warner records
Time for a pre-holiday madness edition of Executive Turntable, Billboard’s compendium of promotions, hirings, exits and firings — and all things in between — across music.
Read on for better-late-than-never personnel news and don’t forget to check out WMG chief Robert Kyncl’s year-end note to staff and dig into all of our year-end business content, plus peruse our weekly interview series spotlighting a single c-suiter and our daily calendar of notable goings-on.
Luke Armitage was appointed senior vp of global marketing at Warner Records, where he’ll oversee international marketing for the label’s U.S. roster. Based in Los Angeles, he reports to Warner Music’s chief marketing officer, Jessica Keeley-Carter, and collaborates with Warner Records’ co-chairmen Tom Corson and Aaron Bay-Schuck. Armitage joins Warner after six years at Capitol Music Group’s Astralwerks Records, where he led global marketing for artists like Marshmello and Katy Perry. He also contributed to projects by The Chemical Brothers, FISHER and Meduza, among others. Prior to Astralwerks, Armitage held court at Universal Music’s international division in London, Metropolis Studios, and Universal Music Publishing.
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Avex USA promoted Ryusuke (Ryan) Kamada to CFO, recognizing his pivotal role in the company’s growth since its 2020 launch. Ryan joined Avex in 2018 and transitioned from Avex’s Japanese headquarters to Avex USA, where he leveraged his expertise in global finance and law to expand operations in North America. He developed Avex USA’s corporate strategy, co-manages the Future of Music Fund and spearheaded partnerships with S10 and Roc Nation, among others. In Japan, Kamada was chief producer of Avex’s investment group, leading M&A and corporate venture capital investments. Prior to Avex, he worked in JP Morgan’s Tokyo office. The University of Pennsylvania grad began his career in Toyota’s legal division, handling major U.S. litigation and congressional hearings. Avex USA CEO Naoki Osada commended Ryan’s strategic vision, financial acumen, and “sincere respect and passion for songwriters are integral to the company culture.” Since its launch in Los Angeles in 2020, the U.S. branch of the Tokyo-based music and entertainment company has established a publishing division, a music start-up investment program and a record label.
Sphere Entertainment appointed Marcus Ellington as executive vp of ad sales and sponsorships, effective immediately. Ellington will develop and lead an ad sales and sponsorships unit to maximize revenue for Sphere’s assets, including the Vegas venue’s unmistakable exterior, known as the Exosphere. He’ll also drive brand-centric opportunities and broader marketing partnerships. Ellington is based in New York and reports to Jennifer Koester, Sphere’s president and COO. Ellington joins Sphere from Google, where he held various sales and partnership roles, most recently as director of Americas partnerships solutions. His experience includes overseeing relationships and ad revenue for Google’s largest media and entertainment partners. Prior to Google, he worked at Interactive One and CBS, and over the years has received industry awards and served on several boards. Koester praised Ellington’s innovative leadership and track record with premier brands “across a range of industries, which will be an asset as we continue evolving how brands can partner with Sphere to create impactful experiences unlike anywhere else.”
Melanie Santa Rosa
Third Side Music named Melanie Santa Rosa as its new head of copyright, based in New York. Reporting to co-founder/CEO Patrick Curley, Santa Rosa will lead the copyright department, focusing on transparency, efficiency and maximizing value for the independent publisher’s extensive roster, which includes Kurt Vile, SOFI TUKKER, Future Islands, Sky Ferreira and more. Santa Rosa brings a wealth of experience to the role, having previously served as executive vp of global digital copyright administration at Word Collections, managing worldwide copyright and royalty administration. She also spent 12 years at Spirit Music Group, rising to senior vp of global administration, and worked at BMI for a decade, collaborating with songwriters, publishers, and performing rights organizations. An advocate for creators, Santa Rosa serves on the AIMP New York Chapter board and is active in several industry organizations. Patrick Curley praised Santa Rosa’s expertise and reputation: “She is precisely the person we needed to lead the operation and development of Third Side Music’s worldwide collections platform in the years to come,” he said.
Infinite Reality, a leader in digital media and e-commerce leveraging spatial computing and AI, appointed Drew Wilson as chief operating officer. Wilson, who most recently served as both COO and chief financial officer at SoundCloud, will manage business operations, drive revenue, and advance iR’s strategic vision. Under his watch at SoundCloud, the audio platform achieved profitability for the first time in the company’s history, driving significant revenue growth, margin improvements and product innovation. He has also held key roles at First Look Media, AwesomenessTV, RLJ Entertainment and Warner Bros. Discovery, contributing to revenue growth and digital transformation. John Acunto, iR’s co-founder and CEO, praised Wilson’s proven ability to scale digital media businesses and his expertise in technology and fan engagement.
AEG Presents promoted Evan Marks to talent buyer for the Rocky Mountains region. Previously an assistant in the role, Marks will now oversee bookings at prominent venues like Mission Ballroom, Ogden Theatre, Gothic Theatre, Bluebird Theatre and some outdoor spot called Red Rocks. Based in Denver, he’ll report to Don Strasburg, president of Rocky Mountains and Pacific Northwest. A Houston native, Marks has been active in the Colorado music scene for nearly 15 years. After graduating from CU Boulder, he began his career as a talent buyer at Cervantes’ Masterpiece Ballroom in 2017 before joining AEG Presents Rocky Mountains in 2022. Strasburg commended Marks for his passion and dedication to live music, highlighting his deep musical knowledge and strong execution skills. “Evan’s wide berth of musical knowledge and ability to execute will meet and exceed the lofty expectations of our music community.”
