Photo Credit: Calvin Ulysses Levin Schneider

The partnership between Too Lost, Olympus Projects, and On the Radar Radio marks a pivotal moment for international music professionals—particularly those invested in the cross-pollination of genres and markets. This initiative is not only a showcase for Brazil’s vibrant music scene, but also a case study in how strategic alliances between distribution, label, and media platforms can redefine global music discovery.

The following is in collaboration with Too Lost, a proud partner of Digital Music News.

Too Lost is a leading music distribution company, recognized for delivering releases to over 450 platforms globally. Their infrastructure ensures same-day delivery of music, making them a preferred partner for labels and artists seeking rapid, global reach. Too Lost is the backbone of this initiative, providing the infrastructure for On The Radar and Olympus Projects’ expansion.

Olympus Projects operates as both an independent label and a global music strategy company. Their core mission is to build bridges between international markets, with a particular focus on cross-cultural collaboration and genre expansion. Olympus Projects plays a multi-faceted role in this strategic partnership. They facilitated the partnership between Too Lost and On The Radar and led talent coordination, creative direction, and on-the-ground production in Brazil.

The flagship campaign is the Brazil Initiative. This initiative aims to spotlight over 100 emerging and superstar Brazilian artists across genres—inncluding trap, funk, and other local styles. On The Radar’s production team and Olympus Projects’ team spent two weeks in Brazil, filming in São Paulo and Rio de Janeiro, capturing original freestyles and performances that reflect the country’s musical diversity.

The group currently has three tracks charting on Spotify’s Brazil Viral Daily 50 playlist, including Franco, The Sir!’s On The Radar Freestyle debuting at #6. Remixesare dropping this summer with artists including Cash Cobain, Bay Swag, and 41—with fans able to expect notable UK and Latin names to appear. Since launch, OTR’s Spotify has increased 500% in monthly streams. It has also been featured on over 10 different DSP editorial playlists.

“I don’t think we ever get used to life’s surprises,” Brazilian singer Grelo told Digital Music News. “Back when I was writing my first songs, I never imagined I’d be recognized by such an incredible international project. Everyone should have the opportunity to make their dreams come true like this—even the dreams we never imagined having.” Grelo has achieved 10 million monthly listeners on Spotify in the Seresta genre. Seresta is a Brazilian domestic music genre that is characterized by romantic and nostalgic feelings.

Now over 100 original freestyles and subsequent videos are being released across all major platforms—powered by Too Lost’s distribution engine—every Thursday and Friday. The group also filmed more than 10 in-depth interviews with top Brazilian producers. These interviews are scheduled for release on Saturdays, giving insight into the creative forces behind Brazil’s biggest hits. Meanwhile, a Brazil-themed event in collaboration with Live Nation is set for July at Irving Plaza in New York City.

Too Lost’s distribution capabilities ensure that Brazilian artists and their content are accessible to a worldwide audience. Too Lost helps break down historical barriers of language and geography for music fans. The campaign’s structure with regular content drops and strategic remixes is designed to sustain engagement and streaming growth over time.

As a result, this collaboration is more than just a marketing campaign—it’s the launchpad for global expansion strategy. Too Lost serves as the distribution backbone for the effort. On The Radar’s Brazil initiative is the first step in a planned rollout to every major music market worldwide. Meanwhile, Olympus Projects and Too Lost are poised to replicate this model of cross-market collaboration and content distribution.

Combining Too Lost’s digital infrastructure with market expertise creates new opportunities for artists. Influential media platforms like On the Radio also help reshape the international music landscape for fans across the globe.

Photo Credit: Creative Community for Peace

More than 400 prominent leaders from the music and entertainment industries—including executives from YouTube Music, Warner Music Group (WMG), Universal Music Group (UMG), VEVO, Roc Nation, and the Recording Academy—have signed a powerful open letter denouncing anti-Israel extremism and antisemitism.

The initiative, organized by the Creative Community for Peace (CCFP), marks a significant stand against the rising tide of hate speech and misinformation targeting Israel and Jewish communities since the October 7, 2023 Hamas attack on an Israeli music festival.

The open letter was released on May 28, 2025 and directly addresses the proliferation of extremist rhetoric and antisemitic incitement, which signatories say has been amplified by both ideological actors and unwitting celebrities. The letter states: “Hamas, Iran, and their allies and ideological sympathizers in the West have flooded the world with their hateful lies and antisemitic incitement since October 7—lies designed to demonize Israel, the Jewish people, and their supporters.”

“When public figures accuse Israel of genocide, call for intifada, or claim Jews are colonizers, they may not understand the history they’re invoking—but the people who act on those words do,” says Haim Saban, CEO of Saban Capital Group and the leading voice behind the letter. “This open letter is a plea for truth, for accountability, and for responsibility—especially from those with powerful platforms.”

Executives from major record labels and platforms including YouTube Music, WMG, UMG, VEVO, ROC Nation, and the Recording Academy have all endorsed the open letter. The Recording Academy has reiterated its commitment to the unifying power of music and condemned violence, hate, and antisemitism, particularly referencing the massacre at the Supernova music festival in Israel on October 7.

UMG’s statement highlighted the need for tolerance, empathy, and understanding, while WMG reaffirmed its opposition to all forms of discrimination and racism, expressing solidarity with Israel and the global Jewish community.

“For the past 600 days, the anti-Israel movement has espoused an unrelenting stream of extremist rhetoric to demonize Israel and anyone who supports the country — it’s a toxic mix of distortion, bigotry and incitement. Given the power of social media, it’s incumbent on entertainers and public figures, with their ability to influence millions around the world, to use their platforms responsibly. Without a course correction, we will only see more hate, more violence, and more innocent people targeted simply for being Jewish,” CCFP Chairman/Co-Founder David Renzer and Executive Director Ari Ingel add.

The full open letter and signatories are available here.

Photo Credit: RTR Distribution

RTR Distribution has issued a formal cease and desist letter to UnitedMasters over the use of the term ‘Real-Time Royalties’ on their website.

RTR Distribution, a platform for real-time royalty payments for content creators, has issued a formal cease and desist letter to UnitedMasters. This legal kerfuffle is over the unauthorized use of the term “Real-Time Royalties” on their website. RTR Distribution holds a pending patent for real-time royalty payment technology and has exclusive rights to the technology in the blockchain-based entertainment monetization space.

The cease and desist letter demands that UnitedMasters immediately remove the term “Real-Time Royalties” from their marketing, promotional materials, and any online references. Those references directly infringes upon RTR Distribution’s intellectual property. The company has given UnitedMasters a 14-day deadline to comply with the request.

“We have developed and have a pending patent on the technology that powers real-time payments for creators,” said Joshua D. Combs, Founder and CEO of RTR Distribution.

“Our platform enables artists, musicians, and content creators to receive instant payouts for their work, and we take great pride in the innovation we’ve brought to the industry. The use of the term ‘real-time royalties’ by UnitedMasters is not only misleading but also an infringement on the intellectual property we’ve worked tirelessly to build. If they do not comply, we will take the necessary legal steps to protect our pending patent and our business.”

The ability to provide real-time royalty payments has become increasingly important in the music and content creation industries. As the entertainment sector moves toward blockchain integration, RTR Distribution is hoping to lead the charge in ensuring that creators receive instant payouts for every stream, view, or download of their content. The patent-pending technology behind RTR Distribution’s platform ensures fair compensation for artists, producers, and content creators worldwide, without the traditional delays of legacy payment systems.

RTR Distribution is a platform built on blockchain technology that provides real-time royalty payments to content creators in the music, film, podcast, and digital media sectors. By using RLT tokens and smart contracts, RTR Distribution ensures that creators are paid immediately every time their content is consumed. RTR Distribution is working to revolutionize the way content creators are compensated, providing fairer, faster, and transparent payment solutions.

UnitedMasters is a digital music distribution company that allows independent artists to distribute their music across various streaming platforms. They offer a variety of tools to help artists manage and monetize their content independently.

Should UnitedMasters fail to comply with the cease and desist request, RTR Distribution is prepared to pursue legal action to protect its intellectual property rights. The company is committed to defending the technology that powers real-time payments and ensuring that creators receive the compensation they deserve, without compromise.

Photo Credit: Hybe Corp.

K-pop powerhouse Hybe has set up a Chinese subsidiary to support its artists’ expansion into the market.

Hybe China Co., Ltd. was launched April 2 in Beijing—Hybe’s fourth overseas branch following those in Japan, the US, and Latin America. Its new Beijing-based entity will focus on backing artists’ activities in China, notably to compete with its rival agencies, SM Entertainment, YG Entertainment, and JYP Entertainment.

According to industry insiders, Hybe’s latest move may reflect growing expectations that China will loosen its tacit ban on South Korean entertainment, which has been in place for several years. But in spite of the market’s potential, Hybe China is not expected to immediately launch a talent audition program or debut a K-pop group. Instead, the unit is likely to play a more limited role—at least initially.

Better relations between China and South Korea could result in a major uplift in concert tickets, albums, and merch sales for South Korean companies as they ride the continued buoy in K-pop’s popularity in a significant new market. It’s no coincidence that Hybe’s move to set up a new office in China comes as its flagship act, BTS, is set to reunite after its members’ military service.

Pledis China, previously launched by Pledis Entertainment in 2018 prior to its acquisition by Hybe, will continue to oversee its group activities in China—namely Seventeen, which Pledis debuted in 2015.

Confirmation of Hybe’s expansion into China closely follows news from South Korean outlet Yonhap that the K-pop company is also planning to establish an office in Mumbai.

Meanwhile, Hybe is also in the process of selling its entire 9.38% stake in rival firm SM Entertainment to Tencent Music Entertainment, China’s biggest owner of music streaming services. The transaction was worth nearly $180 million. As Tencent cozies up to SM, the two companies also announced a new partnership that will see them co-produce a new idol group and plan performances in China.

Photo Credit: Chris Daughtry, lead singer of Daughtry, by Luis Blanco / CC by 2.0

Gebbia Media has acquired Big Machine Rock from Hybe America. The roster includes Daughtry, Badflower, Sammy Hagar, Olive Vox, and more.

Gebbia Media, a subsidiary of Siebert Financial Corp., has acquired Big Machine Rock, the rock imprint of Big Machine Label Group, which has played a major role in shaping the future of modern rock. The acquisition marks a new chapter in Gebbia Media’s rapid ascent within the music and media industries, where the company is focused on building an artist-first platform that blends creative storytelling with strategic investment. Big Machine Rock’s current roster includes Daughtry, Badflower, Sammy Hagar, Olive Vox, and Ryan Perdz, among others.

“Growing up with incredible music by iconic artists like Led Zeppelin, Van Halen, and The Doors, I recognize the importance of bringing rock to a new generation of listeners and fans, who are ready to embrace it,” says David Gebbia, CEO of Gebbia Media. “Big Machine Rock embodies the Gebbia Media approach: bold, cross-generational, and deeply in touch with the culture. This acquisition allows us to further our mission of empowering artists through investment in robust catalogs and cross-platform expansion.”

GM Heather Luke-Husong has led the label’s all-female team to achieve multiple No. 1 singles and Platinum-certified records in just a few years, making the indie-spirited imprint one of the most exciting labels to watch in the rock space.

Big Machine Rock has become a home for dynamic, genre-defiant acts whose influences stretch beyond traditional rock into country, alt, and metal, earning praise for its innovative approach and loyal artist base. Under Gebbia Media’s leadership, the label will prioritize artist development, immersive storytelling, and cross-platform visibility, meeting fans where they most are: onstage, online, and embedded in culture.

“This acquisition marks another step in Siebert’s commitment to innovating at the intersection of Finance and Culture. By bringing Big Machine Rock into the Gebbia Media portfolio, we’re aligning visionary talent with the resources and stability of a diversified financial platform, ensuring long-term growth and cultural impact,” says John J. Gebbia, CEO of Siebert Financial.

The move follows Siebert’s strategic partnership with GAMMA and L.A. Reid LLC for the breakout group SIMIEN, building on Gebbia Media’s growing partnership with global artist and entrepreneur Akon.

As part of the agreement, Scott Borchetta, founder of Big Machine Label Group, will continue to oversee operations and join the advisory board of Siebert Financial, parent company of Gebbia Media. Borchetta’s track record guiding dozens of top selling artists like Riley Green, Thomas Rhett, Reba, Dolly Parton, Taylor Swift, Sheryl Crow, Florida Georgia Line, and so many more, brings immediate strategic depth to Siebert’s expansion into media and entertainment, making him an invaluable addition to its advisory board.

Artists currently signed to Big Machine Rock will remain part of the label’s roster and will benefit from expanded resources, promotional capabilities, and global reach.

Photo Credit: Lilly Raye Music / Warner Chappell Music

Warner Chappell Music extends its strategic partnership with management company and publisher Lilly Raye Music.

Warner Chappell Music, the publishing arm of Warner Music Group, has extended its strategic joint venture partnership with Lilly Raye Music, the management company and publisher run by founder Edward Matthew and A&R Manager Justin Martinez.

Established in 2020 and expanded in 2023, the partnership is focused on supporting collaborations between creatives across Asia, Europe, and the US. Lilly Raye Music has continued to gain industry recognition for its growing influence. It was nominated for Publisher of the Year at the MMF Awards Sweden 2024.

