Record Labels
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BMG announced on Monday (Feb. 26) an exclusive recordings agreement with the estate of the iconic Spanish flamenco guitarist Paco de Lucía. In a partnership with the Paco de Lucía Foundation, BMG is set to release Pepito y Paquito, an album featuring 21 previously unreleased tracks by Paco de Lucía and his brother Pepe, in May 2024.
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“We are delighted that these very special recordings, completely unknown until now, will finally be released with BMG on such a special date as the 10th anniversary of Paco de Lucía’s departure,” representatives of Paco de Lucía’s Estate said in a statement. “These recordings are an extraordinary document that reflects the first steps in the career of Paco de Lucía and Pepe de Lucía, and they are already part of the history of flamenco.”
According to a press release issued by BMG, the recordings — which date back to 1959 and 1960 — give flamenco fans an insight into the “early musical endeavors” of Pepe and Paco at the ages of 13 and 11, respectively. AI was used to help restore the recordings from a vintage Grundig TK46 tape recorder.
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“I never thought these recordings would ever see the light of day, but thanks to the tireless work of the team that has been part of this process, the tapes have finally been restored and are ready to be released,” added Pepe. “When I listened to the tapes again, more than 60 years after their original recording, I couldn’t believe that those children were my brother Paco and me. It is a wonderful recording that brings back fond memories of the happiest time of our lives and serves as a fitting finale to our careers.”
“It has been a privilege to work hand in hand with Pepe de Lucía and the Paco de Lucía Foundation for more than a year to document, restore, and finally publish these tapes that showcase the genius of these two brothers who changed the history of music in Spain and around the world,” said Javier Doria, BMG director A&R Spain.
The deal comes on the heels of a Paco de Lucía Legacy Festival, which took place in New York from Feb. 20-24 commemorating the 10th anniversary of Paco de Lucía’s death. A historical figure in flamenco and a key figure in the globalization of the music, Paco de Lucía was honored by more than 30 flamenco artists at the four-day event.
L to R: Francisco Sánchez Gómez (Paco de Lucía) and José Sánchez Gómez (Pepe de Lucía) with their mother Lucía Gomes Gonçalves
© Family Photo Archive
The Universal Music Group purchased a majority stake in Nigerian record company Mavin Global, the iconic label founded by Don Jazzy that is home to Rema, Ayra Starr, Crayon and Ladipoe, among others. The deal is expected to be completed by the third quarter, pending regulatory approval, the companies announced.
Terms of the deal were not disclosed. However, Billboard reported in October that Mavin was being shopped by Shot Tower Capital at a valuation north of $125 million, with a sale price in the region of $150 million to $200 million; it was unclear if publishing was involved in the deal. As part of the investment arrangement, Don Jazzy — who founded Mavin in 2012, and also serves as CEO — and COO Tega Oghenejobo will continue to run the label.
“Our criteria for identifying partners is straightforward: great artists, great entrepreneurs, great people,” UMG chairman/CEO Lucian Grainge said in a statement announcing the deal. “With Don Jazzy, Tega, the Mavin Global team and their artist roster, we’ve found ideal partners with whom to grow together. Mavin’s brilliant artists have been catalysts in the transformation of Afrobeats into a global phenomenon and we’re thrilled to welcome them into the Universal Music Group family.”
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Mavin had already established a relationship with UMG, with Rema’s “Calm Down” — the biggest Afrobeats song of all time, which reached No. 3 on the Hot 100 last year — initially distributed by Virgin Music, with its remix featuring Selena Gomez licensed to Interscope; Starr, meanwhile, has a deal in place with Republic. “Calm Down” has racked up more than 1 billion on-demand streams in the U.S. alone since its release, with its global count many multiples higher.
The investment is designed to spur Mavin’s growth around the world, according to a press release, with focuses on both Mavin’s Artist Academy, which nurtures its roster in various musical and performance skills, and its executive leadership team, which is aimed at growing the next generation of African leaders in the music business.
“With our proven history of collaborations within the UMG family, we have a strong belief that they are the ideal partner for the next phase of our growth, given the diversity and potential of our business,” Oghenejobo said in a statement. “UMG is home to some of the world’s foremost music entrepreneurs and artists, making them a perfect match for our aspirations. By collaborating with UMG, we are dedicated to cultivating a vibrant creative environment that propels African music to new heights on the global stage.”