Eddie Kloesel has been named partner at WHY&HOW, the management company founded by Bruce Kalmick. Joining at its inception in 2020 as vp of touring and sponsorships, Kloesel was later promoted to executive vp, playing a pivotal role in shaping the company’s strategic goals. He has spearheaded brand partnerships, touring strategies and album releases, contributing to the success of clients like Whiskey Myers and Chase Rice. With a music industry career spanning nearly two decades, Kloesel began in 2005 as a day-to-day tour manager for Brandon Rhyder and joined Triple 8 Management in 2011 before becoming a member of WHY&HOW’s founding team. Kalmick calls Kloesel a a “trusted strategic thinker who approaches our clients’ business like an entrepreneur,” adding, “He’s always thinking outside the box and has brought forward opportunities that are not only lucrative for our clients but are also unique within the industry.”
Supreme Music secured the exclusive services of renowned sound designer Markus Stemler, celebrated for his Academy Award-nominated and BAFTA-winning work on All Quiet on the Western Front. This collaboration strengthens Supreme Music’s sound design and audio post-production for advertising and branded content. Stemler, known for projects like The Matrix Resurrections and Cloud Atlas, brings expertise in dialogue editing, ADR, Foley and re-recording mixing. His recent credits include Tides (2021) and Perfect Days (2023). For Supreme Music, he has contributed to standout campaigns such as Penny’s Wonderful World and the American Red Cross’ Mom, showcasing his exceptional artistry and versatility.
HarbourView Equity Partners partnered with The CultureShaker to lead its brand, marketing and PR efforts. The CultureShaker’s founder, Lucinda Martinez, will now serve as chief marketing officer of the investment firm, joined by Deborah Renteria as vice president of brand and content strategy. Martinez, known for award-winning campaigns like Game of Thrones and Insecure, brings a quarter-century of experience from Netflix, HBO and Comedy Central. Renteria brings complimenting expertise in content development and audience engagement from roles at Lionsgate, Facebook, and HBO. HarbourView CEO Sherrese Clarke Soares praised the team’s cultural and strategic insights, essential for the firm’s rapid growth, adding: “The CultureShaker is our first operating partner under our Create Platform, further cementing our position as a valued partner to artists, content creators, investors as we broaden our footprint and deepen our focus across the entertainment and creative ecosystem to continue to drive ROI.”
Curbside Concerts, a Canadian company that produces curbside concerts, welcomed Tracy Posadowski and Tom Yeates as managing directors of sales and marketing. Posadowski, co-founder of ATTCo Global Services, and Yeates, with extensive revenue management experience, aim to expand the company in Canada, enter the U.S. market, and explore new business avenues. Founded by Matt and Amanda Burgener during the COVID-19 pandemic to support struggling musicians, Curbside Concerts has grown significantly in its first four years, bringing music to people’s yards and curbs.
Isekai Records, a joint venture with Broke Records, launched in August 2024 by Ewan Jenkins, Jack Mangan and RJ Pasin, aims to be artist-friendly. Jenkins and Mangan, co-founders of E2J Artist Management, gained recognition in 2023 by managing Pasin, whose TikTok followers grew from 10,000 to 2.8 million and Spotify listeners to 7.5 million monthly. Isekai Records leverages their expertise to support emerging talent. Their debut release, “Embrace It” by Ndotz, marked their global entry and commitment to artist-centric music production.
ICYMI:
Hugh Forrest
The board of directors of Farm Aid appointed Shorlette Ammons and Jennifer Fahy to lead the non-profit effective Jan. 1 … Hugh Forrest was promoted to president of South by Southwest, where he’ll continue to oversee programming and assume full leadership of an organization. Jann Baskett, the current co-president and chief brand officer, prepares to step down on New Year’s Eve.
Last Week’s Turntable: Red Light Green Lights Former Warner Nashville Prez
On Christmas Eve in 2019 — while most music business executives were headed out to holiday parties or completing last-minute shopping — Warner Records quietly finalized a label deal with Jaten Dimsdale, a former member of a hair metal cover band outside of Atlanta who had also tried his hand at hardcore and hip-hop.
Dimsdale had posted a handful of viral YouTube covers: In his version of Michael Jackson’s “Rock With You,” uploaded earlier in 2019 on the 10th anniversary of the artist’s death, his buttery tone contrasted shockingly with his grizzled beard, gauge earrings and the hourglass tattoo stamped on the side of his head. Aaron Bay-Schuck and Tom Corson, Warner Records’ then-recently appointed co-chairmen, had been scavenging for stars to revitalize the faded label — so as the rest of the world hunkered down for the night and wrapped gifts, they inked a deal with Dimsdale, who had started performing under a different name: Teddy Swims.
Fast-forward four Christmases. At the end of 2023, Teddy Swims still lacked a signature hit, but Bay-Schuck spotted some encouraging data surrounding the singer’s single that had been hovering in the middle of the Billboard Hot 100. “I remember over the holiday break, ‘Lose Control’ was taking a positive turn,” he recalls of the singer’s single released in June 2023, “so we knew that was going to be a key song for us going into ’24.”
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During that same holiday downtime, Bay-Schuck also noted some positive numbers on TikTok for another relatively new Warner signing, singer-songwriter Benson Boone: The teasers for his unreleased “Beautiful Things” were gaining traction, so the label posted more snippets before the end of the year to further fuel its growth. “And also,” Corson adds of that particularly busy December, “our A&R team had identified [country singer] Dasha and [folk artist] Michael Marcagi, who were trending [on social media] significantly. We closed those deals, essentially, over Christmas.”