The partnership is stepping up activity in Germany and the Netherlands with a sharp focus on the dance and electronic scenes. Further, it’s building its A&R firepower in the UK to support the careers of talent in that market.

Recent successes include: Grammy recognition for their work on Summer Walker’s CLEAR 2: SOFT LIFE EP and Janelle Monáe’s The Age of Pleasure; elevating local talent in Sweden, helping deliver 10 No. 1 singles in the market over the last three years; and artist collaborations, including Doechii, GloRilla, and FLO. Achieving major global sync placements and growing their presence in Asia by 40% are also among the partnership’s successes.

The Lilly Raye management team also continues to make waves behind the scenes, contributing to breakout successes for artists like Ayra Starr, Cian Ducrot, RAYE, and Renee Rapp.

“We’re delighted to renew our deal with Warner Chappell, which has expanded so much in scope over the past few years,” said Edward Matthew and Justin Martinez. “Connecting creative talent across three continents is as exhilarating and inspirational as ever, and Warner Chappell’s combination of global firepower, local knowledge, and cultural curiosity makes it an essential partner for us.”

“I’m so pleased that we’re renewing our collaboration with Edward, Justin, and the whole Lilly Raye crew,” added Lars Karlsson, Managing Director, Warner Chappell Music Nordics. “They bring a passion and an energy to their work that is unrivalled, and they have an uncanny ability to spot talent and partner compatible creatives together.”

Guy Moot, Co-Chair and CEO of Warner Chappell Music, concludes, “We’re built a really solid relationship with Edward and Justin over the past few years. I trust their A&R instincts and their strategic nous. They have an infectious enthusiasm for forging cultural connections between writers and producers from different parts of the world. The amazing results speak for themselves, so I’m excited that we’re extending our partnership.”

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A live performance from Yuja Wang, who’s signed on as an artistic advisor at the newly launched Deutsche Grammophon China. Photo Credit: Quincena Musical

Universal Music Group’s aggressive China expansion isn’t slowing down, as the major has officially brought Deutsche Grammophon and Blue Note to the nation of 1.4 billion.

Universal Music Greater China today announced (and hosted a launch event for) Deutsche Grammophon China (DGC) as well as Blue Note Records China (BNRC). Both imprints will zero in “on identifying and supporting rising Chinese talent,” including by helping their releases find fans on the global stage.

More immediately, the classical-focused DGC has tapped pianists Lang Lang and Yuja Wang, besides Shanghai Symphony Orchestra music director Long Yu, to serve as “artistic advisors.” All three of those professionals are “long-time” Deutsche Grammophon artists, Universal Music pointed out.

On the release front, Deutsche Grammophon China has teed up its first album, Jian Wang’s Bach: The Cello Suites, to debut on May 23rd. Longer term, DGC has scored “a special project with the Shanghai Symphony Orchestra,” which will commemorate its 150th anniversary in 2029 by recording “the complete Shostakovich Symphonies.”

“The Yellow Label has been my recording home for well over a decade,” added Yuja Wang, “and I am delighted to see it engage with young artists in my home country. I am thrilled to support this initiative as Artistic Advisor and to help identify and grow future talent across the full spectrum of classical music.”

Shifting to Blue Note Records China, the label underscored an objective of “helping bring Chinese jazz expression to broader international audiences.” Regarding the nature of that jazz expression – or at least BNRC’s view thereof – Innout has been confirmed as the first signing.

Consisting of guitarist Xiao Jun and drummer An Yu, that “avant-garde jazz duo” is said to integrate “modern jazz, experimental electronics, and free-form composition” into its work.

“Xiao Jun and An Yu are two of the most talented and visionary musicians I’ve ever met,” touted Blue Note president Don Was. “Their music is going to ‘blow people’s minds’ all over the world. It’s a thrill and an honor to be able to launch Blue Note Records China with their music.”

Lastly, the multifaceted announcement also saw BNRC reveal a partnership with Shanghai-based jazz label JZ Music. As described by Universal Music, that tie-up “will focus on live performance opportunities – including artist touring, music festivals, and live house events.”

In addition to underscoring Universal Music’s commitment to building out in China – where Warner Music “lost market share” in Q1 2025 – today’s announcements are seemingly indicative of bigger-picture plans in classical and jazz.

Without diving too far into this subject, it’s safe to say that DGC will factor into Deutsche Grammophon’s Stage+ classical streaming service, which has a well-entrenched competitor in Apple Music Classical.

But classical expansions aren’t underway across the industry; last month delivered rumblings of possible layoffs at Sony Classical.

Photo Credit: Kadyn Pierce

Create Music Group has acquired Canadian independent label Monstercat—tacking on yet another indie label to its portfolio. The move closely follows the acquisition of !K7 and Deadmau5’s catalog.

Monstercat has staff based in Vancouver, Toronto, and Los Angeles and has a reputation as an artist-first brand. Since launching, the brand expanded to encompass three labels including Uncaged, Instinct, and Silk. Artists who have released with Monstercat in the past include Kaskade, Koven, DJ Diesel, Alan Walker, Vicetone, ATTLAS, Shingo Nakamura, WHIPPED CREAM, Virtual Riot, and OCULA.

While Monstercat is now under the Create Music Group umbrella, it will continue independent operations under President Daniel Turcotte, Vice President Orri Sachar, and Director of Finance Rob Hill. The brand’s founders Mike Darlington and Ari Paunonen will remain involved in advisory roles. Create Music says it plans to invest another $50 million in artist development, advances, and platform support over the next two years.

“Our mission has always been to build sustainable, long-term careers for exceptional artists,” shares Daniel Turcotte, President of Monstercat. “Create gives us the reach and support to do that at a larger scale, without changing what makes Monstercat special. We’re still artist-first—only now with more tools to serve them.”

“Monstercat is everything an independent label should strive to be—exclusive, globally trusted, and capable of breaking artists and songs at the highest levels. Mike, Ari, Daniel, Orri, and the entire Monstercat team have built a culture and community at a scale rarely achieved in the music industry,” adds Jonathan Strauss, Co-Founder & CEO of Create Music Group. “We are excited to support their mission.”

Aside from EDM releases, Monstercat is also bringing its expertise in video game brands including Rocket League, Beat Saber, Fortnite, and Roblox. Create Music Group will also expand Monstercat Gold, the label’s subscription-based sync licensing service for content creators on YouTube and Twitch.

Photo Credit: Zach Bryan’s Instagram

Zach Bryan is staying with Warner Records, extending his deal for at least two albums. He first signed with the label in 2021.

Country singer-songwriter Zach Bryan has extended his deal with Warner Records for at least two more albums, with the deal closing over the weekend. He first signed with the label back in 2021, and his enormous success in country music outside of the traditional Nashville ecosystem has been an inspiration for labels across the industry.

Attorney David Jacobs handled legal negotiations for the star during the deal, on which Warner’s Val Blavatnik also played a significant role behind the scenes.

Managed by Stefan Max and Danny Kang, Bryan has had a fantastic year already. His recent headlining set at Stagecoach saw huge success, and he will headline Hyde Park BST in London this summer amid a host of stadium shows.

According to The Hollywood Reporter, Bryan’s team was also in discussions with Universal Music Group as his reps sought to secure the strongest deal possible for the hitmaker. But Bryan’s strong ties to Warner heads Aaron Bay-Schuck and Tom Corson would make a departure somewhat awkward, though not out of the question.

Bryan also signed a publishing agreement with fellow Warner subsidiary Warner Chappell Music in early 2023. While that doesn’t necessitate his recording deal to be with a Warner company, it opens him up to future possibilities with everything under one roof.

The country star’s catalog has racked up some impressive numbers over the last couple of years. American Heartbreak (2022) has amassed 4.3 million ATD (activity to date), while his self-titled 2023 release is sitting at 3.1 million. Last year’s The Great American Bar Scene clocks in at 1.5 million. His hit, “Something in the Orange,” has amassed 1.25 billion global streams on Spotify, while “I Remember Everything” featuring Kacey Musgraves has over a billion.

Photo Credit: John Mayer (VMG), Mandy McCormack (TeamTY), Jordan Isbell (VMG), Trisha Yearwood, Jen Bontusa (VMG), by Natalie Simmons

Trisha Yearwood partners with Virgin Music Group for new music and her recent catalog via her Gwendolyn Records. Her new album, THE MIRROR, is set for release on July 18.

Virgin Music Group, the leading partner to independent artists, labels, and entrepreneurs, has announced the signing of a partnership with country superstar Trisha Yearwood and her label Gwendolyn Records for new music and the artist’s recent catalog.

The deal also brings Yearwood home to the Universal Music Group family with Music Corporation of America (MCA), the Nashville-based label she called home from 1990 through 2006. MCA will continue to work her catalog from his era.

This new chapter in Yearwood’s legendary career officially kicks off today with the pre-order and pre-save campaign for THE MIRROR, her first album of songs fully co-written and co-produced by the Georgia native. Tomorrow, “The Wall Or The Way Over” and “Bringing The Angels” will be released as a preview of what’s to come from the full album, which is due for release on July 18. Fans can pre-order the album now, available in digital, CD, standard vinyl, and limited-edition custom color vinyl.

“I’m honored to join forces with Virgin Music Group as I embark on this exciting new chapter. Bringing my Gwendolyn label into the MCA/Universal family truly feels like coming home. I can’t wait to share my new album, THE MIRROR. Creating this music has been one of the most rewarding experiences of my life,” said Trisha Yearwood.

“Trisha Yearwood is one of the most talented and enduring artists in the world,” said Jacqueline Saturn, President, Virgin Music Group North America, and EVP of Global Artist Relations. “We are so proud to have her and her Gwendolyn Records catalog on our roster and are looking forward to her legions of fans hearing this incredible new music.”

“We are thrilled to welcome Trisha Yearwood back to the family, coming full circle as we celebrate and amplify her iconic MCA catalog. In partnering her Gwendolyn Records label with Virgin Music Group, Trisha enters an exciting independent chapter—one where she retains creative and commercial control, supported by a world-class global team. We are so happy for her,” said Mike Harris, President and CEO of Music Corporation of America.

“Trisha is one of the beloved artists in Nashville,” said Jen Bontusa, Virgin’s Senior Vice President of Label Management based in Nashville. “It’s been amazing working with her and her team so far and we’re looking forward to a long and successful partnership.”

Yearwood also recently received three new RIAA certifications. The most played song by a female artist in the history of Billboard’s monitored era, “She’s In Love With A Boy,” was certified double platinum, while “Walkaway Joe” and “XXX’s and 000’s (An American Girl)” were certified gold.

To support her new music, Yearwood is embarking on her first headlining tour in six years. The spring run launched April 30 in Austin, TX.

Photo Credit: Ari Lennox by Justin LaMotte / CC by 4.0

Ari Lennox parts ways with J. Cole’s Dreamville Records months after ranting about the label on social media.

Back in October, R&B singer Ari Lennox aired her various grievances with Dreamville on social media, demanding her release from the label. Now, she has officially (and quietly) parted ways with the company, and will now be releasing music solely through Interscope Records.

“I’m so tired. Where do I f—ing start? My heart’s beating so fast,” Lennox began her post in October. “I don’t know what else to do. I try to do things the right way and no one takes me seriously. And so we’re here on social media. Again. I’m trying to be respectful, but I feel played right now.”

She continued: “I told management I didn’t want the ‘Smoke’ video to come out because I’m tired of people treating me like I’m the face of mental health. I’m tired of people treating me like they’re so sorry for me. I’m a human being who has been very transparent about my life and it’s just weird how everyone gets really agitated.”

“The whole point of the ‘Smoke’ video was to take back every fucking negative thing people have said about me and to try to own that shit and be like, ‘Fuck y’all,’” she added. “People are hellbent on portraying me as an insecure person who is just the face of mental health.”

At the time, Lennox asserted that Interscope and Dreamville refused to comply with her request to remove the music video for “Smoke.” She also called out a lack of promotion for the song and described the whole incident as “the last straw.”

“I changed my mind about releasing this video and I told management and I told the label and they told me they would take it down,” she said. “Apparently, the people in charge of the video were unresponsive but thy’re like, ‘Everyone loves the video so we’re gonna keep it up.’ No, you are not going to manipulate me. Y’all are gonna be accountable for that, Interscope. I told you I wasn’t comfortable with it and I wish I had a label that cared and wanted to protect me. I just wanna be released. It’s that simple.”

Earlier this month, Ari Lennox performed at J. Cole’s final Dreamville Festival, thanking him and the label for helping make her dreams a reality back in 2015 when she was first signed. This week, she released the video for her latest single, “Soft Girl Era,” on which Interscope is listed as the sole label credit. According to TMZ, the split was amicable.

Photo Credit: MCA

Universal Music Group Nashville enters a new era, rebranding as Music Corporation of America (MCA).

Universal Music Group (UMG) has announced the next step for its Nashville operations: a new name. Universal Music Group Nashville has been rebranded to Music Corporation of America (MCA)—a name with a storied legacy. Under the leadership of President and CEO Mike Harris and Chief Creative Officer Dave Cobb, MCA enters a new era with a bold vision for Nashville’s future.

