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Nora Fatehi, a Canadian-born Bollywood star with Moroccan roots, has signed a recording contract with Warner Music as the actress, dancer and singer looks to add “global music star” to her professional accomplishments. Based in India, Fatehi will work closely with WMG teams in the U.S. and globally on music-related releases and projects, but remain signed with Indian label T-Series for her Bollywood work.
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Fatehi made her name across India performing what are known as item songs — special musical numbers inserted into a movie — in numerous Hindi, Telugu, Tamil and Malayalam films. Her appearance in the 2018 film Satyameva Jayate, in which she performed the Bollywood classic “Dilbar,” led to her recording and sining an Arabic version of the song in collaboration with Moroccan group Fnaire that has racked up hundreds of millions of views on YouTube.
Her other musical endeavors have included collaborations with Tanzanian artist Rayvanny for the Afropop track “Pepeta,” as well as British singer Zack Knight for the pop song “Dirty Little Secret.” She has also released several solo tracks, including “I’m Bossy” earlier this year. According to WMG, Fatehi’s Bollywood songs have garnered over five billion views on YouTube, such as “Saki Saki,” Kusu Kusu” and “Garmi.”
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In late 2022, Fatehi shared the stage with global stars Davido, Ozuna, Manal, Balqees, Rahma and GIMS at the closing ceremony of the FIFA World Cup 2022 in Qatar, where she grabbed the spotlight for the English version of Cup anthem “Light the Sky.”
Indian music fans spend over 24 hours each week listening to music, with top genres including Bollywood and Indian Pop, among others, according to IFPI’s latest Engaging With Music report. Fatehi’s background and versatility, along with being fluent in multiple languages, means she won’t be limited to the vast market of her home base. The Middle East and North Africa, for example, was the fastest growing region for music in 2022, jumping 24%, reported IFPI, while Asia grew by 15.4%.
“Nora is an extraordinary talent, electric performer, and cross-cultural superstar whose music reflects the rich diversity of her background,” said WMG CEO Robert Kyncl. “Her passion and ambition are infectious and we’re excited to help her reach new audiences, places, and heights across the globe.”
Alfonso Perez-Soto, president of emerging markets for WMG, added: “I’ve been blown away by Nora’s star power. She has the creative ability and sheer stamina you need to become one of the world’s biggest artists. We can’t wait to put the global resources of Warner Music at her disposal as she starts the next chapter of her music career.”
In the meantime, Fatehi’s film career continues in its upward trajectory with the release on Friday (Feb. 23) of Crakk – Jeethegaa Toh Jiyegaa, a Hindi-language film billed as the “first-ever extreme sports action film in India.”
“I’ve enjoyed great success in my career so far, but this deal is a significant step forward in my musical journey, a new chapter in my international career,” she said. “My ambition is to be a global music star and performer, connecting with fans all over the world. I want to use my diverse cultural background to create music and dance that brings everyone together! I’m excited to work with Warner Music to leverage their experience and expertise to help me fulfill this goal.”
The fallout from Warner Music Group’s company-wide cull has already reached Australia, where the head of the domestic Warner Chappell company, Matthew Capper, is understood to be among the departures.
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Capper has led Warner Chappell Australia as managing director since 2010, and boasts more than 20 years’ service with the company.
A popular figure in the music publishing community, Capper joined Warner Chappell in 2003, initially as a copyright/royalty analyst, was promoted to general manager in 2004, and was named managing director in July 2010.
Prior to working at Warner Chappell, Capper cut his teeth as administration manager at Festival Music Publishing, a now-defunct Australian independent music publishing brand which was acquired by Mushroom Music in 2005.
Outside of his duties leading Warner Chappell’s affiliate from Melbourne, he is non-executive director of APRA and AMCOS, deputy chair of AMCOS, chair and non-executive director of publishers trade association AMPAL, and treasurer and non-executive director of ICMP, the global trade body representing the music publishing industry worldwide.
On his election to the board of APRA in 2007, he become the youngest-ever director of the authors’ rights society, aged 30 – a record that still stands.
Capper will finish up with Warner Chappell Australia on Feb. 29, 2024, sources say, tying in to sweeping changes announced earlier in the week by Warner Music Group CEO Robert Kyncl.
