into a deep and genuine friendship,” Menéndez added in a statement. “She’s fiercely passionate about empowering music creators and providing them with the right tools to amplify their voices on a global scale. We’ve already started to pull together exciting plans with [Warner Music Latin America president] Alejandro [Duque], and her natural instinct will drive remarkable success in one of today’s fastest-growing genres.”
In a joint statement, WCM co-chairs Guy Moot (CEO) and Carianne Marshall (COO) expressed: “Delia has supported countless songwriters and established a reputation for energizing teams and elevating music. We see huge potential to create timeless songs in the Mexican music market, and her leadership will help us continue to develop songwriters who shape culture.”
Guy Moot, CEO and co-chair of Warner Chappell Music, recently celebrated his five-year anniversary with the major publisher with a renewed five-year term. It’s easy to see why he’s staying on. Since taking the helm in 2019, Moot, along with co-chair and COO Carianne Marshall, managed to turn the company’s slow and steady long-term business, which originated all the way back in 1811 as Chappell & Co., into a modernized, fierce competitor with a honed A&R strategy. He focused on signing artist/songwriters with “cultural relevance” like RAYE, Mitski, Frank Ocean, Laufey, Zach Bryan, Teddy Swims and Benson Boone, recruiting the growing “mid tier” of artists, and buying catalogs, like his personal favorite David Bowie, that WCM can actively boost.
Moot’s wins have been more than just cultural — they are backed up by chart data. For the last three quarters, including this latest one, WCM — which regularly ranked third on Billboard’s Publishers Quarterly for Hot 100 songs — surpassed Universal Music Publishing Group to land in second place. It’s also No. 2 for the last two quarters amid Pop Airplay and No. 1 in market share on Country Airplay.
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But on a sunny April morning in his Downtown Los Angeles office, Moot tells Billboard that, despite WCM’s obvious wins, he is uninterested in sizing the company’s value by what its major competition is doing. “I don’t want to be just like them,” he says with a shrug. “I want to be doing our own thing.”
Warner Chappell’s thing is about leaning into the shifting music business head-on, echoing Warner Music Group CEO Robert Kyncl‘s theme of 2024 as “the year of the next 10.” That includes the company’s new partnership with Bandlab and its artist service platform ReverbNation, through which WCM will provide administration to anyone who needs it and a full-service JV tier to develop Bandlab’s most promising writers. The company has also been working on a program to release collections of songwriter demos to the general public. With these and other initiatives, it hopes will help it stand out from an increasingly-crowded publishing field.
“This business is like no other business,” Moot says. “The competition is great, but almost no one actually sees it through and actually delivers something that’s worked. Last year, I said to all our team that we’ve got to double down and really deliver, and now, it seems like we’ve really gotten some momentum.”
Billboard: Robert Kyncl has been CEO at Warner Music Group for a little over a year now, and has put a strong emphasis on improving the technology at the company. Has that changed anything within Warner Chappell in terms of the way that you are looking at modernizing and keeping up with the speed of change?
Guy Moot: Definitely. I think a lot of the things that don’t add up in the music industry make him question, “Why, and how?” He’s tasked us to challenge the third parties for more transparency and speed of payment. We’re certainly investing a lot in tech. It’s not all delivered yet, but we know we need to fast-track for the next three to five years. We’ve always had issues in publishing with rights flows, transparency, PROs, but I also think the next big forefront will be how we get paid for UGC. That’s the real challenge. With those really sketchy sped-up versions, cover versions of our songs, there’s a lot of progress we’re making internally to match and track those and we’re seeing really great results. We want to get to a world where we can always find when somebody sped up one of our songs and there’s no master attached.
How can you track a song when it’s been manipulated like that?
Various matching tools, and it’s improving. I still think there’s a lot slipping through the net. When we make our digital agreements now, it’s still about setting terms that get songwriters paid more, but secondly, it’s also about getting levels of service and more data and info from the companies. I’m making a bold prediction here, and it’s a personal thing that I haven’t seen yet, but I’m hopeful AI will be helpful in the future of publishing administration. I’ve got a lot of hope that we will be able to completely map out a song’s DNA and then follow its uses through a whole ecosystem.
You’ve mentioned that you’d like to quicken the rate in which your writers get paid, but is that always possible? Some songs are released without complete publishing splits.
I think you’re as good as the information going in, and it’s not perfect. The MLC has actually been the nearest to having a comprehensive database, for America at least. And from our point of view, it seems to be working quite well. But it would be great if we had one authoritative database for the songwriting industry and we don’t.
