Publishing
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Downtown Music Holdings announced layoffs across the company’s CD Baby, Downtown Music Publishing, Songtrust, and Downtown Music Holdings (DMH) divisions on Wednesday (March 22).
Downtown Music Holdings chief executive Andrew Bergman emailed staff early Wednesday to share the news. Notably, many of the lay offs affect those working in publishing roles. Neither the email, which was obtained by Billboard, nor a company representative would confirm how many jobs were affected.
Bergman also noted in the email that there are also “a number of cost-saving measures… underway” already at Downtown apart from the reduction in team size. The Downtown rep also declined to explain what these measures were.
The email labels this downsizing as “reorganization” that “harmonizes the past several years of strategic investments and divestitures.” As detailed in a recent Billboard profile of the firm, Downtown pivoted from a traditional publishing firm with 145,000 songs in its catalog to selling off all intellectual property in favor of repositioning as a service-focused company instead.
To further bolster their service offerings, in the last few years Downtown acquired CD Baby, FUGA, AdRev, Soundrop and DashGo, and then last September announced the combination many of its B2B services under the name “Downtown Music.” Downtown Music now includes staff from FUGA, Downtown Neighbouring Rights, AdRev and Downtown Music Services artist, label services and publishing administration units.
In October, Billboard reported that Downtown’s CD Baby and Soundrop had laid off 28 employees, citing “economic conditions” and “uncertain times” in a company-wide email from chief people officer Love Whelchel.
“This reorganization harmonizes the past several years of strategic investments and divestitures, better positioning us for the future by aligning our talent, resources, technology and services to meet the evolving needs of the music community while at the same time taking into account this period of economic uncertainty,” said a Downtown rep in a statement.
Read the full email to Downtown Music Holdings’ staff below:
Team,
Today we’re sharing some difficult news with all of you. Downtown’s management team has made the decision to reduce the size of our team in certain areas of the organization, specifically CD Baby, Publishing, Songtrust and DMH. Later this morning, we will be meeting with those employees and informing them that their roles will be impacted.
Along with reducing our team size overall and a number of cost-saving measures we have underway, we hope to be able to offer and place some impacted members of our team in other positions within Downtown that will give them a chance to apply their skills and expertise in new ways.
This reorganization harmonizes the past several years of strategic investments and divestitures, better positioning us for the future by aligning our talent, resources, technology and services to meet the evolving needs of the music community while at the same time taking into account this period of economic uncertainty.
We are committed to continuing to communicate about our plans, our business performance, and the results of these changes and remain accountable to all of you for the improvements and the long-term health and strength of our work at Downtown.
Our management, people, operations, legal and communications teams have made every effort to manage this process with as much thoughtfulness, consideration and empathy as possible. We will be meeting with all of you in the coming days to share more directly, plans for each division and will be ready to answer any questions you may have.
Sincerely,
AB
Additional Reporting by Dan Rys
John Sebastian‘s songwriter interest in The Lovin’ Spoonful catalog has been acquired by AMR Songs, a music asset investment firm and music company that’s been quietly scooping up rights for the last two years. AMR also purchased all rights from Sebastian’s solo catalog, as well as the master recording catalog of reggae band Soja, among other investments.
Terms of the deals were not disclosed.
AMR is led by former Billboard editorial director Tamara Coniff, the firm’s founder and CEO, and private equity veteran Steve Reinstadtler, who is CFO. According to sources, the firm has raised $100 million from institutional investors. In addition to acquiring all forms of music royalties, AMR will also sign developing songwriters and work closely with established writers.
The Sebastian deal includes the writer share of his Lovin’ Spoonful catalog, including “Summer in the City,” “Do You Believe in Magic,” “Daydream,” “Younger Girl,” “You Didn’t Have to Be So Nice,” “Did You Ever Have to Make Up Your Mind?” and “Nashville Cats.” It also encompasses the publishing and writer share from his solo career, including the song “Welcome Back,” as well as artist royalties from his band and solo work.
“AMR’s involvement in my catalog, and specifically the enthusiasm I’m feeling from Tamara Conniff about this material, will ensure that my songs will keep singing for a good long time,” Sebastian said in a statement.
Conniff has more than 20 years of experience in music publishing. She began by managing the interests of her late father, band leader Ray Conniff, and has also held executive positions in music publishing, including as executive vp of Roc Nation Music Publishing and COO of Artist Publishing Group. Reinstadtler’s prior experience includes serving as co-head of TD Capital and as a partner in SR Capital Advisors.
