Radio
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SiriusXM hosted an event in New York City on Wednesday (Nov. 8) in which the company unveiled a new-look version of its app, set to debut Dec. 14, while announcing a rebrand and a slew of new programming initiatives, including new channels run by John Mayer and Kelly Clarkson, among others.
In conjunction with the app, Sirius will also offer a streaming-only subscription tier for $9.99 per month, aimed at younger listeners who are interested in the serviceâs 400-plus channels of content and podcasts but donât generally listen in the car, where Sirius has become dominant in recent years. The new-look app will include increased customization, a new playback experience, an audio library, a new home for its podcast content and improvements in search and discovery, executives stressed at the two-hour event.
The new channels will begin rolling out in the next few months, starting with Clarksonâs channel, called the Kelly Clarkson Connection, which will be available starting today. Clarkson appeared on stage at the event with her band and introduced her channel â which she said will be on Channel 12, as she isnât a fan of odd numbers â that will include her music and a variety of other music she enjoys and is inspired by. To kick that off, she and her band performed a cover of Miley Cyrusâ âFlowersâ â which she said they just learned hours before â and her own âSince U Been Gone.â
New channels from Shaggy (Shaggyâs Boombastic Radio), who also appeared on stage, and Smokey Robinson (Smokeyâs Soul Town) are also available beginning today. A limited-edition channel from Dolly Parton, Dolly Partonâs Rockstar Radio, will go online Nov. 15, while Mayerâs show, which will be available year-round and is called Life With John Mayer, is set to debut Nov. 22. A weekly show by James Corden and a new true-crime channel from Crime Junkies podcast host Ashley Flowers will also soon come online.
âThe introduction of the new SiriusXM streaming experience marks a pivotal moment in our history, one that kicks off a new era of innovation at our Company,â SiriusXM CEO Jennifer Witz said in a statement following the event. âAnd this launch is just the beginning; we will continue to iterate and develop our product offerings throughout the next year and beyond as we strive to deliver our subscribers the best listening experience on the go, in the car, and wherever they choose to tune in. From canât-miss live moments to the perfect soundtrack for any occasion, with the new SiriusXM, we are putting our differentiators at the forefront and welcoming in a new generation of listeners, bringing them closer to what they love.â
The event opened with Witz introducing the new app, before turning the stage over to Siriusâ biggest and longest-tenured star, Howard Stern, who spoke about his frustrations during his time on terrestrial radio that led to him taking a chance on the then-nascent Sirius 17 years ago. âEveryone said itâs gonna fail, youâre stupid, youâre ugly â and those were my parents,â he joked. âTo me, SiriusXM was an oasis in a desert of censorship. ⌠My mission is to convince audiences that radio is worth paying for, and I think that mission continues to grow. I think thereâs a bright future for Sirius. I banked my career on it.â
In addition to Clarkson and Shaggy, the event saw cameos from Conan OâBrien, Andy Cohen, Maren Morris, Flowers and Kevin Hart, while Corden and Mayer appeared in short video segments. And it ended with a performance from Def Jam rapper Armani White, who performed his hit song âBillie Eilish.â
As part of the rebrand â which includes a new logo â executives also re-introduced Siriusâ dog mascot, named Stella, after the Dog Star constellation from which Sirius took its name. The company also announced a new partnership with Audible to share content beginning next year, as well as renewed partnerships with car manufacturers and hotel chains. Next year will also see the company bringing on 160 new artist DJs, including Olivia Rodrigo and Morris, among many others.
While radio may no longer be the only game in town when it comes to promoting and playing music, its importance is still outsized, according to Nielsenâs newly released Audio Today 2023 report focused on Hispanic consumers.
According to the report, which took into consideration listening by adults (18 plus) in more than 250 U.S. markets, radio reaches 94% of Latins every month, more than any other linear or digital media platform. That includes live and time-shifted TV (85%), smartphones (89%) and PCs (67%).
In terms of audio services only, the difference is stark. While radio reaches 94% of Hispanic adults 18 plus, its closest competitor, YouTube Music, reaches 44%, followed by Spotify (31%), Pandora (23%), Amazon Music (15%), Apple Music (14%) and satellite radio (11%).
And while listening numbers for radioâs competitors vary between age segments, radio consistently reaches 90% or more of listeners across demographics. Among the 18-34 demo, for example, it reaches 91% of listeners, followed by YouTube Music at 44% and Spotify at 41%.
That dominance also holds true among non-Hispanic listeners, though itâs a little less pronounced. Radio reaches 90% of all non-Hispanic listeners 18 plus (compared to 94% for Hispanics) and 82% of non-Hispanics 18-34 (compared to 92% for Hispanics).
Radio additionally leads in terms of listening time. The âshare of ear timeâ for radio among adults 18 plus is 30%, followed by streaming audio at 21%.
Radioâs massive consumption comes down to accessibility and culture, says Stacie de Armas, Nielsenâs senior vp of diverse intelligence & initiatives.