With that hectic holiday season, Warner set the stage for what would become an enormous 2024. In January, “Beautiful Things” rocketed to a startling No. 15 debut on the Hot 100 upon its official release. Dasha’s country clap-along “Austin” started morphing into a viral hit following its late-2023 arrival, and Marcagi’s wistful anthem “Scared To Start” gained immediate traction when unveiled in mid-January. As for “Lose Control,” Teddy Swims’ first Hot 100 hit has become a year-defining smash: It reached the chart’s top 10 during the week of Jan. 20, went to No. 1 the week of March 30 and now, in its 64th week on the Hot 100, remains in its upper reaches — and will likely finish quite high on Billboard’s year-end Hot 100 chart. Boone’s “Beautiful Things,” which eventually peaked at No. 2 on the Hot 100 and logged 27 weeks in the chart’s top 10, likely won’t be far behind “Lose Control” on the year-end list. And as the year drew to a close, Boone and Teddy Swims both notched best new artist Grammy nominations in November.
Going into 2024, Bay-Schuck and Corson had recognized it would be a pivotal year for their regime at Warner Records, even if they might not have predicted the exact way it would unfold. After all, Zach Bryan and Dua Lipa, two of the label’s flagship artists, were expected to release new music — but Teddy Swims’ raspily belted soul-revival pop anthem and Boone’s existential ballad with its out-of-nowhere wailed chorus out-charting any new song by those superstars was less expected.
When reflecting on Warner’s surprising year, Corson offers some wisdom from the Roman philosopher Seneca: “Luck is what happens when preparation meets opportunity.” The startling triumph of relative unknowns like Teddy Swims and Boone, along with strong performances from the label’s A-list roster of talent, has made Warner much healthier than its fallow period in the mid-2010s.
Neither Corson nor Bay-Schuck expected this resurgence would sound like “Lose Control” or “Beautiful Things,” but when the moment arrived, they had already been working overtime to meet it. Unabashed music geeks with complementary talents — Corson the master marketer, Bay-Schuck the A&R whiz — the two label leaders can easily rattle off empirical and emotional takeaways from even their roster’s tiniest artists, and they’re hustling both on and off the clock, studying market inefficiencies and, as Seneca may have wanted, placing the label in a position to scoop up potential wins. “These songs didn’t sound like anything else that you were hearing on top 40 [radio],” Bay-Schuck points out. “That’s a big part of our brand at Warner Records. We aren’t trying to do what everybody else is doing — we’re trying to take risks and stand out.”
From left: Dasha, Dua Lipa, Zach Bryan, Benson Boone, Mike Shinoda and Billy Strings.
Illustration by Israel Vargas
As slow-burning smashes with 10-figure streaming numbers, “Lose Control” and “Beautiful Things” headline a year for Warner that has also included country-rock virtuoso Bryan graduating to stadiums and scoring another hit album with The Great American Bar Scene, which reached No. 2 on the Billboard 200; Lipa earning her highest-charting album and best sales week yet with her third full-length, Radical Optimism; and eclectic acts like Linkin Park, Warren Zeiders, Billy Strings and Rüfüs Du Sol yielding success stories in rock, country, bluegrass and dance, respectively. As a result, Warner Records’ market share soared to third among individual labels (behind Republic and Interscope Geffen A&M) in Billboard’s 2024 midyear report, its highest ranking since Bay-Schuck and Corson were named CEO and COO of Warner, respectively, in 2018.
“Aaron, Tom and the team focus on signing and carefully nurturing original artists, and the result is a diverse roster of established superstars and emerging talent,” says Robert Kyncl, CEO of Warner Music Group. “At the same time, they’ve pioneered new ways of breaking through the clutter and grown their market share in an ultra-competitive environment.”
When Max Lousada, former WMG CEO of recorded music, recruited Corson from RCA Records and Bay-Schuck from Interscope to run Warner Records, both executives understood they had their work cut out for them. Outside of Lipa, who took home the best new artist Grammy Award in 2019, Warner ended the 2010s with an aging, rock-focused roster and a severe lack of new star power. “I’m going to quote Lyor [Cohen], a mentor of mine over the years,” Bay-Schuck says. “When we got this opportunity, he was like, ‘You better make sure they’re giving you five to seven years. That’s how long it takes.’ And I think he was spot-on, when you’re taking on a challenge like we did. We had a really unhealthy company that we inherited, and so the first couple of years were about the culture and getting the right people working here.”
In addition to bringing in deputies like executive vp/head of A&R Karen Kwak, senior vp of digital marketing Dalia Ganz and CFO Michele Nadelman, Corson and Bay-Schuck took a divide-and-conquer rebuilding approach that incorporated their personal expertise. Corson, a former president/COO of RCA Records, was tasked with maximizing the potential of Warner’s existing roster and catalog upon arrival, allowing Bay-Schuck, who previously ran A&R at Interscope, the necessary time to discover and develop new artists.
For Corson, the situation “was a combination of understanding roster catalog and needing to find revenue to buy us enough time.” Fortunately, the Warner catalog was filled with legendary artists — from Prince to Tom Petty to Fleetwood Mac to Madonna — even if, Corson says in disbelief, “there wasn’t anything strategic being done with them by the label.”
Short term, there was plenty of new revenue to uncover. Initiatives included responding to significant album anniversaries with glossy vinyl box sets for classics like Green Day’s Nimrod and Linkin Park’s Hybrid Theory, strengthening relationships with the estates of artists like the Ramones and Mac Miller for special releases and also prioritizing new material from still-viable veterans like Red Hot Chili Peppers and Gorillaz. “Developing a high standard helped create a higher flow of product coming out of the catalog department,” Warner executive vp of promotion and commerce Mike Chester says. “And it really carried us. It allowed us to sign and develop Benson Boone and many others, because you need time to do that.”
With the exception of Lipa — whose 2020 album, Future Nostalgia, yielded hit after hit and also bought the new Warner regime more time to retool its roster — the label’s biggest new names are long-term development projects. Boone, a former American Idol contestant with a strong TikTok following but no original songs, signed with Warner in 2021; Bryan joined the same year, while he was still serving in the Navy and had yet to perform a proper concert. As Teddy Swims puts it nearly a half-decade removed from his own signing, “I speak for more than myself when I say just how thankful we are to [Bay-Schuck and Corson] for having the grace and patience to give artists like me the time and space to develop into what we are meant to be.”
