UMPG
Warner Chappell Music‘s Latin division has signed urbano music producer Jorge Milliano. A trusted collaborator for superstars like Peso Pluma, Myke Towers, Anitta, The Chainsmokers, Maluma, Manuel Turizo, Marshmello and Nicky Jam, Milliano is one of the top producers working in Latin music today.
Concord Music Publishing has announced the signing of poet, singer, songwriter and producer Kara Jackson. Signed in collaboration with Ark Publishing, a joint venture founded by Grammy-winning producer and songwriter, Noah Goldstein, the worldwide publishing deal includes Jackson’s catalog and all future works.
The Circuit Group has partnered with Kobalt globally for publishing administration. The Circuit Group was founded by Dean and Jessica Wilson, Brett Fischer, David Gray and Harvey Tadman with the aim to acquire ownership in artists’ IP portfolios and partner with them to build new monetization opportunities.
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U.K. music supervision company 45RPM has launched a new music publishing arm with the support of Universal Music Publishing Group, which will administer the new publishing outfit. Founded in 2022 by top music supervisors Iain Cooke, Sarah Bridge, Catherine Grieves and Nick Angel, 45RPM offers a full service experience for clients, including soundtrack development, composer partnerships, rights negotiation, budget management and on-camera music supervision.
Spirit Music Group has joined a creative joint venture with Grammy-winner Autumn Rowe to form Rowe’s Honest Songs Music & Lyrics. A singer, songwriter and producer, Rowe has worked with Jon Batiste, Dua Lipa, Diana Ross, Pitbull, Zendaya, Ava Max, FKA Twigs and Leona Lewis, as well as released songs in her own right. When she’s not in sessions, Rowe sits on the board of Songwriters of North America (SONA) where she advocates for songwriter’s rights.
Sony Music Publishing Nashville today announced the signing of acclaimed songwriter, producer and multi-instrumentalist Elysse Yulo. News of the deal comes just months after working with Lana Del Rey and Quavo on their song “Tough.” Along with her work with Del Rey and Quavo, Elysse has also worked with Nashville talents like Zach John King, and Maddox Batson.
EJ Pasin has signed a worldwide publishing deal with Position Music. He is perhaps best known for producing the beat and guitar of the viral hit “Embrace It” by Ndorz, but the songwriter/producer has also released his own work via the names EJ Pasin and ptasinski (his side project). He is managed by Ewan Jenkins and Jack Mangan of E2J Management.
Warner Chappell Music (WCM) and Grammy-nominated duo, The Warren Brothers, have jointly signed a publishing deal with emerging country singer-songwriter Preston Cooper. An Ohio native, Cooper is currently one of the special guests on Riley Green’s ‘Damn Country Music’ Tour. He also has new music dropping in early 2025.
Jonathan Tester has launched Groove Bound Songs, a new independent publishing company, created via a joint venture with Bucks Music Group. As part of their agreement, Groove Bound Songs, founded by Bucks longtime Head of Sync, will benefit from Bucks’ leading back end administration, creative A&R, sync services and general expertise under the JV.
Sony Music Publishing Nashville has announced a new partnership with One4 Entertainment’s Brian Wright to sign breakthrough singer-songwriter Sadie Bass to a global publishing deal.
Universal Music Publishing Group (UMPG) has promoted Jennifer Knoepfle to Head of U.S. A&R, marking a major leadership shift within the company.
The announcement was made by UMPG Chairman & CEO Jody Gerson on Oct. 22, with Knoepfle reporting directly to Gerson. In her new role, Knoepfle will oversee A&R operations across the U.S., while continuing to hold her position as Executive Vice President of the company.
In this expanded role, Knoepfle is tasked with nurturing UMPG’s creative culture and driving talent development by identifying, signing, and fostering new songwriters, producers, and artists.
Her efforts will extend to legacy artists as well, ensuring that UMPG remains a leader in catalog development and contemporary hitmaking. She will be based at the company’s Santa Monica headquarters.
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“I am overjoyed to promote Jenn to this much-deserved position as Head of U.S A&R. She embodies everything a creative music executive should be; she possesses the ear to identify the best artists and writers—often early in their careers—and knows how to support, nurture and amplify their talents. Additionally, she is a thoughtful leader and mentor to our A&R team. I couldn’t be more excited to continue working with Jenn for years to come!”
As part of her expanded duties, Knoepfle has also appointed three executives to key positions within the U.S. A&R team. Daniella Rasho has been promoted to Director of Global A&R, while Deeba Abrishamchi has been named Director of U.S. A&R. Hollie Boston has also joined the company as Director of U.S. A&R.
Knoepfle commented, “Every day, I am humbled to work alongside some of the most revered musical talent in the world. I am deeply grateful for the opportunity to expand my role at UMPG, where I have the privilege of working with one of the very best executives in the business, Jody Gerson. I couldn’t be more excited to take on this new chapter, growing our incredible A&R team and working with them to pursue my greatest passion: discovering and nurturing talent, which remains the lifeblood of our industry.”
Knoepfle joined UMPG in 2022 as EVP and Co-Head of U.S. A&R. Since then, she has signed a diverse roster of talent, including notable songwriters and artists like Jack Antonoff, Lord Huron, Maggie Rogers, and Wallows. Prior to UMPG, she spent 13 years at Sony Music Publishing, where she worked with artists such as Leon Bridges, Tate McRae, and Noah Kahan. Earlier in her career, she served as senior director at ASCAP, where she brought major talents like The Killers and Greg Kurstin to the organization.
