Record Labels
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Illenium has signed with Republic Records. The move comes after the electronic producer’s tenure at Warner Records, where he released two albums dating back to 2021. Prior to that, he was signed to UMG and the indie labels Seeking Blue and Kasaya Records.
“This is a completely new chapter for me,” the artist born Nick Miller tells Billboard of signing with Republic. “When I had my meeting with Republic, I just felt a family sort of love. I want people working my music that are as passionate as I am and truly have my best interest in mind. Republic absolutely has that for me.”
“I just felt an energy at Republic that was really inspiring,” he continues. “They’re also the best at what they do, so it’s hard to even consider anywhere else.”
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Illenium says that within the next six months, he’ll reveal information about a new project that he calls “my most ambitious, without a doubt.” He doesn’t say whether or not this project is a new album, but notes that “I’m working every day, but don’t have an exact ETA yet. But I’m moving at light speed.”
The last Illenium album was a 2023 self-titled project and an attendant remix album. Since then, the Colorado-based producer has released a handful of singles and remixes. His forthcoming work will include what he calls “a sick drum n bass style song” with Kid Kudi. He also says that “Ryan Tedder and I wrote something beautiful with Amy Allen and Lostboy,” and there additionally is “a bunch of other stuff that’s awesome but not ready to share yet.” On Tuesday (May 6), Illenium and Hayla also teased a new collaboration they say is “coming soon.”
“We are thrilled to welcome Illenium and his expert team to the Republic family,” Glenn Mendlinger, the evp of Republic Records and president of IMPERIAL & Casablanca Records tells Billboard. “The world he has created and the fandom he has built over the last decade is nothing short of remarkable. Nick is a true pioneer in the electronic music landscape and has carved out a lane that is distinctly Illenium. His anthemic, emotional music and signature production has touched people globally and his landmark live shows have created incredible communal moments for his fans. Together our ambitions are grand and the team is already setting up for a historic year ahead.”
In addition to his recorded music, Illenium has carved out a wildly successful touring career, becoming one of the few electronic artists able to play and sell out stadiums and arenas. His Trilogy shows have taken place at a handful of stadiums across the U.S., with a 2023 show in Denver grossing $3.9 million and selling 47,000 tickets, according to numbers reported to Billboard Boxscore.
Content creator and streamer N3ON has signed a record deal with EMPIRE, the company tells Billboard. Through the agreement, which EMPIRE calls the first of its kind with a streamer, the label will release a collaborative project from N3ON and his network of creatives. Jake Moritt at Proper Loud, a management company that specializes in […]
Create Music Group (CMG) has acquired indie electronic label Monstercat.
Founded in Waterloo, Canada, in 2011 and now with offices in Toronto and Los Angeles, Monstercat will continue to be operated by president Daniel Turcotte, vp Orri Sachar and director of finance Rob Hill. Monstercat founders Mike Darlington and Ari Paunonen will have advisory roles.
The acquisition will provide Monstercat with access to CMG’s global infrastructure, media portfolio and capital — enabling it to offer more competitive deal structures and better marketing support while expanding its global presence.
Beyond the acquisition, Create plans to invest an additional $50 million into the label over the next two years, with the money specifically going towards artist development, advances, and support for new signees and longtime roster artists.
Since 2011, Monstercat has released more than 8,000 recordings from artists across the electronic spectrum, including Kaskade, Alan Walker, Vicetone, Punctual, Whipped, DJ Diesel (the artist name of Shaquille O’Neal), Koven and more. Monstercat sublabels servicing various subgenres include Uncaged, Silk and Instinct.
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“Our mission has always been to build sustainable, long-term careers for exceptional artists,” Turcotte said in a statement. “Create gives us the reach and support to do that at a larger scale, without changing what makes Monstercat special. We’re still artist-first — only now with more tools to serve them.”
“Monstercat is everything an independent label should strive to be — exclusive, globally trusted and capable of breaking artists and songs at the highest levels,” added Create Music Group co-founder/CEO Jonathan Strauss. “Mike, Ari, Daniel, Orri, and the entire Monstercat team have built a culture and community at a scale rarely achieved in the music industry. We are excited to support their mission.”
