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The Latin Grammy Cultural Foundation has joined forces with Warner Music Latina for a 2025 scholarship that will be good toward a bachelor’s degree at Berklee College of Music, Billboard can announce.
The four-year Prodigy Scholarship, which will cover tuition and room and board for the 2025 fall semester, as well as wrap-around services provided by the foundation, marks the first time a Latin Grammy Cultural Foundation scholarship has been sponsored by a record label.
“This partnership embodies one of our core values: to cultivate intellectual and artistic potential by removing barriers that often impede exceptional musicians from realizing their vision,” said Alejandro Duque, president of Warner Music Latin America, in a statement. “Through strategic educational support we’re not just investing in individual careers, but in the broader cultural landscape of musical innovation.”
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Roberto Andrade, MD at Warner Music Latina, added: “At Warner Music Latina, we’re proud to support young talent through this scholarship. By empowering aspiring musicians, we’re investing in the voices that will shape tomorrow’s soundtrack. This is more than an opportunity — it’s a commitment to creativity, talent and the future of music.”
In addition to the Prodigy Scholarship, three other scholarships — from the Frost School of Music at the University of Miami, the Gil Family Foundation and Gibson Gives — will be available for music students between the ages of 17 and 25 with financial limitations who have a passion for Latin music.
“The support of our donors makes the fulfillment of our mission to provide educational opportunities that advance Latin music and its heritage a reality,” added Raquel “Rocky” Egusquiza, executive director at the Latin Grammy Cultural Foundation. “We are grateful to Warner Music Latina, Frost School of Music, Gibson Gives and the Gil Family Foundation for hosting these scholarships, providing opportunities to aspiring Latin music creators in need of financial aid to pursue their dreams.”
Applications for all of the scholarships will be open between now and 11:59 p.m. ET on April 10, 2025. For more information and to apply, click here.
Over the past dozen years, vinyl records have grown from an indie-rock subculture to a significant, established part of the music business. In the U.S. alone, vinyl sales were worth $1.4 billion in 2023, more than CDs — and as much as Latin music — and they will probably be worth more than $2 billion worldwide by 2025.
As the market matures — and growth slows from spectacular to merely healthy — it’s also splintering. A part of the business once dominated by rock and reissues now looks more like the Billboard 200, and labels are releasing different kinds of records for different buyers — low-price products for big box retail, endless color variations for pop fans and, increasingly, high-end vinyl for audiophiles.
The descriptions of these products makes them sound quite impressive — as do the prices. If the new Joni Mitchell vinyl reissues just aren’t good enough for you — and they are very good — $125 will buy you Mobile Fidelity’s UD1S 180g 45RPM SuperVinyl 2LP Box Set, pressed from “analog master to DSD 256 to analog console to lathe.” That’s about five times the price of most records. Mobile Fidelity is selling a few of Mitchell’s albums in that format, plus titles by Bob Dylan, Bruce Springsteen, Van Halen and many more. It’s not the only company selling premium products, either: Analogue Productions is reissuing all the Steely Dan albums on 45rpm on UHQR vinyl for $150 each, plus putting out a treasure trove of deluxe Atlantic Records reissues to make the label’s 75th anniversary. (Both companies have been in business for some time.) The majors are doing this themselves, too. Back in 2019, Blue Note President Don Was launched the Tone Poet series, which reissues jazz records that sell for about $35. And in 2023, Rhino began releasing Rhino High Fidelity reissues of WMG albums, which it sells online for $40.
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All of these are marketed with the exacting specificity of supercar engines — it’s not just vinyl, it’s SuperVinyl! But how much better do they really sound — especially to an untrained ear on a home stereo? This is important to the music business — consumers will only buy so many $125 records if they don’t sound great. And I was also curious myself.
Here I must confess that I’m enough of an audiophile to understand about half of the jargon above. Over the years, I’ve accumulated a few dozen audiophile records myself, including two Mobile Fidelity Linda Ronstadt records (fantastic), a CBS Mastersound version of Bridge Over Troubled Water (incredible), and the Craft Recordings Small Batch pressing of Isaac Hayes Hot Buttered Soul (like being in the studio). Others were just very good — and not worth the money. And I had never really sat down and compared different versions of the same record in any disciplined way. So I decided to do so. A few caveats: I have no real audio expertise; I listened on a very good home stereo, and it doesn’t make sense to buy records like this unless you have one; your mileage may vary. Here’s what I found.
I started with the Analogue Productions reissue of Steely Dan’s Aja because the album has a well-deserved reputation as a fantastic recording. I compared it to an early pressing I have, which is a detailed and vibrant record — it sounds great. This reissue just blew it away. The definition on the reissue was so impressive that on “Black Cow’ and “Deacon Blues,” I noticed sounds that I hadn’t really paid much attention to before. And while the older album sounded spacious, the new one sounded like I could point to which musicians were playing where. If you’re a Steely Dan fan, this is worth $150. If you’re not, this might make you one. It’s that good.