“I’m ecstatic to announce the launch of AMR Songs and fully realize our vision of building a truly creative home for our artists and writers — not just acquiring rights, but proactively nurturing and marketing catalogs, signing and developing artists with frontline operations,” Conniff said in a statement. “We’ve established a stellar film and TV sync licensing team, label distribution and digital marketing support to uniquely foster new opportunities and revenue growth for our roster and catalogs.”
AMR’s team also includes Lydia Yerrick, vp of business affairs and administration, and Justin Mandel, manager of social media and royalty analysis, as well various consultants. Additional staff will be announced soon, the company said.
The AMR catalog, which numbers 1,500 songs and growing, is administered by Warner Chappell Music.
AMR’s investment in Soja’s catalog spans from the band’s inception through 2020 and covers music publishing, artist royalties and various master recordings, including the albums Born In Babylon, Strength to Survive and Amid the Noise and Haste.
“We’re passionate about the music and incredibly proud to represent and take care of these amazing works, ensuring they are exposed to new audiences for generations to come,” Conniff adds in a statement.
Other investments include the writer share of funk guitarist Ronald “Kat” Spearman’s song catalog, including Jade’s “Don’t Walk Away”; John Boylan’s producer share, which includes the first Boston album; and the publishing rights of Taylor Philips — namely Luke Combs‘ “Hurricane” and Kane Brown’s “Homesick.”
Beyond that, AMR has signed a global music publishing deal with producer and writer Erik Janson. It is also launching its own label, AMR Songs, and has signed Australian artist EJ Worland to both a recording and publishing deal.
Conniff notes that AMR is “agnostic about which rights we will buy” going forward, adding that the company has an eye on niche genres because each has its own ecosystem and brand of dedicated fans. “Reggae, rock, Christian and jazz fans are not fickle,” she says.
Warner Chappell Music (WCM) and Limited Edition Music have teamed up for a new publishing partnership, with a mission to sign and develop emerging songwriters in a range of genres.
Emmyn Calleiro, singer and songwriter with Fueled by Ramen / DCD2 Record-signed pop-punk band Games We Play, along with rising country artist Bailey Callahan, are the first signings through the new alliance — Limited Edition Music.
Greg Sowders, WCM’s senior vp of A&R and catalog will continue in his current position while also leading Limited Edition Music, which will sign acts in the alternative, rock, pop and alternative country spaces. Sowders is joined in the leadership role by former WCM A&R executive Marc Wilson.
“Greg has been a key fixture at Warner Chappell for more than three decades and has dedicated his career to building out a star-studded alternative and rock roster,” comments Guy Moot, WCM co-chair and CEO. “This is the perfect opportunity for him to continue to lead those efforts while also working with more emerging writers alongside Marc.”
During his time with the major music publisher, Sowders has signed and worked with such artists and writers as Twenty One Pilots, Greta Van Fleet, Travis Barker, Paramore, Tyler Childers, Billy Corgan, Portugal. The Man, Deftones, All Time Low, Orville Peck and Nickelback, and others.
His career in music began in 1981 on the other side of the table, as the drummer for Los Angeles alternative country pioneers The Long Ryders, with whom he continues to perform.
Wilson, meanwhile, boasts almost 20 years’ experience developing songwriters and artists. During his stint with WCM, he worked with the likes of Lizzo, Steve Aoki, Ian Kirkpatrick, Sean Douglas, Sam DeRosa, Alec Benjamin and others. In 2020, he launched United Songs Entertainment, which exclusively manages songwriters and producers, and currently represents Cate Downey and Zoë Moss.
Adds Ryan Press, WCM president of North America: “Greg is one of the best creatives in the business and serves as a true partner to his songwriters. I’m super proud to be able to support him and Marc, who I’ve also worked with for a long time, and continue to nurture the next generation of hitmakers together.”
The partnership, announced today, closely follows a SXSW discussion on the future of music publishing and the new songwriter economy, entitled “Music Publishing in the New Songwriter Economy.” The session featured Moot and Billboard editorial director Hannah Karp as guest speakers.
LONDON — Facebook parent Meta and Italy’s largest collecting society are locked in a dispute over the use of songs on the platform from thousands of songwriters and composers, with music rights groups accusing the tech company of using strong-arm tactics to try to get its way.