The news marks the continuation of a recent acquisition spree by Create, with the company announcing in March that it acquired both the deadmau5 catalog and the catalog of the producer’s mau5trap label in a deal valued at $55 million. In April, it announced its acquisition of longtime indie electronic label !K7.
In 2024, Create received $165 million in backing from private equity company Flexpoint Ford, with Strauss at the time saying that the money would be used to scale operations, expand services and fund acquisitions.
The company is now aggressively pursuing acquisitions and investments in key indie labels and artists, with a goal of building intellectual property that can be successfully exploited via its platform. A representative for Create says this platform includes distribution and an owned audience that generates more than 200 billion monthly music streams on digital service providers.
Sara Nix and Joe Mortimer have been named co-heads of creative at Capitol Music Group, based at the label’s iconic Capitol Tower in Hollywood.
Nix joins Capitol after six years as executive producer at Partizan, the company founded by Eternal Sunshine of the Spotless Mind director Michel Gondry. With nearly 15 years of global production experience, she has worked with artists like Pharrell Williams, Billie Eilish and Burna Boy, and directors such as Warren Fu and Ally Pankiw. Her portfolio spans music videos, branded documentaries and short films for major lifestyle and brand clients. Nix began her career in Amsterdam and has led projects across continents.
“I’m thrilled to be joining the Capitol team,” said Nix. “It’s an iconic label with a rich history, and I’m excited to collaborate with the incredible artists here to help them bring their creative visions to life.”
Mortimer joins the mothership after serving as creative director at CMG’s Astralwerks since 2018, where he led global campaigns for Marshmello, Illenium, Zhu, and others, while also collaborating with Capitol artists like The Beatles and Katy Perry. He worked on the Grammy-nominated campaign for Troye Sivan’s Something to Give Each Other. Previously based in London, Mortimer was an art director for acts like Jungle and Bob Moses, and has collaborated with top creatives including Jack Bridgland and Hannah Lux Davis.
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In 2025, Mortimer co-created the California Picture Project, a photographic print sale that raised funds for the Los Angeles wildfires, with contributions from over 160 artists including Spike Jonze, Sofia Coppola, Gabriel Moses, Nadia Lee Cohen, and Petra Collins.
“Over the years I’ve worked closely with many of the executives and artists at Capitol,” said Mortimer. “I’m so excited to be taking on this role to steer the creative vision of the label along with Sara.”
The executive team at CMG includes former Geffen head Tom March as chair/CEO and UMPG veteran Lilia Parsa as president, replacing ex-CMG chair/CEO Michelle Jubelirer and president Arjun Pulijal earlier this year. These changes were part of a significant restructuring of Universal Music Group’s label organization, placing UMG’s West Coast labels — Interscope, Geffen, A&M, Capitol, Blue Note, Priority, Verve and Motown — under the oversight of John Janick as part of the Interscope Capitol Labels Group.
“Sara and Joe come to Capitol after having worked with some of the most acclaimed artists, directors and creative visionaries in the world,” said March. “Together they form a potent team to help the incredible artists on our label reach their full creative potential and drive our ongoing transformation at Capitol.”
Zach Bryan has re-upped with Warner Records, Billboard has confirmed.
The extremely prolific singer-songwriter has released three studio albums on the label since first signing with it in 2021: 2022’s American Heartbreak, 2023’s self-titled set and 2024’s The Great American Bar Scene. He’s also put out three EPS and two live sets. The Hollywood Reporter first reported the news, adding that the new deal is for at least two albums.
Bryan’s rise has been meteoric. Billboard named him its top new artist of 2023, and he has dominated at both country and rock since then. “I Remember Everything,” his duet with Kacey Musgraves, and “Something in the Orange” were the top two songs on Billboard’s 2024 year-end Rock Streaming Songs chart. That same year, he ranked third on Billboard’s Top Artists of 2024 and No. 1 on the Top Rock & Alternative Artist chart. His self-titled set became his first album to debut at No. 1 on the Billboard 200, and all three of his full-length Warner Records sets have bowed atop Billboard’s Top Country Albums chart.
Bryan has also been a critical favorite, earning four Grammy nominations, with “I Remember Everything” winning best country duo/group performance at the 65th annual Grammy Awards in 2024.