The other Analogue Productions reissue I listened to, Otis Blue / Otis Redding Sings Soul, is part of the company’s Atlantic 75 Audiophile Series, and I compared it to my copy of the album that came in a 2017 box set of Redding’s mono studio albums. (I compared these reissues to records I happened to own.) The Analogue version was more detailed and transparent — specific sounds stood out more. But the reissue was of the stereo version of the album, on which Redding’s voice is on one side, and I found that my less detailed mono version had more punch. I prefer the reissue, but it’s a close call.
The first new Mobile Fidelity album I played was Bob Dylan’s Good as I Been To You, which I compared to the 2017 European reissue. Neither record has much of a soundstage — it’s really just Dylan and his guitar — but the Mobile Fidelity version has more detail. For this album, though, that’s everything. Hearing Dylan’s fingers on the strings matters because the album is so intimate — it’s a portrait of a songwriter going back to the music that inspired him. The reissue makes a big difference.
Then I tried Mobile Fidelity’s $125 pressing of Joni Mitchell’s Blue. It’s astonishing. From the opening strums of “All I Want,” I felt like I could better hear more details on a familiar recording. I compared it to my 2007 reissue, which I prefer to an early pressing I used to own. The 2007 pressing is a great record, with the depth and spaciousness this album deserves, and I don’t have a bad thing to say about it. But the Mobile Fidelity pressing offered more space and detail. Here, the deluxe version is better, but it’s hard to go wrong either way.
Last I turned to two Rhino High Fidelity records. (Tone Poet pressings sound great, but I don’t have enough old jazz records to compare them to.) I’ve always been happy with the 2014 reissue of Gram Parsons’ Grievous Angel, a quiet, clear pressing of a detailed recording. But the Rhino High Fidelity reissue blew it away: Details came out clearer, vocals emerged more forcefully, the music just seemed more lively. It just felt more there. Listening to the old record after the new one, it almost sounded veiled. Of all the records I played, this one delivered the biggest difference for the least amount of money. It’s a no-brainer.
I found less of a difference between the Rhino High Fidelity version of the Stooges debut and my 2010 reissue. This is a less detailed recording than Grievous Angel, by design, and it should hit harder – and both versions did. The deluxe version sounded a bit more present, but only if you listened closely. To get another perspective, I also listened to a 2005 CD reissue of the album, which I kept because it came with a disc of extra tracks, and I immediately noticed that it sounded lousy — shrill, unexciting, and hard on the ears at any volume. Here, both vinyl versions are great.
Obviously, pricey records have a limited audience. But at a time when so many music executives are talking about “superfans,” this seems like a product category worth keeping an eye on.
12/19/2024
While decades-old classics tend to dominate the holidays, here are 25 relatively new seasonal songs that have connected with listeners.
12/19/2024
Universal Music Group, the owner of Republic Records, has reached a settlement to resolve a trademark lawsuit the music giant filed against a music investment platform called Republic.
The deal will end a case in which UMG accused the smaller company of confusing consumers by expanding into music royalties investing – a move UMG warned could dupe people into thinking Republic Records was involved in the project. But a judge later ruled that the case would be difficult to win.
In an order last week (Dec. 13), the federal judge overseeing the lawsuit said that all claims had been “settled in principle” and ordered the case dismissed. Terms of the agreement were not disclosed, and neither side immediately returned requests for more details.
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Launched in 2016, OpenDeal Inc.’s Republic platform lets users buy into startups, cryptocurrency projects and other investments across a wide range of sectors. In October 2021, the company announced it would start allowing users to invest in music royalties by purchasing NFTs (non-fungible tokens), calling itself the first to “bring music investing to the masses.”
That quickly sparked the lawsuit from UMG, which acquired Republic Records in 2000 and now operates it as one of its top imprints, home to Taylor Swift, Ariana Grande, Drake, Post Malone and many others. In a November 2021 complaint seeking an immediate injunction, UMG called OpenDeal’s new service a “wanton effort to usurp plaintiff’s Republic name and trademarks for itself.”
“The artists, labels, managers, agents, and fans who currently know of plaintiff’s Republic label would be presented with two different companies offering identical services under identical names in the same industry,” UMG’s lawyers wrote at the time. “Confusion is inevitable.”
But in July 2022, Judge Analisa Torres ruled that that UMG was unlikely to be able to prove such allegations in court. She said the evidence of potential confusion was “extremely minimal,” since the services and consumers of the two companies “differ significantly” — and that a shared connection to the music industry was “not enough.”
“It is conceivable that there may ultimately be some overlap between the parties’ consumers—for instance, fans of a popular artist may both purchase that artist’s music through Republic Records, and make crowdfunded investments in recordings by that artist through the Republic Platform,” the judge wrote. “But, such scenarios remain hypothetical.”