UMPG continues to build its global presence with 48 offices across 40 countries, representing a vast catalog of iconic songs and hitmakers, with some of the artists represented including Adele, Billie Eilish, Bob Dylan, and The Weeknd.
David Gray has been appointed U.K. managing director of Universal Music Publishing Group, succeeding Mike McCormack, who is stepping down from the role after almost nine years in charge to launch a new consultancy and joint venture with UMPG. In addition to taking the reins at the company’s U.K. arm, Gray will also take up the newly created post of head of global A&R at UMPG.
Gray’s promotion was announced Tuesday (Oct. 15) by UMPG chairman and CEO Jody Gerson, who called him “one of the best creative A&R executives I have ever known.”
Gray was most recently UMPG’s executive vice president and co-head of U.S. A&R, as well as head of the company’s Global Creative Group – a division which he and Gerson formed in 2022 to amplify opportunities for songwriters, producers, artists and executives on a worldwide scale.
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Successful projects that have spun out of the Global Creative Group include Colombian artist Feid and American hip-hop producer ATL Jacob‘s “Luna,” which topped the charts in multiple countries and Brazilian artist Luísa Sonza‘s album Escandalo Intimo, which became the third biggest debut of a female Latin album in the history of Spotify following its release last year.
Artists Gray has signed to UMPG include Sabrina Carpenter, Stephen Sanchez, Julia Michaels, Shawn Mendes, Nick Jonas, Joe Jonas and Demi Lovato.
In his new expanded role, Gray will be responsible for leading the management and creative direction of UMPG’s London office, overseeing the signing and development of songwriters, artists and producers, as well as supporting the company’s current roster. Gray will relocate to London from New York in January, said Universal Music Publishing Group.
Announcing the appointment, Gerson praised Gray’s “talent for identifying and building careers for songwriters, artists and producers,” as well as his “leadership and mentorship of the next generation of publishers.”
“I want to thank Jody for her constant belief in me and for shaping a company built upon A&R, creativity, and a belief in songwriters and artists that is at the heart of our ethos,” said Gray, who joined the company in 2013 having previously held A&R posts at Zomba, Sony Music International and Simon Cowell‘s Syco Music, where he developed artists signed to the label via TV shows X Factor and the Got Talent franchise.
Prior to becoming a music executive, Gray was signed to UMPG as lead singer of the band Idle Wilds.
Gerson also thanked McCormack for “his many contributions” to UMPG over his almost nine years as managing director of the U.K. division. “I value him greatly as a friend and colleague,” said Gerson in a statement. “I am delighted he will continue to be part of the UMPG family.”
In a memo sent to staff, which has been viewed by Billboard, McCormack said he would be stepping down from his role on Nov. 4 but would remain a partner of UMPG for the next few years via a new joint venture that is being set up. McCormack, who first joined UMPG’s U.K. business in 1999, said he would also continue to help manage some of the long-term relationships he has built over the years with the firm’s writers and catalogues.
“It’s been a real honour to lead the U.K. company for the past nine years,” said McCormack, paying tribute to what he described as an “exceptionally talented and wonderful” team of colleagues. “I’m very proud of our accomplishments, and the many awards we have won together, but my real fulfillment during the past 25 years at UMPG (as Deputy MD then MD) has come from working closely with artists, songwriters and producers when incredible music is being created,” he said.
Universal Music Publishing Group earned the top spot on the Hot 100 Songs publishers ranking for 2024’s second quarter with 27.97% of the market, in large part thanks to Taylor Swift and the 19 songs she landed on the chart. It didn’t hurt that her writing partner Jack Antonoff is also on UMPG’s roster. (He moved there from Sony Music Publishing in August 2023.) Swift’s work accounted for a little over one-third of the 56 songs the publisher had on the Hot 100 during the quarter, up significantly from its 43-song count in the first quarter of the year.
Sony Music Publishing, which typically places first on the Hot 100 publishers ranking, finished a close second with a 27.13% market share and 57 tracks on the chart, including the No. 1 song for the second quarter, Tommy Richman‘s “Million Dollar Baby.” Warner Chappell Music finished third with a 19.87% market share. Its top second-quarter tune was “A Bar Song (Tipsy)” by Shaboozey, one of 47 that it landed on the chart.
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Sony nevertheless remained at the peak of the Top Radio Airplay ranking for the 13th consecutive quarter, with a 27.64% market share and 66 songs. Its No. 1 track was “Lose Control” by Teddy Swims, a song in which Warner Chappell and UMPG also have stakes. Sony was also buoyed by the quarter’s biggest Radio Airplay hitmaker — Ashley Gorley, co-writer of “I Had Some Help” by Post Malone featuring Morgan Wallen — plus seven other songs on the chart.
Warner Chappell maintained its second-place ranking among Top Radio Airplay publishers for the third consecutive quarter with a 23.25% market share and 63 songs on the chart. UMPG came in third with 15.82% of the market and 43 songs.
Kobalt held its position as the fourth-largest publisher on the Hot 100 and Top Radio Airplay charts with market shares of 10.74% and 9.44%, respectively, in part due to stakes in the No. 1 songs on both charts.