Winning the Mavin auction catapults UMG deeper into the Nigerian Afrobeats scene — the umbrella genre that encompasses Afropop, Afro fusion, high life and others that continues to explode around the globe. In the past several years, artists such as Wizkid, Davido and Burna Boy have blossomed into global superstars, while the likes of Rema, Starr, Tems, Tyla, Ckay, Asake and Fireboy DML have led a wave of young, emerging talent coming from the African continent. The movement has gained momentum to the point that the Recording Academy introduced a new Grammy Awards category for best African music performance, which was awarded to Tyla’s “Water” at the honors earlier this month.
Additional reporting by Ed Christman.
Nora Fatehi, a Canadian-born Bollywood star with Moroccan roots, has signed a recording contract with Warner Music as the actress, dancer and singer looks to add “global music star” to her professional accomplishments. Based in India, Fatehi will work closely with WMG teams in the U.S. and globally on music-related releases and projects, but remain signed with Indian label T-Series for her Bollywood work.
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Fatehi made her name across India performing what are known as item songs — special musical numbers inserted into a movie — in numerous Hindi, Telugu, Tamil and Malayalam films. Her appearance in the 2018 film Satyameva Jayate, in which she performed the Bollywood classic “Dilbar,” led to her recording and sining an Arabic version of the song in collaboration with Moroccan group Fnaire that has racked up hundreds of millions of views on YouTube.
Her other musical endeavors have included collaborations with Tanzanian artist Rayvanny for the Afropop track “Pepeta,” as well as British singer Zack Knight for the pop song “Dirty Little Secret.” She has also released several solo tracks, including “I’m Bossy” earlier this year. According to WMG, Fatehi’s Bollywood songs have garnered over five billion views on YouTube, such as “Saki Saki,” Kusu Kusu” and “Garmi.”
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In late 2022, Fatehi shared the stage with global stars Davido, Ozuna, Manal, Balqees, Rahma and GIMS at the closing ceremony of the FIFA World Cup 2022 in Qatar, where she grabbed the spotlight for the English version of Cup anthem “Light the Sky.”
Indian music fans spend over 24 hours each week listening to music, with top genres including Bollywood and Indian Pop, among others, according to IFPI’s latest Engaging With Music report. Fatehi’s background and versatility, along with being fluent in multiple languages, means she won’t be limited to the vast market of her home base. The Middle East and North Africa, for example, was the fastest growing region for music in 2022, jumping 24%, reported IFPI, while Asia grew by 15.4%.
“Nora is an extraordinary talent, electric performer, and cross-cultural superstar whose music reflects the rich diversity of her background,” said WMG CEO Robert Kyncl. “Her passion and ambition are infectious and we’re excited to help her reach new audiences, places, and heights across the globe.”
Alfonso Perez-Soto, president of emerging markets for WMG, added: “I’ve been blown away by Nora’s star power. She has the creative ability and sheer stamina you need to become one of the world’s biggest artists. We can’t wait to put the global resources of Warner Music at her disposal as she starts the next chapter of her music career.”
In the meantime, Fatehi’s film career continues in its upward trajectory with the release on Friday (Feb. 23) of Crakk – Jeethegaa Toh Jiyegaa, a Hindi-language film billed as the “first-ever extreme sports action film in India.”
“I’ve enjoyed great success in my career so far, but this deal is a significant step forward in my musical journey, a new chapter in my international career,” she said. “My ambition is to be a global music star and performer, connecting with fans all over the world. I want to use my diverse cultural background to create music and dance that brings everyone together! I’m excited to work with Warner Music to leverage their experience and expertise to help me fulfill this goal.”
Livestream shopping platform NTWRK is acquiring streetwear, music and sports-centric media company Complex Networks. The deal will create a new entity that the two companies claim will be “a new destination for ‘superfan’ culture” and bring an e-commerce marketplace into the former media brand’s ecosystem.
The news was announced Wednesday (Feb. 21), with investment from Main Street Advisors, Universal Music Group, Goldman Sachs and Interscope Records founder Jimmy Iovine. UMG will also come on board as a strategic partner and current Interscope chairman/CEO John Janick will join the company’s board.