âRadiosâ reach is exceptional and always has been,â notes de Armas, who says the numbers werenât surprising for her. âIn fact in the past 10 years, itâs only dropped three percentage points. And that means that radio is a deeply embedded part of Hispanic life. Itâs accessible everywhere, and a very important part of the Latino experience in a way I donât see replicated in other groups. Radio serves a unique role in the lives of Hispanics. Radio is local. It gives people touchpoints into whatâs happening.â
Accessibility has also given radio staying power among Hispanics, and it has a major bearing on the strength of YouTube Music, one of the first platforms to offer a multiplicity of content in Spanish.
Historically, says de Armas, Spanish language television has long been a part of the Hispanic experience in the United States with Univision and Telemundo. But cable was inaccessible for many people because the consumer had to pay, and there was an additional cost for Spanish programming. YouTube, on the other hand, was free, as long as you had Internet access.
âSo, a lot of shifting went to YouTube. It was very easy to introduce YouTube Music,â says de Armas, noting that Hispanics spend 51% of their TV viewing on streaming, and 16% of that streaming comes from YouTube (although Netflix is a close second at 13.1%).
By the same token, Pandora is the third most listened-to option (after radio and YouTube) among the 35-49 and 50 and over segment of the Hispanic population because it was the first audio streaming service to focus on Spanish. But it doesnât have the same accessibility as radio or YouTube.
Despite the numbers demonstrating radioâs continued reach, the format has been all but dismissed by some in recent times â in part because it wasnât as measurable as other platforms. But, says de Armas, when advertisers make the effort to measure radioâs audience, they see results. âThereâs engagement potential there thatâs being lost on brands that are under-utilizing radio,â she says.
Itâs not lost on the user, however.
âCommunity engagement is key,â de Armas says. âThe cultural connection with radio hosts, for example, which fosters a sense of community. Thereâs a trust factor weâre underestimating, and I donât think it exists in the same way with streaming platforms. And thereâs also nostalgia and habit.â
Satellite radio giant SiriusXM reported quarterly net profits rose nearly 50% compared to a year ago, but that it also lost 96,000 self-pay subscribers in recent months.
The company reported on Tuesday (Oct. 31) that net income was $363 million, up from $247 million in the third quarter of last year, while revenues held roughly flat from a year ago at $2.27 billion for the quarter ended Sept. 30.
Chief executive Jennifer Witz said in a statement that the companyâs investments in new product and technology upgrades â expected to be unveiled next week â will help grow Siriusâ subscriber base and business by helping customers find exclusive event content from top programs and artists, including Ed Sheeran and Wu-Tang Clan.
âOur content portfolio continues to differentiate us in the audio marketplace with exclusive access to live sports, talk, music, and one-of-a- kind content,â Witz said in a statement, calling the next-gen platform âa key component of our long- term vision for the companyâs consumer offerings.â
âThe ongoing enhancements to our user experience will ensure that our unique suite of content resonates with our audience in increasingly personalized ways,â she said. âThis leading content and upcoming product upgrade will be paired with our unmatched business model, which we expect to continue delivering significant and growing free cash flow in the years ahead.â
The looming tech releases are geared toward improving âdiscoverability, personalization, and ease of use to both streaming and in-car subscribers,â according to a statement, and they will kick off with the unveiling of a new app, followed by in-car updates.
Investment in the app and updates was costly. In March, SiriusXM announced it was cutting 8% of its workforce to accomodate continued investment while ad sales slumped and subscriber growth was sluggish.
While SiriusXM reported a decline in self-pay subscribers and paid promotional subscribers, the total number of subscribers and the total revenue from SiriusXM held flat from a year ago at 34 million and $1.6 billion respectively. Average revenue per user was also flat at $15.69, despite getting a boost from certain full-price subscription rate hikes.
Advertising revenue for the companyâs Pandora and off-platform business edged 3% higher to $418 million from a year ago, due to increases ad sales in programs and podcasts.
The number of monthly active users on Pandora fell to 46.5 million from 48.8 million a year ago. Subscriber revenue held flat at $132 million from a year ago.
Hereâs a snapshot of the companyâs quarterly earnings:
Third Quarter 2023 Revenue of $2.27 Billion
Net Income of $363 Million, Up 47% Year-Over-Year; Diluted EPS of $0.09
Adjusted EBITDA of $747 Million, up 4% compared to $720 million in the third quarter of 2022
Free cash flow of $291 million, down from $329 million in the prior year period
Dusty Street, a pioneering DJ who is best known for her time working at Los Angeles-based alternative rock station KROQ-FM and later at SiriuxXM, died Saturday in Eugene, Ore. She was 77.
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Her friend Geno Michellini, who worked for many years at L.A.-based station KLOS-FM, shared the news on Facebook.