Despite a tumultuous first half of the year, Hipgnosis turned in a strong performance, finishing fifth on both rankings, with a 4.36% share on Top Radio Airplay and 2.73% on the Hot 100, also thanks to its piece of “Lose Control.” Last quarter, Hipgnosis — whose founder and CEO, Merck Mercuriadis, stepped down in July after private equity firm Blackstone acquired its catalog — was No. 7 on Top Radio Airplay and No. 9 on the Hot 100.
BMG ranked No. 6 on both Top Radio Airplay (3.36%) and the Hot 100 (1.47%), down from the No. 5 ranking it had on both charts in the first quarter.
Three independent publishers fill the entries at Nos. 7, 8 and 9 on the Hot 100 chart. Reservoir Music ranked seventh (1.34%) thanks to its share of “Espresso” by Sabrina Carpenter, Position Music (1.194%) was eighth due to its stake in “Beautiful Things” by Benson Boone, and Sentric Music Publishing was ninth (1.192%) with help from “End of Beginning” by Djo. The latter two publishers make their first appearances on the rankings.
Last Quarter: Jack Harlow Helped Sony Sweep (Again)
I’m not getting too stressed about bridge lyrics,” says Benjmn, 29. “Because there’s like a 100% chance it’s going to get translated.”
The Los Angeles-based topliner is closing in on his ninth straight hour of songwriting today. And like the 10 other lyricists and producers Universal Music Publishing Group has assembled at Arcade Studios in New York, he won’t stop until he’s achieved perfection. Benjmn, who has written for acts like ENHYPEN and Le Sserafim before, and his cohorts here are all proven K-pop hit-makers, so they’re well aware that much of today’s work will be rewritten in Korean. Still, he and his collaborators on this particular track — 31-year-old SAAY from South Korea and 34-year-old Sandra Wikstrom from Sweden — will continue fine-tuning their already pristine bridge for at least 15 more minutes before moving on. Are there enough syllables? Is it dragging? Can the melody be more expansive?
They know that the punchier the lyrics, the likelier it is that major K-pop labels like HYBE, JYP Entertainment and SM Entertainment will pick up their demos for artists to record. Their current target is a boy band on the rise that UMPG knows is looking for its next hit, although the track — a swaggering dance tune tentatively titled “GLUE” — may very well go to another of the ever-proliferating K-pop groups. (Because of the unpredictable nature of where songs end up and the prejudices a label may have if it sees a song title publicly attached to other acts, UMPG declines to comment on the precise artists for whom the musicians have gathered.)
The three rainy days these writers and producers will spend here mark just the second-ever international K-pop camp UMPG has held in the United States as it pushes to capitalize on the opportunities the genre offers its roster of talent, rounding up its most experienced creatives from all over the world and charging them with completing three songs a day in small groups. After the camp concludes, UMPG Korea senior creative A&R executive Yena Kim will pitch the nine finished tracks to the big three labels, which constantly send her hyperspecific briefs outlining what they’re looking for and for whom; for now, she walks from room to room ensuring everyone understands their assignments.
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“Ultimately, we want releases,” explains UMPG’s head of its global creative group, David Gray. “We can sign K-pop writers and say, ‘Go get us K-pop cuts.’ But we can also be proactive and creative. Let’s put our best K-pop writers together, bring them briefs from Korea and keep it small, focused and strategic so we have the best chance of getting results.”
Benjmn (left) records vocals for an R&B-inspired demo produced by Sam Klempner.
Nina Westervelt
Jeppe London (left) and Lauritz Emil work on a song with guitars.
Nina Westervelt
On day one of camp, delirium is already setting in. “We should do a song called ‘Jet Lag,’ ” Benjmn jokes before he, SAAY and Wikstrom start spitting out catchy rap bars seemingly effortlessly, despite their lack of sleep. “Jet lag, jet lag, gotta go get bags/All around the world, I’m getting whiplash,” they sing, taking turns adding lines.
Down the hall, 28-year-old BLVSH from Germany and London-based Josh McClelland, 27, are writing for the same boy band, penning a punk-rock heartbreak anthem called “Close the Door.” Producer duo Jeppe London, 28, and Lauritz Emil, 26, both from Denmark, speak in rapid-fire Danish while recording electric guitar passes to find a sweet spot between Demi Lovato and Linkin Park, both of whom label SM sent as references. The room’s shared credits include tracks for BTS, ENHYPEN, NCT and TWICE, and an expertise in the subtleties of writing for K-pop artists shows.
“You’re looking for fun keywords instead of poetic structure,” explains BLVSH, who earned a No. 1 on the Billboard Hot 100 last year for her work on Jimin’s “Like Crazy.” “It’s more [about] attention-grabbing visuals and hooky words.”
They also labor over how pleasing each syllable sounds, the cadence and differentiation of each line, whether the melodies will sit in the band members’ varying vocal ranges and how easily choreographers will be able to pair the lyrics with snappy dance moves — all elements they say they don’t necessarily think about when writing for other genres, as many of them started out writing outside K-pop. Phonetics are key, even if most lyrics do end up getting reworked by translators, who generally earn a 12.5% split in royalties when the song is finished; BLVSH and McClelland say Korean labels are more likely to bite when they can imagine from the get-go how a song will sound once translated, which is why the writers make sure to infuse their demos with sharp consonants to mimic the Korean language. (For example: Saying a love interest looks “picturesque” grabs their ears far more than a simple “pretty” or “good.”)