The Music Corporation of America brand recognizes the Nashville creative community as a cornerstone of global music innovation. To that end, the company will reinforce the importance of country music’s legacy throughout the world by strengthening its commitment to provide premium services to its roster of artists. MCA’s roster includes names like Alan Jackson, Carrie Underwood, Chris Stapleton, Darius Rucker, Eric Church, George Strait, Keith Urban, Luke Bryan, Reba McEntire, and Vince Gill.

As a parent company, UMG continues to lead the industry with a 39.4% in country music marketshare. Now, the newly launched Music Corporation of America takes center stage as the top overall label group, with 16.2%, according to Luminate.

MCA’s portfolio will continue to operate and support frontline labels, including Mercury Nashville, EMI Nashville, Capitol Nashville, and MCA Nashville, along with Dave Cobb’s newly launched Lucille Records. MCA artists will be able to leverage the support of the Republic Collective in the US and UMG globally, in addition to the full suite of creative and commercial resources based in the MCA Nashville headquarters.

MCA has strengthened its executive team with appointees like Katie McCartney as EVP/General Manager and Tom LaScola as Head of Artist and Audience Strategy. The company also announces a new creative strategic alliance dedicated to supporting and developing homegrown Nashville songwriting talent, naming Jessie Jo Dillon as the newly minted Song Buddy. This position reflects a deep commitment to the vital role songwriters play in the local creative ecosystem.

“With the popularity of country music and the tremendous impact that it continues to make in popular culture, we recognize the importance of Nashville and the impact it has always made in America,” said Mike Harris. “The incredible staff of these labels will operate with a sense of independence and autonomy, but with a pursuit of excellence and healthy competition as a shared agenda.”

“I want to let the art lead, embrace community, and approach the business with intention,” added Dave Cobb. “We show up, work hard, and put artists, songwriters, community, and fans first. We want to get this right for them. That’s what this is all about.”

Music Corporation of America will continue to invest in ventures that expand its reach and redefine the possibilities for artist development while continuing to support and encourage the entrepreneurial spirit and autonomy of each label. This further cements the company’s commitment to Nashville as a nexus of artistic innovation.

Photo Credit: Mike Mushok by Craig Noce / CC by 3.0

Staind guitarist Mike Mushok says he’s never received a royalty payment from Atlantic Records — but the band did receive “large advances.”

Staind guitarist Mike Mushok sat down for an interview on The KiddChris Show, which airs on the WEBN station in Cincinnati. There, he weighed in on Chevelle frontman Pete Loeffler’s 2021 claim that the band hadn’t received any money from record sales despite selling six million albums for Epic Records. It turns out, according to Mushok, Staind had a similar experience.

“I’ve sold I don’t know how many millions of records, and I’ve never once received a royalty from the record company after […] 20, whatever, 25 years. We still owe them money. We haven’t been on the label since — I don’t know, 2011 was the last record we put out on Atlantic, and we still owe them money,” said Mushok.

“And listen, I’m not gonna lie — they gave us large advances, and that’s why [we still owe them money]. But seriously, they have to be paid off,” he added. “I think it’s estimated, […] like, another three years it’ll be paid off, and I’ll actually start making royalties on our records.”

Mushok doesn’t anticipate the band having an easy time trying to reclaim their own music, either. “Supposedly after 35 years, the masters are supposed to revert back to you. But I was talking to our attorney about that, and he said that no label ever lets you do that. They try to buy you out and give you money so they can continue to own the masters — unless you fight them.”

Both Staind and Chevelle are now signed to Alchemy Recordings, after years with other major labels (Chevelle with Epic, and Staind with Elektra and Atlantic). Staind released their first studio album in over a decade back in late 2023. Confessions of the Fallen debuted at No. 4 on the Billboard Top Album chart.

Photo Credit: Formula 1 Crypto.com Miami Grand Prix

Atlantic Records and Hard Rock International are curating the Formula 1 Miami Grand Prix with chart-topping EDM artists heading the bill.

South Florida Motorsports (SFM), organizers of the Formula 1 Crypto.com Miami Grand Prix, have announced along with founding partner and music lineup curator Hard Rock International and Atlantic Records, a weekend filled with live music and entertainment for the event’s fourth year. Taking place from May 2-4 in Miami Gardens, the event features such artists as Kygo, Pitbull, Tiësto, Kaskade, Sofi Tukker, and Cedric Gervais to keep the party going all weekend.

Hard Rock International will host its Hard Rock Beach Club for a trackside day club experience with chart-topping artists once again. International dance music superstar Kygo will kick off the race weekend with an uplifting dance set on Friday, May 2, followed by DJ and electronic music icon Kaskade on Saturday, May 3. On race day, Sunday, May 4, Grammy Award-winning artist and Miami native Pitbull will keep the trackside party going.

Adding to the lineup is DJ and dance music producer Tiësto, who will perform on the starting grid and post-race podium on Sunday, May 4, igniting the crowd with his iconic sound before the race begins and after it ends. The set will be broadcast live across the entire Miami International Autodrome Campus. Award-winning artist Maffio will take over on Saturday for the sounds ahead of the Sprint.

Before lights out on Sunday, fans will be treated to a heartwarming rendition of the US National Anthem performed by a talented local student from nearby Fort Lauderdale. 14-year-old King Bell, who has previously performed at Hard Rock Stadium for the Miami Dolphins, will sing a stirring version of the anthem to a global TV audience of millions.

Currently a freshman at North Broward Preparatory School, he is also a member of Broward Center Spotlights and has been performing since he was six years old. The pre-race grid ceremonies will also feature a performance by Justin Quiles, showcasing the dance and music styles of the diverse Miami culture.

“As we continue to build on the incredible energy and cultural vibrancy of Miami, we’re thrilled to offer fans an unforgettable weekend that blends world-class racing with top-tier music performances,” says Tyler Epp, President of the Formula 1 Crypto.com Miami Grand Prix. “With a talented local artist singing the National Anthem, DJ Tiësto taking over the starting grid and podium, and global superstars like Kygo, Pitbull, Kaskade, and others performing at Hard Rock Beach Club, we’re delivering an experience that captures the essence of Miami’s music scene alongside the speed and excitement of Formula 1.”

“Hard Rock is thrilled to curate another energy-packed lineup for a nonstop party at the Hard Rock Beach Club,” adds Keith Sheldon, President of Entertainment and Brand Management at Hard Rock International and Seminole Gaming. “We’re continuing to elevate the experience with incredible music that brings fans back year after year.”

Photo Credit: Yo-Yo Ma by Joi Ito / CC by 2.0

Amid continued cost-cutting at major labels, whispers emerge of Sony Classical enacting mass layoffs.

As major labels continue their onslaught of cost-cutting endeavors, classical music news site Slipped Disc reports whispers of mass layoffs at Sony Classical.

“People we’ve tried to contact are no longer there,” writes Norman Lebrecht. “Among them is the boxed-set reissue specialist Robert Russ at the company’s headquarters in Berlin.”

“Our mole says, ‘Just heard this: a huge shake up at Sony Classical. Everyone has been fired. A lot of the masters being stored at Iron Mountain in New Jersey are going to just do nothing because all the people who knew what is there have been fired,’” the post continues.

Digital Music News reached out to Sony Classical directly, but did not receive a response in time for press.

Sony Classical was launched in 1924 as Columbia Masterworks Records, a subsidiary of Columbia Records. The label was renamed in 1980 to CBS Masterworks Records, and renamed again in 1990 after its acquisition by Sony in 1988. Sony Classical has represented the likes of Leonard Bernstein, Yo-Yo Ma, and Hans Zimmer.

Despite rumors of job cuts, the label announced just last week the signing of 23-year-old Russian pianist Alexander Malofeev to an exclusive agreement. Malofeev has performed with orchestras like the Philadelphia Orchestra, the Boston Symphony Orchestra, the Orchestra of the National Academy of Santa Cecilia, the Lucerne Festival Orchestra, and Orchestra Filarmonica della Scala.

“Alexander Malofeev is undoubtedly one of the most exciting pianists of his generation,” said Per Hauber, President of Sony Classical. “Despite his young age, he can already look back on an impressive career on stage.”

At age 13, Malofeev won the International Tchaikovsky Competition for Young Musicians in 2014, and garnered the Grand Prix at the First International Competition for Young Pianists Grand Piano in Moscow. In 2017, he was announced as the first Yamaha Young Artist, and he has been a guest at numerous festivals, including Tanglewood Music Festival, Aspen Music Festival, and Verbier Festival.

“In Sony Classical, I have found the right place to bring my personal recording vision to life — with genuine trust, openness, and a shared sense of artistic curiosity,” said Malofeev. “Recording for me is about capturing a moment that feels magical and honest. It’s an exciting beginning.”

Malofeev’s debut album with Sony Classical is set for release this fall.

Photo Credit: Jake Gear and Robert Knotts by Matt Paskert

Interscope Geffen A&M partners with the iconic Nashville-based Lost Highway Records for a bold new era.

Country label Lost Highway Records is making a return, thanks to Interscope Records, as Interscope CEO John Janick calls on Nashville veterans Robert Knotts and Jake Gear to man the helm. Both will serve as executive vice presidents and co-heads of Lost Highway.

Founded 25 years ago by former UMG Nashville CEO Luke Lewis, Lost Highway famously worked with artists like Willie Nelson, Kacey Musgraves, Ryan Adams, Elvis Costello, and Lucinda Williams. Lost Highway also released the fan favorite O Brother, Where Art Thou soundtrack, which went 8x platinum and remains as one of only four movie soundtracks to win the Grammy for Album of the Year. After Lewis stepped down in 2012, Lost Highway was absorbed into Mercury Nashville.

“Lost Highway carved out a special place in the remarkable musical legacy of Nashville,” said Janick. “It was a left of center label with one-of-a-kind artists who, at their core, were great songwriters and moved culture. Similarly, Interscope has always been a beacon to artists who don’t fit into a box yet are destined to inspire what comes next. With this new chapter in Lost Highway’s history, we are devoted to empowering the next generation of trailblazers, both artists and executives.”

The new Lost Highway will be based out of Nashville, but will operate under the Interscope umbrella — the latest in the trend of coastal label presence in Nashville.

Former UMG Nashville CEO Cindy Mabe announced a Lost Highway revival back in January alongside T-Bone Burnett, before the label released Ringo Starr’s country album, Looking Up. Burnett will work with the label on several projects, Interscope said, including a 25th anniversary edition of the O Brother, Where Art Thou soundtrack.

Robert Knotts is coming to Lost Highway from indie Nashville music company 30 Tigers, and most recently served as senior vice president of artist and label services at the label. Jake Gear is coming to Lost Highway from sister company UMG Nashville, where he served as vice president of A&R.

“Over the course of my career, my goal has always been to operate in service to the artist’s vision while understanding the emotional connection to their art,” said Knotts. “It is with this same spirit that Lost Highway left a lasting impact on the Nashville community — providing a home for artists who aren’t defined by genre and recognizing that the artist’s vision ultimately shapes culture itself. I am honored to carry that approach forward alongside one of my closest friends, Jake Gear.”

“Lost Highway has a rich history,” added Gear. “Many of these releases and artists were formative in developing my own appreciation of the craft of songwriting. The label was a pioneer in taste, representing an ethos of artistry first, an openness to taking creative risks and shining a light on artists who drifted on the fringes of the major label defined ‘mainstream.’ Together with my friend Robert, and with the backing of John Janick and Interscope, I look forward to curating the roster.”

Photo Credit: !K7

Create Music Group has announced the acquisition of indie electronic label !K7. The deal was already in motion before the death of !K7 Founder Horst Weidenmueller in February 2025 at age 60.

A representative shared the following statement from Weidenmueller. “This transition is a deeply personal one for me, but I know that with Create Music Group, !K7 is in the right hands. Create Music Group shares our commitment to artists, labels, and creativity, and I am confident that this partnership will strengthen !K7’s legacy while opening new doors for the future. I want to thank our incredible team, partners, and artists for being part of this journey—what we have built together will continue to thrive and evolve for years to come.”

Create Music Group (CMG) acquired the independent label for an undisclosed sum, marking its second major acquisition this year. The first was a $55 million Deadmau5/Mau5trap catalog deal that CMG struck in March. The !K7 acquisition strengthen’s CMG’s electronic music portfolio, leveraging 40 years of brand equity and !K7’s physical distribution network.

“Though Horst Weidenmueller, the founder of !K7 is no longer with us, his words and vision continue to resonate,” shares Tom Nieuweboer about the acquisition. “Over the past 40 years, !K7 has grown into a global force while staying true to its independent spirit. This partnership marks an exciting new chapter for !K7, allowing us to scale our vision while staying true to our core values of independent artistry, innovation, and quality.”

“We are thrilled to welcome !K7 and its iconic DJ-Kicks series to the Create Music Group family,” adds CMG’s Senior VP of Global Corporate Development and M&A Eric Nguyen. “This acquisition not only deepens our footprint in electronic music but also reinforces our commitment to forward-thinking music across a wide spectrum of specialist genres represented by its globally respected imprint Strut Records. We’re proud to support the innovative spirit that defines the !K7 catalog. We look forward to powering the next chapter for !K7, it’s exceptional roster of artists, and its visionary label partners around the world.”

Photo Credit: Nicholas Green

Superfan apps like Weverse (HYBE) and the freshly-launched Berriz (Kakao Entertainment) have become critical tools for K-pop labels — helping transform fan engagement into scalable revenue streams while addressing core industry challenges along the way. Now, it looks like Warner Music’s superfan app is getting off its starting blocks.

