Publishing
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Reach Music has acquired master and publishing rights to Judas Priest‘s first two records, Rocka Rolla and Sad Wings of Destiny from Gull Entertainments. As part of their new purchase, Reach will work alongside the British metal legends to release a 50th anniversary edition of Rocka Rolla in 2024 as well as other special projects. This deal builds upon Reach’s existing relationship with the band — in 2021, Reach acquired a 50% copyright interest and the administration rights to guitarist Glenn Tipton’s song catalog, beginning with songs released in 1977.
Reservoir has launched a joint venture with American Idol producer, 19 Entertainment, which is part of Sony Pictures Television and already partnered with BMG on the master side. Through their new jv, the two will jointly sign new publishing deals with some of Idol’s contestants, and Reservoir will aid in the young writers’ development.
Peermusic Australia has inked a worldwide publishing deal with Sydney-based hip-hop/rock crossover group Triple One. The agreement includes both Triple One’s full back catalog as well as future works.
Position Music has signed artist and songwriter Sam Tinnesz to a worldwide publishing deal. The deal includes some selected catalog cuts as well as all of Tinnesz future releases, including those made under his artist project and those made as a songwriter.
Prescription Songs has signed Nashville-based artist and writer Josie Dunne. As an artist she played alongside artists like Julia Michaels, COIN, Ben Rector, and Andy Grammer. As a writer, she’s create songs with Natalie Imbruglia, Corook, Spencer Sutherland, and more. She was brought into the roster by A&R Chris Martingnago.
Warner Chappell Music has signed a global publishing deal with country sibling trio Voth. The deal was signed just ahead of their next single “You Own It,” out April 28th.
Annual revenue for Round Hill Music Royalty Fund grew 32% to $32.4 million in 2022, driven by strong performances of the Guernsey-based company’s rights management and synchronization business, coupled with underlying growth in the global recorded music industry, according to year-end financial results published Tuesday (Apr. 25).
Income from music publishing rights grew 12% year-on-year to $17 million, a rise of 12% on 2021, accounting for 69% of Round Hill’s annual revenue. Master rights revenues, derived from music streaming, CD and vinyl sales and downloads, grew by 70% to $10.9 million.
The fair market value of Round Hill’s portfolio — which includes the rights to over 120,000 songs across 51 catalogs, including tracks by Celine Dion, Bush, The Offspring, Carrie Underwood, The Supremes, Wilson Pickett and Whitesnake — was up 13% year-on-year to $602.6 million.
Economic net asset value also increased 13% to $519.6 million. The valuations are based on a report by the company’s independent valuer, Citrin Cooperman, and a second independent valuation by FTI Consulting, says Round Hill.
Almost half (44%) of the company’s publishing revenue came from performance rights royalties generated by music being played on radio and television, live concerts or in public spaces such as shops, bars and restaurants, Round Hill said.
Breaking down the company’s publishing revenue, more than a quarter (27%) was generated by synch deals, including the placement of “All by Myself,” by singer-songwriter Eric Carmen, in advertisements for Adobe Photoshop; Spacehog‘s “In the Meantime” featuring in the trailer for Marvel Studios’ Guardians of the Galaxy Volume 3; and Alice In Chains‘ “Rooster” being spotlighted in the Netflix series Super Pumped.
Speaking of Alice in Chains, Round Hill — which is listed on the main market of the London Stock Exchange — acquired a majority share of the band’s publishing catalog, neighboring rights and master recording rights from remaining living members Jerry Cantrell, Sean Kinney, Mike Inez and William Duvall in February. The estates of the late singer Layne Staley and late bassist Mike Starr sold their rights and income streams to Primary Wave at the same time.
The start of last year also saw Round Hill acquire master and publishing rights to the catalog of David Coverdale, the Whitesnake frontman and former lead singer of Deep Purple. In its financial results, Round Hill says the two acquisitions marked “the full deployment” of the $85 million the company raised through a share placement in July 2021.
