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Pophouse — the Swedish company that backed ABBA’s Voyage show in London and owns rights to music by Swedish House Mafia, Avicii and Cyndi Lauper — is acquiring KISS’ publishing, recording royalties and trademarks, including both the band’s logo and its iconic makeup design. The deal, announced April 4, will result in a Pophouse-produced KISS hologram show, using some of the same technology as ABBA’s Voyage.
“We have a lot of plans for KISS,” Pophouse CEO Per Sundin tells Billboard. Although Sundin says the company bought out the rights owned by frontmen Gene Simmons and Paul Stanley, they will work with the company to develop the show, which is expected to open in 2027 in a U.S. city that Sundin declined to name. “We want to keep to the legacy,” Sundin says. “We want to extend it and amplify it for new generations.”
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The band got interested in a possible deal when manager Doc McGhee saw Voyage “and he loved it and contacted us,” Sundin says. Over the course of the band’s End of the Road World Tour, the two sides met in Milan and Stockholm, thinking about what a hologram show could look like.
“We went to see the ABBA show and it blew our socks off,” Simmons tells Billboard. “And the technology since then has improved by leaps and bounds. We’ve seen sketches of what it will look like and we looked like the X-Men.”
Like dozens of other investors, Pophouse buys rights to songs and in some cases recordings or likenesses. But it tends to take a more active approach than most, with a focus on theatrical or immersive entertainment, rather than simply collecting royalties. In addition to the ABBA show, it runs the ABBA Museum and the Avicii Experience, both in Stockholm.
The idea of a hologram show seems ideal for KISS, whose concerts were always heavy on spectacle. “Everything is theater,” says Simmons. “We wanted bombast theater.”
Over the course of its career, KISS inspired the KISS Army, formed around an act that could have been described as the hottest brand in the land, with deals that included KISS Kondoms and a KISS Kasket. (Pantera guitarist Dimebag Darrell was buried in one that Simmons donated.) Now, after the End of the Road tour, “the end is actually the beginning,” Simmons says. “If you’re a caterpillar who can’t imagine what the future will look like, you think of the cocoon as the end, and it is the end of the caterpillar, but it can’t imagine sprouting wings and evolving into this beautiful creature that flies up to the heavens.”
Pophouse would not comment on the terms of the deal, which are presumably more complicated than a straightforward purchase of publishing rights. At this point, the band may be better known for its concerts than its songs. But the deal includes those, plus recording royalties. Pophouse also has a good relationship with UMG, which owns the band’s recordings, since Sundin was previously managing director of Universal Music Sweden and president of Universal Music Nordics. The band’s trademarks belonged to Simmons and Stanley, including the makeup designs for their characters: The Demon (Simmons), the Starchild (Stanley), the Spaceman (originally Ace Frehley, more recently Tommy Thayer) and the Catman (originally Peter Criss, more recently Eric Singer).
Kirk Franklin, Travis Greene and Tamela Mann tied for BMI’s Gospel Songwriter of the Year at the 2024 BMI Trailblazers of Gospel Music Awards, which were held at Flourish in Atlanta on Thursday March 28. Each songwriter wrote two of the most performed gospel songs of the year. Franklin was honored for “Bless Me” and “Kingdom,” Greene for “Finished” and “Tent Revival,” and Mann for “Finished” and “He Did It for Me.”
Franklin won a second award for “Kingdom,” which was named the BMI Gospel Song of the Year. Franklin cowrote the song with Jonathan Jay, Chandler Moore and Jacob Poole. The song, which was recorded by Maverick City Music X Kirk Franklin, won a Grammy for best gospel performance/song at the 65th annual Grammy Awards in February 2023.
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BMI’s Gospel Publisher of the Year went to Essential Music Publishing for the second year in a row.
Throughout the luncheon event, BMI saluted the Top 25 most-performed gospel songs of the previous year. The private ceremony was hosted by Mike O’Neill, BMI’s president & CEO, and Catherine Brewton, vice president, creative, Atlanta.