Meta has started to remove all licensed works from the Italian Society of Authors and Publishers (SIAE). The company has “been unable to renew” its partnership agreement with SIAE and will therefore “no longer make available SIAE licensed works in Meta’s music library,” a spokesperson for Meta confirms to Billboard. The number of SIAE licensed music works that are affected by Meta’s actions is around 5.7 million works, according to SIAE.
The withdrawal means that any content-containing songs managed by SIAE, except those obtained through sub-licensing, will be blocked on Facebook, including Facebook Reels and Facebook Stories. On Instagram, content using SIAE members’ repertoire will be muted, unless users choose to replace the banned audio with another piece of music, Meta says.
The move affects repertoire from all European countries and multiple markets outside the European Union, but does not include the United States, an SIAE spokesperson tells Billboard.
Based in Rome, SIAE is the world’s sixth-largest copyright collective management organization, according to the International Confederation of Authors and Composers Societies’ (CISAC), representing the rights of around 5.7 million Italian music works and around 95,000 members. The organization has agreements in place with 178 authors’ societies worldwide and administers public performance and other rights of 62 million Italian and international works, spanning music, cinema, literature and other areas.
Notable music artists it represents include composer Ennio Morricone, singer Zucchero and hard rockers Mäneskin. “It is important to notice,” a rep for SIAE said, “that in the midst of the removal process many other works from the international catalog and from international authors, thus not related in any way with SIAE, have been erroneously removed.”
Meta’s music-licensing agreement with the Italian society expired at the end of December. During negotiations for a new deal, Meta offered a lump-sum value without providing the necessary information for SIAE to evaluate whether it was fair compensation for rights holders, the SIAE spokesperson says.
The Italian organization also claims the tech company refused to share data about how its members’ repertoire was being used and monetized, citing internal policies. “When it comes to complex platforms such as Facebook and Instagram and their many services (posts, stories, reels), if we’re not given any clue about the amount of advertising, video and music that they host, it means we’re negotiating blindly,” Matteo Fedeli, the CEO of SIAE, tells Billboard.
Fedeli says Meta threatened to remove all music works managed by SIAE if the offer was not accepted. “Meta gave a take-it-or-leave-it final offer when our positions were still pretty far from each other,” he says. “That’s imposing, not negotiating.”
The refusal to share relevant information, says SIAE, places Meta in contravention of the European Copyright Directive approved by the European Union in 2019, which requires platforms that rely on user-generated content — such as YouTube, TikTok or Facebook — to obtain “fair remuneration” license deals with rights holders and provide them with transparent reporting on revenues generated from the use of their work.
Meta responds that it has successfully renewed music licenses with many of its largest partners throughout Europe — including the United Kingdom, Germany, Spain, France and Sweden — based on the same fee model and terms it offered SIAE.
“Protecting the copyrights of songwriters and artists is a top priority,” a spokesperson for Meta says in a statement. “We continue to have music deals in more than 150 countries and remain committed to reaching an agreement with SIAE that works for everyone.”
Meta’s fallout with SIAE comes after the company announced on March 14 it would trim 10,000 jobs and would not be filling 5,000 open positions as part of cost-saving measures. In November, the company announced 11,000 job cuts, representing about 13% of its overall workforce.
On Friday, music rights and publishing trade bodies slammed Meta for its decision to pull SIAE repertoire from its platforms.
“Meta has decided to use its position as a corporate mega power to hold artists at gunpoint and undervalue their hard work and creativity,” the Brussels-based Independent Music Publishers International Forum (IMPF) says in a statement. “Fair and honest negotiation is the only way forward. Meta needs to retract.”
John Phelan, director general of ICMP, an international music publishing trade association, criticizes Meta for “using unsurprising strong-arm tactics of demanding a ‘take it or leave it’ fee and when not happy, removing music to try and devalue the deal.”
The tech company, Phelan says in a statement, “must obey the law and take a full and fair license for the music it wants to use and profit from. If it does not, it is in breach of Italian and EU law.”
Fedeli says the music industry “understands that there is a problem with [the] value gap and that the excessive power of [tech] platforms allow them to pursue such unilateral actions.” He is, nevertheless, keen to resume negotiations.
“We want to reach an agreement in good faith that is satisfying for both parties,” he says. “We know that we’re not aiming for the moon. We’re asking for a perfectly reasonable figure.”