In total, Round Hill said it successfully placed 560 songs across a range of high-profile films, television series and brand campaigns last year, fueling 33% year-on-year growth in synch revenues.
New two-year license agreements with TikTok and Meta on more favorable terms in 2022 also contributed to the strong financial results, generating higher digital revenues in the second half of last year, the company said.
Josh Gruss, CEO of Round Hill Music, tells Billboard the company’s strong financial results are attributable to its “very in-demand repertoire” and an experienced team of 70 employees in the U.S. and Europe, including London, Los Angeles, New York and Nashville, “sweating that repertoire really hard.”
Going forward, he says, the focus is on narrowing the gap between Round Hill’s economic net asset value of $519.6 million and its current stock price, which was trading at between $0.64 and $0.66 on Tuesday. In terms of new catalog acquisitions, Gruss says Round Hill will have to raise more equity before it can make “meaningful” additions to its portfolio and adds that the company will remain focused on songs recorded and released in the early 2010s and before.
“We like to be really conservative in how we approach acquisitions and the problem we have with younger music is that it’s just really hard to forecast how those songs pan out over the next 10 years,” says Gruss. “Good music is timeless and it’s really important that we have timeless music. We don’t want to have the flavor of the [month] — a song that’s going to be popular today, but gone tomorrow. You can make a big mistake in those type of investments.”
PRS for Music, the U.K. collecting society that represents composers and publishers, announced Monday (April 24) that it collected a record-high 964 million pounds ($1.20 billion) in 2022, a 22.9% increase over the previous year and an 18.9% increase over the previous high of 964 million pounds reached in 2019. The organization also distributed a record 836.2 million pounds ($1.04 billion) in 2022, an increase of 23.5% over 2021, while reducing its cost ratio to 9.3%.
“Live revenue came back,” says PRS for Music CEO Andrea Czapary Martin — up 683% from 2021 as the concert business rallied after the worst of the pandemic, and 16.1% compared to 2019. “At the same time, we saw a huge increase in music streaming — 25% — that exceeds market growth.”
PRS for Music is not the only collecting society that’s doing well as live music returns and streaming continues to thrive: In early March, ASCAP announced a 14% increase in collections to $1.52 billion and three weeks ago the German rights body GEMA posted 13% growth to 1.178 billion pounds ($1.25 billion).
Even by those standards, PRS’ results are impressive, although currency fluctuations and differences in accounting make exact comparisons between international collecting societies difficult. And it is rare to see a cost ratio below 10% for a society that collects for publishers and songwriters. PRS says it hit its goal to get its cost ratio below 10% four years ahead of its five-year plan.
“I run this like a commercial company, except we’re owned by the members and profits are distributed to our members,” says Martin, who joined PRS in mid-2019. Martin, a newcomer to the music business, worked for a variety of data- and subscription-focused businesses, including Reader’s Digest Association and the U.K. Royal Mail. “My background,” she says, “is in tech and data.”
Other highlights of 2022 include new and renewed licenses — “better agreements and new agreements,” Martin says. Revenue from video-on-demand services rose 16.5%, while that of linear television declined 2.4% and commercial radio, driven by advertising, grew 2.6%. “A TikTok agreement paid out last year,” Martin says, “and we doubled video game royalties.”
ICE, the Berlin-based music licensing hub that PRS owns as a joint venture with GEMA and Sweden’s STIM, is also “helping PRS immensely,” Martin says. “ICE is the biggest growth opportunity for PRS.” Expansion elsewhere is also a priority, Martin says, including in Africa.
PRS, like most of its sister societies, has a monopoly over U.K. collections — at concert venues, bars and restaurants, for example. Starting a few years ago, though, it also competes to represent composers and publishers online, to streaming services. ICE gives PRS the reach and resources to compete with SACEM. And PRS’ push toward efficiency gives it a solid competitive position.