âI have been in Eugene the last two days at Dusty Streetâs bedside,â Michellini posted Saturday. âThe numerous afflictions that she has been so indomitably fighting these last years finally caught up to her. I am writing with a broken heart to say that Dusty left us tonight. She died peacefully, quietly and surrounded by love in a beautifully serene location overlooking the most beautiful lake you could ever want. As befitting the queen that she was. Tonight I lost one of the best friends I ever had and the world lost a radio and music legend ⌠. She was all that and so much more. There will never be another Dusty Street. The queen is gone, but sheâll never be forgotten.â
Street most recently worked at SiriusXM for more than 20 years as host of the shows Deep Tracks and Classic Vinyl.
âWe have lost one of our own,â SiriuxXM posted on Facebook. âDusty Street has passed away after 77 joyous trips around the sun. And yes, Dusty Street was her real name. Dusty was one of the first female rock jocks on the west coast working at KMPX and KSAN in San Francisco from 1967 through 1978 before heading to Los Angeles where she held court in the evenings from 1979 through 1996 on KROQ. ⌠We are heartbroken.â
Street was known for being outspoken, opposing the Parents Music Resource Center for attempting to apply a ratings system to rock music. She once said she was let go from KROQ for being a ârenegadeâ as the station was implementing âtighter and tighterâ control over the programming.
In 2015, she was inducted into the Bay Area Radio Hall of Fame. Earlier this year, she took part in the Epix documentary San Francisco Sounds: A Place In Time, which spotlighted recording artists from the Bay Area that were popular between 1966 and 1976, including Santana, Sly and the Family Stone, Tower of Power, and the Doobie Brothers, Jefferson Airplane and Janis Joplin.
Street once commented that people often asked her if her name was real, and that people were surprised to hear it wasnât a stage name.. âMy fatherâs name was Emerson Street. We used to live on Emerson Street on Palo Alto, which was pretty funny. Emerson Street on Emerson Street,â she said.
This article originally appeared in THR.com.
Five months after an Instagram account first accused New York City radio host DJ Envy of being complicit in a multi-million dollar real estate investment scam in New Jersey, the situation has turned into a sprawling web of lawsuits, countersuits, bankruptcies and media coverage.
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In at least 20 civil cases filed in recent months, dozens of investors claim that Cesar Pina and wife Jennifer Pina, New Jersey developers with famous friends, ripped them off â either through failed house flipping, a stalled apartment development project, or a startup they said would empower small investments in real estate.
Many of those lawsuits, including one filed by music industry veteran Anthony Martini, name DJ Envy (RaaShaun Casey) as a co-defendant, citing close ties to Pina. They claim Envy helped to promote the alleged schemers, including through appearances on The Breakfast Club, his nationally-syndicated hip hop radio show. One case says Envy âaided and abettedâ the fraudsters by âusing his public likeness as a well-known radio disc jockey to promote their real estate scheme.â
Firing back, Envy says those kinds of allegations are not only false â he says he himself is also a victim of Pinaâs alleged scheme â but also defamatory. Heâs suing the social media influencer who first publicized the allegations, claiming he âspewedâ lies to promote his own real estate business, and heâs demanding to be dismissed from the investor lawsuits.
âTheyâre sensationalizing this situation,â said Envyâs lawyer, Massimo F. DâAngelo of the law firm Blank Rome, in a phone interview with Billboard. âEnvy had no involvement whatsoever. The only reason heâs being dragged into this is because heâs a public figure.â
How did we get here? What exactly are the accusations? And what comes next? Hereâs everything you need to know about the growing scandal.
Who is Cesar Pina?
Pina has long pitched himself a real estate guru, frequently posting about his work to a star-studded Instagram page featuring shots of Pina with Snoop Dogg, 50 Cent, Post Malone and Meek Mill. On his website, he says heâs been rehabbing and flipping homes in the Garden State for over a decade; he claims to own 1,100 rental properties in Paterson, N.J., alone.
One of the celebs frequently pictured with Pina was DJ Envy, who for more than a decade has co-hosted The Breakfast Club, a popular hip hop-focused radio talk show on New Yorkâs Power 105.1. And the two had a close public relationship beyond social media: Over the years, Pina has repeatedly appeared on the show as a guest, and he and Envy co-hosted a series of seminars on real estate investing from 2018 onward.
As recently as June 2022, Pina made an appearance on The Breakfast Club to plug an investment platform he was launching called Flip 2 Dao, which would allow users to make small, fractional investments in real estate projects. Throughout the interview, Envy repeatedly touted his relationship with the developer and the value of the new investment tool.
âPeople always ask, how can I invest with you guys? And we never take anybodyâs money,â Envy told listeners. âNow there will be a way where people can actually invest to be a part owner on some of the projects that we actually buy.â
What are the accusations?
Back in May, an Instagram account called TonyTheCloser (real name Tony Robinson) began making serious allegations of wrongdoing against Pina. In a series of videos and live streams, Robinson claimed that Pina had used his celebrity status to defraud numerous people, taking their money to invest in flipping properties with the promise of big profits, but ultimately returning little or nothing.