In an internal memo to staff obtained by Billboard, Kyncl wrote that the company will be reducing headcount by 10%, or some 600 people, as part of a plan to free up $200 million in cost savings to reinvest into the business.
Those cost savings will be realized by the end of September 2025, Kyncl said in the memo; some of those laid off have already begun to be informed, while the “vast majority” will be notified “by the end of September 2024,” he writes.
“As we carry out our plan, it’s important to bear in mind why we’re making these difficult choices,” the memo continued. “We’re getting on the front foot to create a sustainable competitive advantage over the next decade. We’ll do so by increasing funding behind artists and songwriters, new skill sets, and tech, to help us deliver on our three strategic priorities,” which he says includes growing engagement with music, increasing the value of music and evolving how Warner’s teams work together.”
Just before news broke of those company-wide cuts, WMG announced that its quarterly revenue grew 17% for the period ended Dec. 31, 2023, up 11% in normalized revenue, to $1.75 billion — its highest quarterly result ever.
Warner Music Group has launched the Warner Music Space, a new hub headquartered in Rio de Janeiro that will house Warner Music Brazil, Warner Chappell Music Brazil and ADA Brazil operations. Explore Explore See latest videos, charts and news See latest videos, charts and news The newly-inaugurated collaborative space, located in Barra da Tijuca in […]
Now that Warner Music Group chairman/CEO Robert Kyncl has had a full year at the helm of the major label, he has released a New Year’s note to staff, obtained by Billboard, outlining a plan to kick into gear and set the company up for the next 10 years of changes in the music business.
In the note, Kyncl says he’s referring to the year 2024 as “The Year of the Next 10 — the year when we move at velocity to set ourselves up for a winning decade in the new world.”
“As we start the new year, one thing I’d like us all to remember is that our world has fundamentally changed… the music business is in a very different place than it was 10 years ago,” Kyncl writes. “Now, we’re in a position of strength. That is the time to get ahead for the future.”
He then emphasizes three key areas that he sees as crucial for the next year: growing the engagement with music; increasing the value of music; and evolving how the team works together.
On the first point, Kyncl breaks it down into four main focus points. The first, he writes, is about focusing A&R more on capturing opportunity, including geographically (“based on where artists and songwriters come from and where their streams are going”) and looking forward, as with identifying genres that will grow in the future. The second, in marketing, he emphasizes the partnership between marketing, A&R, tech and business intelligence to better focus efforts and better use the data available. The third, in catalog, emphasizes the ability to market and promote WMG’s extensive catalog on the same lines as it does its frontline music, particularly in digital optimization, given that catalog is driving some 70% of consumption in the current market. And finally, he emphasizes distribution and administration, in beefing up both the services available to the “middle class of artists” and in the major’s publishing admin business, which he wants to scale up further.
The second point, focusing on value, is about solving in 2024 for some of the conversations that rose up and started to dominate in 2023: namely, the value of artists and music on streaming platforms, as well as the issues surrounding the dilution of the royalty pool from the likes of functional music and white-noise tracks. Kyncl has previously spoken about the importance of streaming services raising prices, which many did in the past year, which he stresses as well. And finally, he stresses the need to further develop artist-to-superfan relationships, which he calls “relatively untapped and under-monetized,” though notes that WMG has initiatives in the works in many of these areas already.
The final point, on working together, is about reorienting how the WMG team works, including through leaning into expertise, transparency, flexibility, collaboration across departments and within teams, relying on metrics and not being afraid to lead rather than follow the industry.
Kyncl also takes time to point out some of WMG’s successes in the past year, including big years by the likes of Zach Bryan, Jack Harlow and Gunna; returns from Dua Lipa, David Guetta and Ed Sheeran; and catalog victories for the music of David Bowie, Madonna and Talking Heads, among others, while looking forward to new music from Gabby Barrett, Maria Becerra, Green Day and more.
Looking at the past several decades in 10-year chunks is a useful way of catching snapshots of how markedly things have changed. In 2004, the CD boom had decidedly stalled, as piracy began to take chunks out of the record industry and the business was in the midst of its protracted struggle with piracy and the digital revolution. By 2014, the industry had effectively bottomed out, with recorded revenues hitting their nadir as streaming had been introduced but had yet to catch on as a viable, much less dominant, format for the business. Now, in 2024, with streaming far and away the biggest source of revenue for a booming business, the revenue model is being hotly scrutinized, as new technologies and increasing fraud and volume threaten to overwhelm the now-established status quo.