Bay-Schuck points out that “Lose Control” and “Beautiful Things” first became hits outside of the United States, dominating parts of Europe and the United Kingdom before igniting on the Billboard charts this year — but that similarity aside, they required wholly different strategies. “ ‘Beautiful Things’ was viral as f–k — I think that’s an industry term,” Corson says with a laugh, nodding to the dedicated social following and streaming activity that helped unlock radio and tidily set up Boone’s April album, Fireworks & Rollerblades.
On the other hand, Warner had to grind out “Lose Control” with old-school radio promotion, then harness digital marketing to widen its footprint. “It’s one of the most interesting records I’ve ever worked because it’s an eight-format record,” Corson says of the single, which has, in fact, charted on eight different genre-based charts, from Adult Pop Airplay to Rock Airplay to R&B/Hip-Hop Airplay, and has topped three of them in addition to the Hot 100.
As for Bryan, whose singular mix of country and rock has also transcended genre lines, the label’s executives say that his sound, release rate and social media presence all come straight from the singer-songwriter, and they just fill in any of the necessary details. “It is entirely Zach’s vision,” Bay-Schuck says. “And the legacy of this label is exactly that. No one was telling Prince what to do, no one was telling Madonna what to do. You give them advice, you challenge them, you insert your opinions where you can. But ultimately, those artists thrive because the label understood how to let them grow and mature and take swings on their own.”
As they’ve settled into their respective roles, Bay-Schuck and Corson have also clicked personally. They didn’t know each other prior to working together at Warner, but in conversation now, they often finish each other’s thoughts, thank each other for specific achievements and describe developing a friendship “off the field” while sharing a philosophy in the office. “Tom is this masterful operator, and Aaron is serious but in a very nuanced way,” Chester explains. “You have two people working full tilt to keep everything aligned, and the more wins, the greater proof of concept, just doubles down on the relationship.”
The dynamic has impressed the roster’s newer additions. Dasha, whose “Austin” peaked at No. 18 on the Hot 100, remembers meeting with Warner prior to other labels and feeling like her mind was made up before any further conversations. “Tom has been such an angel since day one. He is like my dad — he’s so funny and so kind,” she says. “Aaron, the same thing. He has so much passion for what he does and so much drive that it makes me want to work harder.”
And the label’s veteran artists, too, have met Warner’s efforts to revitalize catalogs and mine new opportunities with open arms. After working with Bay-Schuck and Corson on multiple anniversary reissues, Linkin Park set up its next chapter with new co-vocalist Emily Armstrong under cover of darkness, working with Warner to plan a global livestream, arena tour dates and the Nov. 15 release of its latest album, From Zero. “The Emptiness Machine,” the lead single from the album, debuted at No. 21 on the Hot 100 — Linkin Park’s biggest hit in 15 years and one of fall’s hottest new rock singles. The band’s Mike Shinoda says that Bay-Schuck and Corson were “instrumental” in Linkin Park’s comeback. “They helped us choose ‘The Emptiness Machine’ as a first single before it was completed,” he says.
Next, Bay-Schuck and Corson are focused on building the profiles of Warner’s new stars beyond their breakthrough hits. Teddy Swims’ uptempo follow-up single, “The Door,” has peaked at No. 24 on the Hot 100, and a new album — billed as a “second part” of his debut, I’ve Tried Everything but Therapy — is slated for a January 2025 release. Meanwhile, Boone’s “Slow It Down” reached No. 32, and he spent the year touring the globe (including a few dates opening for Taylor Swift’s The Eras Tour).
The executives also rattle off a dozen rising prospects on their roster — from pop singer CIL to viral country artist Maddox Batson to drum’n’bass revivalist Kenya Grace — and stress a greater focus on hip-hop and R&B in 2025, including with the impending arrival of a new head of its urban A&R division.
Meanwhile, Bay-Schuck and Corson have recently begun overseeing Warner Music Nashville, taking a more hands-on approach with artists like Bailey Zimmerman, Gabby Barrett and Cole Swindell and providing Warner Records’ global resources to help broaden those artists’ international footprints. The move was part of the summertime shake-up at WMG that resulted in Lousada’s departure, as well as the installation of a new regime at Atlantic Music Group, with Julie Greenwald departing as chairman/CEO and 10K Projects founder and CEO Elliot Grainge taking her place.
“We’re getting to know Elliot and [new COO] Zach [Friedman] and [new GM] Tony [Talamo] in real time — so far, great experience,” Bay-Schuck says. “They’re young, they’re energetic, they’re fearless. They’re going to come up with some new ways of doing business that I’m sure will prove to be really great for Warner Music Group.”
Another more subtle change followed the WMG restructuring: Bay-Schuck and Corson now report directly to Kyncl, after previously reporting to Lousada. While both executives say that Lousada’s leadership proved invaluable to their current run of success, they’re happy to be ending a momentous 2024 with a bigger seat at the table.
“We now have visibility into things that we didn’t before,” Bay-Schuck says. “With the greatest respect to those who came before us.”
Corson adds, “We’ve earned this.”
This story appears in the Nov. 16, 2024, issue of Billboard.
Alt-pop singer Alemeda has signed with Top Dawg Entertainment (TDE) and Warner Records, Billboard can exclusively announce Friday (Sept. 20). She becomes the third female act to be signed to TDE, following SZA and Doechii.
“TDE placed trust and time in me to find my sound and develop as an artist at my own pace. I think to be signed to them means to be more than just an artist but to be a pivotal part of Black art and culture,” Alemeda said in a statement. “I’m honored to be the third woman ever signed to this historic roster of talented culture pavers. Warner also has a great understanding of who I am as an artist, and their historic success in the rock and pop genres makes me confident in our future together. I feel they were the right team to support my growth as an artist and I am excited for what is to come working with them alongside TDE.”