He also claimed that Envy had played a key role in the fraud by promoting Pina to his listeners. At various times, Robinson called the radio host a âthief,â âcriminal,â and âscammer,â claiming he had âstolen millionsâ from investors and aided a âPonzi schemeâ â an infamous form of fraud in which the perpetrator creates the façade of a real business by paying earlier victims with funds from later victims.
Those social media allegations quickly turned into a wave of civil lawsuits filed in New Jersey state courts.
In a May complaint, a company called Amy Flips claimed it had provided Pena with $500,000 to invest in properties and lost all but $30,000. A month later, attorneys for a New York man named Trevor Roman alleged he was owed $280,000 by Pina and his companies, saying their client was âone of many who fell prey to these fraudulent and deceptive tactics.â In July, a New Jersey man named Paul Peralta claimed that he had given Pina $600,000 in four payments as part of a âPonzi scheme and investment scamâ â and he specifically claimed the scheme had been promoted by âa radio show called The Breakfast Club.â
Martini, the music executive, also filed his case in July. Joined by another spurned investor named Anthony Barone, their lawyers claimed they had lost $1.5 million after Pina duped them into investing in a massive, 50-unit apartment project in Paterson that was never completed, as well as another $300,000 that they invested in the Flip 2 Dao platform.
But they also went a step further, naming DJ Envy as an actual defendant in the lawsuit. They claimed the DJ had not only plugged Pina on the air, but that he had personally attended a pitch meeting with Barone, and that he had joined Pina in leading a guided tour for big-wig investors around his New Jersey properties. Martini and Baroneâs lawyers also specifically cited Pinaâs June 2022 appearance on The Breakfast Club, in which he plugged Flip 2 Dao.
âBut for Caseyâs role in lending legitimacy to the real estate investments and portraying himself as a partner to the Pinas, plaintiffs would not have invested their money,â wrote Sean Mack, an attorney at the law firm Pashman Stein Walder Hayden and lead counsel for Martini and Barone.
All told, Pina is currently facing 20 lawsuits, almost half of which have been filed just since the beginning of August; Envy is named as a defendant in nine of those cases. Itâs unclear exactly how much money Pina is alleged to owe his investors, but in an August filing, Martiniâs lawyers claimed that more than 30 victims had come forward seeking over $40 million.
Pinaâs lawyer, Steven Griegel of the firm Roselli Griegel Lozier & Lazzaro, did not return a request for comment from Billboard. But in at least one case against his client, he has argued that Pinaâs investor did get their initial investment back â and that by demanding the huge profits they say they were promised, they are actually the ones violating New Jersey law.
âThe plaintiff in this case is boldly seeking the courtâs assistance to recover [triple] damages and attorneysâ fees for loansharking, even after it has been paid amounts in excess of New Jerseyâs criminal usurious laws,â Griegel wrote in one case. âObviously, the court should not be a part of validating this.â
Despite TonyTheCloserâs claims, there have been no allegations of criminal wrongdoing against either Pina or Envy.
What has DJ Envy said?
Since immediately after the allegations first cropped up in May, DJ Envy has denied that he did anything wrong, including during an interview with TonyTheCloser on an Instagram livestream. He says that he was not directly involved with any of Pinaâs deals mentioned in the lawsuits, that he never solicited money from anyone during their seminars, and that he was not aware of any fraudulent activity.
But that hasnât quieted the growing scandal. On Tuesday, New Yorkâs local NBC affiliate ran an investigative piece under the headline âReal estate rip-off? Radio DJ promoted alleged NJ scheme leaving investors out of millions.â The story included interviews with numerous alleged victims, including a couple who say they invested with Pina âafter seeing him on social media with DJ Envy.â
âHeâs advertising this all over radio and television, so I thought this was legit,â the victim said in the NBC report. âWe invested $200,000 and it looks like we wonât ever get it back.â
On Wednesday, Envy directly addressed the allegations on The Breakfast Club: âCesar, if he took money, I wasnât privy to it, nor did I even know. But I do understand how people feel if they did give him money, because I gave him a lot of money [and] I didnât see a dollar of return. But for anybody to say that I was involved, thatâs totally not true.â
In legal filings, Envyâs lawyers have made similar arguments. They say the DJ was also âluredâ to invest $500,000 in separate project, meaning he âmay be a victim of the Pinaâs alleged fraudulent conductâ just like the plaintiffs. And they say that he was not involved in any Pinaâs deals with spurned investors, nor made any direct ârepresentationsâ to anyone regarding those transactions.
âPlaintiffsâ real targets are clearly the Pinas given Mr. Caseyâs lack of involvement,â wrote DâAngelo, in a filing on Friday aimed at getting Envy dismissed from Martiniâs case. âIn an attempt to sensationalize this case, however, plaintiffs included Mr. Casey ⌠as a defendant in this case. Plaintiffsâ conduct is wrongful and has caused, and continues to cause, significant damage to Mr. Caseyâs reputation and businesses.â
But what about the fact that Envy repeatedly made public appearances with Pina and invited him onto The Breakfast Club? Thatâs been a common refrain from victims and other critics, who say the DJ used his sizable public platform to lend legitimacy to a scammer.