What are you most proud of from your first five years on the job?
Carianne and I have been together five years, and we’ve seen a lot of progress at the company. When we got here, I had a couple observations. One, Chapell didn’t really have a strategy, in our point of view. It was a solid company. It was working great catalogs, and the other thing that I personally noticed from my A&R background is that we didn’t have many artists. We had a lot of songwriters for other artists at the time. I thought it was really important that we build a roster of both songwriters who do great work for others and artists who really mean something to fans and have some cultural relevance in a broad spectrum of genres. We started that process with Frank Ocean, but what’s exciting now is that we’re gaining artists not just across genres but across the world, and it feels like a new generation of artists.
The great thing about publishing is, you could do anything from an acquisition to a very short-term deal, but wherever you are, you’re really at the beginning of the process. We’ve got some great stories. Benson Boone is a great story for us right now. We’ve been there from the beginning with him attending our writing camps. Another one is when I was in the U.K., when we signed RAYE, she was very young. I think it was 2016. She’s had such a progression. Mitski, Zach Bryan, too.
I always use this term “culturally relevant signings.” I know we have just talked about some difficulties, but publishing’s easy if you sign someone you’re really proud of. Sure, our job is really complex sometimes, but also it feels really simple. What we do is we take the essence of what excites us about music, and we talk [to partners] about it.
So much has changed, even in five years. Music is more global, more artists are opting for independence over major labels, etc. What are you looking for when you are finding new music and new artists/writers?
We don’t just chase hits. I mean, we love hits, and we have a lot of hits, but we’re not just going out and buying every hit, chasing every hit. We often talk about the mid tier. I think in publishing we want people who consistently stream or slowly build. It’s going to be about fan bases and artist development. Those used to be fast-tracked by record companies, but that’s not so much the case now. I think sometimes you have to take a three-to-five-year approach if you’re developing, which many publishers do. Sometimes the economics of big label deals and the pressure that comes with that is too much. Not every artist is built for that.
Country music is everywhere right now, and Warner Chappell has the biggest market share in Nashville, according to Billboard’s Publishers Quarterly. How do you collaborate between the L.A.-based team and Nashville team?
Ben Vaughn runs an incredible team [in Nashville]. Everyone is talking about Nashville. I think you’re going to see more and more crossovers — you can already see it with the Dasha record in the U.K. We also see a lot of the country-adjacent artists, like Zach Bryan. I think it can all live together. I sat with Ryan Press, who runs North America for us, and Ben Vaughn last week here. I’m like, ‘“I don’t want to spend all this time working out what’s Nashville, what’s traditional, what’s country-adjacent. We’re all in it together.” I wouldn’t have it any other way.
What’s the balance between frontline and catalog? Catalog has seemingly become a more and more important part of a publishers’ business.
We look at catalog here with the same excitement as we do frontline, so David Bowie was incredible to buy. We don’t just have one head of catalog, we have a broad church of people from all different departments, like a catalog committee, where we talk about what we can do.
There are so many buyers in the catalog market right now. What do you think is the distinction between Warner Chappell and others as a buyer?
Don’t get me wrong, I have lots of friends who are in funds. We are partners with some of them. But Warner Chappell is one of the oldest, if not the oldest, music publishers. We are not going anywhere. We are not on a timeline or a window to sell. We’re not trying to buy an asset and sell it — we are here for the long term. Anything that we look at, we look at it through the lens of, How can we add value? How can we grow it? We’re not passive. So anything that we buy, we will have a plan for it. This can be anything, including that we know there are geographical areas where we can work it better specifically — like with George Michael’s catalog, we are working with the estate and identified that Latin America and Asia are two places where it’s been done well, but we can do better. Another big difference I noticed when I went to Warner is it’s a pure-play music company.
A source of mine called this the “year of the second sale” — saying that there are a number of funds looking to sell their assets. It’s been less about buying catalogs from artists directly this year and often about buying from other catalog owners. Have you seen that firsthand?
You’re starting to see some consolidation happen. I think some are just hitting that time horizon, some are just doing what funds do. You raise a fund, you have an exit window, a timeline horizon where you would expect to return money to your investors. Some of them may have overpaid. Some of them may just want to get out of the sector. There are a myriad of different reasons [why this is happening], but I think some of them are going to be long-term holders too.