“I’m very optimistic for the future,” Martin says. “But that doesn’t mean there aren’t challenges.”
Songwriter and producer David Foster has sold a stake of his writer’s share of performance income for all of his songs to Hipgnosis Songs Capital, a partnership of Hipgnosis Song Management and funding from Blackstone.
Throughout his storied career, Foster has earned 47 Grammy nominations (16 of which were wins), three Academy Award nominations for Best Original Song (“I Have Nothing” by Whitney Houston for The Bodyguard, “Glory of Love” by Peter Cetera for The Karate Kid, Part II, and “The Prayer” by Celine Dion and Andrea Bocelli for Quest for Camelot), three Golden Globe nominations (also for “The Prayer” and “Glory of Love” as well as “The Secret of My Success” by Night Ranger for The Secret of My Success) and was inducted into the Songwriters Hall of Fame.
Apart from the songs that earned him these accolades, the songwriter has also written songs like “Got To Be Real” by Cheryl Lynn, “After the Love Has Gone” by Earth Wind & Fire, “It’s Falling in Love” by Michael Jackson, “Through the Fire” by Chaka Khan, “Hard to Say I’m Sorry” and “You’re the Inspiration” by Chicago, “St Elmo’s Fire (Man In Motion)” by John Parr, “Best of Me” by Cliff Richard, and more tracks from hit-making artists like Andrea Bocelli, Celine Dion, Madonna, Mariah Carey, Rod Stewart, Bette Midler, Bryan Adams, Destiny’s Child and Michael Bublé.
In 2011, peermusic purchased a majority stake in Foster’s song catalog. The deal encompassed all of the songwriter’s publishing vehicles — Foster Frees Music, Air Bear Music and One Four Three Music — and his catalog of more than 500 songs. The two had been longtime partners, and the team at peermusic has been administering Foster’s publishing for more than 25 years.
Hipgnosis’ deal with Foster aligns with other recent news from the company, which continues to invest in music IP. This year already, Hipgnosis has also acquired other legendary writers behind the world’s biggest hits, including their purchase of 40 songs from the catalog of Tobias Jesso Jr, this year’s Grammy winner for Songwriter of the Year, and their acquisition of rights from the catalog of TMS, the British writing trio behind “Someone You Loved” by Lewis Capaldi. Both deals were announced in February 2023.
Hipgnosis Songs Capital is an investment vehicle established by Hipgnosis in conjunction with Blackstone. In October 2021, the New York-based private equity firm pledged $1 billion to further investment in music IP and holds a majority stake in the venture. HSC is considered separate from Hipgnosis Songs Fund, the London-listed acquirer of music publishing and recording rights. Led by founder and CEO Merck Mercuriadis, the company also includes Hipgnosis Songs Management, which manages Hipgnosis Songs Fund’s catalog.
Mercuriadis says of the deal that “David is recognized globally as one of the greatest songwriters and producers of all time. He is the songwriters’ songwriter and the producers’ producer. David is truly special, and we are delighted to be working with his almost 50 years of incredible songs and to welcome him to the Hipgnosis family.”
Foster adds, “I’m very happy to be joining the Hipgnosis family. I’ve long admired what Merck and his team have built and I trust they will be terrific partners.”
Claire McAuley lands a promotion at Warner Chappell Music (WCM), where she’s named executive vice president, global rights management, a new position.
McAuley’s expanded role reflects the changes in the way rights management is handled at the major music publisher, and should step up payments to writers worldwide.
What was previously seen as “a largely administrative function is now a proactive division seeking to maximize songwriters’ revenue, working with international partners in the global music economy,” reads a statement announcing McAuley’s elevation.
Based in London, McAuley reports to Carianne Marshall, co-chair and COO of WCM. “Claire is an incredibly talented executive who has significantly moved the needle for our songwriters,” Marshall explains. “She’s taken a proactive approach to tapping new revenue streams and is constantly looking for ways to streamline our processes to ensure that our writers are paid what they deserve.” Her “global, long-term approach continues to be exactly what we need as we thoughtfully grow our business.”