As previously announced, gospel legend and evangelist Dorinda Clark-Cole, of the acclaimed Clark Sisters, was honored as a Trailblazer of Gospel Music. Upon receiving the honor, Clark-Cole offered this advice for songwriters: “When you are at your lowest, that’s when God can get your greatest… keep writing, keep getting inspired by God because somebody is being blessed.”
Crystal Aikin, Tasha Page-Lockhart, Yolanda Adams, Lisa Knowles-Smith and Clark-Cole’s niece Kierra Sheard performed songs to fete Clark-Cole.
Jonathan McReynolds received the BMI Champion Award, the first time this accolade was presented at this ceremony. DOE, Tyree Miller, Darrel Walls and Jason Nelson sang tributes to McReynolds.
Tim Bowman, Jr., Kim Burrell and Faith City Music and Zacardi Cortez also performed at the event.
Warner Chappell has signed Teddy Swims to a global publishing deal. Signed to Warner Records for his recorded music, the new deal unites his entire catalog under the WMG umbrella. News of the deal arrives the same week that his breakthrough hit “Lose Control” reached No. 1 on the Hot 100.
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Position Music has signed Zach Skelton, co-writer for Shawn Mendes, OneRepublic, Paul McCartney, Lil Nas X, and more, to a worldwide publishing deal.
Avex USA Publishing has signed DJ Smallz 732 to a global publishing deal. One of the most sought-after Jersey club producers, Smallz signs his deal on the heels of co-creating “Everybody” by Nick Minaj and Lil Uzi Vert from Minaj’s hit album Pink Friday 2.
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Red Bull‘s publishing division has signed producer Charlie Shuffler to a global deal. Best known for his records with Lil Yachty, Trippie Redd, Rico Nasty and Lil Peep, Shuffler has been a tastemaker since the early days of SoundCloud rap.
Big Machine Music has signed artist/writer George Birge to an exclusive co-publishing deal. News of the agreement arrives as Birge heads out on the road as the opener for Parker McCollum’s tour and just before the singer opens for Luke Bryan’s tour.
Concord Music Publishing has signed soul singer-songwriter William Bell to a publishing administration deal, including a selection of his back catalog and all future works. A legendary signee of Stax Records and inductee in the Memphis Music Hall of Fame, Bell has been making timeless soul records since his first album The Soul of a Bell, released in 1967.
BeatStars has announced the launch of Creator Rights Agency, its new division designed to help make clearing intellectual property rights more streamlined and affordable. It is described in the company’s press release as an “end-to-end service that allows creators to get data-driven recommendations from experts for licensing, protecting, and getting paid for their intellectual property. The CRA consolidates management, legal, and accounting services needed by creators in today’s music industry, charging a 10% commission only on the deals that are successfully negotiated by the CRA.”
BMG has acquired Eurodance pioneer Dr. Alban‘s recorded music interest in his catalog, including defining records like “It’s My Life” and “Sing Hallelujah.” The acquisition further bolsters BMG’s interests in 90s Eurodance. Recently, the company also holds a stake in “Planet of the Bass” by Kyle Gordon, which went viral on TikTok for its parody of the genre.
Bella Figura Music has acquired the writer’s share of The Human League-founder Adrian Wright‘s catalog. Wright’s current publisher will now work with Bella Figura’s sync and creative team to maximize commercial opportunities for his catalog.
Park Ave West Songs, founded by songwriter KT Mack, has signed Chris Canterbury to a global publishing deal.
Wise Music Group has signed Portico Quartet to its publishing roster through Campbell Connelly & Co. The influential composers and producers have been a mainstay in UK music their debut album Knee-Deep in the North Sea, was nominated for the Mercury Prize in 2008.
The Last Briefing: Cat Stevens Signs With UMPG
The National Music Publishers’ Association’s SONGS foundation has announced its latest board of directors, including both songwriters and publishing executives.
The SONGS (Supporting Our Next Generation of Songwriters) Foundation was founded by the publishing trade organization in 2015 as a way to support aspiring songwriters, offering scholarships and direct financial assistance to help kickstart their careers in addition to other partnerships. With the new board, the foundation announces that it will be centering its focus in the coming year on helping songwriters with mental health, wellness and financial advisory services.