SAAY (left) listens to a demo while BLVSH tinkers on piano.
Nina Westervelt
Max Thulin produces a track in Logic Pro.
Nina Westervelt
It’s also why the writers focus less on storytelling and more on a certain vibe or attitude in their songs, which they strive to convey even when recording their demos. By nature, many of them are far less extroverted than the acts they write for, so it’s entertaining to watch Benjmn cringe as he listens to a take of himself singing with Justin Bieber-esque sultriness, or to see 31-year-old Feli Ferraro of Los Angeles intuitively flip her hair and pop her hips while recording sexy-confident raps for a song called “8” that’ll be sent off to a brand-new girl group SM is developing (the campers know nothing of its top-secret lineup).
The songwriters aren’t fazed when translators alter the meaning of their lyrics; they understand it’s an often necessary part of ensuring they still rhyme and flow well in Korean. Still, it’s always ideal artistically when their work stays as close to the original as possible — and there are ways of increasing the chances that it does: As McClelland puts it, “Let’s make sure this lyric is fire.”
Toward the end of the day, everyone takes a short break to mingle and eat dinner; last year, UMPG learned that the ever-diligent writers prefer bringing in meals to avoid taking time away from their songs, and tonight’s comes from Joe’s Home of Soup Dumplings. SAAY and Wikstrom excitedly make plans to visit the Times Square Disney store while they’re in town. But there’s minimal time for this kind of pleasant catchup. A mountain of empty plastic containers in their wake, everyone instinctively filters back into their respective rooms.
Most end up staying until 10 p.m. There’s more work to be done.
From a publisher’s perspective, everything changed for global K-pop in 2020. That’s when BTS earned its first Hot 100 No. 1 with “Dynamite” — and the genre “exploded, that’s for sure,” quips Daniella Rasho, international A&R executive at UMPG U.S., who oversees the camp alongside Yena Kim.
“People have seen what BTS has done,” she continues. “Now every K-pop label is like, ‘I’m going to have the next BTS. I’m going to have the next one that goes global or is on U.S. radio.’ ”
“[Korean] labels are aiming for hits on the Billboard charts,” Kim adds. “The artists, most of them now all speak English, as well as local A&Rs. The whole thing is changing. It wasn’t like this five to six years ago.”
As K-pop’s global reach has expanded, so too has foreign songwriters’ interest in the genre, which rapidly transformed from one of the least popular international markets for songwriters to one of the most competitive. It’s an appealing space: Western pop stars are often inclined to stick with the same close circle of collaborators, but K-pop labels are quite open to taking songs from outsiders. Thanks to K-pop fans’ propensity for buying multiple physical variants of singles and albums, the royalty checks for songwriters and producers tend to be higher, too.
Western stars like Taylor Swift have also prioritized writing their own music, while K-pop fans value the glossy, high-production performances their idols have spent years training to execute more than the names on a song’s billing, allowing more space for career songwriters to notch credits. Rasho has a theory as to why: “American audiences want to relate to pop stars. For K-pop, people want to be them.”
Front row, from left: Jeppe London, Celine Svanback, Feli Ferraro, Benjmn and Max Thulin. Middle row, from left: Sandra Wikstrom, SAAY, Sam Klempner and BLVSH. Back row: Josh McClelland (left) and Lauritz Emil.
Nina Westervelt
SAAY (left) with Sandra Wikstrom who reads lyrics off her phone.
Nina Westervelt
Plus, the campers say that K-pop labels are in some ways more forgiving than their Western counterparts. They’re used to receiving detailed feedback on their demos and getting ample opportunity to rewrite or add parts to a song, and Ferraro explains that some will “Frankenstein” pieces of different submissions together to achieve the desired result. “They’ll find a home for it,” says the Connecticut native, who co-wrote “Run BTS” and Le Sserafim’s “Unforgiven.” “It doesn’t feel like you’re wasting your time at all.”
Seeing the many opportunities K-pop presents for its roster, UMPG has sprung into action over the past few years organizing writing sessions all over the world. Kim handpicked each creative at this year’s camp based not just on skill, but also on who would be most suited to the song briefs at hand — “Specific labels like some writing styles more than others,” Rasho explains — and who would get along best as collaborators.
Figuring out the latter is an art in itself. At last year’s camp, Gray recalls that “there were tears” during a creative dispute over a song that would turn out to be TWICE soloist NAYEON’s “Something.” It ended up being one of the most high-profile releases the inaugural camp created, with the EP it was on, NA, reaching No. 1 on Billboard’s Top Album Sales chart in June.
Next, Kim tailored small groups around who could best match the demands of the individual briefs, which reflect just how tuned in to global trends K-pop labels are. JYP requested a solo song akin to Tate McRae’s “Greedy” for a member of one of its girl groups, while others cited Sabrina Carpenter’s “Espresso,” Chappell Roan, Caroline Polachek and Charli xcx’s brat as references.
K-pop’s sonic evolution is a big reason why UMPG’s approach, gathering writers from all over the world, works so well. Swedish and British producers like Max Thulin, 30, and Sam Klempner, respectively, “bring their experimental, cool sounds,” while Germans are masters of “fun, electronic pop,” Rasho says.
“The U.S. writers come and do their rap thing — they have that swagger,” she continues. “They bring out something new and different in each other. They bring the best of their territories, too.”