Legally speaking, Envyâs lawyers say that behavior simply does not rise to the level of active endorsement or direct involvement that would put their client on the hook for Pinaâs alleged scheme. They say the DJ and his show were âusedâ by Pina, just like other media outlets and celebrities.
âPlaintiffs cannot plausibly or convincingly allege that Mr. Caseyâs radio and social media interviews were the sole and principle reason for their investments, rather than the specific misrepresentations made by the Pinas directly to the plaintiffs,â DâAngelo wrote in that same court filing. âMr. Casey has interviewed thousands of guests on The Breakfast Club, including celebrities and entrepreneurs, who have discussed various topics including their life experiences and businesses.â
DJ Envy has also quietly moved from defense to offense. In a federal lawsuit filed in August, he sued TonyTheCloser for defamation, interference with his business, and invasion of privacy. He claims that Robinsonâs allegations against him are false â and that theyâre part of money-making scheme to drive attention toward his own real estate business.
âDefendant, knowingly and intentionally, spewed false slanderous and defamatory misinformation about the plaintiff, which has, and continues to severely damage plaintiff,â wrote DâAngelo, who is also repping Envy in that case. âDefendant engaged in this wrongful conduct for the purposes of increasing traffic on his social media sites for his own personal gain in the form of paid advertisements.â
Robinson did not return a request for comment on the allegations.
What comes next?
Two of Pinaâs companies, Whairhouse Real Estate Investments LLC and Taylor Court Apartments LLC (the company that administered the 50-unit apartment project in Paterson), have filed for federal bankruptcy since start of August. His wife Jennifer, who is named in many of the civil lawsuits, has repeatedly attempted to file for personal bankruptcy, but has been rejected for procedural defects. Pina himself does not yet appear to have sought bankruptcy protection.
Fearing that theyâll never have a chance to recover their money, some of Pinaâs aggrieved investors have already jumped into those bankruptcy cases, demanding that the court appoint a trustee â an independent attorney chosen by the U.S. Department of Justice to oversee the case and make sure that any remaining money is fairly allocated to creditors. And those arguments worked: Last week, U.S. Bankruptcy Judge Rosemary Gambardella ruled in both bankruptcy cases that a Chapter 11 trustee was needed to sort out the messy web of alleged debts and wrongdoing.
That ruling came after attorneys for Pinaâs creditors argued that a single combined bankruptcy case, administered by one trustee, would be better than dozens of separate lawsuits at âunraveling of this wide-ranging fraud and the marshalling of assets to satisfy the scores of victims.â
âThis will soon become the proverbial race to the courthouse to seize whatever assets remain of the Pinas and their entities,â wrote attorney Mack, the lawyer who represents Barone and Martini in their case against Pina and Envy. âA trustee is needed in this case, and in the cases of the related debtor parties, to organize and efficiently marshal and distribute the remaining assets to the Pinasâ many victims.â
On-air personalities Mary Turner, Bob Grant, Jack âThe Rapperâ Gibson, Long John Nebel and Terry Dorsey are among 12 radio professionals who will receive the Legends of Radio award from the Radio Hall of Fame. The award recognizes âthe talents and efforts of on-air personalities, programmers and operators who contributed with greatness to the radio industry and have since passed away.â Â
They will be honored at the 2023 Radio Hall of Fame induction ceremony on Nov. 2 at the InterContinental New York Barclay Hotel in New York City. Christopher âMad Dogâ Russo, a 2022 Radio Hall of Fame inductee, will MC the event.
âItâs heartfelt recognition to see these individuals and their career contributions to the radio industry recognized with this induction,â Kraig T. Kitchin, co-chair of the Radio Hall of Fame, said in a statement. âTheyâve made a forever impact on the audiences and businesses they interacted with and for that, weâre grateful.âÂ
Dennis Green, the other co-chair of the Radio Hall of Fame, added: âGone but never forgotten, these Legends of the radio industry deserve to be recognized as Hall of Famers and it is an honor to induct them to the Radio Hall of Fame. From programmers to talent to executives, these individuals are the best of the best.âÂ
Another of this yearâs Legends of Radio honorees, Tom Rounds, co-founded Watermark Inc., the syndication company responsible for American Top 40, American Country Countdown and other shows. By coincidence, Shadoe Stevens, who succeeded Casey Kasem as host of American Top 40 in 1988, is one of eight inductees into the Radio Hall of Fame this year.
This yearâs seven other Radio Hall of Fame honorees are: John DeBella (WMGK-FM, Philadelphia), Gerry House (WSIX-FM, Nashville), Pat St. John (60s Gold, SiriusXM), Bob Rivers (The Bob Rivers Show), Nina Totenberg (National Public Radio), Deborah Parenti (publisher, Radio Ink) and Charles Warfield (executive).