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Artist and songwriter Jewel will be returning to the board this year. She will be joined by fellow songwriters and new members Justin Paul and Benj Pasek (Kobalt), Dan Wilson (UMPG), Lauren Christy (Reservoir), Allison Russell (Concord), Jordan Reynolds (Warner Chappell), Gaby Moreno (peermusic) and CAM (Sony Music Publishing).
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The executives joining the board include some of the biggest names in the publishing business, some of which are already part of the NMPA‘s board of directors. Those include Sony Music Publishing chairman/CEO Jon Platt, Warner Chappell Music co-chair/COO Carianne Marshall, Reservoir founder/CEO Golnar Khosrowshahi, peermusic president/COO Kathy Spanberger, BMG executive vp/general counsel Keith Hauprich, Concord chief publishing officer Jim Selby, Kobalt head of creative Alison Donald, and Universal Music Publishing Group executive vp/co-head of A&R Jennifer Knoepfle. The NMPA’s leadership team of president/CEO David Israelite, executive vp/general counsel Danielle Aguirre and senior vp of external affairs Charlotte Sellmyer will retain their seats on the board.
“We are thrilled to bring together this level of talent, experience and insight onto one board for the sole purpose of helping songwriters,” said Israelite, who is also the president of the SONGS Foundation, in a statement. “The foundation has achieved a great deal, but there is so much more we can and will do for creators with the guidance of this unparalleled group.”
The board will officially launch during its annual fundraising golf tournament in Los Angeles on April 15.
Kobalt Music Group, the publishing home to such names as Paul McCartney and Karol G, has landed a new $450 million revolving credit facility (RCF), the independent music publisher announced Tuesday (March 19). Explore Explore See latest videos, charts and news See latest videos, charts and news Coupled with the previously announced joint venture with […]
On Mar. 6, the Digital Media Association’s (DiMA) new president/CEO, Graham Davies, published a blog post calling the five-year anniversary of the Music Modernization Act (MMA) a “key moment to course-correct” in a blog post about the Mechanical Licensing Collective. In the process, he suggested the organization has “gone beyond its remit” in collecting and administering the blanket mechanical license in the United States.
On Monday (Mar. 18), the National Music Publishing Association (NMPA) responded to the letter in an email sent to members, in which it said DiMA’s “calls for change” were not “a good faith effort to make the MLC more effective and transparent.”
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So why are the two organizations sparring now?
According to the MMA, the MLC — which serves as the collector and administrator of the blanket mechanical license in the United States — is reviewed every five years by the Copyright Office in a process called “re-designation.” This process will be a routine occurrence moving forward to ensure efficiency, effectiveness and neutrality for the organization.
Now, with the MLC’s first-ever re-designation currently underway, both its critics and supporters have become more vocal in hopes of swaying the results and/or public opinion about the organization’s operations to date.
DiMA’s blog post begins by saying it “remains committed to the success of the MMA and the mechanical licensing collective it established.” Later, the letter focuses on the fact that its membership, which includes the world’s biggest streaming services, is required by the MMA to foot the bill for the MLC. While in the letter it does not ask for this arrangement to be changed, the organization does point out that it feels this system has led to a lack of incentive for the MLC to be cost-conscious, neutral and efficient.
“Reasonable costs of the collective cannot include everything from traveling to distant countries to conduct outreach to songwriters far beyond the U.S. licensing system,” writes Davies. The DiMA CEO/president, who assumed the role in January of this year, also points out that the MLC is “suing one of the licensees [Pandora] that pays its costs — using licensee money to pursue its allegations against a licensee on a novel legal theory.”
The NMPA’s reply, titled “DiMA using copyright office MMA review as opportunity to re-write history and undermine MLC’s progress,” focuses first on re-explaining to its members the history of the MMA and the MLC and the nature of the MLC’s duties before getting into its reply to DiMA. It has a far more favorable take on the MLC overall, claiming the organization “is currently the most efficient, transparent, and cost-effective licensing collective in the world.”