Celine Svanback records vocals for a girl-group demo.
Nina Westervelt
Celine Svanback and Josh McClelland records vocals.
Nina Westervelt
Only at the end of camp, when all of their songs are finished, do the writers let UMPG treat them to dinner offsite — Cecconi’s on Broadway. Over drinks, McClelland jokes that Universal saved money on hotels by having two couples present. Benjmn and Ferraro are married, and Emil is engaged to fellow Dane Celine Svanback, 28; both couples met in past writing sessions. But aside from a few others from the same close-knit territories who’ve worked together before, like McClelland and Klempner, it’s the first time many of the campers have met — although, in the course of conversation, Benjmn and Thulin realize they share credits on a previous song created remotely, Le Sserafim’s “Eve, Psyche & the Bluebeard’s Wife.”
Most of them, it seems, fell into the K-pop world unintentionally, whether they were headhunted by labels or indoctrinated at the nudging of UMPG. It wasn’t the first choice for many but now, it’s become perhaps their best avenue to flex their creative muscles, writing pop, hip-hop, rock and R&B all under the ever-expanding K-pop umbrella.
“It’s not just one sound,” says Wikstrom, who never did come up for air long enough to visit the Disney store. “That’s what I really love — you’re not tied to anything. I used to think, ‘No, I don’t want to do K-pop. I don’t even know what K-pop is.’
“Then, I realized,” she continues, her eyes widening. “K-pop is everything.”
This story will appear in the Aug. 24, 2024, issue of Billboard.
Welcome to another edition of Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. While you’re here, we also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
Adam Muhlbaum is the newly minted general manager of Big Noise Music Group, the pop/punk label home of The Used, The Veronicas, girlfriends, Goldfinger and more, Billboard can announce. In Muhlbaum’s Los Angeles-based role, an upgrade from his gig as senior vp of marketing and project management, he’ll zero in on A&R, licensing and brand partnerships while also overseeing royalties and administration for the label’s roster, which also includes iann dior, Escape the Fate and MOD SUN. Prior to joining BNMG in mid-2018, Muhlbaum spent more than five years at BMG, where he led production runs for major releases from Blink-182, Janet Jackson, Iron Maiden and more. He also had a stint as head of digital sales and operations at Steve Aoki’s Dim Mak. As part of the transition, Muhlbaum will pass day-to-day operations to Heather Castillo, the label’s vp of marketing, and Josh Cohen, manager of label operations.
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Big Noise Music Group was launched in 2018 by former Vagrant Records head Jon Cohen and Goldfinger members John Feldmann and Nick Gross. “Adam has been with us since day one and has consistently proven his value and expertise while still making Big Noise a positive, productive home for our artists and writers,” said Gross, who is also CEO. “The sky’s the limit for our whole amazing team.”
Muhlbaum added: “Helping to build Big Noise for the past six years alongside Nick, Jon, Feldy, and our incredible label team has been a true highlight of my career and more fun than I ever could have imagined. Our next chapter will be focused on bringing broader creative opportunity to our entire roster — current and future.”
Universal Music Publishing Group picked veteran branding executive Alix Kram as the company’s first head of marketing. In the newly created global role, which she’s held since November, Kram oversees marketing efforts at the publisher with a focus on creative storytelling in order to, as UMPG COO Marc Cimino states, “enhance the incredible stories our songs tell and bring them to life.” Additionally, Kram works closely with Bravado, Universal’s merch specialists, to create strategic opportunities for the UMPG catalog. Prior to joining the Universal fam, Kram spent a year-and-a-half leading a retail business development and marketing team at Netflix. Before that, the NYC-based exec spent seven-plus years at Warner Music Group, where as head of global brand licensing and retail she and her team developed creative opportunities for roster artists including Grateful Dead and Wiz Khalifa. She is also the founder of theKRAMcollective, a boutique marketing and branding agency specializing in experiential storytelling, whose clients have included Hasbro, HBO, Atari and others. She reports to Cimino and chairman/CEO Jody Gerson, and also Bravado president Matt Young. “Upon first meeting [Gerson and Cimino], it was clear that they have created a truly global and unique culture – a force in the industry which leads with a passion for songwriters and champions the expertise of the people that make up the company,” said Kram.
ASM Global did some local hiring and promoting in Arizona, naming Ralph Marchetta to regional vp of live entertainment and elevating Melissa Wasson to general manager of State Farm Stadium. Marchetta, previously GM and svp of Footprint Center in Phoenix, has the mighty task of booking both the Desert Diamond Arena and State Farm across Maryland Ave. in Glendale. “He is well-respected by all, and now we have him playing for our team,” said Jason Rio, ASM Global svp of live entertainment and content development. Wasson joined the stadium staff in 2006 back when it was University of Phoenix Stadium and for the last 13 years has served as assistant GM. She has a lifelong connection with the stadium’s biggest tenant — the Arizona Cardinals — given she’s a native of St. Louis, the team’s former home. “Her decades of in-depth experience will prove invaluable as she continues creating unparalleled memorable experiences that thrill locals and visitors,” said Doug Thornton, executive vp.