Traditional streaming economics often fail to capture the full financial potential of highly engaged ‘superfans’—those who drive music discovery and interact with their favorite acts on a daily basis. Superfan apps and platforms, by contrast, leverage direct-to-consumer models, offering tiered subscriptions, exclusive merchandise, and virtual concerts for the most dedicated fans.

While these apps have exploded in popularity among music fans in Asia, US labels are looking to emulate that success.

HYBE’s ‘Fan Club’ segment—which includes Weverse—generated $69.7 million in 2023, up 35.9% year-over-year. That’s because superfans spend 80% more monthly on music than the average listener, with 61% stating they purchase both digital content and physical albums.

These superfan apps help centralize fan activity, providing labels with granular behavioral data around time spent interacting with an artists’ content, purchase patterns, and more. That data can be useful in informing everything from tour planning to merchandise drops—reducing reliance on third-party platforms like social media.

It’s no small surprise that major labels in the United States want a piece of this action. Last year, Robert Kyncl announced that Warner Music would focus on building out its own superfan app, allowing fans to connect with their favorite artists. Kyncl hired a new tech team to build the app, with an initial buy-in from Atlantic star Ed Sheeran.

A new profile in The Wall Street Journal of Elliot Grainge makes brief mention of the app, which appears to be going through internal testing. “A beta version rolled out to some employees for testing in the spring,” the WSJ reports. “The app looks like an Instagram feed of only Ed Sheeran posts that users could like and comment on, barebones in both tech and content.”

Sheeran shared his feedback with the tech team, with Elliot Grainge is closely working with to get the app ready. “The project suffered from a lack of alignment between the team building it and Atlantic,” the report continues. “Kyncl says Grainge is already working closely with the tech team. ‘They can only build as well to what they’re guided to,’ Kyncl says. ‘They need insights from the people who are on the ground. Elliot’s really good at helping filter this.’”

Now a more sophisticated version of the app—that Sheeran actively uses—rolled out to a small group of test users in recent weeks.

Photo Credit: Scooter Braun and Jermaine Dupri

Jermaine Dupri’s So So Def Recordings enters a distribution partnership with Hybe America, led by Scooter Braun.

The agreement sees Hybe distribute So So Def’s catalog while the two work together on releases for upcoming talent. Since the 1990s, Dupri and So So Def have worked with stars like Mariah Carey, Usher, Nelly, Xscape, Bow Wow, and Jagged Edge. Dupri also notably mentored Braun when he entered the music industry over 20 years ago.

“Everything I learned about the music business started with Jermaine,” said Braun. “He gave me my first shot when I was just a kid with a dream. I was blessed to witness genius up close. And now, years later, it’s an honor to return to where it all began and stand beside him as a partner.”

Since his time working with Dupri, Braun has become one of the most successful executives in the music industry. He is best known for managing stars like Justin Bieber, Ariana Grande, and Demi Lovato. Braun became the CEO of Hybe America after Hybe, the Korean music giant, bought his Ithaca Holdings in 2021.

This partnership makes Hybe’s second major hip-hop-related venture, since acquiring Quality Control in 2021. The label and management company’s roster included artists like City Girls, Lil Baby, and Migos.

“This isn’t just a business move, this is family,” Dupri shared. “Watching Scooter build what he has built has made me incredibly proud. He learned the game inside So So Def, and now he’s in a position to open doors the way I once opened them for him. That’s what legacy is about.”

Usher, who got his early start with So So Def, remarked upon the partnership: “Nothing makes me happier to see my brothers together. They both have a lot to offer each other.”

Hybe America and So So Def will both soon begin rolling out new music.

Photo Credit: Hybe America + Alan’s Universe

YouTuber Alan Chikin Chow inks a deal with Hybe Labels to create a US-based K-pop supergroup.

Alan Chikin Chow, a 28-year-old Texas native with over 88 million subscribers on his YouTube channel, wants to become the next big thing in K-pop. And he’s joining forces with Hybe America to help make that a reality.

Chow’s Alan’s Universe is collaborating with Hybe Labels for a star search across the United States that will result in the formation of a new US-based K-pop act. Chow himself will co-star in the group, which will include six members in total. The group will be the first project launched under the union of the two companies, and its story will be told through a mix of scripted content and music videos.

Hybe’s American operation is led by CEO Scooter Braun, who is credited with discovering Justin Bieber when the singer was a kid making videos on YouTube. Chow is a top YouTube hit maker who regularly earns a spot among the ten most-watched creators in the US. The creator stepped up his video production game last year by opening a 10,000-square-foot studio space in Los Angeles. The studio has become the filming location for his Alan’s Universe series, which is inspired by Korean TV shows.

Hybe America and Alan’s Universe are putting out a casting call to find the performers who will join Chow’s K-pop act. Those chosen will star in videos that will build lore (and publicity) for the group.

“The passionate global fanbase of Alan’s Universe partnered with the premier music prowess of Hybe America creates an unstoppable force,” said Chow. “Together, we stand to create a next-generation franchise with one purpose: to serve our fans with inspiring, impactful stories.”

Once chosen, the group members will meet in Los Angeles for a development program that incorporates Chow’s YouTube strategies and Hybe’s model used to train K-pop idols. Aspiring artists interested in auditioning for the project can find out more details on their website.

Photo Credit: Peloton

Peloton has teamed up with Armada Music, the world’s largest independent dance music label, for another DJ residency. Peloton Members now have access to an exclusive line-up of live DJ-led classes at Peloton Studios New York and Peloton Studios London.

Across 2025, Peloton will also bring members six electrifying workouts featuring Armada’s top artists, blending heart-pumping rides and high-energy mat-based workouts. The residency kicks off with electronic dance music mainstay ARTY taking over Peloton Studios New York on April 3, delivering two unforgettable moments—Peloton’s first LIVE Dance Cardio Class with Instructor Emma Lovewell and a Live DJ Ride with Instructor Olivia Amato.

Throughout the year, more Armada artists, including Armin van Buuren will take center stage to bring the beats across Peloton’s diverse fitness disciplines. “At Armada Music, we believe in the power of music to move people—both emotionally and physically,” shares Maykel Piron, CEO & Co-Founder of Armada Music. “Partnering with Peloton for this residency is an exciting way to merge fitness with the music we love, creating a space where people can push their limits while feeling completely immersed in the sound.”

“Being an instructor, music plays a pivotal role in planning my classes and setting the tone for the workout,” adds Instructor Olivia Amato. “Armada’s sound serves as the perfect mental escape and motivator during the tougher parts of class. Riding to a live DJ set is the same concept amplified—combining movement, music, and community makes these moments so powerful. I can’t wait to bring that electric energy to our members and have them experience it firsthand.”

Peloton’s partnership with Armada Music is its second DJ residency after launching the first with Defected Records in March 2024. That collaboration was the first to introduce live DJ rides at its London Studio—featuring six cycling classes with curated mixes by Defected DJs and three live DJ rides.

In an era where digital virality often determines a track’s success, Clubbers Worldwide has emerged as the new dynamic force in electronic dance music (EDM).

The following was created in collaboration with partner Clubbers Worldwide.

Clubbers Worldwide was founded just six months ago by DJ and Producer Alexander Rya and has gone from a startup to an industry disruptor in the same time period. The Italian media company has already amassed a network of 30+ TikTok channels with a combined reach that exceeds one million followers. Beyond numbers, Clubbers Worldwide is shifting how labels, artists, and fans engage with EDM. Gone are the days when radio spins and festival plays alone could make or break a track.

Clubbers Worldwide operates on a simple yet powerful premise—today’s hits are born from digital communities, not just traditional platforms. The company has already fueled major successes, including:

• • “Olvidarte” by Gordo ft. Emilia Mernes — A campaign that helped propel the track to #1 in Argentina
  • Strategic partnerships involving Calvin Harris, Swedish House Mafia, and Tiësto
  • Millions of views, spikes in streaming numbers, and authentic fan engagement—not just passive listens

Clubbers Worldwide doesn’t rely on blanket promotion to benefit its artists. Instead, it uses a network of operated hyper-niche TikTok channels dedicated to sub-genres within the EDM genre.

By tapping into niche communities, the network engages fans through the specific sound they’re seeking, along with content that mirrors their aesthetic, humor, and communication style — making each campaign feel organic rather than promotional.

With a sharp eye on social media trends and an ear to the ground, this Italian EDM promoter is pioneering a new era of music promotion—where data, culture, and community converge to drive meaningful impact. Consistent engagement delivers meaningful results for artists working with the brand—something especially valuable in today’s crowded digital space.

For labels, artists, and marketers looking to crack the code on next-gen EDM promotion—Clubbers Worldwide is an Italian disruptor that’s writing the playbook on active fan engagement for modern social media.

Photo Credit: DearU’s Bubble chat app

K-pop music powerhouse SM Entertainment has acquired an additional 11.4% stake in DearU, the company behind an artist-fan chat app.

SM Entertainment announced the acquisition in a regulatory filing on Friday that it purchased 2,711,351 shares of DearU for 50,000 won ($34) each, for a total of 135.6 billion won ($9.2 million). The Korean entertainment giant gained nearly 2 million shares from fellow major Korean entertainment company JYP Entertainment. The remaining shares came from DearU’s chief executive officer and other senior executives.

All told, SM Entertainment now owns a 45.1% stake in DearU. The latter’s earnings will be reflected in the former’s consolidated earnings report, beginning in Q2. The addition is expected to improve SM Entertainment’s overall earnings, given DearU’s solid performance with 25.4 billion won in operating profit from 74.8 billion won revenue last year.

Further, SM Entertainment anticipates greater synergy between its global entertainment business and DearU’s fandom platform and mobile app Bubble. The chat-based app enables artists to communicate directly with fans in one-on-one conversations. SM also plans to expand its IP business by bolstering fan service platforms.

Launched in February 2020, Bubble is a paid service — meaning fans purchase a monthly subscription to communicate with their music idols. DearU is preparing to launch Bubble in China in partnership with Tencent Music Entertainment, China’s largest music platform company, in the first half of the year.

That launch is expected to rake in tens of billions of won in additional revenue for the Korean company. In turn, such revenue growth is expected to help SM Entertainment see a significant increase in its consolidated annual revenue.

Korea Investment & Securities Co. has revised the target price of SM Entertainment stock to account for the anticipated improved corporate value, up to 130,000 won from the previous 110,000 won. SM Entertainment shares also traded up nearly 2% on Monday, exceeding 107,000 won.

Photo Credit: Vornado Realty Trust

After weeks of negotiations, Universal Music Group (UMG) has finalized the paperwork for a 336,000 square foot office space in the Penn 2 building in midtown Manhattan.

UMG signed a lease for the massive office space, expanding its footprint from the current 242,505 square-foot office at Jack Resnick & Son’s 1755 Broadway. UMG’s lease for 1755 Broadway does not expire until 2028—so the company has plenty of time to make the big move. Terms of the deal were left undisclosed, but Vornado Realty Trust CEO Steven Roth revealed during a recent earnings call that Penn 2 space is leasing in the range of $100 per square foot.

“I’m predicting that Penn 2 will likely be 80% leased by year-end,” Roth told investors during that earnings call. “We are achieving rents here above our underwriting.” Roth also revealed during that earnings call that the company was ‘weeks away’ from signing the 300,000 square-foot lease—though he did not share it was with UMG at the time.

Vornado recently completed its redevelopment of Penn 2—which sits directly above Pennsylvania Station—including a new facade, lobby, and rooftop lounge. The developer also added a 430-foot glass canopy leading into the office tower dubbed the Bustle. Other tenants in the Penn 2 location include Major League Soccer, Madison Square Garden Entertainment, NY E-Health Collaborative, and Nomura Holdings.

The office market in New York City has been struggling with vacancies since the pandemic has brought on increased remote work options. Tenants looking for office space have been gravitating toward newer buildings with more amenities, which is why Vornado focused on revitalizing the building to attract new companies.

The renovation began in 2018 with a comprehensive overall. As of April 2025, the renovation has been ongoing for six years as part of a broader Penn District revitalization plan aimed at modernizing the area surrounding Penn Station and Madison Square Garden.

Photo Credit: Ángel Del Villar, Founder & CEO, Del Records

Del Records CEO Ángel Del Villar has been found guilty of doing business with a promoter linked to organized crime. He could face up to 30 years in federal prison.

Ángel Del Villar was found guilty on 11 counts, including conspiracy to transact with narcotics traffickers, in a federal Los Angeles court. The ruling followed a two-week trial, exposing connections to organized crime in a major blow to the Mexican music sector.

He and his entertainment company, Del Entertainment, were convicted of conspiring to engage in transactions with a “specially designated narcotics trafficker,” in violation of the US Foreign Narcotics Kingpin Designation Act, better known as the Kingpin Act. The Kingpin Act prevents people in the United States from conducting business with sanctioned entities and individuals.

According to the Department of Justice in LA, the 44-year-old Del Villar faces a maximum sentence of 30 years in federal prison. He remains free on a $100,000 bond until his sentencing on August 15, despite the severity of his charges.

The case centers on transactions that took place in 2018 and 2019, when Del Entertainment did business with music promoter Jesús Pérez Alvear, known as “Chucho,” of Guadalajara. Pérez promoted concerts for the company in Mexico until March 2019.