In that respect, Kyncl sees this year as a pivotal one to answer several of these big questions, and set WMG up for the next decade of challenges and opportunities in the business. “We’re going to fuel the growth of this company using the same resourcefulness and determination with which we develop our artists and songwriters,” he writes. “Because ultimately that’s what will serve them best.”
Warner Music Group reported quarterly revenue was up 6% as of Sept. 30, as the third-largest U.S.-based music rode a solid release slate that included the Barbie soundtrack, Zach Bryan and FIFTY FIFTY to eclipse $6 billion in overall annual revenue for the first time. WMG reported revenue for its fiscal fourth quarter rose to […]
Warner Music has announced plans to use AI technology to recreate the voice and image of legendary French artist, Edith Piaf, in an upcoming full-length animated film. Titled EDITH, the upcoming project is developed by production company Seriously Happy and Warner Music Entertainment in partnership with the Piaf’s estate.
EDITH is set to be a 90-minute film, chronicling the life and career of the famous singer as she traveled between Paris and New York. The voice clone of Piaf will narrate the story, revealing new details about her life never before known.
The AI models used to aid EDITH’s storytelling were trained on hundreds of voice clips and images of the late French singer-songwriter to, as a press release puts it, “further enhance the authenticity and emotional impact of her story.” The story will also feature recordings of her songs “La Vie En Rose” and “Non, Je Ne Regrette Rien,” which are part of the Warner Music catalog.
The story will be told through a mix of animation and archival footage of the singer’s life, including clips of her stage and tv performances, interviews and personal archives. EDITH is the brain child of Julie Veille, who previously created other French-language music biographies like Stevie Wonder: Visionnaire et prophète, Diana Ross, suprême diva, Sting, l’électron libre. The screenplay was written by Veille and Gilles Marliac and will be developed alongside Warner Music Entertainment President, Charlie Cohen. The proof of concept has been created, and the team will soon partner with a studio to develop it into a full-length film.
This is not the first time AI voice clones have been used to aid in the storytelling of a film. Perhaps the most cited example of this was Roadrunner (2021), a documentary about the life of chef and TV host Anthony Bourdain, who passed away in 2018. AI was used to bring back Bourdain’s voice for about 45 seconds. During that time, a deepfaked Bourdain spoke a letter he wrote during his life aloud to the audience.
Visual AI and other forms of CGI have also been employed in movies in recent years to resurrect the likenesses of deceased icons, including Carrie Fisher, Harold Ramis and Paul Walker. Even James Dean, who died in 1955 after starring in only three films, is currently being recreated using AI for an upcoming film titled Back to Eden.
The EDITH project is likely just the start of estates using AI voice or likeness recreation to rejuvenate the relevance of deceased artists and grow the value of older music catalogs. Already, HYBE-owned AI voice synthesis company Supertone remade the voice of late South Korean folk artist Kim Kwang-seok, and Tencent’s Lingyin Engine made headlines for developing “synthetic voices in memory of legendary artists,” like Teresa Teng and Anita Mui.
Veille says, “It has been the greatest privilege to work alongside Edith’s Estate to help bring her story into the 21st century. When creating the film we kept asking ourselves, ‘if Edith were still with us, what messages would she want to convey to the younger generations?’ Her story is one of incredible resilience, of overcoming struggles, and defying social norms to achieve greatness – and one that is as relevant now as it was then. Our goal is to utilize the latest advancements in animation and technology to bring the timeless story to audiences of all ages.”
Catherine Glavas and Christie Laume, executors of Edith Piaf’s estate, add, “It’s been a special and touching experience to be able to hear Edith’s voice once again – the technology has made it feel like we were back in the room with her. The animation is beautiful and through this film we’ll be able to show the real side of Edith – her joyful personality, her humor and her unwavering spirit.”
Alain Veille, CEO of Warner Music France, says, “Edith is one of France’s greatest ever artists and she is still a source of so much pride to the French people. It is such a delicate balancing act when combining new technology with heritage artists, and it was imperative to us that we worked closely with Edith’s estate and handled this project with the utmost respect. Her story is one that deserves to be told, and through this film we’ll be able to connect with a whole new audience and inspire a new generation of fans.”