Following stints with BMG Music Publishing, Universal Music Publishing, the U.K. Music Publishers Association (MPA) and elsewhere, McAuley joined WCM in 2018 as VP, operations. The following year, she promoted to senior VP, global administration.
In that time, McAuley has spearheaded strategic upgrades to WCM’s systems to speed up payments to writers. Also, reads a statement, she’s helped launch platforms designed to recover missing royalties, secure additional revenue for writers in emerging markets, and better track the global use of songwriters’ music across digital music platforms, as well as in film and TV production.
“We’ve made considerable investments in our people and our systems over the past few years, and our songwriters are already noticing the benefits of these changes,” she explains in a statement. “But there’s even more we can do as the music ecosystem continues to evolve.”
Currently, she’s a member of the board of directors of the MPA and the Mechanical Licensing Collective.
WCM came in third (with 15.73% share) among publisher radio airplay rankings, Billboard reports in its Publishers Quarterly for the last quarter of 2022.
For the same period, the WMC came ranked third (with 18.59% share) for publisher Hot 100 rankings.
Pulse Music Group has formed a joint venture with publishing client Cordae, who signed in 2019. Though the company has not announced signees yet, their partnered publishing firm, dubbed HI-LEVEL Publishing, will sign and develop songwriters with Cordae acting as the company head.
Primary Wave has purchased a stake in the recorded music and publishing catalog of Sarah McLachlan. The partnership includes songs like “Angel,” “I Will Remember You,” “Hold On, and more.
Reservoir has acquired the publishing and recorded music catalog of Mannie Fresh, the former in-house producer for Cash Money Records. Mannie Fresh (real name Byron Thomas) is credited with producing nearly all the songs across 15 major albums for the label from 1998 to 2004, including projects by Juvenile, T.I. and Lil Wayne. Outside the booth, he is best known as half of hip-hop duo Big Tymers, alongside label co-founder Brian Williams, who went by Baby back then but is now Birdman. Their hits include “Still Fly” — with its 74 million streams on Spotify — as well as “This Is How We Do” and “Get Your Roll On,” among others.
Wise Music Group has acquired a controlling interest in Edition Peters Group, the storied music publishing house which was established in 1863. Wise will now own Edition Peters Group in partnership with Christian Hinrichsen, a descendant of the company’s founders. It is best known for its association with classical greats like Bach, Beethoven, Brahms, Mendelssohn, Schumann, Grieg, Gustav Mahler, Hugo Wolf, Richard Strauss, Morton Feldman, George Crumb, and John Cage.
Warner Chappell Music has signed Oliver Tree to a global publishing agreement. With multiple RIAA-certified Gold and Platinum records under his belt, Ryan Press, president of North America at WCM calls Tree a boundary pusher with “an innovative and future forward approach.”
Warner Chappell Music and Songs & Daughters Publishing have signed Kimberly Perry to a joint publishing deal. One-third of the sibling trio The Band Perry, Perry says signing this deal is “Beyond thrill[ing].”
Warner Chappell Music has signed Austin Shawn to a global publishing agreement. Shawn’s previous cuts include “Rock and A Hard Place” by Bailey Zimmerman, which is currently No. 10 on Billboard’s Hot 100 chart, a first for Zimmerman.
Primary Wave has acquired a stake in singer-songwriter Russ Ballard’s publishing catalog as well as the writer’s share of performance income. included in the deal are songs like “So You Win Again,” “Since You’ve Been Gone,” “I Surrender,” “New York Groove,” “You Can Do Magic,” and “Liar,” and “You Can Do Magic.”
Avex USA Publishing has signed Lucien Parker to a publishing deal. The hip hop producer and songwriter has penned a number of tracks with major stars already, including “My Friends” by Ty Dolla $ign, DJ Mustard, Lil Durk.