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He’s also a crowd favorite. After headlining the opening night of Stagecoach last month, Bryan is headed to Dublin for three shows in June and then will play BST Hyde Park in London on June 28-29. He will then return stateside for seven stadium shows, including three nights at Metlife Stadium in East Rutherford, N.J.
Bryan helped usher in a new wave of country-oriented acts signing with coastal labels, as Billboard reported in September. Bryan wasn’t the first country-leaning act signed by a major coastal label, but his massive success has proven that an act no longer necessarily needs the usual Nashville methods, including country radio, to break through.
Prior to the pandemic, Nashville labels generally had a lane to themselves when it came to signing country artists, with their relationships at country radio giving them almost exclusive access within the genre. But once COVID hit and touring slammed to a halt, labels became laser-focused on data and analytics as the only available metrics to gauge an act’s success. The coastal labels saw tremendous opportunity and jumped in, with New York and Los Angeles labels signing country-leaning acts with strong streaming numbers and a high TikTok engagement rate, including Warren Zeiders (Warner Records), Koe Wetzel (Columbia), Dasha (Warner Records) and Ella Langley (Columbia); or jointly with a Nashville partner, such as Megan Moroney, who is signed to both Columbia and Sony Nashville.
Warner Records declined to comment on the news.
Within Christian music, few artists of the past decade have made as many waves as Brandon Lake. The singer, songwriter and guitarist, who got his start by crowdfunding his first album, 2016’s Closer, has emerged as one of the genre’s leading lights in recent years, having racked up six Billboard Hot Christian Songs No. 1s, five Christian Airplay No. 1s and one Christian Albums chart-topper, 2023’s Coat of Many Colors.
It was that last album, his first for Provident Entertainment, that really kicked his career into high gear — even beyond the traditional confines of Christian music. As COMC was still producing charting singles, Lake began teasing new music on tour and on TikTok, which started connecting with an audience broader than what he was used to. “With each release, Brandon, his team, and Provident kept raising the ceiling on what was possible and setting a new floor of success for where we could go,” Provident’s president Holly Zabka tells Billboard. By last July, that led to the release of the song “That’s Who I Praise,” which tied the record for longest run at No. 1 on Christian Airplay this decade. But it was his next release that would catapult him into the mainstream.
After teasing the song on TikTok and at shows, Provident released “Hard Fought Hallelujah” in November, months before they had planned, due to fan demand. The response sent the song to No. 1 on Hot Christian Songs, and this week, it not only spends its 20th week at the summit of that chart — making Lake the only artist with three 20-week No. 1s there — but reaches No. 40 on the Hot 100, his first entry on the mainstream chart and the marker of a bonafide crossover smash. And as “Hallelujah” — which also got a high-profile remix from Jelly Roll — continues to gain steam, Provident’s Zabka is Billboard’s Executive of the Week.
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Here, Zabka talks about building into the success of “Hallelujah,” the effects of the Jelly Roll remix and TikTok on the song’s upward trajectory, and why Christian music is growing in popularity right now. “There’s a quote from Moneyball that says, ‘The first one through the wall always gets bloody, always,’” Zabka says. “At Provident, we operate from the perspective of being the first ones through the wall, leading the way for our creators and the genre.”
This week, Brandon Lake’s “Hard Fought Hallelujah” spends its 20th week at No. 1 on Hot Christian Songs, making him the only artist with three songs to lead that chart for that amount of time. What key decisions did you make to help make that happen?
From the moment we signed Brandon, our goal has been to throw out the “rulebook” of how we historically would release music and, as a team, challenge ourselves to think differently at every turn.
Last year, we were roughly seven months into working Brandon’s first release on Provident, Coat of Many Colors, when he started teasing new songs on socials and the road. At that time, we were successfully working two different songs to Christian radio, with DSPs focusing on a third single. Conventional wisdom would say we shouldn’t move on to new music; there was still a lot of gas left in the tank on COMC. We watched and learned that Brandon’s audience had the capacity and hunger to consume the current release while also making room for what was coming next. While the data showed a growing appetite for more music, we also had to listen and watch how his fans engaged, and then trust our instincts, because ultimately, the fans indicate how artists should release content.