That ruling – denying UMG’s request for a so-called preliminary injunction that would have forced OpenDeal to change its name while the case was litigated – was not a final decision on the case. But it indicated that UMG was unlikely to win, and such trademark cases often settle after such early skirmishes.
After that decision, UMG later filed an updated version of its allegations, and the case proceeded into discovery – the process of exchanging evidence in a civil lawsuit. But the lawsuit has largely been paused for more than a year as the two sides engaged in settlement talks that ultimately resulted in last week’s agreement.
During the course of Robert Kyncl’s nearly two-year tenure as Warner Music Group’s CEO, the former YouTube exec has focused on positioning the historic label for longtime growth.
In early 2024, WMG reported record earnings but announced a 10% workforce reduction. Then, August saw a major leadership shakeup: Max Lousada exited, Julie Greenwald was briefly chairman of Atlantic Music Group before leaving, and Elliot Grainge became AMG’s CEO. Under Grainge, Atlantic restructured and new leadership came in at 10K Records and 300 Entertainment. These moves signaled a loud-and-clear generational shift in leadership, marking a transformative year for Atlantic and Warner.
Looking back at a year of bombshells and breakouts — success stories include Zach Bryan, Benson Boone, Teddy Swims, Charli xcx, Dua Lipa and more — Kyncl writes in a note to staff, obtained by Billboard, that he is grateful for their dedication in a year he has long-dubbed the “Year of the Next 10.”
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In the note, Kyncl writes that the company achieved significant milestones, including having the most listened-to artist (Bruno Mars), the No. 1 song of the year (Boone’s “Beautiful Things”), and the most in-demand songwriter (Amy Allen). He also highlights the importance of change and innovation in the music industry, celebrating the team’s success in delivering originality, which “gives this industry its energy and optimism.”
“We’ve not just helped our artists and songwriters do new, brave, and disruptive things, we’ve held ourselves to the same standard,” he writes. “The industry is at a pivot point, and the changes we’ve made this year put us on the front foot.”
He highlights that WMG was a clear leader in onboarding new talent in the marketplace, with artists like Boone, Swims and Allen receiving critical acclaim. Established acts also reached new heights, he notes, with Mars becoming the world’s biggest streaming artist, Charli xcx exhibiting “radical newness” during brat summer and Linkin Park making a notable return with a new singer. The company further expanded its reach through catalog reissues by the likes of the Grateful Dead, Madonna, David Bowie, Neil Young and Joni Mitchell, among others.
Kyncl writes that, internally, WMG has focused on growth by increasing A&R investments by double digits, overhauling leadership, and advocating for new pricing and royalty models in streaming. The company also embraced AI — Kyncl cites the recreation of Randy Travis’ voice as a prime example — and prioritized global market share through a streamlined structure.
Looking ahead to 2025, Kyncl encourages continued innovation, aiming to amplify unique voices, grow the music ecosystem and deepen fan engagement. He rounds out the memo by celebrating the team’s efforts and hinting at exciting projects on the horizon.
“There’s still plenty of work to do, but we’re getting stronger, faster, bolder all the time,” he says. “As I’ve said before, focus and simplicity brings great intensity and impact.”
Read the full memo below:
Hi everyone,
I wanted to take a moment to thank you for your incredible dedication and passion over the past year.
In January, I talked about 2024 being the Year of the Next 10, where we moved to set ourselves up for the next decade. We’ve ended the year with the No.1 most listened-to artist, No. 1 song of the year, and the most in-demand songwriter of the year. I know the last twelve months have been intense, and I’m so grateful to you all for rising to the occasion. We’ve achieved something that only a really collaborative and committed team could… We simultaneously delivered for our artists and songwriters, while doing the tough work of change.
And change is a necessity in this business… Music is nothing without the new. New sounds, new ideas, fresh looks, different directions. That’s what stands out. That’s what cuts through the noise. That blast of originality is what gives this industry its energy and optimism.
There are countless examples of innovative successes across the company. In a note like this, I can’t be comprehensive, so please excuse that I’ve picked just a few examples to highlight our trajectory.
NEW TALENT
When it comes to impactful new talent, we’ve led the industry this year.
Benson Boone had the biggest song of 2024 worldwide, and Teddy Swims had the biggest song of the year in the U.S., the largest market. Both are signed to Warner Records and Warner Chappell, and both are up for Best New Artist at the Grammys. Amy Allen became the planet’s hottest songwriter and is nominated for Grammy Songwriter of the Year, alongside WCM’s Jessi Alexander and RAYE.
Across the world, we have an extraordinary new generation lighting the way forward, including Artemas, Aziya, Bea and her Business, BENNETT, Bug Eyed, Dasha, Florence Road, Forrest Frank, Jeff Satur, Jordan Adetunji, The Marías, Michael Marcagi, Tokischa, Roxy Dekker, TitoM, and Yuppe.