The NMPA goes on to say that streamers “do not want what is in the best interests of music publishers or songwriters,” calling DiMA’s “new…strategy” “an effort by the world’s largest digital companies to leverage their power to pay less, make it easier for non-compliance, and make it more difficult for the MLC to execute its statutory responsibilities as envisioned by Congress.”
“Make no mistake, when big tech says ‘course correct’ they mean a change to the carefully negotiated law to fund only MLC activities that benefit digital companies,” the letter continues.
DiMA’s blog post can be read here. The NMPA’s reply can be read in full below.
MMA Five Years On
It’s astounding how much progress can happen in five years. In 2018, the Music Modernization Act (MMA) became law, creating the Mechanical Licensing Collective (MLC) and fundamentally changing how songwriters and music publishers are licensed and paid by digital streaming services.
Since 2018, the MLC has done a great job building a rights organization that today represents thousands of rightsholders, administers over fifty blanket licenses and has distributed over $1.5 billion in royalties.
The MLC Review
Under the MMA, the Copyright Office reviews every five years its initial designation of the MLC, with the first review starting this past January.
DiMA, the trade association representing the five largest digital music companies—Spotify, Apple, Amazon, Google and Pandora (DSPs)—recently released a blog about the review process.
In it, DiMA called for radical changes that would upend the purpose of the MMA and the MLC under the guise of a “course correction” and a focus on MLC “neutrality.” Reflection at this pivotal point is necessary. But what’s clear is the digital services’ calls for change are not a good faith effort to make the MLC more effective and transparent, as they argue, but the opposite. It is time to set the record straight.
MMA History Refresher
It is important to remember that DiMA and the DSPs were significantly involved in the drafting of the MMA, which reflected the culmination of years of negotiation and consensus building among songwriters, music publishers, and digital music services.
The central compromise of the MMA was the creation of a new mechanical licensing collective to administer Section 115 streaming blanket licenses, governed by rightsholders, and funded by DSPs. The agreement to fund the MLC’s operations was made in exchange for the MLC taking on what had been the DSPs’ royalty administration responsibilities and the DSPs’ securing limited liability for hundreds of millions in statutory damages exposure due to their prior failures to properly license and distribute royalties.
The MLC’s Fundamental Role & Responsibilities
The MMA placed upon the MLC expansive responsibilities under Section 115. In addition to administering licenses and distributing royalties, the MMA provides explicitly that the MLC must handle non-compliance of DSPs through legal enforcement efforts, default of licenses and collection of late fees. It requires the MLC to audit DSPs to ensure proper royalty payments and accounting. These critical rights were traditionally held by copyright owners. However, the MMA took these legal rights from rightsholders and gave this authority to the MLC alone to act on their behalf.
Further, the law empowers the MLC to initiate proceedings before the CRB to set its funding and before the Copyright Office in rulemaking and regulatory processes on behalf of copyright owners. The MLC can also negotiate against DSPs and on behalf of rightsholders non-precedential interim royalty rates for new service offerings under the blanket license.
The MLC’s Success
By any metric, the MLC has been successful in meeting the MMA’s broad directive. After only five years, it is administering over 50 interactive streaming licenses and distributing billions in royalties to thousands of rightsholders. It has heeded the calls of the MMA and the U.S. Copyright Office to focus on outreach to all copyright owners, from the smallest self-published songwriters to the largest music publishers, and domestic and foreign organizations that exploit musical works in the U.S. It maintains a fully public database. And yes, it just announced the start of DMP audits and has used its legal enforcement authority where necessary to ensure compliance, such as the recent Pandora litigation.
It has succeeded in doing all of this with the lowest operating budget of any license administration collective. The MLC is still developing its capabilities, and the next five years will see it continue to grow and improve, but it is currently the most efficient, transparent, and cost-effective licensing collective in the world.
The DSPs’ Vision
Back in 2019, as industry participants sat down to develop the new MLC, it was clear that while the DSPs wanted the benefit of a blanket license and limited liability, they did not want to fund an effective MLC that could accomplish everything statutorily required of it. One DMP executive suggested that the MLC could be just several employees at a WeWork.