Here are this yearâs recipients of the Legends of Radio award:Â
Bob Grant â on-air personalityÂ
Dave Robbins â programming executiveÂ
Ed Christian â executiveÂ
Eduardo Caballero â executiveÂ
Jack âThe Rapperâ Gibson â on-air personality/writerÂ
Joe âButterballâ Tamburro â programming executiveÂ
Long John Nebel â on-air personalityÂ
Marty Glickman â play-by-play host/executiveÂ
Mary Turner â on-air personalityÂ
Steve Rivers â programming executiveÂ
Terry Dorsey â on-air personalityÂ
Tom Rounds â executiveÂ
Apple Music Radio is coming to Apple Podcasts.
On Tuesday (Sept. 26), Apple announced that Apple Music subscribers will now be able to stream more than 2,500 âmusically richâ episodes from Apple Music Radio on its podcasts app.
Apple Musicâs original shows air across three global stations â Apple Music 1, Apple Music Hits, and Apple Music Country â and feature such top talent as Zane Lowe (The Zane Lowe Show), Ebro Darden (The Ebro Show, Hip-Hop DNA) and Kelleigh Bannen (Todayâs Country Radio, The Kelleigh Bannen Show). It additionally airs artist-hosted programs including Angel Hour Radio with ReneĂŠ Rapp, Time Crisis hosted by Vampire Weekendâs Ezra Koenig, OTHERtone featuring Pharrell Williams and Deep Hidden Meaning Radio hosted by Nile Rodgers.
Apple Musicâs coverage of the 2024 Apple Music Halftime Show featuring Usher will also be available to Apple Music subscribers on Apple Podcasts.
In addition to Apple Music Radio shows, Apple Podcasts will now also include audio programming for subscribers to other connected apps, including Apple News+, meditation app Calm and âplaylearningâ app Lingokids. Starting next month, subscribers to several more apps â including Bloomberg, Curio, LâĂquipe, Mamamia, Sleep Cycle, The Economist, The Times, The Wall Street Journal, The Washington Post, WELT News and Zen with Apple Podcasts â will be able to connect their subscriptions as well.
Listeners with subscriptions to any of these apps will have those subscriptions automatically connected the next time they open Apple Podcasts. They can also connect their subscriptions manually by signing into their accounts from each appâs channel page on Apple Podcasts. Subscribers will be able to listen across Apple devices, including iPhone, iPad, Mac, HomePod, CarPlay and Apple Watch with AirPods. The company notes that Appleâs latest operating systems â iOS 17, iPadOS 17 and macOS Sonoma â are required to connect subscriptions.
Once subscriptions are connected, listeners can browse all podcasts available to them from the Library tab. They can also learn more information about each show and follow any show for free to automatically download and be notified about new episodes. They will also receive personalized recommendations in Up Next on the Listen Now tab.
Three years ago, the pandemic temporarily turned Nashville recording studios into miniature ghost towns.
The business looks a whole lot different in 2023.
âEvery engineer out of work in 2020 is so slammed now that they canât take a vacation,â says producer Trent Willmon (Cody Johnson, Granger Smith). âI was talking to somebody â I canât remember who said it â but booking a session, he said he called seven steel players before he found someone available. That means country music is badass, baby. Four years ago, all the steel players were just like, âHey, man, you got any work?â And now theyâre just all overwhelmed.â
A year or two ago, the bulk of that workload would have been a result of artists bringing new material created during COVID-19 isolation to the studio. But the volume of recording work in Nashville hasnât subsided since that first postcrisis wave, and it appears that another development from the pandemic era is behind the ongoing studio traffic.
Morgan Wallenâs Dangerous: The Double Album rode 30 tracks to a record-setting run atop Billboardâs Top Country Albums chart, which reflects streaming and sales data compiled by Luminate. Following its success, now albums â which were typically 10 to 12 tracks in the past â have become much more robust. A dozen have hit No. 1 since the beginning of 2021, and only two have fit the historic range: Carrie Underwoodâs 11-track holiday album, My Gift, and Luke Combsâ 12-track Growinâ Up, which was later revealed as the lead-in to the 18-track companion Gettinâ Old.
The rest of the No. 1 albums have spanned from Underwoodâs 13-track gospel album, My Savior, to Wallenâs 36-track One Thing at a Time. Those larger albums obviously utilize more songs, but that also means they require more hours from the artist, producers, engineers, musicians and other crew members. Thus, the country studio business is booming.
âIâm busier than Iâve ever been in my life in terms of workload, and at the same time, itâs fewer artists,â says guitarist Derek Wells, one of countryâs first-call studio players. âThe reality is your big, premiere artists kind of gobble up weeks and weeks and weeks of your year. And thereâs just no room left for some of the newer stuff. Itâs not an unwillingness to do it, or lack of a desire to go be amongst some of those things. Itâs just kind of first come, first serve.â
While supersized albums are an aggressive way to compete for chart superiority, they also serve as a digital-era method of satisfying artistsâ superfans. The maturation of streaming has given consumers quicker access to music by their favorite artists for a set monthly price, rather than compelling them to buy albums. Artistsâ biggest fans have always wanted more music. And with home studios and digital recording techniques providing more flexibility, itâs easier than ever to satisfy that hunger.