Kobalt and Clarence Coffee Jr. have joined forces to launch Artism Mind Music Publishing. Kobalt also announced Artism’s first signees Caroline “Sur Back” Sans and Dan Ewins.
Warner Chappell Music has signed up-and-comer Jossef to a global administration publishing deal. The urban singer-songwriter — who has yet to release his debut album — has scored collaborations with Ñengo Flow and Eix. “He has a promising career ahead,” notes Laz Hernandez, vice president A&R, U.S. Latin & Latin America, WCM.
Peermusic has signed Canadian Songwriters Hall of Fame Inductee Loreena McKennitt to a global publishing administration deal, encompassing both McKennitt’s entire back catalog as well as works made in the future.
Kobalt has signed Leader Entertainment/ El Reino Infantil Network to a publishing administration agreement. The deal entails the administration of both Leader’s back catalog of kids’ music as well as future releases.
Maggie Rogers has signed an exclusive worldwide publishing agreement with Universal Music Publishing Group. The deal sees Rogers recorded music and publishing all joining under the Universal Music Group roof, given the singer-songwriter has been a longtime signee of Capitol Records.
Rogers got her start as a NYU student, writing and producing her own material. When Pharrell Williams gave a master class at the university, Rogers showed him a song she had been working on called “Alaska.” His astonishment at Rogers’ prowess as a producer, songwriter and singer was captured in a viral video that catapulted the young singer to instant acclaim. “Alaska” became her first major label release.
Since then, Rogers earned herself a Grammy nomination for Best New Artist and released two albums Heart It In a Past Life — which hit No. 1 on Billboard’s Top Alternative Albums and No. 2 on Billboard 200 — and Surrender (2022) — which landed at No. 2 on Billboard’s Top Alternative Albums chart and No. 3 on Billboard’s Top Rock Albums chart.
News of the publishing deal arrives just as Rogers prepares for her next tour through the U.S. and Europe. In an attempt to combat bots and scalpers, Rogers “went old school” as she put it in a recent Instagram post: she opted for an in-person, box office pre-sale for all tour stops. “F–k bots + f-k fees. come buy a ticket in person. tomorrow only… Come kick it like its 1965,” she wrote.
Rogers was previously signed to Sony Music Publishing.
Rogers said of her new publishing deal: “I’m so proud to call UMPG my home and can’t wait begin this next chapter of my career alongside so many writers and professionals I respect and admire.”
Jennifer Knoepfle, evp and co-head of A&R at UMPG, added, “Maggie is one of my favorite songwriters, and I have been lucky to work alongside her since the early stages of her incredible career. We are so excited for her next chapter in her new home at UMPG, and she will have the best support for her creative journey.”
The Association for Independent Music Publishers celebrated the 2023 AIMP Nashville Country Awards on Wednesday at Music City’s Ryman Auditorium. Songwriting luminaries Bob DiPiero and Craig Wiseman hosted the Spotify-sponsored event, which honored Nashville’s independent songwriters and music publishers.
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“It is great to gather the independent publishing community once again at the Ryman,” Ree Guyer, President, AIMP Nashville Chapter, said via a statement. “We are fortunate to feel the love and support for one another in the room.”
The coveted song of the year honor went to Chris Stapleton’s “You Should Probably Leave,” written by Stapleton, Ashley Gorley and Chris DuBois. Round Hill Music was named publisher of the year, while Michael Hardy (HARDY) was a double winner, picking up artist-writer of the year and songwriter of the year.
Meanwhile, the rising songwriter of the year honor went to SMACKSongs’ Ryan Beaver and the rising artist-writer of the year honor went to Big Loud Publishing’s ERNEST.