Thankfully, the music publishers and songwriters that supported and created the MLC understood—and convinced the DSPs at that time—that to develop a collective that fulfilled the mandate of the MMA and addressed the significant issues of the past, the MLC needed reasonable funding equal to its broad statutory responsibilities.
In their latest calls for a “course correction” and MLC “neutrality,” however, the DSPs and DiMA are once again trying to undermine the MLC and the central compromise to which they agreed.
Make no mistake, when big tech says “course correct” they mean a change to the carefully negotiated law to fund only MLC activities that benefit digital companies.
When they speak of “neutrality,” what they want is to “neuter” the ability of the MLC to accomplish the clear responsibilities set out for it in the MMA. Those responsibilities include being an effective administrator of the compulsory license, being a diligent enforcer of DSP reporting and royalty obligations, and being a strong defender of the rights that the MLC is charged with licensing on behalf of music publishers and songwriters. It should come as no surprise that MLC neutrality vis-à-vis DSPs, either explicitly or in spirit, is not found anywhere in the MMA.
In Short
DSPs do not want what is in the best interests of music publishers or songwriters. Instead, this new DSP/DiMA strategy is an effort by the world’s largest digital companies to leverage their power to pay less, make it easier for non-compliance, and make it more difficult for the MLC to execute its statutory responsibilities as envisioned by Congress.
Their strategy will disempower rightsholders by disempowering the only entity created and authorized to act on their behalf with respect to mechanical licenses – the MLC.
As we look to the next five years, know that the NMPA will continue to be laser focused on fulfilling the clear goals of the MMA and ensuring the MLC is empowered to effectively work for us all.
While the Mechanical Licensing Collective’s announcement last month about the “final final” Phonorecords III Copyright Royalty Board rate determination adjustment seemed to imply songwriters and publishers were due another roughly $400 million to, sources say the number likely overstates the coming financial windfall.
After a more than two year wait that included an appeal process, a remand, a new partial rate trial, and then the time to recalculate and resubmit adjusted play reports, sources say that number may correctly assess how much more money was earned and reported due to the CRB determination covering 2018 through 2022 — but it also likely includes payments that have already been made.
Within the total adjustment, about $250 million in net extra mechanical royalties will be paid out thanks to the adjustment, with practically all of that coming from the 2021-2022 period. Those royalties will be paid out beginning in May by the Mechanical Licensing Collective, the agency created by the Music Modernization Act to collect and disburse mechanical royalties from on-demand digital streaming services. This means adjusted monies paid out by the MLC will probably begin reaching songwriters from their publishers in the following quarter.
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The rest of the roughly $400 million adjustment comes from performance royalties. But sources at the U.S. performance rights organizations say they are surprised by the MLC’s claim that another $138 million has been discovered in the resubmitted play reports required by the final rate determination.
The MLC may be the best positioned to understand this, though. Because the mechanical rate formula calls for the digital service providers to report how much they paid in performance royalties each month — or estimate how much they will pay — the MLC has insight into how much was reported collectively for mechanical and performance royalties for the period of 2018-2022 before the rate determination was finalized. It also has insight into how much performance royalties totaled after the play reports were resubmitted with the adjustments due to that final determination. The final determination happened in August 2023, eight months after the 2018-2022 term ended, with the resubmitted reports due Feb. 9, 2024.
In contrast, the PROs themselves only know what they each individually have been paid, and each digital service only knows what they individually have paid out to each PRO. Neither of those sides can see the whole performance revenue pool like the MLC can, unless they share information with competitors, which is unlikely but possible. Consequently, sources at PROs and digital services say they are surprised and puzzled by the MLC’s announcement that more performance royalties were found due to the adjusted reports. Others say the MLC’s announcement has caused consternation between songwriters and PROs. One source at a PRO suggests that the MLC including performance royalties in its report was a “marketing mishap.”
PRO sources insist that whatever performance royalties came in have largely already been paid out, and they don’t expect any new windfalls. And sources at the digital services say that, from what they can tell, the streamers have already paid out all the performance royalties that were due and they don’t expect to be making further payments.