The news coincides with the release of the Ethiopian-Sudanese artist’s debut EP, FK IT. The 8-track project includes previously released singles like her viral 2021 debut “Gonna Bleach My Eyebrows,” “Guy’s Girl” and “I hate your face.” She also performed her latest single “I already dug your grave” on popular German performance series platform COLORSxSTUDIOS earlier this month. “This EP is the truest expression of who I am right now,” she adds. “It’s about letting go of what doesn’t serve me and embracing the chaos and beauty of being real, unapologetically.”
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“One late night in December 2019, a few months before the pandemic, I was stuck in a rabbit hole scrolling Instagram when I happened to stumble across Alemeda. She was going by Rahema Alameda at the time and was doing a cool little bop with the brightest smile to a song of hers that she hadn’t released. I immediately felt she was gonna be great,” said TDE co-president Anthony “Moosa” Tiffith in a statement. “After reaching out to her, I learned that she hadn’t put out any music yet or even recorded in a studio before, so I flew her out to Los Angeles to give her that opportunity. When she told me about her strict upbringing and how she moved from Ethiopia to Arizona, I knew she had a story to tell.”
Tiffith continues: “She’s been here for the last four years, staying focused as a student of music and developing her sound. For most managers that must sound like a long time, but artist development is the most important thing to me. It’s a blessing to work with an artist like Alemeda who shares that vision and is willing to do the work. I’m happy and beyond excited to announce her to Top Dawg Entertainment, and equally enthusiastic for our partnership with Warner!”
Warner is also excited to work alongside TDE for Alemeda.”She’s an electrifying artist with a unique voice and vision, and FK IT is just the beginning of what will be an extraordinary journey. Her ability to channel her personal experiences into raw, boundary-pushing music makes her a perfect fit for our roster,” said Warner Records co-chairman/CEO Aaron Bay-Schuck in a statement.
He adds, “[Warner Records co-chairman/COO] Tom Corson, [Warner Records executive vp/head of A&R] Karen Kwak and our entire team is thrilled to be joining forces with Top Dawg Entertainment to bring Alemeda’s innovative artistry to an even wider audience. Collaborating with TDE’s exceptional team only amplifies our excitement for this groundbreaking partnership.”
Maddox Batson, a 14-year-old singer-songwriter and multi-instrumentalist whose breakthrough song, “Tears in the River,” made its way to the top 20 on Spotify’s U.S. Viral 50 chart earlier this year, has signed a deal with Warner Records, the company tells Billboard. On Thursday (Sept. 5), Batson also releases a new song, “X’s” (video below).
“Just seeing what they did with [Batson’s now-Warner labelmates] Zach Bryan, Warren Zeiders, Bailey Zimmerman, all those people, it just felt like a no-brainer for me [to sign with Warner],” Batson tells Billboard via Zoom. “I could tell they were going to take care of me and not push me to do things that I don’t want to do. They make sure I do everything right for my artistry and everything that’s right for my fans.”
In March, Batson released a video for “Tears in the River” on TikTok. The clip has since surged to 12.5 million views, and the impact has spilled over into streaming — the song, which Batson wrote with Nick Bailey, Josh Dorr, Benjamin Negrin and Elysse Yulo, has earned over 6 million streams on Spotify’s platform alone.
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“It was one of my first-ever writing sessions with more than just one person,” Batson says. “We got in the room and were thinking, ‘What do girls want to hear?’ They want to hear that you want to take care of them, maybe they got out of a bad relationship, they come to you and now it’s going to be a good relationship. And that’s what we wrote.”
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Batson’s follow-up single, the polished pop-country track “I Wanna Know,” has more than 2 million streams on Spotify. But it’s not only his music that’s connecting with fans — so is Batson’s gregarious, social media-savvy persona. A TikTok clip released in February that showed him getting ready to attend a dance earned over 30 million views.
Warner Records CEO/co-chairman Aaron Bay-Schuck told Billboard in a statement, “Several members of our Warner A&R team were the first people to bring Maddox to my attention after seeing his growth online. We were immediately drawn to his star power and charisma, as well as his fantastic instincts with respect to self promotion. While the social metrics were outpacing the consumption story, what we did find is that Maddox is a naturally gifted songwriter who sees an open lane for himself and has a clear vision for how he is going to own it.
“We look forward to nurturing his artist development process as he hones his craft, works with those who will help make him better and solidify his sound, and continue to build a strong fanbase that is with him not only for his online persona but because they love the music he makes and what he represents. We are confident we have Country and Pop’s next young star in Maddox.”
Batson was born in Nashville and raised in Birmingham, Ala. Growing up, he was inspired by ‘80s and ‘90s country artists including Alan Jackson and George Strait, but also the pop sounds of artists such as Justin Bieber. Last summer, he played more than 20 shows, honing his sound and developing his musical skills through playing with his musician father.
Maddox says he was inspired to write his new song, “X’s,” after attending an Abby Anderson concert at Brooklyn Bowl in Nashville.
“I walked in and of course, your boy is not old enough to drink alcohol, so the security guard drew a big X on my hand. The show was great, and when I went to the studio the next day and this guy saw the X on my hand — I promise, I shower, it was just written in Sharpie — but he saw my hand and we just wrote this song in 15 minutes. It was one of the easiest writing experiences of my life.”
Recording the song, however, was not without a minor challenge or two.
“Just seeing that song coming from the demo to the final version is just so crazy because my voice changed while we recorded those two different versions [demo and master recording] of the song,” Batson says. “So we had to [record] it in a completely different key. But seeing it come out is going to be absolutely money. I’m so excited.”
In addition to writing his own hits, Batson’s song “Tough” — which he wrote about his father and grandfathers — was recently recorded and released by Lana Del Rey (who is prepping a country album titled Lasso) and Quavo.