Pérez and his company, Gallistica Diamante, also known as Ticket Premier, have been designated by the US Treasury Department as narcotics traffickers per the Kingpin Act since April 6, 2018. This was enacted after the department concluded he facilitated money laundering for the Cartel de Jalisco Nueva Generación (CJNG) and the Los Cuinis drug trafficking organization.

It was determined that Del Villar and Del Entertainment conducted business with Pérez willingly, despite knowing it was illegal to do so. To this end, Del Villar’s credit card was used in April 2018 to pay for a private jet that brought a “well-known musician” from Van Nuys Airport to a performance in which Pérez also had a financial interest in Aguascalientes, Mexico. The two organizations continued to do business on multiple occasions between 2018 and 2019.

“The defendants here chose to get into business with an individual they knew had ties to the CJNG and had been designated a narcotics trafficker under the Kingpin Act,” said Acting United States Attorney Joseph McNally. “Cartels and transnational criminal organizations cause immeasurable harm to our country. We are using every tool to eliminate these organizations and will prosecute those that do business with cartels.”

Del Villar’s sentencing hearing is scheduled for August 15, where he will face a statutory maximum sentence of 30 years in federal prison. Del Entertainment will face a sentence of five years of probation and a fine of $10 million for each of the 11 counts.

Pérez, who previously pleaded guilty to conspiracy to transact in property of specially designated narcotics traffickers, was murdered in Mexico in December 2024.

Photo Credit: Anyma by Nicko Guihal

Kobalt announces its partnership with acclaimed EDM artist and visionary live performer Anyma, fresh off his residency at the Sphere in Las Vegas.

Leading independent music publisher Kobalt announces a new partnership with Anyma, acclaimed electronic music artist and live performer whose immersive experiences are captivating worldwide audiences.

This collaboration coincides with a landmark moment in Anyma’s career: his recent sold-out, eight-night residency at the Sphere in Las Vegas. Due to overwhelming demand, the residency was extended to 12 dates in total, giving even more fans the opportunity to witness his groundbreaking performances. Selling more than 200,000 tickets, Anyma made history as the first electronic artist to grace the Sphere’s stage, joining the ranks of legendary acts like U2, Phish, The Eagles, and Dead & Company.

“Anyma’s artistry transcends traditional electronic music,” says Rani Hancock, Kobalt’s Executive Vice President, Head of US Creative. “He crafts sonic and visual journeys that resonate deeply with his audience. At Kobalt, we champion artists who redefine creative boundaries, and Anyma’s innovative spirit perfectly aligns with that vision. We are incredibly proud to welcome him to the Kobalt family.”

“Partnering with Kobalt Music Publishing marks an exciting new chapter with Anyma,” said Anyma manager Evan Baker. “The global Kobalt team [is] an ideal partner for the world [Anyma] has built and his unique vision towards a full audio-visual immersive experience.”

Anyma has carved a unique space in the electronic music landscape, earning widespread acclaim for his innovative approach to both music and performance. His immersive live shows have redefined the concert experience, blurring the lines between music, art, and technology.

Rising to prominence as one half of the acclaimed DJ duo Tale Of Us, Anyma’s powerful blend of techno and progressive house resonated with a global audience. Now, as a solo artist, he continues to push creative boundaries, solidifying his position as a leading force in electronic music.

Across 13 global offices, Kobalt Music serves over a million songs, representing some of the biggest songwriters in the world, including Roddy Ricch, Max Martin, Karol G, Andrew Watt, Stevie Nicks, Phoebe Bridgers, The Lumineers Gunna, Justin Quiles, The Foo Fighters, Paul McCartney, and many more. Kobalt represents around 35% of the top 100 songs and albums in the US and the UK.

Photo Credit: Taylor Hornecker (Daniel Nigro, Sir Lucian Grainge)

Universal Music Group has announced an expanded partnership with producer Daniel Nigro and his Amusement Records label.

The expanded partnership follows the release of Chappell Roan’s debut album The Rise and Fall of a Midwest Princess. It also builds upon his long-term relationship with Olivia Rodrigo. Under the new agreement, Amusement will operate as a central label venture within UMG, with new artist signings to partner across UMG’s iconic global family of labels.

“Daniel embodies the type of creative brilliance and entrepreneurial spirit that is at the heart of UMG,” shares UMG Chairman & CEO, Sir Lucian Grainge. “I’m so pleased to embark on this next chapter in our successful relationship, and I can’t wait to hear the culture shaping music and artists Daniel will bring next to our global family.”

“After six years of working almost exclusively with the various labels/artists under Universal, it made perfect sense to make the relationship more formal,” adds Daniel Nigro. “I want Amusement Records to be a place where artists can feel comfortable growing and developing at their own pace but with all the real resources needed to thrive and succeed.”

“Also, a place where I can have the freedom to help choose the right team each time for the artist. I know in my heart that the people at Universal understand this, and I am beyond excited about what’s to come.”

Nigro founded Amusement Records in 2023 as a home for Chappell Roan, who parted ways with her former label. Amusement was the place for Roan to release the music they had created together for her debut album. The album dropped on September 2023 and has gone on to achieve global critical acclaim and success. As of March 2025, the album has peaked at #2 on the Billboard 200 and #1 on the Billboard Artist 100 charts. It has amassed more than 4.3 billion streams worldwide and only continues to grow.

Daniel Nigro has recently named Producer of the Year at the 67th Grammy Awards for his work last year with Roan, Rodrigo, and the soundtrack for ‘The Hunger Games: The Ballad of Songbirds & Snakes.’ Nigro has worked closely with artists including Caroline Polachek, Sky Ferreira, Conan Gray, Chappell Roan, and Olivia Rodrigo.

Photo Credit: Warner France (L-R: Minh Loan Paturle, Louise Diakité, Adrien Morin-Guardia, Romain Pasquier, Nicolas Klersy, Ludivine Rome, Charlotte Fiedler, Léo Malbosc, Valentin Gillet, Joyce Kelly-Lefèvre, Julian Rosinel)

Warner Music France has announced the launch of its dedicated dance label, Adore Music. The label will bring together both emerging and established talent, showcasing the best dance music to the world.

Adore Music aims to establish itself as a key player by offering its artists access to the global resources of Warner Music and its network. It will identify and support the talent of today and tomorrow—in France and internationally—by providing them with the means to fully express themselves and reach new audiences. The label will also strive to gain a global footprint by working closely with Warner Music France’s global-facing teams and Warner Music’s A&R and marketing networks.

“Adore Music marks a bold evolution for Warner Music France, reaffirming its central role in the electronic music landscape,” shares Romain Pasquier, Managing Director of Adore Music. “France has such a rich legacy of global superstars like Air, Daft Punk, David Guetta, and Gesaffelstein. Our ambition is to honor this tradition, while propelling the next generation of talent onto the global stage.”

“The launch of Adore Music marks a key milestone in Warner Music France’s evolution in dance music,” adds Adrien Morin-Guardia, A&R and Head of Marketing at Adore Music. “It is a great privilege to collaborate with artists and teams driven by passion and to see these partnerships last so long. Some of which began over ten years ago with the likes of local icons Feder & Ofenbach. Together, we aim to shine a light on emerging talent and celebrate the creativity of our superstars by sharing their music with the world.”

Recently Adore Music organized a creative camp to bring together more than thirty artists, producers, and composers in the brand-new studios of 118—the HQ of Warner Music France. In partnership with Ultra Music Publishing and Warner Chappell Music, this event further strengthened this momentum by offering a unique creative space, showcasing the label’s commitment to producing and promoting the sounds of tomorrow.”

Adore Music has a strong schedule, with several projects and exclusive collaborations in the works for its newly signed artists. The first release dropped on March 21 with “Need You the Most,” the new single by Ofenbach. Ofenbach was the most-streamed French group internationally in 2024.

“Adore Music is a project built with music at its core, with the mission to discover and support new talent,” concludes Nicolas Klersy, A&R, Adore Music. “We aim to create an environment where artists can thrive and become true icons. In an ever-evolving dance music landscape, our goal is to shape the future by blending digital innovation with artistic heritage.”

Photo Credit: Cosynd

Trusted copyright protection platform Cosynd has announced a new partnership with performance rights organization BMI. The partnership will benefit BMI’s new Spark program, designed to support BMI’s global community of music creators at every stage of their career.

The following was created in collaboration with Cosynd, a proud partner of Digital Music News.

The innovative partnership marks the first time that Cosynd has offered an American PRO exclusive access to discounted U.S. Copyright Office registrations and vital legal agreements. This will empower BMI’s music creators to safeguard their works easily and affordably, while setting a new standard in copyright protection for the industry.

With Cosynd’s suite of tools, BMI’s more than 1.4 million songwriters, composers, and publishers can quickly establish ownership of their content and prevent unauthorized use of their work—all for 80% less than similar services and within a fast and simple UI.

“In today’s fast-paced music industry, music creators are being asked to do more than ever, not just making the music we love, but also putting it out into the world, finding and engaging with their fanbases, and creating their own unique brand,” says BMI Executive Director of Strategic Partnerships & Industry Research, Jess Robertson.

“In addition, managing the many platforms and various registration processes required to protect their work and collect revenue adds yet another layer of complexity. That’s why we are so thrilled to have Cosynd join Spark as an inaugural partner, further supporting BMI’s commitment to prioritizing our songwriters, composers, and producers and their copyrights.”

“We are proud to celebrate this milestone with BMI as the first PRO to take a bold step in prioritizing copyright protection for its members,” adds Cosynd CEO, Jessica Sobhraj. “By making it easier and more affordable for creators to secure their rights, BMI is setting a new precedent for how the industry can support music creators at every stage of their careers.”

“As AI and streaming fraud present new challenges, this partnership ensures that BMI’s members have the legal protections they need to safeguard their work, assert their ownership, and uphold the value of their music in an ever-evolving landscape.”

Through Cosynd’s efficient copyright registration service, BMI creators can easily register any of their content with the U.S. Copyright Office. That allows them to secure legal standing to pursue infringement claims, accessing statutory damages of up to $150,000 per infringement, and gaining global protection in over 175 countries.

Additionally, Cosynd’s agreement builder allows BMI members to quickly create customized, legally binding agreements, ensuring clarity on ownership when collaborating with others. To further enhance their experience, BMI members can also take advantage of an exclusive discount for Cosynd’s Premium Annual Membership, which includes the ability to create an unlimited number of agreements and up to four free copyright registrations (though federal filing fees will still apply).

Cosynd’s partnership with BMI arrives at a critical moment as the music industry grapples with the implications of artificial intelligence and the rising tide of streaming fraud. Recent lawsuits against AI companies for unauthorized use of copyrighted songs underscore the need for clear protections.

Reports suggest that up to 10% of global streams are fraudulent, significantly impacting streaming revenues and revealing vulnerabilities in the current system. In this complex landscape, establishing clear copyright registrations is essential for asserting ownership, preventing misuse, and ensuring creators are fairly compensated for their works.

BMI’s proactive efforts to offer secure and affordable copyright protection for its members solidify its position as a key advocate for music creators in an increasingly complex landscape. Curious about BMI Spark and its partners? You can find more information here. Cosynd is trusted by thousands of copyright owners across 160+ countries, transforming what was once a complex, expensive process into an accessible, cost-effective solution. The service saves businesses and creators thousands in legal fees with just a few clicks—here’s how.

Photo Credit: WMG

Spinnin’ Records has announced a change in leadership, with WMG’s President of Recorded Music and Publishing in Benelux, Niels Walboomers, stepping up to manage the label. Ewout Swart, the label’s Co-President, is stepping down after 16 years.

Swart joined the company in 2009 as a Royalties Manager before working his way up to Chief Operating Officer in 2016. He became Co-President in 2023, with Roger De Graaf stepping down in as Co-President in November 2024 after 25 years of service. Spinnin’ Records will continue to operate independently of WM Benelux, with Niels working closely with Jorn Heringa to cover the label’s A&R activity.

“With new leadership, we’re helping Spinnin’ Records write an exciting new chapter for its artists and better connect the label to Benelux’s recorded music and publishing businesses,” shares Simon Robson, President of EMEA Recorded Music, WMG. “Niels has gone from strength to strength since joining WMG, and with his recent work with Spinnin’ Records, it was an easy decision to expand his role.”

“He’s connected with the very best dance talent and in the last year made two big new signings at WCM in superstar DJs CYRIL and Mau P. I also want to thank Ewout for everything he’s done for the label over many years, and I wish him all the best in the future.”

“I want to thank Ewout, as he and the label’s co-founders, Roger and Eelko, worked incredibly hard to get it where it is today, alongside the brilliant Jorn Heringa,” adds Niels Walboomers, President, Records & Publishing, Benelux, WMG. “Spinnin’ boasts an incredibly talented team with a globally acclaimed roster, so I’m excited to see how we can take the label to the next level.”

Roger de Graaf and Eelko von Kooten founded Spinnin’ Records in 1999. The company became part of Warner Music Group in 2017, when van Kooten stepped down from his role. Spinnin’ Records has helped launch and nurture the careers of many of the biggest names in dance, including Afrojack, Cheat Codes, CYRIL, Don Diablo, Fedde Le Grand, Kriss Kross Amsterdam, KSHMR, Martin Garrix, Martin Solveig, Nicky Romero, Olivier Heldens, Sam Feldt, and Timmy Trumpet.