Across the pond, ASM Global shifted industry veteran Ed Sanderson from a Singapore-based role, where he’s been working on the massive Kai Tak Sports Park project, to executive vp of business for Europe and the UK. Poor guy has to move to Milan, where he’ll be based as he bounces around Europe in support of ASM’s plans to expand its footprint there. “Living by my personal philosophy of ‘biting off more than you can chew and chew like crazy,’ I’m eager to get started, learn, and make a meaningful impact for our customers, clients, partners, and colleagues,” he said.
Former ASM Global executive Roger LeBlanc joined Romeo Entertainment Group as vp of sales development. With decades of experience, LeBlanc most notably founded and led booking and talent buying agency Madison Entertainment before its sale to ASM in early 2023. “Roger’s vast knowledge and his commitment to mentorship will not only enhance the capabilities of our sales team but also propel our growth and set new standards for excellence in our company and the broader industry,” said R.J. Romeo, president and CEO. LeBlanc can be reached at rleblanc@romeoent.com.
courtesy of FivePointFive
Jelena Grozdanich is the new vp of music at FivePointFive, a music-centric welltech app launching soon that will offer live and on-demand classes of functional breathwork. Grozdanich (GROWS-duh-nitch) is coming off a 10-year run at Sony Music Entertainment and Columbia Records, where she rose to director in the latter’s film and TV licensing division. While at Sony/Columbia, she represented a who’s-who of influential artists including Beyoncé, Adele, Miles Davis, A Tribe Called Quest and Elvis Presley, among others. During this decade, she also founded her own talent management firm (Guardian MGMT) and wellness community (TheSecret.LA). Grozdanich is based in Los Angeles. “We are excited to welcome Jelena as our vice president of music at FivePointFive to head up our music division,” said Adam Ludwin, CEO. “Jelena’s love of music, combined with her passion for wellness has led to her being seen as a key figurehead for wellness within the music industry over the last 10 years, so we are thrilled to have her as part of the team.”
CAA promoted Blair Adour, Jibran Ahmed and Sam Reisman to agent roles in the company’s global touring department. All three come from CAA Elevate, the agency’s agent trainee program, and they’ve all put in the work: Ahmed joined CAA in 2018 in the music crossover division before being upped to professional last year; Reisman started in 2019 as an assistant in the music touring division and most recently worked as a coordinator; and Adour joined as a professional in 2021 following a stint at Paradigm. Adour and Reisman are based in New York while Ahmed is in Los Angeles.
Capitol Christian Music Group (CCMG) promoted three executive staffers. Emily Dashiell has been promoted to senior vp of commercial partnerships, Jeff Gunkel has been upped to svp of market development, and Carlos Monnaco has been elevated to svp of finance. Dashiell will oversee the company’s revenue strategies across its portfolio and continue to focus on partner activations with DSPs while guiding the label business across global distribution, e-commerce/D2C, catalog marketing, and more. Gunkel will oversee areas of market development and digital rights, as well as Re:Think Records. Monnaco’s responsibilities expand to include oversight of financial planning and analysis, royalty accounting, and IT. Among the artists on CCMG’s roster are Chris Tomlin, Amy Grant, TobyMac, Tasha Cobbs Leonard, and Crowder. –Jessica Nicholson
Canada native Jenn Dobbins joined BMG as senior vp of rights and royalties in the music company’s U.S.-based copyright and royalties hub in Nashville. Dobbins previously handled asset operations for JKBX, a music investment platform, and earlier she spent six years at Big Machine Label Group, where she rose to director of royalty accounting and income analytics. Throughout her 18-year career in the field, she also made stops at payroll platform Exactuals and Sony Music. At BMG she reports to Eric Scott, evp of rights administration and royalty services, who pointed out her “extensive expertise, deep knowledge, and proven experience in managing complex rights and royalties.”
RADIO, RADIO: Susie Hedrick was named CEO of WideOrbit, a San Francisco-based tech platform that helps broadcasters buy and sell advertising. She replaces founder Eric Mathewson in the role … Nashville Harbor promoted Ryan Dokke to senior vp of streaming and digital partners/radio promotion from vp of promotion and marketing. The label also bumped Andrew Thoen to director of streaming and digital partners/radio promotion from director of Northeast promotion and marketing.
Jessica Roffe joined SoundExchange as associate director of the industry relations team. Roffe has years of artist relations, brand marketing, TV/film production and royalty distribution experience, and joins the collective rights organization following roles at MTV, BMI, NBCUniversal and her own AsUWISH Productions. She is based in Miami and will report to Doug Cohn, vp of artist & label relations. “Excited to be part of the band!!” she said.
Musicians On Call, which brings live and recorded music to hospitals and other health care facilities, announced five new members: Aniket Adhikari as technology manager, Michael Blazer as operations manager, Gabi Coccio as strategic partnerships coordinator, Taylor Leibold as fundraising coordinator and Jennie O’Rourke as digital marketing coordinator. “The talent and experiences Aniket, Michael, Gabi, Taylor and Jennie bring to their roles will take MOC to a whole new level,” said MOC president & CEO Pete Griffin. “I’m confident that the innovative ideas they’ll bring to the table will have a great impact on our mission.”
ICYMI:
Julie Greenwald
Julie Greenwald, one of the most celebrated and influential executives in the music business, will step down from her role as co-chair and COO of Atlantic Records and chairman and CEO of Atlantic Music Group. 10K Projects founder Elliot Grainge will take over the music group-wide role on Oct. 1, while Greenwald will officially exit the company early next year. The announcement arrived days after Warner Music announced it would be undergoing a major restructuring, with CEO of recorded music Max Lousada stepping down soon and Greenwald transitioning to chairman.