“I come from a long line of farmers,” Batson says of writing the song. “My mom’s dad was a tobacco farmer and my dad grew up in the construction sites, so just really work ethic-heavy people, and hopefully that got passed down.”
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Batson, who is signed with Prosper Entertainment for management, WME for booking and Warner Chappell for publishing, says he expects a project to be released in 2025. In June, he joined singer-songwriter Wyatt Flores to perform Flores’ “Please Don’t Go” during Nashville’s CMA Fest. Days later, he also became the youngest artist to perform at the popular Nashville music series Whiskey Jam, with a full-capacity audience that caused Whiskey Jam to expand entry to the normally 21-and-up show to fans of all ages.
Presently, Batson — who is starting ninth grade and transitioned to homeschool just before releasing “Tears in the River” — is balancing school with a slate of primarily weekend tour dates opening for “I Hope” hitmaker Gabby Barrett.
“Yeah, when I finish up this interview, I’m enrolling for the new school year,” he says.
The Warner Music Group is undergoing a major executive restructuring that will see CEO of Recorded Music Max Lousada step down at the end of September, the company announced today (Aug. 1). Lousada, who has run the recorded music operation of the major label for eight years, will remain an advisor until January 31, the company said; Lousada’s role will cease to exist moving forward, as will the role of president of international.
As part of the transition, longtime co-leader of Atlantic Records and Atlantic Music Group chairman/CEO Julie Greenwald will now take on the role of chairman of Atlantic Music Group, reporting directly to WMG CEO Robert Kyncl. Meanwhile, 10k Projects founder Eliot Grainge will ascend to the role of CEO of Atlantic Music Group effective October 1, also reporting to Kyncl.
The change will see 10K shift under the Atlantic Music Group umbrella, alongside Atlantic Records, Elektra and 300. Meanwhile, Warner Records — led by co-chair/CEO Aaron Bay-Schuck and co-chairCOO Tom Corson — will oversee Warner Music Nashville, in addition to Nonesuch and Reprise.
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“On behalf of everyone at WMG, I’d like to thank Max for his extraordinary achievements over the last 20 years,” Kyncl said in a statement. “Max is a true artists’ champion, who created a culture that puts artistry first, growing our global reach and building a roster of incredible talent and an outstanding team. I’m grateful that he’ll be helping to ensure a smooth transition.”
“Over the past two decades, we created something special together at Warner: a music company built for artists, where original voices are championed, where their creativity is honored and protected, and where superstar careers are ignited,” Lousada said in a statement. “I’m proud to have grown a world-class team who share that vision and whose enterprise and energy have brought in new labels, rebuilt iconic brands, expanded our global network, and pioneered new fan experiences. The music business has always been about evolution, and the time has come for me to build something new. I’ll be helping the team through this transition, and I have no doubt they’ll continue to develop artists who move the world.”
This is a developing story.
Warner Records has had plenty to celebrate already this year. At the midyear mark of 2024, the label finished an impressive third in current market share at 6.30%. That’s a big jump from the same point last year when it ranked fifth, at 5.62%, and represents the label’s best mark at the midway point in years. That was at least partly due to a string of successful singles in the first half of this year from artists as diverse as Benson Boone, Teddy Swims, Zach Bryan, Dua Lipa, Bebe Rexha and David Guetta, each of whom has made a huge mark on the charts in the first six months.
But this week brought even better news with the release of Luminate’s 2024 Midyear Report. Warner Records had the top three most-streamed songs of the first half of the year in Boone’s “Beautiful Things,” Bryan’s “I Remember Everything” with Kacey Musgraves and Swims’ “Lose Control,” respectively. That marks the first time any label has had the top three songs at the midyear mark since 2015, the year that streaming officially tipped the industry back into profitability. This week, the label also held down the top three spots on Billboard’s Dance/Mixshow Airplay chart with Lipa’s “Illusion,” Rexha’s “Chase It” and Guetta and OneRepublic’s “I Don’t Wanna Wait,” representing the first time Warner has ever achieved that feat and the first time any label has done it since 2018.
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Both are impressive milestones, representing a creative, radio, streaming and commercial achievement for the label across several formats and genres — and that’s even before the release of Bryan’s latest album, The Great American Bar Scene, which topped the charts at five different formats this week and racked up 137,000 equivalent album units in its first full week of availability. All that helps make Warner Records’ executive vp of promotion and commerce Mike Chester Billboard’s Executive of the Week.
Here, Chester talks about those midyear achievements, his work across both radio promotion and overall commerce at the label and how things have changed since he arrived in 2018. “Artists have been tirelessly refining their sound, approach and craft, a dedication now reflected in our success,” he says. “They deserve immense credit for navigating this demanding process and emerging triumphantly, as does the best-in-class team here at Warner Records.”
This week, Luminate’s 2024 midyear report revealed that Warner Records had all of the three most-streamed songs of the year so far, in Benson Boone’s “Beautiful Things,” Zach Bryan’s “I Remember Everything” with Kacey Musgraves and Teddy Swims’ “Lose Control,” the first time in at least a decade that one label has held the top three slots. What key decisions did you make to help make that happen?
Global artist development. In today’s interconnected marketplace, it’s crucial to respect each territory outside the U.S. When nurtured properly, these regions can provide a massive platform for launching artists. Take Benson Boone and Teddy Swims, for example. They’ve spent as much time abroad over the past two years as they have in the U.S. This strategic international presence has been instrumental in driving a global audience, leveraging the power of algorithms and trends to expand their reach. Zach Bryan stands out by doing things his way, with integrity and purpose. His ability to connect authentically with his fans is unparalleled.