Additional Reporting By Federico Durante Of Billboard Italy
Taylor Swift has a reputation as one of the finest songwriters of her generation. Grammy voters seem to agree – she has received six song of the year nominations since 2009, which puts her in a tie with Lionel Richie and Paul McCartney for the most by any songwriter in Grammy history.
Richie wrote five of his six song of the year nominees by himself. He teamed with Michael Jackson to write his sixth, “We Are the World.”
By contrast, Swift and McCartney wrote just one of their song of the year nominees by themselves. Swift was the sole writer of “Lover.” McCartney was the sole writer of “Ebony and Ivory.”
Swift teamed with Liz Rose to write two of her nominated songs; with Max Martin and Shellback to write two others; and with Aaron Dessner to write one. McCartney and John Lennon were credited as co-writers of all five nominated songs that were recorded by The Beatles.
“Anti-Hero,” which Swift co-wrote with Jack Antonoff, seems very likely to be nominated for song of the year when the nods for the 66th annual Grammy Awards are announced later this year. That would give her a tiebreaking seventh nomination.
Unlike McCartney and Richie, Swift has yet to win in the category. McCartney won on his third nomination, for “Michelle,” a charming tune from The Beatles’ Rubber Soul that few would regard as one of his or their greatest songs. Richie won on his sixth nomination, for USA for Africa‘s “We Are the World.” That song raised millions to fight starvation in Africa and hunger here in the U.S., but it’s more admired for its purpose and intentions than its songcraft.
As Swift launches her 52-date The Eras Tour in Glendale, Ariz. on Friday (March 17), we have prepared this list showing you each of these songwriters’ six Grammy nominations – in a handy, side-by-side format.
First nominations
Image Credit: Rick Diamond/GI
Swift: “You Belong With Me” (2009, co-written with Liz Rose)
Richie: “Three Times a Lady” (1978)
McCartney: “A Hard Day’s Night” (1964, co-written with John Lennon)
Notes: All three of these songs were smash hits. “You Belong With Me,” the third single from Fearless, reached No. 2 on the Hot 100 – Swift’s highest ranking to that point. Commodores’ recording of “Three Times a Lady,” the lead single from Natural High, logged two weeks at No. 1. The Beatles’ “A Hard Day’s Night,” from the soundtrack to their film of the same name, topped the Hot 100 for two weeks – and was the first rock song to receive a song of the year nod.
Second nominations
Swift: “Shake It Off” (2014, co-written with Max Martin and Shellback)
Richie: “Lady” (1980)
McCartney: “Yesterday” (1965, co-written with John Lennon)
Notes: All three of these songs were No. 1 hits on the Hot 100 for four or more weeks. (Four weeks for the Swift and Beatles hits; six weeks for Kenny Rogers’ recording of “Lady.”) Rogers’ smash was the lead single from his perfectly-timed, Billboard 200-topping Kenny Rogers’ Greatest Hits. “Shake It Off” was the lead single from 1989. Though “Yesterday” didn’t win the Grammy, many regard it as one of the greatest songs ever written.
Third nominations
Swift: “Blank Space” (2015, co-written with Max Martin and Shellback)
Richie: “Endless Love” (1981)
McCartney: “Michelle” (1966, co-written with John Lennon)
Notes: “Blank Space,” the second single from 1989, topped the Hot 100 for seven weeks, making it Swift’s longest-running No. 1 to that point. “Endless Love,” which Richie wrote for the film of the same name and which he recorded with Diana Ross, logged nine weeks at No. 1, making it Richie’s longest-running No. 1 ever. The Beatles didn’t release any singles from Rubber Soul, but a cover version by David and Jonathan reached No. 18 on the Hot 100.
Fourth nominations
Image Credit: Tony Evans/Timelapse Library Ltd./GI
Swift: “Lover” (2019)
Richie: “All Night Long (All Night)” (1983)
McCartney: “Hey Jude” (1968, co-written with John Lennon)
Notes: “Lover,” the third single from Swift’s album of the same name, reached No. 10 on the Hot 100. “All Night Long (All Night),” the lead single from Can’t Slow Down, logged four weeks at No. 1. “Hey Jude” led the chart for nine weeks, making it McCartney’s longest-running No. 1 hit – with The Beatles or post-Beatles. It was one of only two singles to top the Hot 100 for nine weeks in the 1960s, the other being Percy Faith’s shimmering instrumental “Theme from a Summer Place.” (That 1960 smash was nominated for song of the year despite being an instrumental, something that couldn’t happen today.) As noted above, “Lover” is Swift’s only song of the year nominee that she wrote by herself.