While the leading acts are supersizing albums, artists with smaller fan bases are releasing EPs with greater frequency, putting out more music than their predecessors often did at a similar career stage to satisfy their own strongest supportersâ demands. The combination of supersized albums and more frequent EPs is stretching the resources in Nashville.
âWork is definitely surging,â Nashville Musicians Union president Dave Pomeroy says. âWeâve more than gotten back to where we were before the pandemic, in terms of [recording contracts] we see coming through the building,â
That makes booking a recording session something of a Rubikâs cube. A producerâs top musician choices will likely not all be available at the same time for a session that wasnât booked far in advance. That encourages even more overdubbing, with producers doing bare bones tracking dates and hiring musicians to layer on parts at home.
âA lot of the times Iâm not doing a full session on my songs,â says Alana Springsteen, who co-produces her music. âWeâll start [recording] things in the room sometimes the day we write the song, Iâll lay down an acoustic, lay down a vocal, one of my co-writers might play the electric, and weâll lay down a path. Sometimes it looks a little different than a traditional session.â
While itâs possible to record musicians one at a time, many artists still want to use a larger room with the players all working in unison. Many of the established studios have shuttered since 2000 as home recording increased, so now that recording is in a boom cycle, itâs increasingly difficult to find an available large studio. As a result, many individual tracks are recorded in three or four different locations, and a full album may be pieced together at six or more sites.
âIt used to be when weâd do a record, if we did three or four different tracking days, it was all going to be in the same room,â says producer Frank Rogers (Scotty McCreery, Frank Ray). âAt the end of the day, I put the players first, because if you have the right players, you can go and set up in a living room and still make a really good record. If you got the greatest studio in the world and C [grade] players, then itâs just not going to be what it needs to be.â
Chris Young found a previously untapped studio when he booked Sony Music Publishingâs upgraded facility for the master tracking session on his new single, âYoung Love & Saturday Nights.â At the same time, he also has a home studio, and his output there is using engineer hours beyond the traditional venue. Multiply that phenomenon by dozens of artists, and the ramifications become much more apparent.
âItâs sort of insane,â Young says, hinting that his next album may be larger than a traditional project. âI have seven songs for my next record already. And part of it is, I try and write all the time when Iâm home [from touring]. I usually write, every single year, 100 songs on top of what I find outside⌠Iâm [taxing the system] a little bit.â
The engineering sector may be stretched thinner than every other area of production.
âWith the ease of recording, everybody â half the songwriters in town, and every musician, every producer â is an engineer,â Rogers says. âBut the ones who know how to track really, really well or know how to mix really, really well, thereâs not a whole lot of them that are great. Thereâs a lot of good, thereâs not much great, and so those guys are as busy as theyâve ever been.â
At the other end of the music chain, the increase in the number of tracks is stretching the infrastructure with radio and digital service providers (DSPs), too.
âThereâs always too much music â itâs not manageable on any of the platforms,â says artist consultant John Marks, a former programmer for broadcast radio, satellite radio and Spotify. âWherever you are today, you cannot manage that traffic, the amount of releases, regardless if you have an album of 12 tracks, or 36 tracks, or 50 tracks. Whatever it is, you are treading water in the ocean.â
The DSPs get thousands of new tracks every week, and while they can make educated guesses about what to playlist from new albums and -individual -singles, fansâ choices will ultimately require programming adjustments. Similarly, traditional country radio stations â which have drawn their playlists primarily from major labels â are increasingly auditioning songs from sources they would not have considered in the past, thanks to digital consumption.
âIf Zach Bryanâs new song gets streamed 20Â million times, why would I think that radio listeners wouldnât feel the same way about the song if they were exposed to it?â Cumulus vp of country formats Charlie Cook says. âSo then itâs incumbent on me to expose it. When you get 20Â million streams on Oliver Anthony or 13Â million on Tyler Childers, why am I smarter than them? Iâm not.â
Traditional radio still plays one song at a time, no skips, so instead of trying to satisfy every artistâs superfans, its business still requires identifying the songs that fit the widest number of individual tastes. Even if it means sifting through more music to play the same number of songs.
âItâs radioâs opportunity to find the strongest songs and play the heck out of them,â Cook says. âWe had a liner for a while that said, âWeâll cut through everything thatâs out there and find the best music for you.â And I think that has now become radioâs position.â
The new, longer albums are likely to continue as the artists, and the media that exposes their music, attempt to superserve their most ardent fan base.