Spinnin’ Records reaches huge numbers of dance fans through its online presence, with more than 31 million subscribers on YouTube. The label has nearly four million followers on Instagram.

Photo Credit: ARC Musicq / Symphony Recording Co.

Times Music announces the acquisition of two leading Indian record labels, the company’s first since their strategic partnership with Primary Wave.

ARC Musicq and Symphony Recording Co. serve as Times Music’s first acquisitions since their strategic partnership with Primary Wave Music in 2023. That partnership saw the publishing giant invest significant capital to help accelerate the company’s growth in the global markets. Both Symphony Recording and ARC Musicq have established universal appeal in the growing Indian music markets, making them exciting additions to Times Music’s repertoire.

Growing from a retail music store in 1983 to South India’s top devotional music label, Symphony Recording Co. maintains a position as the undisputed leader of Tamil spiritual and devotional music.

Housing the largest catalog in the genre, with over 350 audio and 100 video albums, Symphony’s collection of music is deeply embedded in Tamilian culture worldwide. With collaborations from legendary artists in the Indian music space like Dr. Balamurali Krishna, Dr. S.P. Balasubrahmanyam, and Chitra, the company has set industry benchmarks in music and video production.

The label’s devotional songs contribute to a majority of its YouTube revenue, which has doubled in the past four years, and the label’s six channels have a viewership of nearly two billion. As Symphony continues to dominate the devotional and folk music space, this acquisition will now strengthen Times Music in the Tamil market as a spiritual market leader.

ARC Musicq, a time-tested label whose music has been distributed by Times Music since 2017, also upholds a place as a leading Kannada music label. As a pioneer in the entertainment industry since its initial inception in 1985, the label has played a key role in the expansion of Indian folk music and film soundtracks, contributing to over 75% of A-grade movie OSTs.

The company is home to a diverse collection of film, devotional, and folk music within the Kannada music market, which has also taken a major foothold across YouTube. The label’s four channels have seen significant growth, and much like Symphony Recording Co., has a viewership of over two billion views, with YouTube revenue having quadrupled in the past three years.

Spiritual and devotional music finds itself having a strong and stable listenership across India as it transcends the country’s religion and caste system. With the rise of digital streaming platform investments surging in the past two years — over 230% according to Spotify’s Culture Next Report — these acquisitions situate Times Music as a major player in the spiritual and devotional genre and aim to strengthen the company’s presence in the Kannada music market.

“These acquisitions by Times Music represent a major milestone in the company’s growth journey and the Times Group’s ongoing expansion in the broader entertainment space,” said Vineet Jain, Managing Director, Times Group.

“Times Music has an array of exciting premium partnerships coming up and we are proud to work with Symphony Music and ARC Musicq catalogs to further their global appeal,” added Mandar Thakur, CEO, Times Music.

“Primary Wave partnered with Times Music because growth in our business will come from emerging markets like India, and there are libraries of legendary music that live in the hearts of local consumers,” said Primary Wave’s David Loiterton. “These are the first of what we hope will be many more investments in legendary Indian music.”

A subsidiary of The Times Group, Times Music is one of India’s leading record labels and music publishers. Since its inception in 1998, Times Music has been working with a broad array of leading artists and songwriters, domestic and global film studios. The company is a major player in the Punjabi and South-Indian music markets, as well. Times Music has an exclusive global distribution partnership with Speed Records, the leading Punjabi music label in the world.

Photo Credit: DMN Pro Data

When it comes to handling accounts payable and royalty commitments, mishandling data can lead to catastrophic legal consequences. Incorrect or missed payments can trigger copyright actions and content removals—with time-consuming litigation soon following. A flexible payments partner becomes integral to avoiding legal mayhem — here’s a closer look.

Let’s take a peek at the data from Digital Music News’ ongoing litigation tracker to see where legal issues in the music business fall. Around 55% of all pending litigation cases since August 2024 have had copyright issues at their core. Coming in at 15% are contract and other disputes, followed by Antitrust/Federal Issues at 10%, with Patents and Trademark legal issues bring up the rear at 9% of pending litigation.

More than half of all music industry lawsuits involved copyright-related disputes in 2024. Copyright disputes include allegations of copyright infringement, but also all issues tied to improper accounting or non-payment issues. This is where having a flexible payments system can help businesses avoid these issues in the first place.

A well-oiled payments and financial automation platform can help any music business avoid this common pitfall. Just recently, DMN and Tipalti joined forces to deepen the focus on proper financial accounting and payment processing, two key components to minimizing legal liabilities. Tipalti offers full tracking and accountability, with disputes more quickly understood and resolved before they reach the litigation state.

So how can music businesses avoid these common pitfalls? Here’s a quick checklist to assess.

Does your system account for all triggered licenses within your model framework, including performance, mechanical, synchronization, and territory-specific licenses? A detailed examination of your application, model, or platform with an industry attorney or top law firm is a good first step here. Once a business sets sail, being wary of overly-aggressive claimants who may try to stretch the definition of a specific license—especially in novel use cases—becomes paramount.

Are you identifying and establishing connections with all payees for specific applicable licenses, including rights organizations, labels, publishers, and artists and songwriters themselves? For a number of triggered music licenses, an artist or IP owner often works through an intermediary to collect and administer royalties. In the case of performance licenses, publishers and songwriters in the United States often work with performance rights organizations (PROs) like ASCAP, BMI, SESAC, GMR, or AllTrack.

Does your system appropriately bucket various licenses and payee relationships into matching territories and blocs? This is one area in which Tipalti stands out. New territories often introduce different licensing and payout requirements. Having a payment platform that can incorporate these modifications on-the-fly means compliance—and fewer legal headaches as the company expands into new territories.

Does your system tie all creator and rights owner contracts with actual payout calculations and terms? Is the system prepared to process and handle disputes when they arise, including conflicts over IP ownership? If contractual terms change, then payments may also change as well. Structuring contracts from the beginning to smartly connect into a payments platform like Tipalti reduces headaches and administrative overhead when contract obligations change.

Conflicts over IP ownership are a near certainty in the music business, though different companies deal with these issues in separate ways. For example, a conflict on YouTube could freeze all monetization for the channel until a resolution is reached. For all platforms, a uniform process in handling these disputes should ensure that royalties aren’t being paid to the wrong party and that legal liabilities aren’t created.

With the right payments platform that documents all transactions and their calculations—everyone in the payout chain is able to look up specific transactions, payouts, and royalty calculations through a unified interface. A flexible payments platform reduces legal liabilities and is a necessity to scale your business and take it to the next level while avoiding costly legal action.

Photo Credit: Genius

Genius is teaming up with Too Lost to leverage the music tech company’s distribution and administrative processes. The team up will allow the Genius Distro team to focus on talent identification, marketing, and artist advocacy while Too Lost’s tech stack handles the complexities of music distribution effortlessly thanks to its user-friendly backend system.

The following was created in collaboration with Too Lost, a proud partner of Digital Music News.

With the partnership underway, Genius plans to integrate its editorial content, including platforms like OpenMic and Verified with Too Lost’s distribution services. Genius says the integration will create a unique value proposition for artists, helping them tell their stories more effectively. The distro will also utilize Genius social platforms and its website to amplify artists’ voices, continuing the tradition of early support for emerging talent.

“Genius Distro is a small but ambitious team,” Kayvan Daragheh, Director of Music Distribution at Medialab tells Digital Music News. “Having access to Too Lost’s distribution technology is an amazing benefit for us, as it allows us to focus on some of the more challenging parts of the release process. Things like identifying the right talent, marketing, using our Genius platform to help tell artist stories and being advocates for our artists, pitching them from placements across DSPs and the digital space.”

“With all of that, Too Lost’s tech stack allows us to easily handle the administrative sides of music distribution. Their backend is one of the most user-friendly experiences we’ve had and it’s made growing the distribution side of our business seamless.”

The collaboration will also explore artist advance opportunities for select artists, with Genius and Too Lost working together to build these opportunities. Each potential advance case will be evaluated on a case-by-case basis, but the key focus is on making investments to grow the shared catalog while treating independent artists as equitable partners in their growth.

The Genius Distro approach to distribution and promotion is highly personalized to the artists’ needs. The team works closely with Too Lost to pitch releases to DSPs, independent curators, and traditional press partners. Their goal is to create engaged fan bases rather than passive listeners, since engaged fans are more likely to follow an artists’ body of work as it evolves.

Genius boasts over 12 million YouTube subscribers and more than 15 million followers across its social media channels. It has cultivated relationships with industry tastem akers, positioning its clients for optimal exposure to new audiences who are hungry for a new sound. Meanwhile, Too Lost distributes to over 450 outlets directly, without intermediaries, which will help Genius land better deals with digital service providers (DSPs).

A live performance from Megadeth, which is preparing to release a new album with Frontiers Label Group imprint BLKIIBLK Records. Photo Credit: Kreepin Deth

Three albums later, Megadeth and founder Dave Mustaine have departed Universal Music Group (UMG) – with plans to drop a new project via Frontiers Label Group imprint BLKIIBLK Records.

The thrash metal group took to social media to unveil the news, which the just-minted BLKIIBLK elaborated upon in a formal announcement. After parting ways with Roadrunner, Megadeth released three studio albums with UMG and Mustaine’s Tradecraft between 2013 and 2022.

Now, Tradecraft and BLKIIBLK are set to put out the 42-year-old band’s as-yet-unnamed 17th album. Though the involved parties stopped short of nailing down a precise release date, they did confirm that the work is expected to debut sometime during the fall or winter of 2025.

(Besides being booked for Bonnaroo and Norway’s Tons of Rock in June, Megadeth has a number of European performances lined up for October. In an early February fan newsletter, Mustaine said Megadeth was about 90 days into creating the forthcoming album.)

Meanwhile, BLKIIBLK, which says it’s “dedicated to pushing the boundaries of heavy music,” also serves as the professional home of Sick N’ Beautiful and Biohazard.

“With a mission to support and elevate the genre,” BLKIIBLK spelled out of its strategy here, “the imprint strives to showcase talent that is both pioneering and influential.”

This past May, the overarching Naples-headquartered Frontiers, which Serafino Perugino founded nearly 30 years ago, added Tom Lipsky as A&R head for North America.

And in a statement, Mustaine acknowledged the reunion with Lipsky, who led Sanctuary Records when Megadeth released The World Needs a Hero (2001) and The System Has Failed (2004) under the label.

“When I first met Tom Lipsky and [Concrete Marketing head] Bob Chiappardi back in the day I had no idea we would be working together again so many years in the future,” 63-year-old Mustaine said. “I look forward to working with Serafino and the team in Italy and I can’t wait for the fans to hear the songs from our new record.”

In remarks of his own, Lipsky touted the signing and the progress of Megadeth’s upcoming album.

“When BLKIIBLK Records was formed,” Lipsky added, “the very first artist we agreed was ideal to define the creative mission of the label was Megadeth. Now, it is a reality. The band is crushing it in the studio.

“[CTK Management owner] Danny Nozell, Justis Mustaine, Steve Ross and the team at CTK are developing an incredible global plan, and our team is thrilled, primed and ready to shake up the world of hard rock and metal!” he concluded.

Earlier in March, Frontiers quietly signed the Eagles’ Don Felder, who’s preparing to release a solo album later in 2025.

A nighttime shot of Chengdu, Sichuan’s capital and the ‘epicenter’ of China’s hip-hop scene. Photo Credit: Prcmise

Sony Music has made another move in China’s quick-growing music market, this time by partnering with self-described “music and art collective” IRIS Chengdu.

The major label today unveiled the deal, finalized specifically between its RCA Greater China division and IRIS Chengdu. Founded by producer and DJ Andre Grant (aka Harikiri) in November 2021, the latter company operates as a label, manages talent, and provides a variety of adjacent services to boot, per its website.

Meanwhile, at least as described by the involved parties, Chengdu (population 21.4 million) is “the epicentre of China’s evolving hip hop music scene.” Running with those points, the RCA-IRIS tie-up, contrasting the open-ended pacts between the majors and other Chinese indies, centers on five forthcoming albums.

The same number of IRIS acts – Vinida Weng, Haysen Cheng, Miles, Swag Kelly, and Harikiri himself – will release the projects via RCA Greater China within “the next 12 months,” the companies said of the agreement.

(Technically, Vinida’s “recently released” 7th Seed, a portion of which was recorded in English, marks the first album under the union. The 30-year-old, having reportedly delivered her first international concert in September 2024, also dropped a Mandarin-language single entitled “Black Eight” with Cheng yesterday.)

As things stand, it’s unclear how (or whether) the partnership – about which RCA Greater China and IRIS opted against disclosing financial details – will proceed once the well-defined 12-month window concludes.

In any event, besides seeking bolstered commercial results in China, RCA and IRIS underscored plans to break the appropriate professionals on the global stage.

“IRIS Chengdu was founded to push creative boundaries and give artists the freedom to tell their stories authentically,” IRIS Chengdu founder Harikiri noted here. “This partnership with RCA Greater China marks an exciting milestone, amplifying our ability to share those stories globally while staying true to our roots. Together, we’re bridging cultures, connecting audiences, and taking music beyond borders.”