Warner has been working on a special project with the Edith Piaf estate to use AI to clone her voice for use in a biopic about her life. It seems there could be some applications for AI within catalog marketing. Is Warner interested in doing more projects like this?
I think you can look at all of those things [enabled by AI] with the approval and respect of the estate. I think that’s the other thing you get from [selling to a] publisher, is we are music-first. We are going to do what’s right by the music, the songwriter and the artist. AI is interesting because we don’t know what the consumption and demand is yet. I mean, it was funny to see Frank Sinatra sing “Gangster’s Anthem” or something, but I don’t really see the real consumption there.
What is the most pressing issue for publishers as you see it?
I would say that one of the biggest challenges we’re all going to face as songwriters and publishers is how to get more songs out. Particularly as there are fewer huge stars, you’ve got to look at this game internationally. So we have an internal tool called Arrow, which is a searchable repository of our demos, and it’s multilingual, so someone in Hong Kong can look, and we can, too.
What sets WCM apart from the other majors?
There’s a focus on the individual here. Every songwriter is unique, so we meet them where they are in their careers and help them achieve their full potential. The same could be said for how we develop our team. We’ve created a culture where there’s a real, collective commitment to songwriters. Which is only possible because of each individual’s expertise.
This is something we’re quite proud to be building. Our songwriters benefit from being part of it — our global Warner Chappell collective — in terms of reach, collaborators and opportunities. And our teams around the world do, too.
Carianne and I are intentional about approaching everything from a human element. We certainly aren’t trying to be like anyone else. Being distinctive is about what you do and how you deliver on your promises, not what you say.
Reservoir Media plans to sell an additional $100 million of securities, according to an S-3 filing with the Securities and Exchange Commission on Monday (April 29). The funds may go toward acquisitions, debt repayment, share buybacks and other general corporate purposes, according to the filing.
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The company will often offer common stock, shares of its preferred stock, debt securities, depository shares, warrants, purchase contracts or a combination of these offerings, according to the filing. Reservoir Media currently has an authorized capital stock of 825 million shares — 750 million common shares and and 75 million shares of preferred stock. As of Feb. 5, it had 64.82 million shares of common stock outstanding. No shares of its preferred stock have been issued.
Tapping the market for additional capital now would enable Reservoir Media to benefit from a recent upswing in its share price. Its stock, which trades on the Nasdaq, reached a 52-week high of $9.20 per share on Friday (April 26) — and its highest point since May 4, 2022 — and closed at $9.03 on Monday(April 29), up 26.6% year to date. Reservoir Media went public in 2021 by merging with Roth CH Acquisition II, a special purpose acquisition corporation, or SPAC.
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The company’s pipeline of potential deals was roughly $2 billion in total value, CEO Golnar Khosrowshahi said during the company’s Feb. 7 earnings call. “We remain a highly respected and regarded partner,” she said, “and our proven reputation for being a steward for catalogs through value enhancement initiatives allows us to acquire some of the best assets in the market.”
Since its inception in 2007, Reservoir Media has invested $938 million, according to its latest investor presentation — with $770 million of that amount spent on acquisitions of catalogs and companies. It owns Chrysalis Records, Tommy Boy Music and Philly Groove Records and manages artists through Blue Raincoat Music and Big Life Management.
In February, the company reported first-quarter revenue growth of 19%, to $35.5 million, and raised its guidance for full-year revenue to $140 million to $142 million, implying 15% annual growth at the midpoint.
Longtime entrepreneur and executive Richard Stumpf has announced the launch of Hawkeye Music Publishing, a new firm that both signs active songwriters and acts as the dot connector between teams looking to sell music catalogs with their strategic partner Round Hill Music.
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Previous to his new firm Hawkeye, Stumpf found success as an executive at Imagem Music and Cherry Lane Music. More recently, he was the founder and CEO of the indie publisher of Atlas Music Publishing which guided Van Halen, Brandi Carlile, Counting Crows, Dan the Automator, Sean Garrett, Ashley Gorley, and the Al Jackson Jr. catalog (“Let’s Stay Together”) as clients. Eventually, the firm caught the attention of HYBE’s Ithaca Holdings and sold to the Korean music giant at the start of 2019. As part of the sale, Stumpf agreed to stay on as CEO until January 2021, which he did. (The rest of the original Atlas team also departed in 2021).
Since then, Stumpf has taken an advisory role, helping a number of tech companies looking to break into the music business, including Right Box and MerchCat, and lent his expertise to catalog buyers or administrators like Pythagoras Music Fund, GoldState Music and Round Hill Music.