Warner Records has launched underscore works recordings, a joint venture with Charly Salvatore’s Nashville-based management company underscore works.
The new label will focus on discovering and developing fresh country music talent, and launches with two new signings: Dipper and Wesko.
Salvatore launched underscore works in 2022; the company works with artists including Warren Zeiders, Priscilla Block and Dalton Dover. Zeiders, who is signed directly to Warner Records, debuted on Billboard’s Hot 100 with “Pretty Little Poison,” which is currently in the top 20 on the Country Airplay chart.
Texas native Dipper recently released his debut EP Evergreen, including his first single, “She’s Got Wings.” Dipper also signed a global publishing deal with Bailey Zimmerman, The Core Entertainment and Warner Chappell Music.
North Carolina native Wesko spent the past four years performing with his band and writing songs, while working as a foreman for an erosion control company and balancing a full college course load. He continued building his audience in North Carolina, as well as building his social media following before signing with underscore works recordings.
Warner Records’ Co-Chairman & CEO Aaron Bay-Schuck and Co-Chairman & COO Tom Corson said in a statement, “Together with Charly, we’ve already seen incredible success with Warren Zeiders – a newcomer to the scene who has quickly made a big impact. The underscore team shares the same dedication we have when it comes to artist development and building meaningful and lasting careers, making it a no brainer to expand our partnership so we can support even more special artists. Dipper and Wesko are two genuinely talented, hard-working musicians with bright futures ahead, and we look forward to collaborating with underscore to bring even more great music to fans around the world.”
Salvatore added, “Aaron, Tom, and the entire world-class Warner Records team have an amazing track record when it comes to breaking new acts and, more importantly, sustaining that momentum. They’ve been incredible partners with Warren, and there’s no one else I’d want to be running alongside as we take this exciting next step in the underscore works journey. With a deep passion for developing emerging artists, I’m thrilled to embark on this new chapter with remarkable talents like Dipper and Wesko, who are destined to captivate the world’s stage.”
Lyor Cohen discussed “a future where generative AI has a profound impact on music” at the annual Made on YouTube event on Thursday (Sept. 21). YouTube’s longtime global head of music is nothing if not enthusiastic about artificial intelligence and its potential ability to supercharge music-making. Cohen told the attendees that “AI tools are opening up a new playground for creativity;” AI “can be used by artists to amplify and accelerate their creativity;” and AI can usher in “a new era of musical creativity.”
Cohen was joined by Charlie Puth, who played some piano and showed off his beatboxing, and Warner Music Group CEO Robert Kyncl. Kyncl acknowledged that not everyone in music is as excited about AI as Cohen seems to be: “Change is unsettling; we are in that period of change.” He proposed charting a path forward where AI enthusiasts can gain from the technology while artists who are wary of it are somehow shielded from its impacts.
Artists “will create and they will use all kinds of tools to create… that’s their job,” Kyncl said. “It’s our job, the platforms and the music industry, to make sure that artists like Charlie who lean in [to AI] benefit. It’s also our job together to make sure that artists who don’t want to lean in are protected.” He pointed to the success of YouTube’s Content ID system, which helps the platform track user-generated content, as a potential model, because creators can choose to monetize that UGC or block it depending on their preferences.
YouTube previously signaled its interest in being part of music’s AI-driven future in August when it announced an “AI Music Incubator” that will include input from Anitta, Juanes, Ryan Tedder, Rodney Jerkins, and many others.
“This group will explore, experiment and offer feedback on the AI-related musical tools and products they are researching,” Universal CEO Lucian Grainge wrote in a blog post. “Once these tools are launched, the hope is that more artists who want to participate will benefit from and enjoy this creative suite.”
At the Made on YouTube event, CEO Neal Mohan also discussed a suite of new tools for creators that aim to put “the creative power of AI into the hands of billions of people.” These include Dream Screen, which “lets you create AI-generated video or image backgrounds for Shorts by typing in an idea,” and a search function that “will act like a music concierge” when it comes time to find a track to place into a video. “Our creator can just describe her video, and if she wants she can even include information about the length or type of song she’s looking for, and Creator Music suggests the right track at the right price,” Mohan explained.