The most-streamed song of the year honor went to “Wasted on You” (writers: Morgan Wallen, Ernest Keith Smith, Josh Thompson, Charlie Handsome), while the 2023 publisher pick of the year was a tie between “Don’t Think Jesus” (writers: Mark Holman, Jessi Alexander, Chase McGill) and “Reverse Cowgirl” (writers: Jared Scott, Joe Fox, Zak Dyer).
Warner Music Nashville co-chair/co-president Cris Lacy was honored with the 2023 song champion award, while Jody Williams, of Jody Williams’ Songs, was honored with the 2023 AIMP independent spirit award, which recognizes his significant contributions to the independent publishing and songwriting community.
“Nashville’s independent publishers are usually the first to take a chance on fresh, groundbreaking talent,” Williams said via a statement. “I’m proud to be a part of this effort and thrilled to be honored by my AIMP peers.”
This year’s performers included Jon Pardi, Tenille Arts, Corey Kent, Pillbox Patti, Meg McRee, Ashley Cooke, Jackson Dean, HARDY, Ruston Kelly, Jordan Davis, and ERNEST.
LONDON — French music company Believe is making inroads into the publishing business by acquiring U.K.-based publisher Sentric, which represents more than four million songs and over 400,000 songwriters in more than 200 territories.
Under terms of the deal announced on Thursday (March 30), Believe is acquiring full ownership of Sentric Music Group from Utopia Music, with the transaction valuing Sentric at €47 million ($51 million), Believe says in a press release.
(Utopia Music declined to comment).
Believe founder and CEO Denis Ladegaillerie says in a statement that the takeover of Sentric is the company’s “first step” in the “roll-out of a global and comprehensive publishing offer.”
It is the second time in just over a year that ownership of Liverpool-based Sentric Music Group — which also has offices in London, Hamburg, New York and Los Angeles — has changed hands.
In February of 2022, Utopia, a Zug, Switzerland-headquartered fintech company, acquired Sentric amid a frenetic buying spree that saw Utopia acquire 15 companies over a two-year period.
Sentric’s existing leadership team, led by CEO Chris Meehan, will continue to lead the business, says Believe. Paris-based Believe, which has 1,650 employees in more than 50 countries, says the combination of its digital music expertise and global network with Sentric’s industry-leading technology will develop “a comprehensive solution for songwriters and publishers at all levels.”
Believe’s move into publishing follows recent investments the company has made in Europe, India and Asia to further expand its global footprint. They include partnerships with French pop label Structure, Indian label Panorama Music and Germany-based Madizin Music.
Last year also saw Believe make strong gains in some key European countries and eat into the major record labels’ share of the recorded music market. In France, Believe says it was the second-largest music company in digital local repertoire in 2022. In Germany, it claims to have been the third-largest recorded music company for local repertoire in the streaming market, and the market’s second-largest company in hip-hop.
In total, Believe, which acquired the TuneCore distribution platform in 2015, worked with 1.3 million artists last year, either directly or through record labels, with annual revenues rising 31.8% year-on-year to 760.8 million euros ($723.5 million), according to the company’s year-end financial results, published earlier this month.
The company says its acquisition of Sentric will help drive future growth by enabling it to capture a slice of the growing music publishing market. In 2021, global publishing royalties to songwriters and composers grew by 7.2% to €8.5 billion ($9.2 billion), according to the International Confederation of Authors and Composers Societies’ (CISAC).
The Sentric deal also strengthens Believe’s TuneCore business offering, which provides worldwide digital distribution to independent and self-releasing artists. Believe says 23% of TuneCore’s subscribers already use Sentric’s publishing service. Moving forward, says Believe, Sentric will offer publishing services to all clients within the Believe Group.
“The growth and digital transformation of the songwriters’ market is opening-up many opportunities,” says Ladegaillerie.
For Utopia Music, the future appears cloudier with its sale of Sentric following a period of intense change at the fintech company.