NEW HEIGHTS
We’ve also helped established artists and songwriters reach new heights, telling their stories in bold, new ways.
Bruno Mars became officially the biggest artist in the world (smashing records with 138 million monthly listeners on Spotify!), thanks in part to new collaborations, including with ROSÉ, who herself set new streaming records for a K-pop soloist.
Then there’s the radical newness of Charli xcx’s Brat, or the record-breaking return of Linkin Park, with a soulful new singer. As well as incredible new projects from stars around the world such as Alex Warren, Ana Mena, Ayed, AYLIVA, Bailey Zimmerman, Burna Boy, Cardi B, Charlie Zhou, Coldplay, CYRIL, Dani Fernández, David Guetta, Diljit Dosanjh, Don Toliver, Dua Lipa, Ed Sheeran, Fred again.., Geolier, Gunna, Iñigo Quintero, Jack Harlow, Kenya Grace, King, Lay Zhang, Lil Uzi Vert, María Becerra, Megan Thee Stallion, Michael Bublé, Miriam Bryant, Myke Towers, NLE Choppa, SCH, twenty one pilots, TWICE, and Zach Bryan to name a few; along with reissues of iconic music from David Bowie, Grateful Dead, Green Day, Joni Mitchell, Madonna, Neil Young, and Talking Heads… all of which won new fans, and drove new spikes in streams.
NEW WORLD
We’ve not just helped our artists and songwriters do new, brave, and disruptive things, we’ve held ourselves to the same standard. The industry is at a pivot point, and the changes we’ve made this year put us on the front foot.
There’s still plenty of work to do, but we’re getting stronger, faster, bolder all the time. As I’ve said before, focus and simplicity brings great intensity and impact:
➞Due to the changes we’ve made, we’ve delivered on our promise to put more money behind the music… growing our A&R investment by double digits.
➞We prioritized market share growth, bringing in pioneering new leaders in major markets, including the U.S. with Atlantic and in Japan, while investing in talent and entrepreneurs in high-growth territories, such as India.
➞We’ve shrunk the world, flattening our company, to make it easier for artists to break worldwide, while fully globalizing our catalog and distribution services.
➞We’ve successfully advocated for innovation in pricing and royalty models at the streaming services, while demonstrating the potential of AI (with Randy Travis still my personal favorite example!).
The throughline here is our powerful ability to amplify unique voices, crank up the contrast, and bring the shock of the new. Going into 2025, let’s lean into that expertise… we want to expand the music ecosystem while, crucially, growing our share. Our mission is to turn dreams into stardom and audiences into fans.
I hope you and your loved ones enjoy a well-deserved break. So many exciting things to come in 2025!
Robert
In July, six women — Taylor Swift, Gracie Abrams, Billie Eilish, Chappell Roan, Ariana Grande and Charli XCX — cracked the top 10 of the Billboard 200, the first time that had happened since 2019. And when Grammy nominations were announced Nov. 8, six of the eight slots for record, album and song of the year were headlined by women — the second year in a row women had such high representation in the major categories. Women artists are ruling pop music in 2024.
At the major companies that power these superstars, however, women have been leaving powerful roles — moves that have rattled other women fighting for inclusion and influence at the top of the business. Between Universal Music Group (UMG), Sony Music and Warner Music Group (WMG) — the three major music companies — there were four labels that started this year with women CEOs: Capitol Music Group’s Michelle Jubelirer, Atlantic Music Group’s Julie Greenwald, Epic Records’ Sylvia Rhone and UMG Nashville’s Cindy Mabe. Eleven months later, that number has dropped: Rhone, who is also one of very few Black CEOs in the major label system, is the only one left at the coastal majors. And a number of other women left music’s C-suites this year as part of major-label restructurings that impacted both genders.
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It hasn’t been all bad news for women execs: Mabe is still in place at UMG Nashville, and Taylor Lindsey, who had been vp of A&R, will take the chairman/CEO role at Sony Music Nashville at the top of 2025. But the high-profile departures have shaken the confidence of many women music executives, says a high-ranking woman in the industry: “It makes them nervous because people like Julie Greenwald didn’t take shit from anybody. And the message is, ‘Oh my God, look at that. If they can let Julie Greenwald go, anybody can go.’”
The CEOs of the industry’s biggest streaming services, promotion companies and most agencies, meanwhile, are all men; many distribution CEOs are, too. Publishing and Nashville both fare better, but the industry is largely led by men in the top jobs. Most of the top indie labels are led by men as well.
Jubelirer, Greenwald, Rhone, Mabe and former Motown CEO/chair Ethiopia Habtemariam, who left her role at the end of 2022 and was not replaced, either declined to comment or did not respond to requests for comment for this story.