Jade Beason, a YouTube creator, told the crowd she “spend[s] a lot of time trying to find the right music for videos” and is sometimes “guilty of actually just using the same song [over again] because I just can’t find the right one.” “Music has the ability to change how your audience actually feels when they’re watching your content,” she continued. “It’s the difference between someone seeing a video of yours and laughing or crying… so the idea that we can do this easily amongst everything else is actually quite wild.”
Warner Music has hired Disney veteran Bryan Castellani as the label group’s next executive vice president and chief financial officer, effective Oct. 16. Based in New York, Castellani will report to WMG’s CEO, Robert Kyncl.
Castellani has nearly 30 years at The Walt Disney Company under his belt, most recently serving as CFO for Disney Entertainment & ESPN. Prior to that, he held such roles as evp of finance for Disney Media, where he oversaw its distribution, ad sales and networks businesses, and previously he was evp and CFO of ESPN proper and he also spent time in the C-suite at Disney Japan. He started at the company in 1995 as a financial analyst, following a stint at the Federal Reserve Board in Washington, D.C.
“Bryan has wide-ranging experience helping one of the world’s most impactful creative enterprises build long-term value and unlock new global possibilities,” said Kyncl. “A dynamic, operational CFO, he’ll be an excellent addition to our executive leadership team, as we grow the WMG of the future for the benefit of our artists, songwriters, investors, employees, and partners.”
Castellani will succeed longtime CFO Eric Levin, who announced his retirement in mid-March after nearly a decade at the company. He’ll officially retire in January. Levin joined WMG in 2014, overseeing the company’s global financial operations at a time when piracy and streaming were overhauling the fortunes of companies across the music industry. Notably, he saw WMG through its 2020 initial public offering and managed through the leadership transition from Stephen Cooper to Kyncl.
Kyncl noted that Levin departs “with our deepest respect for his many contributions during an extraordinary period of growth that included WMG’s global expansion, numerous major acquisitions, and a successful IPO.”
Castellani said: “I’m delighted to be joining WMG at such an exciting and pivotal time for the company and the music industry. Music is a powerful global force, unconstrained by any specific model or format, and has significant business upside. Robert’s vision for differentiating WMG is inspiring, and I’m looking forward to working with the leadership and finance teams to take the company to the next level in a rapidly evolving landscape.”
Longtime music executive Steve “Steve-O” Carless has partnered with Warner Records on a joint partnership to start his label Defiant Records. Carless, who is president of A&R at Warner, told Billboard that creating Defiant was a “lifelong mission.”
“I just believe in achieving what you set out to do no matter the risk, test, or obstacle,” he said. “It’s important to be brave and intentional to not lose sight of that. I wanted this to be representative of the career I’ve been privileged to have and also speak to the artists who dream to create their story on their own terms, who aren’t scared to be who they are unapologetically.”
Defiant Records houses burgeoning acts, including Bandmanrill, Sha EK, and McVertt, who teamed to craft the bulky 27-track project The Defiant Presents: Jiggy In Jersey. Executive produced by McVertt (who co-produced Lil Uzi Vert’s Hot 100 top 10 hit “I Just Wanna Rock), Bandmanrill and Sha EK thrive in a playground where Jersey Club and drill music coexist. Having previously worked with Pusha T, Big Sean and the late Nipsey Hussle, among many others, Carless believes his experience will come in handy when building out the careers of his signees.
“I truly believe that my experience affords these artists an opportunity and mentorship that’s hard to duplicate,” Carless relayed to Billboard. “I have 10,000 hours of experience in management, A&R, digital, and promotions. I’ve been inside a record company for my whole career and have simultaneously operated outside of those buildings as well. I’ve helped build brands and companies and also understand the agency piece of it thoroughly. I think all of that super-serves these artists in a way that can create more unexpected opportunities and expedited learning because it’s a unique situation here at Defiant Records.”
Regarding plans to grow Defiant Records into a powerhouse, Carless has a simple rinse-and-repeat strategy he thinks will be the blueprint for his label.
“The plans are simple, be authentic and detailed. We set attainable goals, achieve them, and repeat. We will always be the best in our space. The name of the game is to be consistent and curate our big-picture and individual stories simultaneously. Our focus has primarily been YouTube because it’s the most current breeding ground for global talent, and we’ve signed each one of our artists based on their following on the platform.”
Stream The Defiant Presents: Jiggy In Jersey below.