Last Week’s Turntable: Mammoth Launches Touring Division
Universal Music Publishing Group‘s Classics and Screen division has signed Poor Things and Kinds of Kindness composer Jerskin Fendrix to an exclusive, global publishing agreement. A favorite of Yorgos Lanthimos, the director discovered Fendrix after the release of his debut album Winterrise and encouraged him to pursue film scoring. The acclaimed Lanthimos film Poor Things […]
When Sabrina Carpenter signed with the Universal Music Publishing Group (UMPG) in October 2023, she was coming off the critical and commercial success of her 2022 Island Records debut Emails I Can’t Send, a project that established her as a formidable pop hitmaker with a distinct voice and a captivating appeal. But since that album’s release, her career has launched into the stratosphere, with a string of singles — “Nonsense” off the original Emails; “Feather,” which was released on the deluxe of Emails in August 2023; and, most recently, April 2024’s “Espresso” — that have each reached higher on the charts than the last, building her into a mainstream dynamo with song-of-the-summer hitmaking potential.
It’s been “Espresso,” however, that has truly captured the zeitgeist. The song zoomed onto the Billboard Hot 100 with a No. 7 debut, eventually reaching No. 4, but has done even better globally, reaching No. 1 on the Billboard Global Excl. U.S. chart — where it spends its second week this week, establishing it as a bona fide international hit. And through the work of her label at Island and her publishing company UMPG, that’s marked the highest chart placement of Carpenter’s career — and help earned UMPG co-head of U.S. A&R and head of UMPG’s global creative group David Gray the title of Billboard’s Executive of the Week.
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Here, Gray discusses the work UMPG has done with Carpenter in the six months since bringing her into the pubco, what sets her apart as a songwriter and the company’s global outlook. “She has always had a vision for herself as an artist and songwriter,” Gray says. “It’s rewarding to see her succeed at a global level and get all of the credit she deserves.”
This week, Sabrina Carpenter’s “Espresso” spends its second week at No. 1 on the Billboard Global Excl. U.S. chart and its fifth week in the top 10 of the Hot 100. What key decision did you make to help make that happen?
Overall at UMPG, we work to support our songwriters’ ideas and decisions in any way we can, whether putting together strategic writing sessions or working to secure great synch opportunities globally.
Sabrina signed with UMPG last October. What were your first conversations like with her about her music and where she wanted to go?
Sabrina talked about how the Emails I Can’t Send album was a step up from where she was before and she was ready to take it up to the next level from there. She has always had a vision for herself as an artist and songwriter. It’s rewarding to see her succeed at a global level and get all of the credit she deserves.
What sets Sabrina apart from other pop stars as a songwriter, and how have you helped to emphasize that?
Sabrina has such a unique and brilliant songwriting voice, both lyrically and melodically. All the years of doing sessions, working hard, taking songwriting very seriously and perfecting her craft has made her not only the artist in the writing session… but she is also an A-list-level songwriter talent-wise.
For the past two years you’ve headed up UMPG’s global creative group. How has that changed how you work with songwriters, and in what ways does it help your global reach?
At UMPG, we have always recognized that there are amazing writing opportunities for songwriters outside of their own territories. The number and quality of these writing opportunities has accelerated in the last few years. The communication between territories that the Global Creative Group provides is essential to making sure our writers get the best of these opportunities.
How are you preparing to deal with AI in the publishing world?
It’s still nascent in the broader creative community, but we know AI offers opportunities and risks. We embrace AI, just as we have other technology innovations in the past, but only AI technology that is ethical and artist-centric — in other words, only if it supports songwriters and protects their rights.
Universal Music Publishing Group has signed hitmaker and Semisonic frontman Dan Wilson to an exclusive global publishing agreement. According to the terms of the deal, UMPG will represent Wilson’s future works. “I consider it a true gift to work alongside a person who is so storied and accomplished, and yet so open to new experiences and collaborations,” said Jennifer Knoepfle, UMPG’s evp and co-head of A&R.
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Ultra Publishing has signed a deal extension with Wheezy, who first signed to the company in 2018. The new extension will also see Ultra acquiring an additional 427 songs from Wheezy, including titles released by Drake, Travis Scott Meek Mill and Lil Uzi Vert.
Kobalt has signed Latin Grammy-nominated producer and songwriter JULiA LEWiS to a global publishing administration deal. A go-to collaborator for Bad Bunny, Anitta, Rauw Alejandro, NBA YoungBoy, Feid and more, JULiA LEWiS is a certified hitmaker with top tracks like “La Jumpa,” “Classy 101” and “Kacey Talk” as part of his fast-growing catalog. He is managed by Matt Geffen, Jamil Davis and Matt Bauerschmidt of The Revels Group.
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Warner Chappell Music France has signed an administrative publishing deal with Lofi Records, the company behind the famous YouTube “Lofi Girl.” The channel provides a 24/7 feed of chill beats to relax or study to and it boasts more than 13.6 million subscribers, with 30,000-60,000 simultaneous listeners on any given day.
Avex USA has signed Jahnei “Mr. Jah” Clarke to its publishing division. A Queens-raised, Los Angeles-based hip-hop, R&B, Latin and pop producer, he is best known for his work with Luísa Sonza, 6ix9ine, Masego.