Fifth nominations
Swift: “Cardigan” (2020, co-written with Aaron Dessner)
Richie: “Hello” (1984)
McCartney: “Let It Be” (1970, co-written with John Lennon)
Notes: All three songs were No. 1 hits on the Hot 100. “Cardigan,” the lead single from Folklore, spent one week on top. “Hello,” the third single from Can’t Slow Down, spent two weeks on top. “Let It Be,” from the documentary film of the same name, spent two weeks on top.
Sixth nominations
Swift: “All Too Well (10 Minute Version) (The Short Film)” (2022, co-written with Liz Rose)
Richie: “We Are the World” (1985, co-written with Michael Jackson)
McCartney: “Ebony and Ivory” (1982)
Notes: Again, all three songs were No. 1 hits on the Hot 100. The expanded version of “All Too Well,” the lead single from Red (Taylor’s Version), spent one week on top. It set a new record as the song with the longest playing time to reach No. 1. USA for Africa’s “We Are the World” topped the chart for four weeks. “Ebony and Ivory,” a glossy plea for brotherhood and understanding across racial lines, topped the Hot 100 for seven weeks. McCartney wrote the song by himself and recorded it with Stevie Wonder. While everyone admired the song’s good intensions, the song hasn’t aged especially well. A Saturday Night Live parody version by Eddie Murphy (as Wonder) and Joe Piscopo (as Frank Sinatra) skewered the song. Sample lines: Murphy as Wonder: “I am dark, and you are light.” Piscopo as Sinatra: “You are blind as a bat, and I have sight!”
Iconoclast, an artist and brand development company, has purchased the catalog of Lady Gaga co-writer and producer Nick Monson. His catalog includes hits like “Human” by Rag n Bone Man, which is currently peaking on TikTok, as well as songs like “Applause” by Gaga, “Good For You” and “Nobody” by Selena Gomez, “Home” by Nick Jonas, “Invitation” and “Just Like Me” by Britney Spears.
Netherlands-based music fund Pythagoras Music Fund (PMF) has purchased the worldwide publishing rights to Barton Music and its catalogs, which includes American standards like the Frank Sinatra-recorded “Come Fly With Me,” “Love & Marriage” and more. The acquired catalogs also include compositions recorded by Bing Crosby, Nat King Cole, Doris Day, Billie Holiday, Louis Armstrong, Count Basie, Etta James, Sarah Vaughan, Plácido Domingo, Linda Ronstadt, Michael Bublé, Westlife and Robbie Williams.
Hannah Babbitt has launched BABZ Nashville, a second home for her boutique management company BABZ which represents some of the industry’s top songwriters and producers, including Alex Hope, Jesse Fink, Nick Monson and more.
Sentric Music Group has partnered with Rough Trade Publishing to handle the independent publisher’s global administration. The deal covers all of Rough Trade’s signees, including Alvvays, Chelsea Wolfe, The Tallest Man On Earth, Built To Spill, Black Lips and more.
Platinum-selling producer-songwriter Krupa has signed with independent publishing house Position Music. News of the worldwide deal arrives on the heels of Krupa receiving an RIAA Double Platinum certification for co-writing the song “Blood // Water” by Grandson. He’s also worked with Jessie Reyez, Dillon Francis, Kesha, Travis Barker and more.
EVGLE Publishing has announced the signing of artist, producer, songwriter and violinist GrandMaster Vic, who is best known for his work on Kendrick Lamar‘s Mr. Morale & The Big Steppers. The young publishing joint venture — founded by Blxst, Victor Burnett and Karl Fowlkes — was created in conjunction with Warner Chappell Music and also boasts Jay Millian, J Pilot and Blxst on its roster.
Various Artists Management and Stellar Songs has launched a new joint venture called Alternative Songs. The new company will be administered and funded by Downtown Music Services.
Concord Music Publishing ANZ (formerly Native Tongue) has announced the signing of COTERIE, a five-piece band based in West Australia. The new deal encompasses the band’s back catalog and future works.
Ellen Reid has signed a publishing deal with Wise Music Group and Chester Music Limited. Reid’s work spans opera, sound design, film scoring and ensemble choral writing. In 2019, she won the Pulitzer Prize in music for her opera p r i s m.