By July, we released a new single called “That’s Who I Praise” that doubled our biggest single from the previous record. With each release, Brandon, his team, and Provident kept raising the ceiling on what was possible and setting a new floor of success for where we could go. “Hard Fought Hallelujah” was the second single to be teased way back in the spring. Before there was a plan for a record, we were two singles in, and “HFH” released in late fall, again doubling anything Brandon had previously released. Not only was the current record holding its activity, but everything new kept exceeding expectations.
The song also got a remix with Jelly Roll. How did that help boost its traction?
Obviously, we recognized that adding an incredible artist like Jelly Roll would attract a new audience to the song. Brandon’s solo version of “Hard Fought Hallelujah,” released in November of ’24, exceeded every goal and demonstrated that his audience was already expanding. Before a collaboration was possible, Jelly had heard and been affected by the song, making the request for a potential collaboration feel organic and natural. The combination of Jelly, who is very open about his faith, and Brandon, whose artistry had already begun to transcend the genre, created broader access and opportunities for discovery in new spaces.
How did TikTok play a role in the song’s success?
In early 2024, Brandon began playing the verse and chorus of “Hard Fought Hallelujah” at a few shows and then each night of his summer arena tour. Even in fragments, you could feel people connecting to the message and posting videos of their experiences with the song, proving that something special and unique was happening; people were asking for it. All of this occurred before a release date was scheduled, but everything indicated that this song had already ignited a deep connection.
He officially began teasing it across all social media in August, and we had planned for a January 2025 release, given the success he was already enjoying with his previous releases. However, demand for the song was undeniable, amassing over 10 million views and 35,000 short-form creations before it was released in November.
“Hard Fought Hallelujah” hit No. 40 on the Hot 100 this week, Lake’s first-ever Hot 100 entry, suggesting it has major mainstream appeal. It’s also one of just three songs to chart on both the Hot 100 and Hot Christian Songs since 2020. What’s behind that surge, and how have you helped fuel it?
Brandon and his co-writers have written a song that beautifully captures the authentic experiences many people have in their faith journeys. Life is hard, and maintaining faith during those difficult seasons can be challenging. Everyone can relate to the idea of struggling through something, holding onto hope, and emerging on the other side. That’s what has sparked the surge. The song resonates with people right where they are.
We fueled that surge by not allowing the artist’s past to dictate or limit the song’s potential. We focused on the connection the song was making across various audiences and leaned into that in every possible direction. We have had Jelly Roll on Christian radio, Brandon at country radio, and featured on country playlists, faith playlists, and worship playlists; the song has been sung in churches and now at Stagecoach, breaking through typical genre barriers. Regardless of how successful a song or artist becomes, we consistently ask what we can do to help it reach more people. This mindset, shared by everyone on Brandon’s team, continues to drive the growth of the song and the artist.
Christian music in general has been surging lately. What is behind that, and how has Provident been able to benefit from it?
When songs like Lauren Daigle’s “You Say” or Brandon’s “Hard Fought Hallelujah” impact culture beyond the Christian music genre, they inspire the creative community to elevate songwriting, artist development and expression. They attract fans who may not have previously explored an artist or a song in our genre, primarily because the song or artist connects to something deeper.
Provident has seen remarkable growth over the last two years with artists like Brandon, Elevation Worship, Seph Schlueter and Leanna Crawford. These artists have contributed to the genre’s expansion and are shaping the future of Christian music.
The Christian genre has experienced double-digit growth in the past two years, during which time Provident has gained eight frontline market share points. We’ve outpaced the growth of the genre because, instead of merely benefiting from the increasing interest in Christian music, we’ve aimed to be the driving force behind it. We will continue to foster growth by remaining curious, continuing to learn and maintaining our willingness to break down genre barriers for every artist signed and yet to be signed to the roster.
How do you see Christian music continuing to grow moving forward?
There’s a quote from Moneyball that says, “The first one through the wall always gets bloody, always.” At Provident, we operate from the perspective of being the first ones through the wall, leading the way for our creators and the genre.