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“What was clear to me working alongside tech and catalog companies was that there is an enormous and growing appetite for copyrights – both from a consumer and ownership perspective,” says Stumpf. “I wanted to put myself in a position where I could bring relationship driven catalog business to a home where I knew the music would be treated with the utmost respect and at the same time have a partner who could assist in administering Hawkeye, which would be dedicated to active writers. I found that strategic partner in Round Hill Music. Josh [Gruss, founder of Round Hill] and his team exemplify what it means to be a proactive partner who puts the music and writers first.”
Hawkeye Music Publsihing has not signed its first active songwriter yet, but it has already assembled a team of advisors across the music industry to, as Stumpf puts it, “provide expertise across several sectors of a constantly evolving and overlapping music space.” This list includes Ann Mincielli (Grammy-winning engineer, co-founder of She Is the Music), Gruss (founder/CEO of Round Hill), Sean Garrett (producer/songwriter), Barry Ehrmann (founder/video producer Enliven Entertainment), Brandon Young (head of music affairs, Activision Blizzard), Chris “Coach” Rodriguez (assistant program director/ dj for 107.1 The Peak) Julio Guiu (president of Clipper’s Music Group) and Amy Berkholtz (digital media Strategist).
“This advisory team shares my reverence for the songwriter and the creative process. They are a group that fully embrace innovation,” says Stumpf. “I’m humbled and excited by their participation.”
Adds Gruss, “Rich is a real music guy with a lot of creative ideas about maximizing value for copyrights and writers. He’s a respected industry vet that I’m happy to have working alongside Round Hill Music. We’ve already been able to welcome Warren Haynes as a Round Hill Music client and are grateful to Rich for the introduction and endorsement.”
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The National Music Publishers’ Association’s (NMPA) model TikTok license, which is used by a number of the independent music publishers, will expire at the end of April, and there are no ongoing negotiations between the NMPA and TikTok to renew it.
That means that starting May 1, more songs will be removed from TikTok, joining the millions that have already been removed from the Universal Music Group’s catalog earlier this year. At the end of January, licensing negotiations between UMG and TikTok collapsed, resulting in UMG’s decision to pull its music off the platform. In an open letter sent to artists and songwriters, the company lamented that TikTok failed to pay the “fair value” for music. It also noted other concerns with the platform, including AI concerns and artist safety. TikTok replied within hours, calling UMG’s letter a “false narrative” and that it was “sad and disappointing that [UMG] has put their own greed above the interests of their artists and songwriters.”
It is unclear how widespread the impact of the NMPA’s lapsed license will be. A TikTok spokesperson claims that only a small percentage of its overall music library used the model license and that they are not sure TikTok users will even notice the removals. The spokesperson adds that TikTok is in talks with a number of the publishers who used the NMPA license about getting an individual license, including a few of the larger players that use the NMPA model license. TikTok declined to provide further details.
The NMPA is also tight-lipped about the size of this impact, given the decision of whether or not to individually renew TikTok licenses for May 1 is in the hands of its members, not the NMPA. While the NMPA cannot disclose which independent music publishers use its model license for TikTok, it appears that it is a popular option, used by a large number of firms, ranging from tiny boutiques to sizable independents. The major publishers and some large indies negotiate directly with TikTok already, but the NMPA’s TikTok model license exists as a service largely to help the smaller publishers who would have less negotiating power or resources to get the license on their own.
The NMPA also has model licenses with the other social media networks available to its members, including YouTube, Meta and others, and the organization says it will continue to offer these other model licenses to members. X, notably, is absent from this list because it does not pay for music that appears on its platform. The NMPA has been asking X to license and pay for music for years to no avail, leading the trade organization to launch a $250 million lawsuit against X in June 2023.
The NMPA’s decision to pull out of TikTok should come as little surprise. NMPA president and CEO David Israelite has been supportive of UMG, and its publishing company and NMPA member UMPG, and its choice to leave TikTok since the beginning. Right after UMG announced its exit, Israelite offered a statement, saying “it is extremely unfortunate that TikTok does not seem to value the music creators that fuel its business.”
On Feb. 2, Israelite gave a speech at the Association of Independent Music Publishers Grammy week event, announcing that the NMPA’s license was set to expire at the end of April. “I’m only going to say two things about TikTok: the first is I think music is tremendously important to the business model of TikTok, and, secondly, I am just stating the fact that the NMPA model license, which many of you are using, with TikTok expires in April,” he said at the time.