Of course, Sony Music isn’t alone in looking to capitalize on China’s expanding music sector. Last month, Universal Music Greater China scored an “exclusive global agreement” with singer-songwriter Liu Huan, who’s billed as the “King of Chinese Pop.”

Additionally, that major-label unit closed out February by formally announcing the 1,000th concert of Jacky Cheung. Touted as China’s “God of Songs,” the 63-year-old is “the first Chinese artist ever to surpass the 1,000-concert milestone,” Universal Music relayed.

Photo Credit: Omar Kamal for Reservoir Media

Independent music company Reservoir Media and music publisher PopArabia acquire the catalog, publishing, and masters of Egyptian star Omar Kamal.

In conjunction with the leading music publisher and independent music company in the Middle East and North Africa (MENA) region, PopArabia, Reservoir Media has announced the acquisition of Egyptian star Omar Kamal’s catalog. The deal includes both publishing and master rights.

Over the past decade, Egyptian artist Omar Kamal has risen to prominence across the MENA region. He is credited with helping bring mahraganat, a genre of music mixing Egyptian rhythms, electronic music, and rap lyrics, to listeners outside of Egypt.

Kamal is best known for his hit 2020 song, “Mahragan Bent El Geran,” with Hassan Shakosh, which featured controversial yet captivating lyrics that resonated with audiences throughout the Arab world. The song earned Kamal widespread international attention, becoming a cultural sensation, particularly with youth across MENA. Named one of Rolling Stone’s 50 Best Arabic Pop Songs of the 21st century, the track also garnered over 700 million views on YouTube.

Kamal has released a steady stream of singles in recent years, many in collaboration with Hassan Shakosh, and hits like “Oud Al batal” and “LGHBTITA” have continued to perform well on YouTube. His vocal range and stage presence have contributed to his status as a star across Egypt. In 2021, he also expanded into acting, making his debut on the television series Bayn El-Samaa Wa El-Ard, further solidifying his presence in the country.

“I’m excited to strike this deal with Reservoir and PopArabia, a company built for artists and run by artists,” said Kamal. “I know this partnership will be a strong motivation for us to do great work together.”

PopArabia Vice President of A&R and Acquisitions, Wissam Khodur, added: “Omar is one of the hottest Shaabi artists in Egypt and throughout MENA and was able to pivot into mahraganat with his own unique twist. We’re thrilled to bring his music to PopArabia and look forward to helping him reach new international heights with his catalog.”

Reservoir Founder and Chief Executive Officer Golnar Khosrowshahi concluded: “Acquiring Omar’s influential catalog is another key growth moment for Reservoir and PopArabia’s market share in Egypt, the dominant Arabic music market. This deal builds upon our other recent strategic acquisitions and further supports our efforts to become a major tastemaker in the region.”

Photo Credit: Noah Assad, Federico Lauria, Jonathan Miranda / by Eric Rojas

Rimas Entertainment acquires a stake in Dale Play Records, strengthening their global impact and commitment to independent artist development.

The world’s largest independent label, Rimas Entertainment, has acquired a significant stake in Dale Play Records, one of the leading forces in Spanish-language music. With this acquisition, Rimas solidifies a strategic partnership that will expand its global reach.

This partnership is the result of years of collaboration between both labels, united by a shared vision for the future of the Latin music market and a deep commitment to creative freedom. The agreement establishes a partnership between Rimas Entertainment, Dale Play Records, and Sony Music Entertainment, with Federico Lauria continuing as CEO of Dale Play.

The landmark deal was made possible thanks to the support of Rob Stringer (Chairman, Sony Music Group), Afo Verde, and the entire Sony Music family, as well as Brad Navin, Jason Pascal, and the team at The Orchard. Their collaboration has been instrumental in bringing this partnership to fruition, and their trust underscores the significance of this new chapter in the industry.

Both companies have established themselves as key platforms for Latin talent. Rimas Entertainment is home to some of the most influential stars in Latin music, including Arcángel, Bad Bunny, Cris MJ, Eladio Carrión, Mora, and Quevedo. Dale Play Records has been the driving force behind international stars like Bizarrap, Duki, Nicki Nicole, and Rels B.

As a result of this acquisition, Rimas Entertainment expands its global footprint, adding Dale Play Records’ operations in Argentina, along with offices in Mexico, Spain, and Uruguay. Those complement its existing presence in Puerto Rico, Mexico, Spain, and the United States.

“From day one, our mission has been to support and develop artists with authenticity and respect for their identity. With Federico and Dale Play, we’ve built a relationship founded on trust and mutual admiration. This alliance will allow us to break new boundaries and create opportunities for our artists and teams,” said Noah Assad, CEO of Rimas Entertainment.

Federico Lauria, CEO of Dale Play Records, added: “Afo and I have had a long-standing friendship for many years, united by a mission to elevated Latin music to the highest level. This partnership reflects a journey we have been on for many years with Noah, Jomy, and the Rimas team. We share the same vision and values, driven by a passion and a dream to take Spanish-language music and culture to the world.”

Afo Verde, Chairman & CEO Latin America, Spain, and Portugal at Sony Music, said: “I have great admiration for the achievements of both Fede and Noah. They epitomize the new generation of executives and label leaders, characterized by their independent spirit and innovative approach. Their dedication to their artists and vision for the future is truly commendable. It is a privilege to continue our partnership with them, and I look forward to the remarkable opportunities and accomplishments we will share as we continue to collaborate.”

Jonathan “Jomy” Miranda, President of Rimas Entertainment, added: “This alliance is key to expanding our global reach and connecting with talent wherever it may be. We have always been at the forefront of discovering new artists, and now, through this partnership, we will have ears in more corners of the world to support and develop the next generation of stars.”

The partnership marks the beginning of a new era for Latin music, where two independent, industry-leading labels — responsible for launching some of the most important Latin artists of the last decade — reaffirm their commitment to nurturing talent and expanding Latin music’s global reach.

Photo Credit: Amanda Hill, Ryan Tedder, Andrew Sparkler / Runner Music

In a rare industry move, OneRepublic frontman — and Runner Music co-founder — Ryan Tedder, has signed a global publishing deal with Runner Music.

The deal is a unique one in the music industry; a songwriter of Tedder’s caliber signing with their own publishing company has only happened a handful of times.

“Signing to Runner feels like the culmination of a dream I’ve had for years — not just about music, but about finding the right people to make it all come to life,” Tedder remarked. “With Amanda Hill, Andrew Sparkler, and the team they’ve assembled by my side, I’ve got a community of music-obsessed operators that share the same vision, passion, and relentless drive. I’m blown away with what Runner has accomplished in such a short period of time and I’m ecstatic about what’s to come.”

“My first gig in the music industry at 19 was working for a publishing company in Nashville; I never dreamed one day I’d be signing to my own,” he added.

Tedder’s recent chart domination includes back-to-back hits with Tate McRae, such as “Greedy,” “Exes,” “It’s Ok, I’m Ok,” and “Sports Car,” and the Grammy-winning Beyoncé-Miley Cyrus collaboration, “II Most Wanted.” Further hits include his work with David Guetta on the OneRepublic-featured track, “I Don’t Wanna Wait,” on which Tedder is the lead vocalist. Finally, Tedder collaborated with Guetta and Jelly Roll on “Run It,” the hit theme from Universal’s Sonic the Hedgehog 3.

Runner Music continues to make waves in the industry, starting off the year with two global hits. Bad Bunny’s “DtMF,” co-written by Tyler Spry, reached No. 2 on the Billboard Hot 100 and spent several weeks at the top spot on the Billboard Global 200 and Global Ex. US charts. It also held the crown on Spotify’s Global Top 50 and US Top 50. The song continues to perform globally and is Top 20 at Rhythmic Radio.

Additionally, Runner’s Grant Boutin co-wrote and co-produced Tate McRae’s global hit, “Sports Car,” and seven other songs on Tate’s new album, So Close to What. The company also recently signed Del Water Gap, country chart-topper Ben Johnson (who is currently enjoying a No. 1 hit with Jelly Roll), and upcoming female producer and songwriter Alex O’Shaughnessy. All of these moves further solidify Runner’s reputation as a powerhouse in the publishing world.

“I am extremely proud of the accomplishments of each of the Runner writers in such a short period of time. Welcoming Ryan to the Runner roster further shares our story as the greatest new destination for songwriters, and personally, it is a true joy to get to continue working with one of my favorite songwriters in the world,” says Amanda Hill, Co-Chief Creative Officer of Runner.

CEO Andrew Sparkler adds, “The momentum at Runner is truly exceptional right now. We’re not only collaborating closely with Ryan to nurture emerging songwriters, but we’re also thrilled to partner with established hit-makers. Ryan joining our roster is a powerful testament to our growth and success.”

(L-R): Adam Holt, Chairman, Universal Music New Zealand; Myra Hemara, Co-Managing Director, Universal Music New Zealand; Matt Kidd, Co-Managing Director, Universal Music New Zealand

Universal Music Australia & New Zealand President and CEO Sean Warner has announced some changes at Universal Music New Zealand. UMNZ Managing Director & Chairman Adam Holt will retire effective April 30, 2025 after 24 years of leading the company and 34 years with UMG.

Adam Holt will be succeeded by Myra Hemara and Matt Kidd, who have been promoted to Co-Managing Directors effective May 1, 2025. They will report directly to Sean Warner.

“Adam’s commitment to our company, our artists, our people, and the greater New Zealand music industry has been nothing short of exemplary,” says Sean Warner about the announcement. “Throughout his tenure he consistently promoted a positive culture of both UMNZ and UMA garnering him enormous respect from both employees and artists alike. Adam is a passionate music man, caring mentor and consummate professional, who led from the front to make lifelong friends across the UMG, the artist community, and with our partners around the world.”

“Leading the New Zealand company for UMG has been the experience of my life,” adds Adam Holt. “I am immensely proud of what we have achieved and the challenges we have successfully navigated over the years, but it’s time for me and the company to start the next chapter. A big thank you to Sir Lucian Grainge and Sean for trusting me with UMNZ for so long, and a huge thank you to the entire Universal Music team across New Zealand and Australia.”

Warner says he is thrilled to announce that current UMNZ General Managers, Myra Hemara and Matt Kidd will become the new Co-Managing Directors of the company. Matt and Myra have incredible experience within UMNZ and have been at the forefront of the changes made in New Zealand over the last couple of years.

“Together, with the support of UMNZ Chief Financial Officer & Commercial Director Tony Jenks, they will form a strong executive leadership team that will drive a new era of success for Universal Music New Zealand,” Warner concludes.

Myra Hemara joined UMNZ in 2006 and helped establish the label’s digital department and strategy. After navigating the NZ company through ever-changing digital landscape, Myra was appointed General Manager in 2017, taking on the additional responsibilities of leading UMNZ’s international artist marketing and audience development teams.

“Being given this opportunity to lead Universal Music New Zealand alongside Matt is a great privilege and honor,” Hemara adds. “The legacy Adam has created for our artists and staff has provided an incredible foundation for Matt and I to build on. I’m looking forward to fostering a culture of connection, creativity, and collaboration and delivering even more success for our incredibly talented artists.”

Matt Kidd has been with UMNZ for 12 years. He began his label career in promotions and public relations, before stepping up to lead UMNZ’s domestic repertoire and business development teams. Since 2017, his focus in his role as General Manager has been on exporting New Zealand talent globally.

“Thank you to Sean for giving Myra and I the opportunity to lead this great company,” adds Kidd. “it’s exciting to take on this new role at a thrilling point in the business, where the landscape and scope for how we can work with and develop our artists is changing dramatically. I’m beyond excited to be a part of the best team in the country and to continue driving excellence and innovation for our artists in New Zealand and around the world.”

Topping the music industry’s shuffles this week is Ole Obermann jumping ship from TikTok to Apple Music. Is this merely the rumble before the earthquake?

The timing of Obermann’s move is eyebrow-raising, to say the least – and raises more questions on whether TikTok will survive after the “ban” shifts to the next stage in the United States.

This is all happening as monster billion-dollar offers are being floated for the short-form juggernaut — at last count, we tallied ten possible bids once Elon confirmed his disinterest. In terms of the actual price tag, the highest whisper figure is close to $50 billion, though a bidding war could push the nose-bleeding higher.

Even MrBeast wants a piece of the action — but with so many high-dollar offers and interested billionaires, not to mention Trump snowplowing the lane to facilitate a deal, the obvious question lingers: Why hasn’t this thing sold, shifted into a joint venture, or otherwise transacted yet?

One obvious possibility is that ByteDance simply doesn’t want to sell, and they’re not playing this game. Go figure—not everyone likes taking orders from the United States and Trump, though a hard ‘no’ could torpedo the whole thing.

Which brings us back to Obermann, who might be jumping ship right before the hull hits the iceberg.

But — Apple Music? Some observers have been quick to point out that Obermann cuts a hostile profile towards creators and music IP owners — yet he’s now shifting to the very pro-creator Apple Music.

Maybe that image is unfair, though based on our conversations and canvassing, there’s plenty of lingering bad blood following Obermann’s TikTok tenure. During his five-plus years at the ByteDance wunderapp, Obermann oversaw two extremely high-profile royalty showdowns involving Universal Music Group and indie consortium Merlin. And those are just the hard-nosed highlights.

In the case of UMG, TikTok’s insultingly low royalty rates bubbled to the surface during the label’s pullout, with the hard-negotiating Obermann and team ByteDance refusing to budge until they were forced to.