NTWRK is acquiring Complex from Buzzfeed, which purchased the streetwear-focused media company in 2021 for $300 million. Terms of the deal were not disclosed, though The New York Times reported last October that a deal worth $140 million was close; subsequent reporting in December put the price at slightly more than $100 million. NTWRK co-founder/CEO Aaron Levant — who initially created NTWRK alongside Jamie Iovine and Gaston Dominguez-Letelier, and co-founded ComplexCon with Complex founder Marc Ecko in 2016 — will become CEO of the new company.
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“Complex has been a beacon of culture and innovation for over two decades,” Levant said in a statement. “My journey with Complex began as an admirer of their original magazine in 2002 and it has now come full circle as I step into the leadership role. Alongside this impressive team, we will create the definitive global content, commerce and experiential platform of convergence culture.”
NTWRK has previously worked with several UMG artists, including Billie Eilish, Post Malone and BLACKPINK, the latter of whom worked with Takashi Murakami for Interscope’s 30th anniversary vinyl collection. UMG’s involvement, however, is not an exclusive one, and the new platform will remain open to artists of any label, major or independent.
“This partnership will give our artists access to a dynamic network to deepen connections with superfans through unique collaborations and cultural moments,” said Janick in a statement. “We share a collective vision on how D2C, experiential, brand partnerships and content are mutually reinforcing cornerstones of the fan experience. We will continue to sign and elevate new generations of great talent and we believe that we can best serve these artists through a holistic set of capabilities.”
The focus on the superfan is one that is a priority for UMG this year, with UMG chairman/CEO Lucian Grainge writing in his New Year’s memo to staff that “the next focus of our strategy will be to grow the pie for all artists, by strengthening the artist-fan relationship through superfan experiences and products,” which he called part of “the blueprint for the labels of the future.”
The new company also comes amid a lot of changes in both the music and media spaces. UMG announced a huge label restructuring earlier this year, with Janick taking on oversight of Capitol Music Group and other labels, as the music major approaches looming layoffs. At the same time, Buzzfeed is believed to be selling Complex for much less than half of what it acquired it for just three years ago, amid a wider run of layoffs and closings of media outlets across the industry. Warner Music Group, which last year laid off 600 people, also announced that it would be selling some of its owned media properties, such as HipHopDX and Uproxx.
“Aaron Levant, along with Jamie Iovine and Gaston Dominguez-Letelier, are building an incredible platform and this acquisition will exponentially accelerate its growth,” Jimmy Iovine said in a statement. “Combining the power and reach of Complex with the NTWRK engine serving creators across music, fashion and art will be transformative for the next generation of consumer technology.”
A&R veteran Tim Glover is named as president of A&R, Pulse Records, Billboard can confirm.
Glover joins the team from Interscope Geffen A&M, where he served as executive VP of A&R since 2022, and held the position as senior vp of A&R before that.
In his new role, announced today (Feb. 21), Glover works specifically on the Pulse Records division of Pulse Music Group, the umbrella company, and reports jointly to Scott Cutler, co-CEO of Pulse Music Group; Josh Abraham, co-CEO of Pulse Music Group; and Ashley Calhoun, president, Pulse Music Group.
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During his time at Interscope, Glover was the point person for the label’s partnerships with Dreamville — which has included such artists as J. Cole, JID and Ari Lennox, among others — and LVRN, including Summer Walker and 6LACK, as well as working with Tierra Whack and more than a dozen other artists at the label.
“Tim’s creative ability has led him to sign and work with some of the world’s top recording artists,” reads a statement issued jointly by Abraham, Cutler, and Calhoun. “We want our artists at Pulse Records to work with the very best in executive talent and Tim will be a key part of the team as we continue to build.”
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The experienced recruit joined Interscope in 2014, was promoted to senior vp in March 2019, and in 2021 was named to Billboard’s 40 Under 40 list of trailblazing young executives in the music business.
At Pulse, Glover will continue to A&R select projects with Interscope, a rep tells Billboard.
Launched in June 2023, Pulse Records is a part of Concord Label Group and is distributed through the company’s longtime relationship with Universal Music Group.
Since then, Pulse Records formed an artist development joint venture with ISO Supremacy, the new record label founded by platinum recording artist and Pulse Music Group publishing client, Brent Faiyaz. Through that arrangement, Pulse and Faiyaz signed Tommy Richman to Pulse Records.
Also, Pulse Records recently signed New Zealand-born, South African artist 9lives, a leader in the Sigilkore scene, a rap subgenre which blends cloudrap, hyperpop, and electronic, working with the likes of Trippie Redd, Rico Nasty, JELEEL!, Kanii and Odetari.