On March 5, the organization sent a letter to its members, explaining that the NMPA did not foresee renewing its license with TikTok and told members using their model license to negotiate directly with TikTok if they wanted to continue to be on the platform. Since then, the organization has not returned to the negotiating table with TikTok.
In a statement, TikTok said, “We have direct deals in place with thousands of music publishers — including NMPA members — and we will continue to engage with the entire publishing industry to help make their songs available on TikTok.”
Armada Music‘s BEAT Music Fund has acquired Cloud 9 Music, an Amsterdam based music publisher. As part of the acquisition, the teams of Armada Music’s existing publishing company, Armada Publishing B.V., and Cloud 9 Music will merge to form Armada Music Publishing. The company’s BEAT Music Fund is dedicated to building a catalog of dance and electronic classics and now, after its purchase of Cloud 9, is well on its way. Its catalog now includes Armin van Buuren’s Grammy Award-nominated “This Is What It Feels Like,” “Reality” by Lost Frequencies and Da Beatfreakz’ co-written share in “Prada” which was originally performed by Cassö, D-Block Europe, and Raye.
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Pulse Music Group has launched a new publishing venture with singer, songwriter and producer Jon Bellion. Called Beautiful Mind, the new publisher will be helmed by Bellion and his longtime manager Matt Maschi as CEO. Louis Coppola will handle day-to-day operations. Along with the news of his new company and its staff, Pulse and Bellion have announced that Beautiful Mind has signed artist, songwriter, and Bellion collaborator Elijah Noll to the company.
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Warner Chappell Music and ICE have extended and expanded their multi-territory digital partnership. As part of the deal, WCM will move all online processing from other European digital licensing administration partners to ICE. This follows a thorough 10 month review by WCM which assisted its existing providers and new entrants to figure out the solution that best serves its songwriters.
Warner Chappell Music has signed the Red Clay Strays to a global publishing deal. After independently releasing their 2022 album Moment of Truth, the band broke through on TikTok, eventually landing the single “Wondering Why” on the Hot 100 chart. Now they are ready to take their career to the next level. Along with their new WCM publishing deal, the group also signed a label deal with RCA Records.
5 Alarm Music (a large indie production music library and a subsidiary of Anthem Entertainment) has entered a new exclusive partnership with Paramount to launch the program First Time Composer (“FTC”) with Paramount Music’s Anita Chinkes Ratner and Rochelle Holguin Capello leading the charge. The program begins with a writing camp at Sound Factory in Los Angeles from April 25-26. 14 participants will be split into four groups, each paired with a 5 Alarm producer who can guide the newcomers through the process of writing to specific song briefs.
BMI has launched a new royalty dashboard for songwriters and composers, providing more transparency into performance royalty earnings. The move is part of the newly for-profit PRO’s broader growth plan to enhance customer service. Now, BMI’s affiliates can have a fully interactive view of royalty statements and can view their top performing titles, search individual works, monitor quarterly and annual earnings trends, explore international earnings and more.
Concord Music Publishing has extended its agreement with Jeremy Lutito. Along with his publishing deal, which encompasses both his back catalog and future works, Concord and Lutito are also launching Mezzanine, a joint venture under which Lutito will sign and develop up and coming writers at Concord. The first Mezzanine signing is Jon Class, a frequent Lutito collaborator.
Spirit Music Nashville has renewed its deal with artist/writer Tim Montana. The news follows Montana’s recent breakthrough at rock radio, notching his single “Devil You Know” on both Billboard’s Mainstream Rock Airplay and Rock & Alternative Airplay charts.
Sony Music Publishing Nashville has signed Randall King to a new publishing agreement. With songs like “You In A Honky Tonk” “Hey Cowgirl” and “Mirror Mirror,” King is known for bringing tried-and-true Texas twang to Nashville.
Major Bob Music has signed a management and publishing deal with Leah Blevins. The singer-songwriter has built a following in Nashville for her unique sound and her touring chops. Over the last few years, the artist has toured with Lainey Wilson, Marcus King, Flatland Cavalry, Nitty Gritty Dirt Band, John Oates, Amanda Shires, The War And Treaty and more.
Global Music Rights (GMR), the boutique performing rights organization, has reached a settlement in its copyright infringement lawsuit with Vermont Broadcast Associates. As part of the settlement, VBA has secured a long-term GMR license and settled for its past alleged infringements.