âI think it will last, and it will permeate the lower rungs of artistry,â Marks says. âReally, the only way to get to your fans these days is a continual release pattern, keeping in front of your audience and not letting them rest. Listeners and fans want more of whatever theyâre finding, and they want it now.âÂ
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In its first legal response to a SoundExchange lawsuit alleging underpayment of $150 million in artist royalties, SiriusXM claimed in a court filing Friday (Sept. 22) that SoundExchangeâs numbers rely on a âso-called auditâ that was a âflawed and biased examinationâ and insists the satellite-radio giant âproperly calculated its royalty payments to SoundExchange in all material respects.â
The filing, which demands a change of U.S. court venue from Virginia to New York or Washington, D.C., also bashes the royalty collection and distribution service for trying to âjustify its existence, lofty executive salaries and luxurious operating style through repeated litigation against its biggest contributor.â
In a phone interview before the filing, George White, SiriusXMâs senior vp of music licensing and royalties, says the SoundExchange lawsuit, filed in August, caught his company by surprise. âWe were discussing settlement with them,â adds White, a former longtime major-label executive. âWe really took some time to review it.â
White says the lawsuit comes down to a difference of opinion over SoundExchangeâs âmethod of calculating their deduction.â He argues that SiriusXM has paid SoundExchange $5 billion in performance royalties for sound recordings over the last 10 years, and contributed âthe vast majorityâ of the $805 million the service collected last year. âThe rhetoric in the suit itself and the press release around the suit seems really unfair and wholly inappropriate,â White says. âIn fact, we want to make every effort to ensure everyone is compensated fairly.â
SoundExchange, which collects royalties from webcasters and non-terrestrial radio services on behalf of artists and labels, argued in its Aug. 16 lawsuit that Sirius XM was bundling its satellite radio and streaming service, mixing the revenue in order to improperly reduce its royalty bill. The U.S. government mandates different royalty rates for satellite-transmitted services (like SiriusXMâs traditional satellite radio) and webcasting under so-called statutory licenses, but SoundExchangeâs lawsuit declared that âSirius XM has unjustly enriched itself to the detriment of recording artists and copyright owners upon whose music Sirius XM has built its business.âÂ
In its response, SiriusXM accused SoundExchange of âmisguided allegationsâ and argued a âproper auditâ would conclude the company âproperly calculated its royalty payments to SoundExchange.â The company also criticized SoundExchange for taking advantage of what it called the Virginia courtâs ârocket docket,â which, regional lawyers have said, results in fast-moving cases, little time for discovery and quick resolution.
âWeâre very hopeful that we can proceed down the lines of having a productive settlement discussion,â White says. âI would far rather that we had a close relationship with SoundExchange that was about working to grow SiriusXMâs contributions to SoundExchange.â
SoundExchange didnât immediately respond to Billboardâs request for comment.
Cody Alan is joining SiriusXMâs The Highway with a new daily show set to launch Monday (Sept. 11).
The new show, titled Highway Mornings with Cody Alan & Macie Banks, will air weekdays from 5 a.m. to 12 p.m. ET on SiriusXMâs The Highway (channel 56), as well as on the SXM app. Alan will also continue to host CMTâs flagship weekly music TV show Hot 20 Countdown.
Highway Mornings with Cody Alan & Macie Banks will offer the latest in country music, pop culture and entertainment, with Alan and Banks interviewing celebrity guests, chatting with listeners and sharing their own personal stories. The new show follows the exit of former The Highway morning show host Storme Warren, who left The Highway earlier this year to join Garth Brooksâs The Big 615 country station with TuneIn.
âCody is a well-respected and long-time member of the Country music community and we are thrilled to welcome him to The Highway family,â said SiriusXM senior vp/GM of music programming Steve Blatter in a statement. âCodyâs deep roots and connections in country music will keep our listenersâ fingers on the pulse of Nashville every morning as they tune in to Cody and Macie.â
Alan added, âIâm thrilled to be joining the SiriusXM family on The Highway. It will be a fresh start in mornings, with Macie Banks returning soon to join me. I plan to lean into my love for country music and my years of strong relationships in Nashville. The new show will be friendly and fun, and continue with an emphasis on artists and authenticity. After all, real life makes the best country songs, and from my experience, the best on air moments too! Also, Iâm very excited to be part of The Highwayâs rich tradition of passionately introducing fans to country musicâs next generation. I canât wait to get going!â
During his career, Alan has been named the 2021 national on-air personality of the year by the Country Music Association and has twice been named the Academy of Country Musicâs personality of the year. After gigs in South Carolina, Georgia and Florida, Alan made it to the major leagues at age 23 when he landed at KPLX in Dallas-Fort Worth, Texas. Alan was also a nine-time recipient of the country music director of the year award during his tenure in Dallas.
In 2017, Cody made national headlines after coming out as gay. He partners with GLAAD to host the annual Concert for Love and Acceptance and was honored with the 2022 visibility award from the Human Rights Campaign for his efforts in the LGBTQ+ community. The multi-faceted Alan also released the book Hearâs The Thing in 2021, writing about his on-air adventures, his coming out story and the lessons heâs learned from listening to others.