The Pulse team “is synonymous with artist creativity, artist development, building a strong creative community, and they go out of their way to customize their A&R strategies to the unique needs of each and every artist,” comments Glover in a statement announcing his appointment. “I look forward to big things ahead.”
Sony Music Nashville has launched a non-country imprint, First Flight Records, with singer-songwriters Darren Kiely and Ben Goldsmith. Though the company is only announcing the label now, it’s already experiencing success with pop/folk artist Kiely, whose song “Sunrise,” hit No. 1 on the Irish Homegrown chart.
Kiely’s No. 1 in Ireland “signifies what I want this to become in scope and scale,” Sony Nashville chairman/CEO Randy Goodman tells Billboard. “What I hope this will be for us is a significant global proposition as well.”
The genesis of the label started when SMN A&R manager Nathan Thomas was greatly impressed after seeing the 17 year-old Long Island native Goldsmith perform in Nashville. Goldsmith then came to the office and “He goes from guitar to piano, he sings his ass off. He’s writing songs that sound like they could be on Elton John’s Madman Across the Water but with a very current feel,” Goodman says. “It was one of those things where we don’t really know what to do with this, but we felt like it was important and we all wanted to be involved with it.”
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Then the A&R staff discovered Irish artist Kiely, who had moved to Nashville via New York, via a video online. As his music began to resonate in his native country and the U.S., Kiely , who was influenced by acts like The Lumineers and Mumford & Sons, signed with UTA and is now on a headlining U.S. club tour in support of his Lost EP. That set’s “Mom & Dad” has landed in the top 5 of the Irish Homegrown chart.
Though the first two signings are folk-tinged singer/songwriters, Taylor Lindsey, Sony Nashville’s senior vp of A&R, stresses that the remit for the label is simply to sign artists and authentic storytellers who are “not country…If it made sense and an artist walked in here who was a hip-hop artist or a true pop artist, we wouldn’t take those off the table.”
Releases will be tagged Free Flight/Sony Music Entertainment, not Free Flight/Sony Music Nashville, to reinforce that Free Flight is not a country label. “When people think of Sony Music Nashville, they think of country, obviously,” Lindsey says. “But these artists are not falling into our traditional country mold. From a global standpoint, we want people to not be confused and we also want to make sure that unsigned artists understand that we can have a home for them that isn’t affiliated with our traditional country strategy.”
Free Flight Records resurrects the name of an RCA Nashville-affiliated imprint started in the ‘70s, when acts like Charlie Daniels and Exile were having both pop and country success. “It was created for a similar purpose and that was to serve a movement of music outside of the purely country category,” Goodman says. The label only existed for a short time in the ‘70s and has been dormant since then, but the name still belonged to Sony. “We just thought that could be a really cool bit of connective tissue to what we’re doing right now,” Goodman says.
At a time when pop labels are signing country acts, such as Warner Records signing Zach Bryan or Columbia inking outlaw country artist Koe Wetzel, Goodman says the borders are gone. “We should be as genreless and as broad thinking as we possibly can because the new world order allows us to do so,” he says. “It’s a fun, creative thing for us, but it’s also a really good business model because we’re sitting right here in the community of this incredible songwriting city. Ben and Darren opened our eyes to what is actually happening in our backyard.”
Goldsmith released For the World Between My Ears on Sony Music Nashville in September but is already working on his new project for Free Flight. He’s in Los Angeles writing for the album now with such songwriting greats Dan Wilson and Rick Nowels.
Though terrestrial radio may come into play, the plan is to promote these artists primarily through digital strategies including streaming and social media. “If and when the time is right to work them at terrestrial radio, we will, but for us strategically, whether it’s [Sony Music Nashville] or Free Flight, that’s always kind of the last piece of the puzzle,” Goodman says, though he adds that when Goldsmith toured last year, they serviced his music to Triple A radio. “We thought this is probably a crowd where we should go ahead and create some awareness with Ben,” he says.
For now, Sony Nashville’s existing staff will handle Free Flight’s roster, though Lindsey says “as this progresses, we’ve already discussed the possibility of staffing up and what that could look like.” There is no “magic number” when it comes to how many acts Free Flight will sign,” she adds.