We must be willing to try, fail, take risks, push boundaries and explore new spaces with our music. In the past, for a song in the Christian genre to cross over, we had to take the best our genre had to offer and give it to the mainstream. This surge in Christian music is proving we can attract that audience to us. As the genre walls continue to disappear, more and more “mainstream” audiences are discovering that Christian music authentically represents a part of their life, faith and daily experience that can be supported through our music. The growth of the genre isn’t slowing down, and we will continue to lead the way and challenge perceptions of Christian music through the quality, diversity, and authenticity of our songs and artists.
Trisha Yearwood has a new album on the way — and a new label partnership.
Virgin Music Group has teamed with Yearwood and her label, Gwendolyn Records, for new music from the three-time Grammy winner as well as her more recent catalog. The deal reunites Yearwood with Universal Music Group’s Music Corporation of America (MCA), the Nashville-based label she recorded for from 1990 through 2006. MCA will continue to work Yearwood’s catalog from that timeframe.
Yearwood’s new album, The Mirror — her first project in more than six years — is set for release on July 18. The album marks Yearwood’s first set of songs fully co-written and co-produced by the singer herself. In previewing the new project, Yearwood will release two new songs, “The Wall or The Way Over” and “Bringing the Angels.” The album is available for preorder in digital, CD, standard vinyl and limited-edition custom color vinyl formats.
“I’m honored to join forces with Virgin Music Group as I embark on this exciting new chapter,” Yearwood said in a statement. “Bringing my Gwendolyn label into the MCA/Universal family truly feels like coming home. I can’t wait to share my new album, The Mirror. Creating this music has been one of the most rewarding experiences of my life.”
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“Trisha Yearwood is one of the most talented and enduring artists in the world,” Jacqueline Saturn, president of Virgin Music Group North America/executive vp of global artist relations, said in a statement. “We are so proud to have her and her Gwendolyn Records catalog on our roster and are looking forward to her legions of fans hearing this incredible new music.”
“We are thrilled to welcome Trisha Yearwood back to the family, coming full circle as we celebrate and amplify her iconic MCA catalog,” added Mike Harris, president/CEO of MCA. “In partnering her Gwendolyn Records label with Virgin Music Group, Trisha enters an exciting independent chapter — one where she retains creative and commercial control, supported by a world-class global team. We are so happy for her.”
“Trisha is one of the beloved artists in Nashville,” added Jen Bontusa, Virgin’s Nashville-based senior vp of label management. “It’s been amazing working with her and her team so far and we’re looking forward to a long and successful partnership.”
On Wednesday (April 30), Yearwood launched her first headlining tour in six years, starting with a show in Austin, Texas.
Yearwood previously released 10 albums for MCA, starting with her 1991 self-titled debut album, which included her breakthrough debut single: the No. 1 Billboard Country Airplay hit “She’s in Love With the Boy.” Yearwood’s time at MCA Nashville brought other chart-toppers including “Thinkin’ About You,” “XXXs and OOOs (An American Girl)” and “Perfect Love.”
Big Loud has sold a stake in Morgan Wallen‘s recording catalog to Chord Music Partners, Billboard has confirmed. “Big Loud has sold a minority stake in Morgan Wallen’s master recording catalog to Chord Music Partners, as part of a strategic investment to expand the label’s global footprint and fuel long-term artist development,” a Big Loud […]
Bayker Blankenship’s “Maxed Out” is a bankrupt ballad set in a barren landscape of dead-end towns and nearly-empty bars. The narrator drinks a few too many Jack and Cokes when he’s not spending the night in the clink: “I’m getting into fights and I’m falling hard,” Blankenship sings. “I maxed out one more credit card.”
Blankenship released the track in April 2024 through a distribution company called Foundation. “Maxed Out” performed well — so well that Blankenship graduated to Foundation’s sister operation, Santa Anna Label Group, a more high-touch distributor that’s able to put marketing muscle behind its artists.
“I appreciate their expertise on the content and digital side,” says Brian Schwartz, who manages Blankenship. When Santa Anna promotes songs, “they analyze, see what’s working and what’s not,” Schwartz continues. “And they know how to pour the fuel on what’s working.” “Maxed Out” now has more than 121 million on-demand streams in the U.S., according to Luminate.