Meanwhile, sources at PROs say the MLC’s announcement has caused significant confusion, leading songwriters to inquire about when they will get additional payouts for performance and why they were not made aware of this sooner.
Even if the performance royalties have already been paid, many executives in the music industry are speculating about what caused such a significant increase. The all-in mechanical formula that was determined by the CRB in Phonorecords III, by itself, doesn’t do anything to change performance royalties, which are typically decided by private negotiations between PROs and streaming services.
It’s possible digital services made mistakes when they reported the monthly performance royalties the first time around. The MLC could also have made a mistake either when it added up all the interim royalties paid while parties were awaiting a final determination or when it subsequently adjusted performance royalties for the period.
Alternatively, some of the PROs could have negotiated deals that tie their performance rates to the statutory mechanical rate. That would mean when digital services reverted to paying a lower mechanical rate while the 2018-2022 rate was still being determined, they wound up paying lower performance royalty rates, too — which later increased after the final CRB rate determination. But while some PRO sources concede that they try to negotiate for at least 50% of the statutory rate as a floor, they also say they don’t have any deal triggers specifically tied to the mechanicalrate.
Another theory is that one or two of the PROs might have been operating under an interim royalty rate with one or more streaming services while working through negotiations, which hypothetically weren’t finalized until recently. If those performance royalty rates have now been decided, the adjustments could be reflected in this total reported number. But several sources say they aren’t aware of any instances where this has happened.
It isn’t unusual for there to be streaming royalty adjustments after the fact, even without a new subsequent “final final” rate determination, sources point out. As it is, streaming services will sometimes need to make estimates on reporting monthly performance and mechanical royalty payments and then later adjust if necessary once the period has closed. At that time, the new payment would be made and the expense adjustment would be reported to the MLC — not two years later, sources say.
Performance and mechanical royalties have a see-saw effect where an increase in one will result in a decrease in the other. That’s because the formula for calculating the mechanical rate includes a first step in the formula that initially acts as a cap for an all-in publishing royalty pool that combines the two. This has publishers worried. If the services have already fulfilled all of their performance payments and the PROs have paid out all the received performance royalties, then how can the services now claim that $138 million as an additional deduction in the resubmitted reports? By claiming additional performance payouts, that would likely reduce the potential mechanical royalty payouts on the resubmitted report.
Aside from whether more money is coming, how these publishing royalties are paid — as performance or mechanicals — matters to publishers and songwriters.
For example, if that newfound $138 million in performance royalties needed to be paid out, it would likely mean that only about $120 million to $125 million of it would flow to songwriters and publishers because of the PROs’ overhead expenses.
If, instead, that $138 million was mechanical royalties, the songwriters and publishers would get all of that because the MLC has no overhead expense deduction since digital services finance the operation. But, instead of it getting paid out separately and directly split between publishers and songwriters, these royalties are paid to publishers, who then distribute royalties to their writers, but usually after recouping. So, the difference in where the payment comes through matters significantly to songwriters and publishers.
Overall, this adjustment seems to weigh more favorably for the mechanical royalty pool. Previously, during the interim period, the $2.77 billion in total publishing royalty payouts from digital services were weighted 50.93% to mechanical and 49.07% to performance. But after adjustments, including subtracting a slight overpayment in mechanicals for the years of 2018-2019, the $3.16 billion in total publishing royalties paid out by digital services to the PROs and the MLC works out to 52.63% paid in mechanical and 47.37% to performance, or nearly a two-percentage point increase for the former.
Eventually, when the MLC digs into the resubmissions and compares them to the earlier monthly play reports, it will likely be able to discern if the additional $138 million is coming across the board from all services or if a specific service or two accumulated the bulk of the new reported performance royalties. But if that doesn’t solve the mystery, another process is beginning that could bring in an answer. Last month, the MLC served notice on some 50 digital services that it is performing audits on them. If all else fails, that should bring some clarity to the mystery.