Despite the varied reasons for these departures, the decline in the number of women among music’s top ranks marks a step backwards during a decade that started with the Black Lives Matter movement and the major music companies pledging to better embrace diversity, equity and inclusion efforts. As Andreea Gleeson, CEO of TuneCore, puts it, “There’s not a full effort being made and that’s really dangerous. To drive meaningful change in the diversity of your company, you need to be committed to it. That starts at the top.”
Natalie Prospere, founder and CEO of the label, publishing and live events company Friends Only, says she hasn’t been surprised by the recent exits. “I knew this was going to happen. Nobody actually wants to stand for anything other than posting a black square on your Instagram.”
There are still many women in COO, president, GM and other chief-level or department-head roles across the major label system. But the actual CEOs are still almost all white men. According to Believe, Tunecore and MIDiA Research’s fourth annual “Be The Change” women’s equality in music study, in 2024, 49% of women also believe that the music industry is still “generally discriminative” based on gender. The study also found that women in music are twice as likely as men to discover they are paid less than colleagues in the same or similar roles.
“When you see the scarcity of female executives in the music industry, coupled with the way female executives are treated, how, as a young woman in the industry, can you not question your ability to succeed?” says a female former label executive.
At the labels, Jubelirer was the first to go this year. In February, amid reports that Capitol and its parent company UMG were restructuring, Jubelirer stepped down from her post, which she held since the end of 2021, as Capitol’s first female CEO in its entire 80-year history. Had she stayed, Jubelirer would have been effectively demoted, moved from being the head of her own family of record labels and reporting straight to UMG chairman/CEO Lucian Grainge, to being under the umbrella of the newly formed Interscope Capitol Labels Group (ICLG) and reporting to ICLG chairman/CEO John Janick. She was replaced by Tom March, a British-born executive who most recently led Interscope offshoot Geffen Records.
Then, in September, Greenwald announced her exit from her role at Atlantic Music Group, a company she co-led for 20 years, the latter two as its first female CEO in its own 70-plus-year history, amid a similar restructuring in WMG’s recorded music division. She was replaced by Grainge’s son, Elliot Grainge, the founder/CEO of WMG-acquired label 10K Projects.
These high-profile exits come two years after Habtemariam, chair/CEO at Motown, stepped down from her post when rumors began to circulate that Motown would lose its status as a standalone label and would be reintegrated under Capitol Music Group, which ultimately did happen. While the label’s profitability during Habtemariam’s tenure is unclear, Habtemariam took Motown’s U.S. current market share from 0.85% to 1.30%.
The recent executive departures are even more troubling to some women in the industry given the challenges these women had faced getting to their top posts in the first place. When Steve Barnett retired as Capitol Music Group CEO at the end of 2019, Jubelirer, an attorney who worked her way up over a decade to become COO of Capitol, was believed by many to be the next in line. Instead, the role was given to Capitol Records president Jeff Vaughn. (Under Vaughn, Capitol’s current market share dipped from 7.36% in 2020 to 5.64% in 2021. He was replaced by Jubelirer in less than a year). While market share cannot tell the full story of Capitol Music Group financials at the time, Jubelirer then grew CMG market share by almost a full percentage point from 2022 to 2023.
While Mary Rahmani, CEO and founder of Moon Projects, a joint venture label/publisher with Republic Records/Warner Chappell Music, says she came up in the major label business around “lots of women assistants and coordinators,” there were not many women executives to look up to. “If there were any, they were specifically in PR, radio and sync. I didn’t really see many badass women A&R or marketing executives, and I always wished there were more examples for me.”
Years later, when Rahmani was on maternity leave with her first child, she was cut from the major label she worked for during a sweep of layoffs. Reflecting on the experience now, she says it “wasn’t personal,” but feels motherhood is often a reason why it’s harder for women to climb up the ladder in the way men, even men who have children, do. “It’s for sure a big reason. I think a lot of women in the mid-level phase take a step back once they have a family.”
At Billboard’s Women in Music event in March, Jubelirer accepted the award for Executive of the Year and highlighted another way women face extra adversity in the workplace: their presentation. “Women, do these comments sound familiar?” Jubelirer addressed the crowd. “‘You’re too emotional.’ ‘You don’t have to be so direct when you talk.’ We all know that’s code for ‘Stop being a bitch.’ ‘You should smile more.’ … We know that it takes quite a bit of fortitude to present our true selves in the workplace and rebel against those stereotypes that have been expected of women.”
In some other areas of the music business, women fare better in their share of CEO roles. Though it’s far from gender parity, the publishing sector is a bright spot. Many of publishing’s most respected leaders are women, including Universal Music Publishing Group’s CEO/chair Jody Gerson, who has held her post for a decade, and Warner Chappell’s COO/co-chair Carianne Marshall at the majors and Reservoir Media’s founder/CEO Golnar Khosrowshahi and Peermusic’s CEO Mary Megan Peer at the large independents.