Wise Music Group and Chester Music Limited have signed Anoushka Shankar to an exclusive publishing agreement. A film composer, activist, and seven-time Grammy nominee, Shankar said in a statement that it’s a “pleasure” to work with the companies on her future works. “I look forward to expanding my compositional horizons and working with them to bring my creative voice and the sound of my instrument- the sitar- into new spaces.”
Warner Chappell Music (WCM) has named Catalina Santa Peña as the new managing director for WCM Colombia, the company announced Thursday (March 16). The executive will lead the organization’s operations for the territory while reporting to Gustavo Menéndez, president of U.S. Latin & Latin America, Warner Chappell Music. She replaces Daniel Mora, who was recently named managing director of Warner Music Andes.
Santa Peña will oversee WCM Colombia’s “rapidly growing” roster, which includes Juan Pablo Vega, Santiago Cruz, Lalo Ebratt, Piso 21, Vicente García, Yera and TIMØ and be “key in helping expand the team while also championing local songwriters and global superstars alike,” according to a press release.
Santa Peña, who authored the book Industria Musical Para Artistas, Music Business Para Todos (Music Industry for Artists, Music Business for Everyone), is an industry veteran. In 2019, she founded entertainment law firm The Artist’s Attorney, where she worked with artists such as Karol G, Sky Rompiendo, J Balvin and Aterciopelados. She previously held roles at the Colombian Copyright office, Sony Music (Andean region), SAYCO and the Ministry of Culture in Public Performances Law in Colombia.
“As I’ve gotten to know Catalina over the years, I’ve seen the many hats she’s worn, from being an attorney and author, to becoming one of the industry’s most respected leaders,” said Menéndez in a statement. “Catalina knows the artistic side of the business and her heart is always in the right place, defending songwriters and the creative community. That’s the passion we like to see, and the perfect fit for our team and the philosophy we stand by. We couldn’t be more thrilled to have her joining us and continuing our work and expanding our growth.”
“I am very excited for this new opportunity and to continue my journey of empowering musicians and composers, who are the backbone of this wonderful industry of ours,” Santa Peña added.
On Thursday, March 16, Billboard’s editorial director Hannah Karp moderated a Featured Speaker panel called “Music Publishing in the New Songwriter Economy.” The compelling conversation featured a lineup that Karp called “music’s most entrepreneurial songwriters and publishers.”
Panelists included Warner Chappell Music’s co-chair and CEO Guy Moot alongside two of the publisher’s superstar producers, Murda Beatz and Nova Wav (the duo of Brittany “Chi” Coney and Denisia “Blu June” Andrews).
The foursome discussed the new songwriting economy, with Karp teasing “they promised to share secrets to make money — and it’s not using Chat GPT.” And as Moot noted, though the industry is “rapidly changing,” he believes songs are and always will be “the essence” of the music industry.
Yet, despite being such a backbone, songwriters and producers continue to face familiar and new challenges, from getting paid to competing with artificial intelligence. “We gotta get all the money,” Murda said bluntly, speaking of his biggest obstacle. “We should be getting athlete contracts. Sometimes we get paid quick, but sometimes [it takes] months.”
To which Coney added: “We’re creating music for the future.”
Below are the five biggest lessons learned from the panel.
WHAT TO LOOK FOR IN A PUBLISHER
“We weren’t looking for a publisher, we were looking for a partnership,” said Coney, speaking of Nova Wav signing with WMC. She cited a commercial the duo did with Lexus and an upcoming Bose opportunity, and said, “Warner has been doing an amazing job at making sure we’re well taken care of. Music is the vehicle, but our brand is much bigger.”
Added Murda: “As creators, we have to diversify. You don’t want all your eggs in one basket … That’s a big role, branding yourself and building something that’s very sustainable. It creates longevity, so you’re not known for just a hit.”
“A big part of our job is getting our songs noticed, so we’re also part of the promotion process,” explained Moot. “Internationally, it’s important for American writers to travel and us as publishers to educate on the opportunities and potential [overseas]. These are big markets, and people are open to collaborating.”