In addition to your guys’ success at pop, country and rock, Warner has the top three songs on the Dance/Mixshow Airplay chart with Dua Lipa’s “Illusion,” Bebe Rexha’s “Chase It” and David Guetta and One Republic’s “I Don’t Wanna Wait,” a first for Warner and the first time a label has achieved that since 2018. How were you guys able to hit that mark, and how does the dance/mixshow world differ from other formats?
We have dedicated significant effort to emphasizing the dance genre, as evidenced by the launch of Major Recordings and our ongoing commitment to dance music at Warner Records. Foremost, we are fortunate to have exceptional music from artists such as Dua Lipa, Bebe Rexha and David Guetta, who are able to move culture every day. I would like to extend special recognition to Josh Reich [senior vp of Top 40 & dance promotion] whose strategic vision and passion for the genre have been instrumental in our success.
Warner is having a hugely successful commercial year so far, posting a 6.30% midyear current market share, the label’s best mark in years. What do you attribute that to?
There is no doubt that this achievement is a testament to [Warner co-chairman/COO] Tom Corson and [Warner co-chairman/CEO] Aaron Bay-Schuck‘s incredible leadership. Artists have been tirelessly refining their sound, approach and craft, a dedication now reflected in our success. Keys factors have been patience, consistency and providing our artists with the necessary space for proper development. They deserve immense credit for navigating this demanding process and emerging triumphantly, as does the best-in-class team here at Warner Records.
You joined Warner in 2018 as head of promotion, and took on the broader role of head of promotion and commerce in 2021. How have you seen the commercial landscape evolve over that time and how have you positioned your team to be able to capitalize on that?
Interestingly, 2018 was also the year TikTok made its debut in the United States, revolutionizing our world from day one. Since then, the landscape of artist development has seen remarkable shifts, with audience fragmentation, genre evolution and the growing influence of niche subcultures becoming the norm. Beyond the digital realm, the physical product space has also transformed, offering fans more meaningful and collectible items that create a deeper connection to our artists and their music. As streaming growth evolves, we continue to think deeply about how to monetize our music in many different ways.
By now, Zach Bryan fans know what to expect from his music: overwhelmingly mid-tempo, acoustic guitar-based songs that are inevitably going to pack a punch. Without ever changing his inflection much, Bryan’s songs continue to deliver an emotional wallop thanks to his economical, but cinematic, trenchant lyrics. You wouldn’t think he could be much more […]
Warner Records has promoted Robert Santini to senior vp of brand partnerships and ad sync, the company announced Monday (July 1). Santini assumes the role after four years as the label’s vp of brand partnerships & ad sync. Under his previous title, he spearheaded projects including Warner Records’ collaboration with Roblox and the NFL for […]
What a difference a year — or a couple of months with a massive label shakeup — can make.
The reorganization of the Universal Music Group that occurred in February — which loosely divided the music giant’s labels under two umbrellas, Republic Corps and the Interscope Capitol Labels Group (ICLG) — has created a new hegemony that effectively splits its industry-leading market share in half, meaning that Republic Corps’ Monte Lipman and ICLG’s John Janick sit atop label empires that, in a given week, can rival the Warner Music Group as a whole in terms of market share. (For Republic, given its partnership with Big Loud for Morgan Wallen and the eye-popping success of Taylor Swift and others, that was already the case at times last year.) In the first quarter of 2024, for example, both Republic Corps (13.69%) and ICLG (13.81%) put up current market share figures that are more than double the next-highest label from any other company.
Yet for comparison’s sake — and to get a sense of the trends in the market — we’ll set that reorganization aside for now, particularly as it happened in the midst of a quarter and thus doesn’t reflect the totality of the first three months of 2024. And even under the old alignment, Republic (which, even prior to the shift, encompassed Island, Big Loud, Mercury and Imperial) and Interscope (which similarly already included Geffen and Verve Label Group) still lead the pack for releases through the end of March.
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Republic, on the strength of enduring hit albums by Wallen, Swift, Drake and Noah Kahan, as well as the huge success of the new Ariana Grande album eternal sunshine, posted a 12.84% current market share (defined as albums released within the past 18 months), only marginally coming down to earth from the eye-popping 13.47% full-year current share it posted in 2023, and a slight uptick over the 12.45% first quarter it enjoyed last year. Meanwhile, Interscope’s 9.10% current share is a big jump from the 7.75% it posted in the first quarter of 2023, and up from the full-year 8.80% it posted last year, with the enduring success of Olivia Rodrigo and breakout singles from Xavi (“La Diabla” and “La Victima”), among others, helping boost its position.
But perhaps the biggest story of the first quarter of 2024 has been the smash success of Warner Records, which surged from seventh place in Q1 2023 (5.23% current share) all the way to third in Q1 2024 (6.41%), reflecting the remarkable success the label has had on the Hot 100 so far this year. Benson Boone’s “Beautiful Things,” Teddy Swims’ Hot 100 No. 1 “Lose Control” and Zach Bryan’s “I Remember Everything” feat. Kacey Musgraves are all among the top five songs of the year so far, while Bryan’s 2023 self-titled album and his 2022 album American Heartbreak are both among the top 20 albums of the first quarter. Warner — whose market share includes catalog label Rhino as well as Warner Latin and parts of Warner Nashville — continued to build on its 2023 trajectory, when it finished with a full-year current share of 5.96%.
That surge pushed Atlantic Records down into fourth place, at 5.14% current share, a drop of more than 2% from the 7.22% it maintained in Q1 2023. Atlantic — which includes 300 Elektra Entertainment in its market share — did have a big hit from Jack Harlow, whose single “Lovin’ On Me” topped the Hot 100 for five weeks in the first few months of the year. Atlantic’s hold on fourth, however, was only 0.01% above RCA Records, which came in at 5.13%, as the enduring strength of singles by SZA, Doja Cat and Tate McRae, combined with a viral smash from Flo Milli (“Cruel Summer”), kept the label in fifth place, despite dropping from 5.76% in Q1 2023, when the SZA album had a lock on the top of the Billboard 200.