“It’s likely a result of a positive feedback loop,” says Khosrowshahi of the publishing sector. “As more women rise to the top of various publishing entities, that leads to the success of more women [beneath them].”
Ironically, though women artists in country music struggle to make their voices heard on country radio, the presence of female CEOs and chairs is stronger in Nashville. Today, all three major labels in town have women in their highest ranks: Mabe is chair/CEO of UMG Nashville, Lindsey is soon to become chairman/CEO of Sony Nashville, and Cris Lacy is co-chair/co-president of Warner Music Nashville.
The C-suites at the majors do have women among their ranks: Alamo, ICLG, The Orchard and Verve all have women COOs in Juliette Jones, Annie Lee, Colleen Theis and Dawn Olejar, respectively; Julie Swidler is general counsel at Sony Music and Erica Bellarosa holds the same title at Atlantic Music Group; Republic Records counts Wendy Goldstein as president/chief creative officer and Donna Gryn as chief marketing officer; Capitol (Lilia Parsa), Columbia (Jenifer Mallory), Virgin (Jacqueline Saturn), Interscope (Michelle An, Nicole Wyskoarko), Atlantic (Lanre Gaba), 10K Projects (Molly McLachlan), 300 Entertainment (Rayna Bass), ADA (Cat Kreidich) and EMPIRE (Tina Davis) all have women with president or co-president titles; and high-ranking women can be found across the corporate majors and individual labels.
But the path to the chief executive’s office remains an especially challenging one — and even then, some women CEOs say they still feel excluded from the conversations, meetings or other gatherings where decision-making happens in their organizations.
When Greenwald was named Billboard’s 2017 Women in Music Executive of the Year, she spoke of how she hoped her platform could lead to more women executives in the next generation. “I love all the women here who put their hands up and say, ‘Listen, at some point I want your chair,’” Greenwald said. “I want someone to come take this chair. I want women to come in with a tape measure.”
The independent music sector has offered executives like Rahmani, Gleeson, Khosrowshahi, Prospere and Milana Rabkin Lewis, co-founder/CEO of STEM Disintermedia, another path, thanks to the growth of indie music’s market share both in the U.S. and abroad. For Rabkin Lewis, who got her start at UTA before founding the distributor/label, she says she wanted to run her own independent company because “I could be more in control. I also wanted to set a new example, and I wanted to create my own path, which potentially had [fewer] road bumps and hurdles than the perceived corporate path.”
Still, a high-ranking female music executive says it’s essential for the next generation to see women in CEO and chairwoman roles at the major labels specifically because “power comes in P&L responsibility, and there’s a scarcity of women at major labels who have P&L responsibility.” Another adds, “The major labels are the front lines… They’re the ones that set the tone for how the industry is going to proceed.”
Representatives for UMG, WMG and Sony declined to comment or did not respond to a request for comment.
When Ella Langley’s “You Look Like You Love Me” featuring Riley Green hit No. 1 on Billboard’s Country Airplay chart dated Dec. 14, it became the first song by a woman in 2024 to top the tally.
It also achieved the feat in 20 weeks, which is a veritable sprint given how long it can take songs to reach the summit on the slow-moving chart. But there was no denying the sexy track’s catchiness and uniqueness with its spoken-word verses and the chemistry between Langley and Green.
Langley, who is signed to SAWGOD/Columbia Records out of New York and Green, who is signed to Big Machine Label Group’s Nashville Harbor Records & Entertainment imprint, were already on tour together when the idea for the flirty duet came about. Langley and her co-writer, Aaron Raitiere, had written the song as a solo track, but “Ella and Aaron were wondering what it would be like with the male perspective,” says Ryan Dokke, senior vp of Nashville Harbor Records & Entertainment. “She asked [Riley] if he’d be up for writing a verse or two and it turned out to be something pretty special. They debuted it on tour together.” The song is also featured on Langley’s debut album, hungover, which came out in August.
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The song, which the pair performed during the CMA Awards, snagged the Country Music Association Awards trophy for vocal event of the year over such powerhouse contenders as Post Malone and Morgan Wallen’s “I Had Some Help” and Zach Bryan and Kacey Musgraves’ “I Remember Everything.” That recognition helped propel the song from 7-1 on the Country Airplay chart and earned Dokke the title of Billboard’s Executive of the Week.
Here, Dokke, whose team worked the song to country radio, talks about the steps that led to the song’s chart-topping success and what it means for rising stars Langley and Green.
Langley is signed to SAWGOD/Columbia and Green is signed to Big Machine Label Group’s Nashville Harbor. How did you work with Columbia in taking the song to country radio since Langley is the lead artist on the track?