Position Music has acquired the catalog of French producer, artist and DJ Gesaffelstein. As part of the deal, Position will own and administer the publishing rights to the catalog prior to his 2016 Sony Music Publishing deal. In addition, the company has also acquired the writer, artist and producer royalties for Gesaffelstein’s entire catalog, including “Lost in the Fire” ft. The Weeknd, “I Was Never There” and “Hurt You” by The Weeknd, “Black Skinhead” by Kanye West, and more.
UMPG has signed Yusuf/Cat Stevens to an exclusive global publishing administration agreement. Known for hits like “Father and Son,” “Wild World,” “The Wind” and “Morning Has Broken,” the singer-songwriter recorded music and publishing catalogs are now united under one roof for the first time at UMG.
Reservoir Media has signed Kings of Leon to a go-forward publishing agreement, including the group’s upcoming project Can We Please Have Fun. The deal arrives just after Kings of Leon announced their 2023 world tour, including 26 cities across the U.S. and Canada.
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Warner Chappell Music has signed Yellowstone actor and artist Luke Grimes to a global publishing deal, in collaboration with Range Media Partners. His debut song “No Horse To Ride” was featured in the mid-season series finale last year, driving Grimes up the Billboard Country charts. His debut album will be released on March 8 under UMG Nashville’s Capitol Records.
The 100 Percenters has linked with Spotify to offer ten $2,500 career stimulus grants for songwriters and producers. The grants are supported by Spotify’s Creator Equity Fund. Applications will open Friday, March 15, and will close Monday, April 15. Applicants must be members of the 100 Percenters community and must have at least two years of professional experience, have three or more commercial songwriting or producer credits, be a U.S. citizen, earn an annual income of less than $100,000 and submit verifiable proof of income.
SMACKsongs has signed an exclusive publishing deal with Sarah Buxton, the Nashville-based hitmaker behind songs like “Stupid Boy” and “Put You In A Song” recorded by Keith Urban, “Sundaze” by Florida Georgia Line, “Don’t Let Me Be Lonely” by The Band Perry, and “Fix” by Chris Lane.
BMG has extended its publishing agreement with Grammy-nominated DJ and producer Robin Schulz, which began in 2016. As part of the extension, BMG has also acquired the co-publishing rights to Robin Schulz’s entire song catalog, including “Waves,” “Prayer,” “Sugar,” “Alane,” “All We Got,” and “Young Right Now.”
The Other Songs Live, a songwriter night featuring performances by some of music’s top hitmakers, will be returning to the London Palladium on Monday, May 20. Presented by indie music company The Other Songs in partnership with The Ivors Academy, the event will raise money for three music-related charities, including The BRIT School, The Ivors Academy Trust and Nordoff and Robbins. In the past, the show has featured artists, including Raye, Andrew Lloyd Webber, Nile Rodgers, Dave Stewart and Katie Melua.
peermusic UK has signed Nothing But Thieves to a global publishing deal. The deal includes the band’s fifth studio album, which will be released later this year. Their prior catalog remains with Sony Music Publishing.
Warner Chappell Music and Katy Perry‘s Unsub Publishing have signed rising singer, songwriter and producer Debbii Dawson to a global co-publishing deal. Perry says of Dawson, “She’s a rare find and someone I believe has the brightest of futures ahead of her as an artist, songwriter, and creative force.”
The Nashville-based Edgehill Music Publishing has signed songwriter Carys Selvey to a global publishing deal. Founded by Josh and Tara Joseph, Edgehill adds the London-based Selvey to a growing roster that also includes Dave Villa, Rob Williford, LOCASH and more.
Spirit Music Group has signed worldwide publishing administration deals with Chris Robinson and Rich Robinson of rock band The Black Crowes. The deal includes the band’s albums Warpaint and Before The Frost…Until the Freeze as well as their latest album Happiness Bastards, out March 15.
Warner Chappell Music has signed a global publishing deal with AntsLive, the viral London rapper behind the popular song “Number One Candidate.” Nominated for two MOBO Awards in 2024, including Best Newcomer and Best Video, the musician says he decided to join the WCM roster after attending the company’s songwriting camp in Las Vegas.