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Foundation and Santa Anna are both under the command of Todd Moscowitz, the founder of Alamo Records. After launching Alamo in 2016 and introducing Santa Anna at the start of 2023, Moscowitz has cobbled the companies together into “a soup-to-nuts, fully integrated ecosystem where artists [have] a path to graduate to a premier frontline label,” as he puts it. This approach is becoming increasingly common, as both major labels and independents look to sign more acts and offer an array of options that allows those artists to grow over time — while also remaining attached to the company that initially offered them funding.
Foundation functions as a feeder system, signing a lot of young artists, many in hip-hop and R&B, primarily to low-money, short-term distribution deals. Santa Anna is a level up, with the capability to support labels — including OVO Sound, which scored a No. 1 album recently with the PARTYNEXTDOOR–Drake collaboration $ome $exy $ongs 4 U — as well as individual artists who have already generated some momentum. And Alamo is the more traditional frontline label: It signs a small number of artists directly and provides services to each of them.
Hybrid companies like this — offering the flexibility of a distributor but the promotional firepower of a major label — often work better in theory than in practice. Most distributors “don’t know how to take artists to the next level,” Moscowitz acknowledges. At the same time, frontline labels still “don’t have much experience in indie distribution.” Artists can get lost in the messy middle ground between the two business models.
This makes the growth of Santa Anna/Foundation all the more impressive. In 2024, Santa Anna added more than a point (1.04%) of current market share to Alamo’s 2.11% total. Many competitors would hack off an arm to add a point of current market share in a year. (Foundation’s contribution is included in that number.)
Already this year, Alamo has grown to a 2.91% current share through the first quarter — 1.83% of it from Santa Anna/Foundation — which is good for eighth among all labels in the U.S. Getting to release a Drake collaborative album was a coup for the company; $ome $exy $ongs 4 U, which Santa Anna co-distributed with Republic Records, earned 246,000 equivalent album units its opening week. The radio-ready single “Nokia” has risen as high as No. 2 on the latest Billboard Hot 100, and remains in the top 10.
“If it’s a lot harder to create superstars, it’s all about, how do you soak up more?” says a senior executive at a competing company. He calls Alamo’s integration with Santa Anna and Foundation “brilliant — and potentially an indicator of where things are going in the future.”
Moscowitz was experimenting with hybrid models inside the major-label system long before it was fashionable. He worked at Def Jam during its 1990s heyday and then moved to Warner Music Group (WMG) in 2004, initially as president of Asylum Records. There, he designed “a fluid system in terms of the deals, because when you’re dealing with entrepreneurs, you must be flexible,” as he put it in 2022. When WMG launched its Independent Label Group in 2006, Moscowitz was named president of the new outfit.
He later co-founded the indie 300 Entertainment, which launched in 2014, before jumping ship to get Alamo off the ground two years later. Alamo, which now functions as a frontline label under the Sony Music umbrella, signed chart-topping rappers like Rod Wave and Lil Durk, who have combined to earn 11 top five Billboard 200 albums for the label, including four No. 1s.
Even as Alamo enjoyed that traditional label success, however, Moscowitz couldn’t help but notice that “distribution [was] becoming an ever more important entry point into the business for artists.” Major labels have launched their own distribution wings one after another in recent years, whether that’s REPUBLIC (Imperial), 300 (Sparta), or more recently, Warner Records (Revolution). To compete in this landscape “with a credible, recognized offering,” Moscowitz invested in Foundation at the end of 2022 and launched Santa Anna shortly after.
In hip-hop, Foundation “was first with this very small advance, very early outreach, blanket approach,” the senior executive says. Another executive familiar with the company says they can easily send out hundreds of deals in a year. Five separate Foundation contracts viewed by Billboard show that in the past, the company often offered artists advances between $20,000 and $30,000 with few guaranteed services. In exchange, the artist has to fork over a set number of songs — maybe two dozen new tracks, or some already-released music along with a smaller number of future records.
Foundation takes a cut of royalties, usually between 20 percent and 30 percent, which attorneys say is in line with industry norms for these sorts of agreements. (Though more competitors are offering similar contracts recently, according to music lawyers, causing advances to rise.) Foundation keeps earning until it recoups its expenses; after that, the company typically gets two or three additional years to collect on the music (known as the “retention period”) before rights revert to the artist. The contracts seen by Billboard auto-renew after recoupment unless artists give the company 30 days’ notice that they want to end the relationship.