The goal is simply to sign and build acts unfettered by attaching labels. “I don’t want people to look at Free Flight and go, ‘Oh, that’s a rock imprint’ or ‘That’s a pop imprint,’” Goodman says. “At its core, it’s just about being as broad minded as we possibly can be.”
UMG Nashville has launched Silver Wings Records, a distribution arm and independent artist services, fueled by Virgin Music Group’s global distribution network. Silver Wings Records will create custom campaign services for independent artists, offering options for developing and enhancing campaigns. Explore Explore See latest videos, charts and news See latest videos, charts and news UMGN’s […]
Universal Music Group is poised to open its first Capitol Studios outside of Hollywood, plus live performance spaces, music education academies and a new record label, as part of a collaboration with DGMC in the burgeoning music hub of the United Arab Emirates. Explore Explore See latest videos, charts and news See latest videos, charts […]
The fallout from Warner Music Group’s company-wide cull has already reached Australia, where the head of the domestic Warner Chappell company, Matthew Capper, is understood to be among the departures.
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Capper has led Warner Chappell Australia as managing director since 2010, and boasts more than 20 years’ service with the company.
A popular figure in the music publishing community, Capper joined Warner Chappell in 2003, initially as a copyright/royalty analyst, was promoted to general manager in 2004, and was named managing director in July 2010.
Prior to working at Warner Chappell, Capper cut his teeth as administration manager at Festival Music Publishing, a now-defunct Australian independent music publishing brand which was acquired by Mushroom Music in 2005.
Outside of his duties leading Warner Chappell’s affiliate from Melbourne, he is non-executive director of APRA and AMCOS, deputy chair of AMCOS, chair and non-executive director of publishers trade association AMPAL, and treasurer and non-executive director of ICMP, the global trade body representing the music publishing industry worldwide.
On his election to the board of APRA in 2007, he become the youngest-ever director of the authors’ rights society, aged 30 – a record that still stands.
Capper will finish up with Warner Chappell Australia on Feb. 29, 2024, sources say, tying in to sweeping changes announced earlier in the week by Warner Music Group CEO Robert Kyncl.
In an internal memo to staff obtained by Billboard, Kyncl wrote that the company will be reducing headcount by 10%, or some 600 people, as part of a plan to free up $200 million in cost savings to reinvest into the business.
Those cost savings will be realized by the end of September 2025, Kyncl said in the memo; some of those laid off have already begun to be informed, while the “vast majority” will be notified “by the end of September 2024,” he writes.
“As we carry out our plan, it’s important to bear in mind why we’re making these difficult choices,” the memo continued. “We’re getting on the front foot to create a sustainable competitive advantage over the next decade. We’ll do so by increasing funding behind artists and songwriters, new skill sets, and tech, to help us deliver on our three strategic priorities,” which he says includes growing engagement with music, increasing the value of music and evolving how Warner’s teams work together.”
Just before news broke of those company-wide cuts, WMG announced that its quarterly revenue grew 17% for the period ended Dec. 31, 2023, up 11% in normalized revenue, to $1.75 billion — its highest quarterly result ever.
Warner Music Group announced Wednesday (Feb. 7) that its quarterly revenue grew 17% for the period ended Dec. 31, 2023, up 11% in normalized revenue, to $1.75 billion, its highest quarterly mark ever, ahead of its earnings call Thursday. At the same time, CEO Robert Kyncl announced in an internal memo to staff obtained by Billboard that the company will be reducing its workforce by 10%, or some 600 people, as part of a plan to free up $200 million in cost savings to reinvest into the company.
Much of that workforce reduction, Kyncl wrote, will come in the form of Warner’s owned and operated media properties — such as Uproxx and HipHopDX, which it acquired in August 2018 — as well as in corporate and support roles. “Earlier today, we began exiting our O&O media properties, as well as our in-house ad sales function,” Kyncl wrote. “These are dynamic platforms, but they operate outside our core responsibilities to our roster. We’re in an exclusive process for the potential sale of the news and entertainment websites Uproxx and HipHopDX, with more to say on that soon. After a thorough exploration of alternatives, we’ve decided to wind down the podcasting brand Interval Presents and social media publisher IMGN.”
Kyncl further added that Warner is making the move from “a position of strength,” noting that the company currently has five of the top 10 songs on the Hot 100, “and that’s the smart time to change, innovate and lead. Music is constantly morphing, so we need to morph with it.”