YOU DON’T NEED TO BE IN L.A… AND MAYBE YOU SHOULDN’T BE
Moot said the fact that creators are “genre agnostic” today “is a great thing … There is an appetite to collaborate with different music formats” — and especially with artists from other countries. He predicted C-pop will soon have a mainstream moment much like K-pop, and said WMC is encouraging its writers to travel to Asia. “It’s a fertile place to write. I say all the time, ‘Why does everyone want to come to L.A. and get in that one room?’”
“Focus on Asia for six months, and then with the creds out there you can come back to L.A. and have an easier time getting in rooms here,” added Murda.
THE MOST LUCRATIVE WAYS TO SPEND YOUR TIME
When asked what the most lucrative way to spend time today is, Coney definitively said film, explaining the duo can earn thousands of dollars writing a song for a film. Murda added that commercials pay even more: “American Express will take a song for half a million or something.”
Yet, Moot cautioned, “It’s not just about the money, it’s about how many eyeballs… Teens discover music on a Netflix show or social media. Value is in dollars, but it’s also in awareness and getting noticed.”
He also shared an important pro tip: “Most of our biggest synch songs are never written for synch… We never thought Lizzo would get this many, it just happens. I will say if you use the word ‘sunshine,’ that is the most popular word for synch. But it is an artform, we shouldn’t downplay that. But I think if you’re thinking, ‘This is going to get a synch,’ [it won’t].”
DON’T VIEW ARTIFICIAL INTELLIGENCE AS A THREAT
While Coney admitted AI “is a little scary,” she also said, “I do think [we need to] utilize it in the correct ways — because it’s here to stay, it’s growing like a wildfire. We’ve been thinking of ways to really use AI to our advantage. Approaching AI on the songwriting side as far as making an app or plug-in for people who don’t have a crazy voice as a demo singer… [We talked about making] a plug-in with [Blu June’s] voice and [having users] type in the words, but that started happening with AI. We’re focusing on how can we integrate and be better with what’s already out.”
Moot agreed, encouraging the packed room to “just embrace it. I’ve seen so many people try and shut it down, but it’s one of the most exciting developments I’ll ever see in my career and lifetime.” He also explained the opportunity AI could create for a tiered system, with the value of “human imperfection” increasing, and ultimately pushing a class of producers and songwriters to a higher, “top tier” level.
“At the end of the day, we are tastemakers,” concluded Murda. “We’re wanted for our taste and AI can’t express that. Never forget that you’re the taste.”
BE SMART WITH YOUR MONEY
When asked about the best tips for money management, Murda offered an unconventional answer: “You gotta spend money then you learn how to save it. If you’re fortunate enough to make money off this shit, spend that shit too. Treat yourself and find things you’re passionate about to invest in.”
As for Nova Wav, the pair offered a slightly different, but very valuable, lesson: “We’ve learned to pay them taxes.”
Colombian producer, songwriter and record engineer Julio Reyes Copello has inked a multi-year worldwide deal with Sony Music Publishing.
“I am thrilled to be starting this new phase of my creative life as part of the great Sony Music Publishing family,” says Copello, who won producer of the year honors at the 2022 Latin Grammys. “I am very grateful for the belief, respect, and enthusiasm that [Sony Music Publishing president and CEO] Jorge Mejia and his team have shown, which will be essential in order to find new outlets and homes for my music.”
“I have known and admired Julio for many years,” adds Mejia, who oversees Latin America and U.S. Latin territories as executive. “He is widely respected as a musician’s musician, with a deft touch at the piano and a sensitivity as a producer and songwriter, that makes all manner of artists and writers feel right at home whenever they work with him. It is a dream come true, therefore, to finally be able to work directly with Julio, as well as the artists and songwriters he’s developing. I can’t wait for what comes next.”
Reyes is currently working on upcoming releases with Colombian pop star Camilo, Spanish musician Pablo Alborán, Marc Anthony, Alejandro Sanz, among many others.
The four-time Grammy and seven-time Latin Grammy winner is widely considered one of Latin pop’s most important songwriters, producers and musicians. Since launching his career in 2001, the Cúcuta alchemist has also penned hits for the likes of superstars Ricky Martin, Jennifer Lopez, Thalía, Chayanne, Laura Pausini, Kany García and more. In total, he has earned 48 Grammy and Latin Grammy nominations; he also has more than ten ASCAP awards under his belt.