Ella and I first met in 2021, and I knew immediately that I wanted to work with her in some capacity. When the potential opportunity to work with Columbia came into view, [BMLG founder/CEO] Scott Borchetta and [Nashville Harbor president/CEO] Jimmy Harnen immediately jumped in to land the plane. For me, I think having that relationship with Ella and her team as well as having Riley on the track made it easy for our team to dive in and get to work. [Columbia Records executive vp/head of promotion] Peter Gray and the entire Columbia team were fantastic partners. They placed complete confidence in our ability to move the song up the charts and cheered on the Nashville Harbor team the whole way!
The track jumped 7-1 on Country Airplay last Friday: the six-spot leap ties for the third-greatest to the top in the chart’s nearly 35-year history. What specific steps did you take to accomplish such a leap?
Ella and Riley delivering a BIG HIT song was certainly the biggest factor in its success at radio! Our promotion team at Nashville Harbor Records & Entertainment (Andrew Thoen, Liz Santana, Stella Prado) worked really closely with our country radio partners. There were several viral moments along the way that helped the song have more opportunities., The buzz around the CMA Awards win and performance was certainly important, but one of the biggest factors in making this historic leap was Ella herself, putting in the work – especially in the final stretch. She picked up the phone and was on the air talking with stations well into the eleventh hour.
You mention the CMA Awards performance/win and the tour. What other moments helped build momentum?
There were several moments that created a lot of chatter: The performance [opening for Morgan Wallen] at Hyde Park in London, which drew the UK’s biggest country crowd in history, and even when they popped up at Loser’s Bar & Grill in Nashville with Jamey Johnson over the summer. Seeing the passion for this song following those performances was what drove the demand for it at radio and it just continued to grow from there. They performed it on the TODAY Show, The Tonight Show with Jimmy Fallon and the CMA Awards and each time we saw the numbers spike.
“You Look Like You Love Me” is the first song performed/co-performed by a woman to reach No. 1 on Billboard’s Country Airplay chart in 2024. Langley ends the longest break – 51 weeks – between women (including groups with prominent female vocals) topping the chart since a record 61-week shutout in 2003-04. What does that say about the difficulty women are still facing?
Honestly, I was surprised that Ella was the first of the year. With women like Carly Pearce, Lainey Wilson, Carrie Underwood, Kelsea Ballerini, Megan Moroney – who just won the CMA Awards’ best new artist and of course, Miranda Lambert who are all making and releasing culture shaping music and are filling arenas – it put me on my heels for a second. I’m optimistic that we’ll see more opportunities in the coming year. Just too much great music for there not to be.
This song includes spoken verses. Did you face any resistance at radio since that is more a throwback to the ‘60s and ‘70s? Did you think about releasing a version without the spoken-word parts?
The song started with such red- hot heat and had such undeniable passion from fans on the internet and it was immediately streaming so well, the spoken verses were never really an issue.
Green also has a top 15 hit with “Damn Good Day to Leave.” How are these two songs setting him up to take him to the next level in his career?
Riley is in such a great place and there is so much demand right now. It all comes down to building a connection with fans. These songs might connect to two different audiences, and he wins with both. He is wrapping his biggest year yet and already we can see 2025 being even bigger – with a red- hot album, sold out tours in the U.S. and the U.K., a rabid internet following, and the respect of his peers – Riley Green’s time is definitely here!
Will you have any continued involvement in Langley’s country radio work or was that a one-off because of Green?
I think right now we are still celebrating a BIG WIN. That question will answer itself in time. Regardless, the Nashville Harbor team is proud to have been a part of Ella’s introduction to Country radio and we will continue to be huge fans of Ella and her music. She’ll also be on tour with Riley next year, so we’ll be close by cheering her on either way.
Grammy-winning vocal group Pentatonix has signed with Republic Records, the label tells Billboard. “Pentatonix have always stood apart,” said Jim Roppo, president/COO of Republic Corps Collective, in a statement on the signing. “There has never been a vocal group like them, and they’ve been able to completely reinvent both a capella and the holidays to […]
Rising Puerto Rican rapper Clarent has signed a global recording deal with Warner Music Latina, the company tells Billboard.
The signing comes on the heels of Clarent’s success with the single “IA” alongside Puerto Rican urban artist Mora. The track has amassed more than 40 million streams on Spotify alone and topped Spotify’s Top 200 chart in Spain.
Born in Caparra Terrace, San Juan, Clarent (real name Fabián Cartagena Torres) began putting out music independently just last year. Since then, he’s amassed millions of streams thanks to tracks that sound raw and real and connected to life on the streets. His song “Traqueto” alongside iZaak has nearly 26 million streams on Spotify, while his solo track “Enzacio” has nearly 14 million.
“Ready for this new season — big thanks to the Warner fam for keeping it real. This is where boys become men,” said Clarent in a statement.
“We are thrilled to partner with Clarent and his team to help build on his unique vision and take his career to new heights,” said Alejandro Duque, president of Warner Music Latin America. “Clarent is a perfect example of how genres get disrupted and authentic sounds emerge and pave new roads in music.”