That $200 million in cost savings will be realized by the end of September 2025, Kyncl said in the memo; some of those laid off have already begun to be informed, while the “vast majority” will be notified “by the end of September 2024,” he writes.
“As we carry out our plan, it’s important to bear in mind why we’re making these difficult choices,” the memo continued. “We’re getting on the front foot to create a sustainable competitive advantage over the next decade. We’ll do so by increasing funding behind artists and songwriters, new skill sets, and tech, to help us deliver on our three strategic priorities,” which he says includes growing engagement with music, increasing the value of music and evolving how Warner’s teams work together.
Read Kyncl’s full note to staff below.
Hi everyone,
We just finished our first All Hands of 2024 from LA.
This is a pivotal moment in the evolution of this great company, so I wanted to make sure you heard about it directly from me. As I outlined in my note last month, 2024 is a year during which we will double down on our core business and move at an increased velocity to seize the incredible opportunities for music in the new world.
This week, our recording artists make up five of the top 10, and our songwriters have six of the Top 10, on the Billboard Hot 100. Today, we’re revealing our latest quarterly results: we grew 11% in normalized revenue. And with growing momentum in Recorded Music streaming and excellent results in Music Publishing, we hit our highest quarterly revenue ever. We’re in a position of strength, and that’s the smart time to change, innovate, and lead. Music is constantly morphing, so we need to morph with it.
Today, we’re announcing a plan to free up more funds to invest in music and accelerate our growth for the next decade. To do that, we have to make thoughtful choices about where we put our people, resources, and capital. So, as part of that plan, we’ll be realizing approximately $200 million in annualized cost savings by the end of September 2025. The majority of these savings will be reinvested, putting more money behind the music.
Our plan includes reducing our workforce by approximately 10%, or 600 people – the majority of which will relate to our Owned & Operated media properties, corporate and various support functions.
We’ve already begun to inform many of the impacted employees, and the vast majority will be notified by the end of September 2024. I recognize this is unsettling news. To the people who will be leaving us: you deserve a heartfelt thank you for your hard work and dedication. We’re fortunate that you’ve been part of the team. We’ll be moving as thoughtfully and respectfully as possible, so you have the critical information you need, and we’ll support you through this transition.
Earlier today, we began exiting our O&O media properties, as well as our in-house ad sales function. These are dynamic platforms, but they operate outside our core responsibilities to our roster. We’re in an exclusive process for the potential sale of the news & entertainment websites Uproxx and HipHopDX, with more to say on that soon. After a thorough exploration of alternatives, we’ve decided to wind down the podcasting brand Interval Presents and social media publisher IMGN. Maria and I continue to discuss the ongoing evolution of WMX, and how best to further improve our services to artists and labels, and she’ll update the team in the coming weeks.
As we carry out our plan, it’s important to bear in mind why we’re making these difficult choices. We’re getting on the front foot to create a sustainable competitive advantage over the next decade. We’ll do so by increasing funding behind artists and songwriters, new skill sets, and tech, to help us deliver on our three strategic priorities:
Grow the engagement with Music
Discovering and developing artists and songwriters is at the heart of everything we do. We’ll turbocharge our efforts and investments, with additional focus on high growth geographies and vibrant genres, as well as using our data and insights to help original talents cut through the increasing noise, and taking a holistic global approach to maximizing the potential of their catalogs.
Increase the value of Music
This is one of our industry’s largest and most complex opportunities and one that we’re working on diligently, whether it’s new DSP deal structures or building superfan experiences to help artists connect directly with their most passionate followers.
Evolve how we work together
In order to grow at an accelerated pace, we need to structure our organization so that we can grow efficiently and continue to invest more into music at the same time. That requires being intentional about where centralized shared functions make sense, versus where they are best fully dedicated. This will empower subject matter experts, while scaling our resources. We already made moves in this direction by centralizing our technology, finance and business development teams last year.
Above all, we’re positioning ourselves to be first, to be different, and to be exceptional. I – and the entire leadership team – will be keeping you updated as we make progress. In May, we’ll hold our next All Hands meeting, which we’ll devote to our best new music, as well as our most promising projects.
Thank you for your understanding, passion, and determination. We’re in an amazing industry, we’re partnered with many extraordinary artists and songwriters, and now is the time for us to pioneer the future.
Robert