Rimas Publishing has expanded its roster, signing seven new talents. The new signees include Andrea Cruz, Elia, Harold Wendell Sanders, Manu Berlingeri, Mendoza, Nes, and Valentina.
Warner Chappell Production Music launches Run4Cover in partnership with Warner Chappell Music. Run4Cover is a new label designed to cover some of WCM‘s biggest songs in a way that might be useful for sync licensing purposes. Already their repertoire includes new renditions of hits like Radiohead (“Exit Music (For A Film),” “Karma Police”), Curtis Mayfield (“Move On Up”), Kool & The Gang (“Celebration”) and Donna Summer (“Hot Stuff”). These covers come in a wide array of styles, from string quartets to big band to trailerizations.
Concord Music Publishing has signed songwriting team Chris Miller and Nathan Tysen to a global publishing administration deal. This includes their full catalog and future works. Two of Broadway’s biggest composers today, the duo has written the music for Tuck Everlasting, The Burnt Part Boys, Blown Sideways Through Life, Revival and more together. Independently, Miller has worked on Swept Away, April Twilights, and Ravello. Tysen has worked on The Great Gatsby, Amelie, Paradise Square.
Major Bob Music has signed rising songwriter SJ McDonald to a global publishing deal. “She keeps it country and she’s a perfect fit for Major Bob,” says Andy Friday, head of publishing. Along with the announcement of her signing, McDonald also released a new single: “Hummingbird.”
Prescription Songs and Day One Songs has signed Joseph Tilley to a global publishing agreement. An artist, producer and songwriter, Tilley makes pop and R&B music. Along with his artist project, he also produces for indie pop songstress Emilee, contributing to songs like “Heaven” and “I Love You Baby.”
Sony Music Publishing and Relative Music Group have signed rising country artist Carson Wallace to a global publishing deal. Only 20, the songwriter has built an audience on TikTok, and now has achieved success with the release of singles like “Lonely Look Like,” “Leavin’ Season,” “Ghost In My Chevy” and “Light of Day.”
Kobalt has extended its worldwide publishing deal with rap superstar Gunna. The agreement includes global synch and creative services for all of Gunna’s catalog as well as future works. “Gunna is a superstar, plain and simple,” says Kobalt CEO Laurent Hubert. “It’s been incredible to see him attain these musical achievements while at Kobalt. We are honored to continue our partnership with Gunna and his team and look forward to supporting their efforts.”
BMG has signed a publishing deal with Daniel Johns, encompassing his entire Silverchair catalog. The worldwide deal immediately includes all of Johns’ publishing interests on his sophomore solo album FutureNever, and it will eventually include his catalogue of global hits including “Straight Lines,” “The Greatest View,” “Ana’s Song,” “Freak,” “Tomorrow” and many others reverting into the deal in 2025.
Warner Chappell Music and Madfun Entertainment have extended their publishing agreement with Matt Jenkins and have purchased Jenkins’ back catalog of music. This includes songs like “Happy Anywhere” by Blake Shelton and Gwen Stefani, “Buy Dirt” by Jordan Davis ft. Luke Bryan, and more.
Reservoir has announced a new deal with Grammy-winning country songwriter/producer/engineer Brent Maher. The company’s relationship with Maher began in 2018 when it acquired rights to Maher’s full catalog, and now it will also be involved in his future works as well. over the course of his career, Maher has worked on a slew of hits, including songs recorded by The Judds, Tanya Tucker, Dottie West, Tina Turner, Kenny Rogers, and more.
Warner Chappell Music has signed rising country trio The Castellows. Comprised of Ellie, Powell and Lily, the band recently signed a record deal with Warner Records and Warner Music Nashville and released their debut song “No. 7 Road.”
Budde Music and Karma Songs have extended their publishing deal with Nick Bradley, a London-based songwriter who has written songs with James Blunt, Bow Anderson, Røry, Matteo Bocelli, Don Diablo, You Me At Six, Maneskin, Kelvin Jones, NCT 127 and Flux Pavilion.
Warner Chappell Music has renewed its publishing deal with multi-platinum songwriter Rick Boardman. His credits include songs with Marshmello, Jonas Brothers, Khalid, Bebe Rexha, Louis Tomlinson, Clean Bandit, and Jess Glynne.
Universal Music Publishing Group has signed a global publishing deal with Mexican singer-songwriter Carin Leon. He’s known best for his Latin Grammy-winning song “Como Lo Hice Yo,” but he also has a slew of other popular songs, including “Ni me debes ni te debo,” “Te lo agradezco,” “Me haces tan bien,” and more.
Concord Music Publishing has signed Nashville-based songwriter and producer Aaron Eshuis. The worldwide co-publishing deal is effective immediately and also includes a selection of his existing catalog and all future works. His catalog includes cuts with Scotty McCreery, Rascal Flatts, Joe Nichols, A Thousand Horses, Catie Offerman, Kameron Marlowe, Corey Kent, Cole Swindell, Kylie Morgan, Meghan Patrick, and Mason Ramsey.
Position Music has signed producer, songwriter and multi-instrumentalist Alex Wilke to a worldwide publishing deal. So far, the rising hitmaker has worked on songs with Maddie Zahm, Leah Kate, Lexi Jayde, Jake Miller and more.