Sticking in sixth place is Capitol Music Group — whose market share still contains indie distributor Virgin, as well as Quality Control/Motown, Capitol Christian, Astralwerks and Blue Note — which posted a 4.71% current share, down from 5.56% in the first three months of 2023. Dropping to seventh is Columbia, which includes some labels from indie distributor RED in its market share, at 3.71%, down from 5.85% a year ago. Though, in this particular ranking, Columbia is an unfortunate casualty of the end-of-March cutoff date; Beyoncé’s Cowboy Carter debuted the week after with the biggest first week of the year, which will be reflected in the second quarter. In eighth, Epic Records saw a big boost, posting a 2.99% share (up from 2.06% last year), though that also seems like it will be trending higher in Q2, with the twin Future/Metro Boomin albums still growing. Sony Latin (2.38%, up from 1.92%) and Sony Nashville (2.08%, down from 2.30%) round out the top 10 in current market share.
Among the label groups, UMG’s dominance continued, with its 33.90% current share ticking up slightly from 33.59% in the first quarter of 2023, while Sony Music Group’s 26.91% came in lower than last year’s 28.46% — again, likely a quirk of the calendar. Still, despite Warner Records’ individual surge, the Warner Music Group’s overall current share slipped to 15.98%, down from 16.81% in Q1 last year. (WMG’s market share still contains 1.09% from BMG, despite the latter announcing that it would be ending its distribution arrangement with Warner; projects that were in the works prior to the agreement ending are still going through the Warner system, a BMG spokesperson says.) The big beneficiary in current market share is the independent sector, which grew its mark from 21.15% in Q1 last year to 23.21% this year by distribution ownership, a significant increase. Both the independent release of the chart-topping Ye and Ty Dolla $ign album Vultures 1 and the huge success of Mitski’s “My Love Mine All Mine” contributed to the boost.
The numbers are more static when looking at overall market share, which includes back catalog, though the trends are still there: Universal (38.23%, up from 37.65%) and the indies (16.28%, up from 16.18%) both were up over Q1 2023, while Sony (27.23%, down from 27.62%) and WMG (18.26%, down from 18.55%) dipped. By label ownership, the independent sector remains larger than any individual major, accounting for 36.09% in overall market share, albeit down from the 37.38% it had in Q1 2023.
Among the individual labels, Republic’s huge current numbers pushed its overall market share above Interscope’s for first place, at 9.94%, up from 9.16% last year, while Interscope’s second-place showing at 9.85% still represented growth from its leading 9.44% last year. Atlantic’s strong catalog numbers meant that in overall share it remained in third place, at 7.65%, besting Warner Records, which jumped into fourth at 6.72%. Interscope, meanwhile, retained its top spot in catalog market share, at 10.09%, with Republic (9.03%) and Atlantic (8.43%) behind.
Country artist Orville Peck has signed with Warner Records – and has already teased new music on the way.
“I was ready for a change,” Peck tells Billboard. “I spent most of last year making several huge changes to all aspects of my life – my career being just one of them. I was ready for a clean start.”
Today (April 1), Peck announced his first release on the label: a collaboration with Willie Nelson. The pair will duet on a cover of “Cowboys Are Frequently Secretly Fond of Each Other,” a song originally released in 1981 by Latin country artist Ned Sublette and covered by Nelson in 2006. Peck himself previously performed a rendition for SiriusXM and at his 2023 Hollywood Bowl show.
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Jeff Sosnow, EVP of A&R at Warner – whom Peck calls “the GOAT” – tells Billboard he met Peck a few years ago and was taken “not only by his musical acumen and knowledge, but also his sense of purpose, ambition and curation of his own world, which all extends from the music.”
“It’s rare to come across an artist who checks so many necessary boxes for a path to success – great songs, singular voice, curation of overall aesthetic and visuals, ambition, communication and work ethic. With [what’s ahead], we have a real opportunity to fortify and grow Orville’s base and reach.”
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In 2019, Peck released his debut album Pony on Sub Pop. The following year, in 2020, he signed with Columbia and released his major label debut EP Show Pony. Two more EPs followed in 2022 leading up to his second full-length that August, Bronco.
“I was drawn to Warner because of their unique emphasis on their artists,” says Peck. “It may seem like it should be the standard but more and more, the music industry invests less and less in artists.” He says in addition to Sosnow being “a genuine fan of music,” he has “great respect” for Warner CEO and co-chairman Aaron Bay-Schuck along with COO and co-chairman Tom Corson. “They have helped me to feel so motivated,” he adds.
Currently, Warner is on a hot streak with its superstars and emerging talent alike. Next month (on May 3), Dua Lipa will release her anticipated album Radical Optimism, while Zach Bryan is currently playing to sold-out arenas on his The Quittin Time Tour. Plus, rising acts like Teddy Swims and Benson Boone occupied the Hot 100’s top two slots last week with “Lose Control” and “Beautiful Things,” respectively.
“The last five years have proven Warner has the patience and ingenuity to work with real artists with vision and songs and grow with them,” says Sosnow. “The structure of the company has put us in a unique place where we do indeed have a special sauce.”
Peck is signed to Brandon Creed’s Good World Management, and is managed by Creed along with Dani Russin and Anika Capozza. The firm says: “Warner has been in Orville’s corner for many years and when the moment arose to work together, they immediately seized the opportunity with incredible support and enthusiasm…We are so excited for this new partnership and couldn’t be more thrilled to be working with them.”
As Peck says, this next chapter can be defined by “evolution and exploration. I have honestly never felt so excited about my career before.”
Adds Sosnow: “The possibilities are really limitless for Orville. He is a generational talent.”
Orville Peck
Ben Prince