In November, Utopia cut its workforce by about 20%, or about 230 jobs, followed two months later by CEO Markku Mäkeläinen exiting the company and founder and executive chairman Mattias Hjelmstedt taking over as interim chief executive. In February, Utopia said it had sold U.S.-based music database platform ROSTR — which has a directory of artists, managers, booking agents and record labels — back to ROSTR’s founders for an undisclosed sum.
At the time, Hjelmstedt told Billboard that the sale of ROSTR was part of a company-wide refocus on its core financial services business and that the company had recently completed a fresh investment round. (He declined to discuss the size of investment or investors).
However, on Wednesday, Scandinavian news outlet Breakit reported that some Utopia employees have recently gone unpaid and the company’s Swedish arm, Utopia R&D Tech, owes 8 million SEK ($770,000) to the Swedish tax authorities. (Music Business Worldwide was the first to report Breakit‘s story).
In response, a spokesperson for Utopia told Billboard that the company’s “strategic transition” was in response to “current changes in the market landscape,” adding that it is focusing on profitability and growth.
“It has not been an easy journey, but we are very positive about Utopia’s future and look forward to continuing what we are here to do — support the music industry with digital solutions for managing, monitoring, and processing royalties, and distributing the music we all love to listen to,” the Utopia rep said.
Warner Chappell Music has renewed its publishing agreement with Grammy-winning producer MAG, a frequent collaborator of Bad Bunny. In 2022, MAG earned the No. 5 spot on Billboard’s all-genre Year-End Hot 100 Producers chart.
Australian musician Tash Sultana has renewed their publishing agreement with Kobalt. Sultana’s working relationship with Kobalt began in 2017, and the new deal will see Kobalt acting as Sultana’s publishing administrator, including global sync and creative services for future songs.
Wise Music Group has signed a co-publishing deal with influential Indian composer Ravi Shankar. The music company has also acquired Shankar’s archives, including many unreleased recordings and control of his record label East Meets West Music.
Position Music has launched a joint venture with Big Noise Music. Their partnership begins with first signee John “Feldy” Feldmann, a Grammy-nominated producer and songwriter best known for his work with Avicii, Blink-182, 5 Seconds of Summer, Panic at the Disco! and more. Position Music will also now represent Big Noise Music’s publishing catalog for synchronization, including Mod Sun, The Used, The Wrecks, The Veronicas, girlfriends, Goldfinger, Escape the Fate, Arrested Youth among others.
Music rights investment company MusicBird has announced the new acquisition of Midge Ure‘s catalog. MusicBird now owns the writer’s share of publishing plus master recording and neighboring rights income on over 300 songs across his solo career as well as his work with Ultravox, Visage and more.
Jimmy Robbins has signed a worldwide publishing deal with Boom Music Group in partnership with Cinq Music Group. Robbins already 10 No. 1 songs under his belt as a songwriter, including hits with Kelsea Ballerini, Kenny Chesney, Maren Morris, Thomas Rhett, Blake Shelton, Miranda Lambert and more.
SILO: Music hosted its first Pop & Industry event MIND THE GAP on March 23rd in Los Angeles. The event featured performances from SILO: Music artists like Dan Caplen, Drew Love, Bernhoft, Kelsy Karter (who filled in for Paloma Faith) and Thutmose, who both performed songs curated by the music company for sync use.
IMPF has added Vistex, a company which offers a system to capture all contracts, metadata and royalty activity in a single place, to its “Friends and Supporters” category. Launched in 2021, this category was aimed at commercial companies that work to create transparency with the independent music publishing community worldwide.
Salt, a company which built a high-tech SaaS platform for processing and distributing rights holder royalties, has inked a 10-year deal with Dutch music society BumaStemra. Along with the announcement of the decade-long agreement, Salt has also announced its acquisition of Session, an app which “supports music creators from idea to release,” and has added ABBA member Björn Ulvaeus, who co-founded Session, to Salt’s board of directors.
Concord Music Publishing has signed Colony House vocalist Caleb Chapman to handle publishing for his future works worldwide.