BMG has acquired 100% of the catalog of Cologne-based record label Coconut Music, including the recorded rights to tracks by Haddaway, Bad Boys Blue, London Beat, and Wolfgang Petry. The deal builds on BMG’s 2022 acquisition of Haddaway’s recorded music royalties. Under the new agreement, BMG now controls 100% of Haddaway’s biggest track “What Is Love.”
Major Bob Music has re-upped its publishing agreement with writer/producer Colin Healy. Before signing a publishing deal, Healy got his start as bassist and music director for Dustin Lynch, a gig he held for thirteen years. Then, in 2019, he signed to Major Bob Music to further his career as a writer. Since then, Healy has landed cuts with Megan Moroney, Avery Anna, Tayler Holder and more.
Warner Chappell Music has signed Nashville-based talent Josh Montgomery to a global publishing deal. Known for his ability to work across genres, Montgomery has already earned cuts with Ashley Kutcher, Jessie Murph, Tyler Halverson, Graham Barham, Jax, and Dasha.
Wise Music Group‘s Chester Music has signed a new publishing agreement with performer, composer and Olivier Award-winning choreographer Dickson Mbi. Born in Cameroon and raised in East London, the multi-talented Mbi has worked with artists like Russell Maliphant, Boy Blue Entertainment, Robbie Williams, Corrine Bailey-Rae, Black Eyed Peas and choreographed the “Leave A Trace” music video for CHVRCHES.
Wise Music Group has signed Icelandic composer Högni Egilsson has signed a worldwide publishing agreement with the newly opened office, Wise Music Iceland, marking the first signing of the Iceland office, since it launched in November 2022. A leading voice in Iceland’s music scene, Egilsson will be administered by Wise for all future works.
SM Entertainment’s publishing subsidiary, Kreation Music Rights (KMR), announced it has signed 86 songwriters to its roster since launching in September. The fast-growing music publisher also announced plans to expand into Europe and North America. The company says its “top priority” is to recruit top songwriters around the globe, not just writers within SM Entertainment’s […]
The Ivors Academy, a U.K.-based songwriter advocacy organization, has named Roberto Neri as its new CEO.
The organization was previously helmed by Graham Davies, who is now the leader of the Digital Media Association (DiMA) in the United States, and interim CEO Charlie Phillips.
Neri has worked in the music publishing business for over 20 years. Previously, he held C-suite roles as CEO of Believe’s publishing operation and CEO and COO of Utopia Music Services. His other previous positions include executive vp/head of business development at Downtown Music, founder/CEO of Eagle-i Music, vp of international at Bug Music and publishing relations manager at PRS for Music.
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Additionally, Neri has erved as chair of the Music Publishers’ Association and director of the UK Music, PRS for Music, MCPS and PPL/PRS boards. He is the trustee of Music for My Mind, a charity that provides music therapy for dementia patients and their caretakers.
Established in 1944, The Ivors Academy — previously known as the British Academy of Songwiters, Composers and Authors (BASCA) — advocates for songwriters’ best interests in local politics and in the music business. In recent years, it has campaigned to introduce the EU copyright directive, amplified the #BrokenRecord campaign to call out unfair streaming economy practices and partnered with YouTube Music to host a songwriting camp for members. The organization is perhaps best known for its annual songwriter award ceremony, the Ivor Novello awards, one of the biggest nights in music publishing in the United Kingdom.
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“On behalf of the Board and Academy, I am thrilled to welcome Roberto Neri as our new CEO,” said Tom Gray, the Ivors Academy chair. “He brings a huge breadth of industry experience, knowledge and leadership skills. His commitment — and ours to him — is to be the most influential voice for songwriters and composers in the world.”
Neri added, “I am deeply honored and humbled to step into the role of CEO of The Ivors Academy. It is a dream job to fervently advocate for and represent songwriters and composers, who I have been fortunate enough to represent for over two decades globally. I believe now, more than ever, is the pivotal moment to ensure music creators’ interests are protected, championed, valued and recognized for their central and indispensable role in the success of the entire music business.”