Moscowitz is adamant that Foundation’s purpose “is not to have a thousand artists doing 100,000 streams a week and make some distribution revenue.” “Most of our artists’ streams go up dramatically after signing with us,” he says. “Some go up so much that it makes sense to engage the entire company and spend substantial money and effort marketing them.”
That’s where Santa Anna comes into play. While many new distributors have entered the industry in the last decade, “a lot of them don’t do anything,” says Conor Ambrose, founder of the label Listen to the Kids. He partnered with Santa Anna in 2023 due to their ability to help his acts. “Their marketing people are talking to our artists; their playlisting team is talking to our artists,” he says. “Everybody’s actually on the phone every week.”
“Every time we’ve asked Todd for something,” Schwartz adds, “he’s showed up.”
Another difference between Santa Anna and its competitors, according to Moscowitz, is that his operation “will not offer marketing on any artist unless we have a path to long-term rights.” In other words, he doesn’t want to help blow up an artist, only to have that act split to another record company.
“Many of these sorts of deals come with upstream clauses, meaning the major-affiliated distributor — in this case, Santa Anna — may have the right to trade the artist up to a frontline label,” says Loren Wells, a music lawyer familiar with Santa Anna. “The terms of the upstream will be much less favorable than the initial deal. But many young artists may see that outcome as unlikely, or simply think, ‘If the worst case scenario is getting signed to a major label with a decent advance, that’s not really a worst case scenario.’” And in genres like country that still favor old-school record deals, Wells continues, the upstream terms may still seem more appealing than other labels’ traditional offers.
Moscowitz says Santa Anna is able to secure future long-term rights because artists “value what we bring to the table” in terms of marketing and promotion. “If we don’t value ourselves, then no one will ever value us,” the Alamo founder adds.
He is pleased with the results so far. “We have eight or 10 artists like Chuckyy, Raq baby, and Bayker Blankenship who are breaking and will be the future stars of our company,” Moscowitz says. “Santa Anna is functioning exactly the way we want.”
Kacey Musgraves is coming full circle with her new label deal, signing to the recently relaunched, Nashville-based Lost Highway Records. The eight-time Grammy winner was the final artist signed to the label in 2011. In 2012, Lost Highway was absorbed by Mercury Nashville as Musgraves was crafting her debut studio album Same Trailer, Different Park (which contained her breakthrough hit “Merry Go ‘Round”).
Now, she is the first artist signed to the revitalized label.
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Lost Highway’s revival was announced earlier this month, with former Thirty Tigers executive Robert Knotts and Universal Music Group Nashville (UMGN) executive Jake Gear serving as co-heads and executive vps of the resurrected label.
“Lost Highway was always a musical stable for artists who might be considered outliers or outlaws; those who live on the fringe,” Musgraves said in a statement. “In 2011, when other record labels questioned my songwriting and my more traditional country sound, Lost Highway believed in me, signing me to my first label deal and helped me take my music around the world. That journey has now come full circle in such a special way with John Janick and Interscope and I’m deeply honored to be able to once again call Lost Highway my musical home.”
Musgraves is celebrating the label deal with Lost Highway Records by releasing her interpretation of the label’s namesake song, the Leon Payne-written “Lost Highway,” which Hank Williams covered in 1949.
John Janick, chairman/CEO, Interscope Capitol and IGA, said in a statement, “Kacey exemplifies the kind of culture- shifting, left-of-center artists that Lost Highway has always been known for. Given the close relationship she’s had with both Lost Highway and Interscope, it seemed only natural for her to be the first artist signed in this new chapter.”
Music exec Luke Lewis, who founded Lost Highway in 2000 and signed Musgraves in 2011, said in a statement: “For 20 years, my job was to run Mercury and MCA labels, which were primarily mainstream country endeavors. The last 10 years of my time there were passionately dedicated to starting and leading Lost Highway, which was the most rewarding time of my entire career. The label went on to cultivate some of the greatest singer/songwriters I have had the honor to work with, and I am extremely proud to have helped them further their amazing musical journeys. I am beyond grateful that this very special label is now in the hands of John Janick, Robert Knotts, Jake Gear and the Interscope team, and I am certain Lost Highway will have an incredible second inning.”