Aside from his songwriting Career, Reyes founded Art House Records, a talent incubator where he continues to discover and develop emerging artists, which includes Joaquina, Riza, Ela Taubert, and more. Additionally, he partnered with Abbey Road Institute — the first U.S. music production school, and an extension of the music production education program held at the legendary Abbey Road Studios in London. Together, both parties established the Art House Academy & Abbey Road Institute Miami, where they specialize in music performance, music production and sound engineering to develop and educate “the next generation of singer/songwriters, music producers and sound engineers.”
A Los Angeles judge has handed The Offspring a victory in its long legal battle with former drummer Ron Welty, who claimed he was owed millions more in profits from the veteran punk band’s $35 million catalog sale.
Welty, the band’s drummer from 1987 to 2003, claimed that lead singer Dexter Holland tried to “erase” his contributions to the Offspring’s golden era, including by failing to pay him his rightful cut of the sale of the band’s rights to Round Hill Music in 2015.
But Judge William F. Fahey largely rejected his accusations after a bench trial last fall, calling some of Welty’s allegations “completely illogical.” And in a final ruling on Monday, the judge sided with the Offspring on all remaining claims.
“Judgement is entered in favor of defendants Offspring Inc.,” the judge wrote. “Plaintiff Ron Welty shall take nothing.”
In a statement to Billboard on Wednesday, Welty’s attorney Jordanna G. Thigpen vowed to continue the fight: “In the few months I have been working with my deserving client and attempting to resolve this matter, it has become clear that the lower court was not the place where justice will be done. We are absolutely appealing, and look forward to higher authorities’ review of this court’s several decisions and its ultimate judgment.”
An attorney for the Offspring declined to comment on the decision.
Come Out and Pay
Welty joined the Offspring in 1987 and served as the band’s drummer across its heyday, including on its breakout 1994 album Smash and its 1998 peak with Americana, which reached No. 2 on the Billboard 200 and spent more than a year on the chart. When he left the band in 2003, no reasons were reported at the time.
But 17 years on, Welty filed a sweeping lawsuit in September 2020, claiming Holland and the other members had “forced him out of the band without cause” despite his “significant contributions to The Offspring’s success.” His lawyers claimed he was owed millions of dollars, and that the band was trying to “erase Mr. Welty and his achievements from the band’s history.”
“This lawsuit seeks, among other things, redress for The Offspring’s failure to pay Mr. Welty his rightful share of the band’s proceeds and a prohibition against their ongoing efforts to harm Mr. Welty, his legacy with the band, and his ongoing career,” his attorneys wrote at the time.
In particular, Welty’s lawsuit challenged the 2015 sale of the band’s music to Round Hill, which saw the company pay a reported $35 million for both the recorded masters for six studio albums and a greatest hits album, as well as the band’s music publishing rights covering its entire career.
But as revealed in later court filings, that deal was really structured as two separate deals: one $20 million payment split among the band’s key performers for the rights to the recorded masters, and another $15 million paid directly to Holland for the publishing rights, which he had retained exclusively.
In his lawsuit, Welty claimed he had not only been underpaid for his portion of the recordings, but that he was owed a portion of the $15 million Holland had earned from sale of his publishing rights.
But at a bench trial held in October, the other members of the Offspring’s best-known lineup testified that structure of the deal was fair. Both Kevin “Noodles” Wasserman and Gregory “Greg K.” Kriesel told the judge that Holland had written all of the band’s music, thus had rightly retained all publishing rights.
In a written decision in January citing that testimony, Judge Fahey ruled that the deal had been “structured in accordance with industry standards” and that Welty had failed to prove that he was entitled to a cut of Holland’s $15 million.
“It is hard even to envision a reason why these two other band members would agree to such a structure unless they believed that Holland was the creator and owner of the music compositions,” the judge wrote at the time.
“To adopt Welty’s theory would require this court to conclude that Wasserman and Kreisel knowingly walked away from a share of the additional $15 million … as part of some scheme to deprive Welty of additional compensation,” Judge Fahey wrote. “Such a conclusion is completely illogical as well as unsupported.”
The January ruling also rejected Welty’s separate accusations that he was owed hundreds of thousands in unpaid royalties.
Following that decision, other issues in the case remained technically unresolved, and the case might have proceeded to another trial at some point in the future. But in Monday’s decision, Judge Fahey made clear that his January decision had effectively ended the case and that “no issues remained to be tried.” All of Welty’s remaining claims against the band were “premised on the same allegations and present the same factual and legal issues on which the court already ruled in defendants’ favor,” he wrote.