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Signing Clarent was a months-long process for Warner, added Roberto Andrade, MD of Warner Music Latina. “This isn’t just another record deal — this is an alliance,” he said in a statement. “We crafted a partnership out of months of mutual understanding, collaboration, and shared vision.”
Andrade and Duque worked closely with Clarent and his manager, Jonniel (Jadiel Nuñez Olivera) of Rythmz51, on the deal. On Dec. 13, Clarent is releasing a new track under Warner titled “Babayaga,” a moody trap song.
“Shoutout to the team at Warner Music Latina for believing in this vision and backing us all the way,” said Jonniel. “This is just the kickoff to something amazing. Clarent’s got that raw, undeniable talent, and I’m stoked to be on this journey with him.”
Following the release of the anticipated sequel film, Moana 2, which in its opening week earned $225 million at the U.S. and Canada box office, the movie’s soundtrack proved to be just as big a hit, debuting in the top 10 of three Billboard album charts.
Featuring the voices of returning actors Auliʻi Cravalho (Moana) and Dwayne Johnson (Maui), Moana 2 also debuted a new musical pair in composing duo Barlow & Bear (Abigail Barlow and Emily Bear). Together, the two made history as the youngest and only all-women songwriting duo to create a full soundtrack for a Disney animated film. (Barlow & Bear stepped in for Lin-Manuel Miranda, who helmed the music for 2016’s original Moana.)
“They were brought on for their immense talent as musicians and storytellers,” says Tom MacDougall, president of Walt Disney Music and Billboard‘s Executive of the Week, who also A&R’d the soundtrack. “Where being younger did come into play revealed itself in their ability to understand the feelings Moana was having as a young woman trying to achieve great things and channeling that experience into the story.” (Moana 2 picks up three years after the original film left off; this time, Moana receives an unexpected call from her ancestors that brings her back to the ocean.)
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The celebratory opening week for Moana 2 is just the beginning of a busy year’s end for Disney, as MacDougall’s next soundtrack is already on its way. On Dec. 20, Mufasa: The Lion King will arrive along with its original soundtrack by Miranda.
And while MacDougall says “we simply release films when they’re ready,” he does believe there’s something special about the end of a year. “I do think [this period] represents a time of reflection, joy and family,” he says. “I can see how those emotions can get you in the mood to see characters sing.”
Moana 2 debuted in the top 10 on three of Billboard’s album charts (No. 2 on Kid Albums, No. 10 on Soundtracks and No. 10 on World Albums). What key decisions did you make to help make that happen?
Our partners at the Disney Music Group and studio marketing know the “first responders” to our soundtracks live in these key categories and they look to service them early with sneak peeks, exclusives and lyric videos. As the films broaden out — like Frozen and Encanto — we look to capture all audiences on as many charts as we can, including the top song and album charts.
The first Moana soundtrack topped both the Kid Albums and Soundtracks charts for 54 and 62 nonconsecutive weeks, respectively. How are you and the team aiming for similar longevity with Moana 2?
We are always humbled by any charting, and don’t expect the past to point to future success but we do go to great lengths to find the core emotional situations that, dare I say, demand that these characters sing. My experience is that when we hit that mark — which I think we did with Moana 2 — success can follow.
What challenges did you and the team face in following up a musical smash like Moana?
Sequels to musicals are tricky as you need new adventures, obstacles and desires to sing about or it won’t feel like an evolution for the characters. With Moana being older and wiser, she has taken on more responsibilities to her community and her family which provided fertile ground for her to sing. And, of course, our demigod Maui is always finding reasons to sing, and Dwayne [Johnson] really pushed himself creatively to find yet another plateau for his talents as a vocalist for the new song “Can I Get A Chee Hoo?”
In addition to Moana 2, Mufasa: The Lion King arrives on Dec. 20. For any sequel or franchise continuation, when it comes to the music, what is the secret to balancing familiar sounds with new?
I think the secret to a musical sequel is to make sure you’re offering something new for the characters, the story and the music, but [that] doesn’t abandon what’s come before. Barlow & Bear represented the new on Moana 2, and [composers] Opetaia Foa’i and Mark Mancina were the foundation of what came before that brought the warm familiar feeling audiences come to expect from the world of Moana.
For you, what’s the signal that the team has a hit on its hands?
Honestly, we don’t consider any film soundtrack to be a hit until the audience has spoken. There is often a slow period of absorption that seems to happen with music that doesn’t follow the near instantaneous assessment of box office success, so sometimes we just have to wait. With Moana 2 audiences have told us they want to spend a lot of time in that world, so I don’t think we’ll have to wait long to consider the soundtrack a hit.
How “far” do you see the Moana movies in particular going — are there any current plans “beyond” this sequel?
Having now worked on both films for over a decade of my career, I’m looking forward to just enjoying this moment of success and be grateful audiences have responded to these films in this unprecedented way. Can I get a chee hoo?