In the case of indie labels, Obermann & Co. pushed out Merlin entirely while forcing take-it-or-leave-it deals on divided-and-conquered labels. Obermann somehow blamed the media for the resulting bad rap, but will indie labels’ resulting bad blood complicate future discussions at Apple, particularly if Obermann occupies a business development role?

Some are also pointing to a potentially big issue with UMG and Apple’s new recruit, as well as other content owners large and small — but let’s see how things shake out. Will Apple’s latest hire put a dent in its creator- and IP-friendly cred?

Shifting to the product front, what does this mean for Apple Music?

“Please don’t make Apple Music into TikTok,” you can hear every Apple Music subscriber plead, particularly those proudly outside the Z or alpha age ranges. Though perhaps a more sophisticated product strategy than just ‘TikTok-ification‘ is afoot.

Meanwhile, DMN Pro subscribers know that Apple Music is hot on the heels of Spotify when it comes to streaming subscriber dominance, especially with Spotify losing some serious momentum in the US in 2024. We’ll keep you posted on the emerging horse race — though Apple Music is now swinging for the fences after a massive Super Bowl Halftime sponsorship that clocked record viewership.

Case in point: Apple touted an aggressive $2.99-a-month deal for 6 months during that same record-setting Super Bowl LIX. Maybe 2025 is Apple Music’s year — though we’ll make some popcorn as this DSP battle-of-the-ages unfolds.

Photo Credit: Red Hot Chili Peppers by Raph PH / CC by 2.0

The Red Hot Chili Peppers are reportedly looking to sell their recorded music catalog for upwards of $350 million, sources say.

According to Billboard, sources say the Red Hot Chili Peppers are shopping for suitors for their recorded music catalog for as much as $350 million. Hits up for grabs include “Californication,” “Under the Bridge,” “Snow (Hey Oh),” “Otherside,” “Give It Away,” and “Can’t Stop.”

The band reportedly owns the 13 studio albums and other releases via Warner Music Group (WMG) — although sources could not confirm if they own their first four studio albums issued through EMI. Regardless, all rights possessed by the band are up for offer.

Altogether, the Red Hot Chili Peppers have released 13 studio albums, two live albums, and 12 compilation albums. Formed in their native Los Angeles in 1982, their albums include the eponymous Red Hot Chili Peppers (1984), Freaky Styley (1985), The Uplift Mofo Party Plan (1987), Mother’s Milk (1989), Blood Sugar Sex Magik (1991), One Hot Minute (1995), Californication (1999), By the Way (2002), Stadium Arcadium (2006), I’m With You (2011), The Getaway (2016), Unlimited Love (2022), and Return of the Dream Canteen (2022).

Sources tell Billboard that Eric Greenspan of Myman Greenspan Fox Rosenberg Mobster Younger & Light has been spearheading a recorded music catalog deal, as he did for their publishing rights in 2021. Back then, the Red Hot Chili Peppers sold their music publishing assets to Hipgnosis for between $140 million and $150 million.

If their recorded music catalog fetches the $350 million asking price, their assets for their complete body of work will have netted them around $500 million altogether. But it’s more likely to go for between $325 million and $340 million, according to some sources.

Billboard estimates the net label share (NLS) — gross profit — of the band’s catalog would be around $20 million, with $26 million in revenue before subtracting production, distribution, and other expenses. The outlet notes that it’s unclear if all potential suitors for the Red Hot Chili Peppers’ catalog were offered the same set of recorded assets.

Tim Hinshaw, whose Free Lunch has launched a namesake label in partnership with Warner Records. Photo Credit: Rashida Zagon

Warner Records has officially launched a label in partnership with Tim Hinshaw’s Free Lunch Agency creative studio.

The Warner Music Group subsidiary reached out today with word of the newly minted label, Free Lunch Records. Previously Amazon Music’s head of hip-hop and R&B, Hinshaw established the overarching Free Lunch in 2023.

2024 then saw the “creative and touring company” ink a deal with AEG Presents. Under that pact, Free Lunch (which, at least as of June 2024, counted Amazon Music as a client) is “securing and marketing hip-hop, R&B and gospel tours for the” Anschutz Entertainment Group division.

Now, Free Lunch and Warner Records are looking to leverage those multifaceted operations on the label side. Though the involved parties didn’t dive too far into their exact plans here, they did indicate that nearly four-year Warner Records A&R SVP Ericka Coulter will continue in the role while simultaneously serving as Free Lunch Records’ GM.

Additionally, Free Lunch confirmed its first two label signings: Syd (real name Sydney Bennett) and Alex Isley (the daughter of the Isley Brothers’ Ernie Isley). Syd’s latter studio album, Broken Hearts Club, debuted in 2022 via Sony Music’s Columbia; Alex Isley released 2023’s I Left My Heart in Ladera with Terrace Martin via BMG and Martin’s Sounds of Crenshaw.

Addressing the agreement, Warner Records co-chair and CEO Aaron Bay-Schuck touted the “perfect synergy” between his company and Free Lunch.

“Tom [Corson, COO of Warner Records] and I are thrilled to welcome Tim and his Free Lunch team to the label,” said Bay-Schuck. “His expertise stretches far beyond finding and nurturing talent – he knows how to make sure his artists are making an impact.

“Early on in our conversations, it was clear bringing Tim and Free Lunch into the Warner fold would be a perfect synergy. Tim is immersed in the vast culture of hip-hop and R&B, across music, sports, fashion, and live entertainment, and together we’ll work towards our shared goal of uplifting the best and brightest in the genre,” the Warner Records head concluded.

And in remarks of his own, Hinshaw touched on an ambitious long-term vision for the tie-up.

“By uniting Free Lunch Agency with Warner Records,” Hinshaw relayed, “we can combine our expertise in creative, music, and brand building to elevate the first-class roster. What Aaron, Tom, and the team have built is truly impressive, and together we’ll expand the scope of artist narratives to connect even more deeply with fans across the globe.”

Photo Credit: Warner Music Japan

Warner Music Group and 10K Projects have signed a global label deal with Psychic Fever, a Japanese dance and vocal group. Will this help the J-pop upstarts blow up outside of Japan?

The group already has a strong following inside Japan, with a fast growing fanbase in key Asian markets like the Philippines and Thailand. Leveraging its extensive network, WMG will support Psychic Fever’s global ambition, showcasing their distinctive musical style—rooted in Japan and brought to life by its diverse members. They’ll have access to Warner’s cutting-edge digital marketing expertise and opportunities for cross-border collaborations.

To celebrate the signing, the band visited Warner Music Group’s Los Angeles office, putting on a special showcase. The showcase included performances of hits including “Just Like Dat,” “Paradise,” and “What’s Happenin’.”

“Psychic Fever really blew us away with their incredible performance,” adds Molly McLachlan, Co-President, 10K Projects. “The group has been exploding in Asia and the 10K team is excited to play its part in connecting them with a wider audience in America and around the world.”

“We are delighted that Psychic Fever has chosen Warner Music as a partner for their new challenge on the global stage,” adds Takeshi Okada, President & CEO of Warner Music Japan. “As the unique evolution of Japanese music culture continues to attract significant attention worldwide, we remain committed to bringing the music of Japanese artists to audiences around the globe.”

Debuting in 2022 and signed to the leading entertainment company LDH Japan, Psychic Fever has been on a continuous journey of artistic evolution. The group has steadily built their global fanbase through a combination of streaming hits, social media activity, and dynamic live performances. The group will release it’s first single under Warner Music in June 2025.

“Psychic Fever is a group formed with the goal of making an impact on the global stage,” says Hiroyuki Igarashi, Chairman, CEO, and CCO of LDH Japan. “With Warner Music Group’s support, we are excited to take on new challenges and make even greater strides in the international music scene.”

Photo Credit: &TEAM by nacco / CC by 3.0

HYBE ramps up its global expansion, rebranding its Japanese subsidiary and signing its first Latin American artist.

K-pop giant HYBE is making moves to strengthen its presence beyond Korea, rebranding its Japanese subsidiary — HYBE Labels Japan — to YX Labels. YX Labels is headquartered in Tokyo and led by CEO Han Hyun-rock. The label is home to Japanese boy band &TEAM, which debuted in 2022.

The name reflects HYBE’s ambition to establish a new “aXis” in Japan’s music industry, incorporating “You” and “Youth,” as well as delivering entertainment that is “eXtreme” and “eXcellent.” The rebranding is part of its broader global “HYBE 2.0” expansion strategy.

HYBE has also shown interest in launching audition shows via its subsidiaries to discover new members for future acts. XY Labels will use its show as a starting point to create a new Japanese pop boy band. “The show will portray the contestants’ raw emotions as they push their limits, compete, and support one another,” describes XY Labels.

HYBE’s expansion efforts have also reached Latin America. The company first launched HYBE Latin America in 2023 to strengthen its foothold in the region. The imprint also plans to debut a locally produced act through an audition program in the second half of the year, in addition to expanding its artist roster.

Earlier this month, it also established a new subsidiary label, DOCEMIL Music, and announced its first signing, Mexican singer Emmanuel “Meme” del Real. Del Real is best known as a member and producer of Mexican rock band, Café Tacuba, one of Latin America’s most influential acts. Founded in 1989, the band saw broad success in the 1990s, and has won multiple Latin Grammy Awards. These include Best Rock Song and Best Alternative Album.

“I considered various ways to bring my music to the world, from independent releases to joining a major label,” said del Real in a statement via HYBE. “Throughout this process, I prioritized mutual interest and collaboration, and I found that with HYBE Latin America and DOCEMIL Music.”

CEO of HYBE Latin America, Kah Jong-hyun, said Meme del Real’s signing “demonstrates HYBE’s commitment to supporting Latin American artists and fostering their creative potential.”

BMG’s new logo. Photo Credit: BMG

Introducing the new BMG: Amid a “significant transformation” under CEO Thomas Coesfeld, the Bertelsmann subsidiary has unveiled a “refreshed brand identity.”

BMG reached out today with word of that revamped brand identity, which it developed alongside London’s Wolff Olins. As described by the Berlin-based music company, the “comprehensive refresh features a refined visual identity and a forward-looking approach.”

And in keeping with the objectives of the business’s overarching “BMG Next” framework, the new logo “brings energy and movement to BMG’s visual identity, reinforcing its role as a modern music company,” per higher-ups.

Shifting from this glowing description and to the actual changes, BMG has traded its in-your-face red color scheme for a more relaxed blue-and-gray look. An animation of the new logo (of which there are several variations) is situated front and center on BMG’s website homepage, which now emphasizes the company’s professional relationships with Jelly Roll, Lainey Wilson, and others.

In a statement, BMG’s initially mentioned head described the retooled appearance as “a statement of intent” regarding future operations’ direction.

“Our new visual identity isn’t just about aesthetics—it’s a statement of intent,” elaborated CEO Thomas Coesfeld. “At its core, it redefines our ambition and who we are today: we put artists and songwriters at the heart of everything we do.

“We embrace technology, collaborate with an ecosystem of partners, and stay true to our distinctive approach to artist advocacy. With the implementation of our BMG Next strategy, we have reached a new level in how we deliver for music creators, how we partner with the industry, and how we operate as a whole,” the 34-year-old concluded.

Under Coesfeld (who took the reins in July 2023), BMG has wrapped multiple personnel reorganizations, split from Warner Music’s ADA, and, adjacent to the latter, leaned into a Universal Music “alliance.”

(The end of the BMG-ADA agreement is still factoring into Warner Music’s financials. BMG, for its part, posted over $500 million in H1 2024 revenue. But as the company discloses earnings in broader reports from its Bertelsmann parent, we won’t know about its full-year showing until March 31st.)

Beyond those bigger-picture maneuvers, BMG is still pursuing partnership deals (including 2024 pacts with Ubisoft, Tomorrowland Music, Cirque du Soleil, and more) and scooping up song rights.

Some of these IP plays have flown under the media radar in the U.S. BMG kicked off 2025 by purchasing the publishing catalog of Germany’s B612, for instance, thereby securing stakes in domestically prominent works from Reamonn and Glasperlenspiel.

‘King of Chinese Pop’ Liu Huan, who’s inked an exclusive deal with Universal Music Greater China. Photo Credit: UMG

Universal Music Greater China’s aggressive expansion isn’t slowing down in 2025, which has officially delivered an “exclusive global agreement” between the UMG division and singer-songwriter Liu Huan.

Beijing-headquartered Universal Music Greater China (UMGC) just recently announced the high-profile deal after making several noteworthy moves during 2024’s second half.

As described by UMGC, Tianjin-born Liu Huan “has shaped Chinese pop music for four decades.” The associated professional efforts span a number of standalone studio albums, film soundtracks, and collaborations.

Running with the point, today’s “comprehensive multi-year agreement” represents “the first time that Liu’s majority body of work – both recording and publishing rights – will be united under one umbrella,” UMGC indicated.

Following that idea to its logical conclusion, UMGC also emphasized the “landmark” deal’s objective of cementing Liu’s “musical legacy” while simultaneously “amplifying the cultural impact of Chinese music globally.”

This focus – helping regionally well-known artists find additional fans on the international stage – isn’t new for Universal Music. Despite his status as the “King of Chinese Pop,” Liu has about 25,000 Spotify monthly listeners at present.

“At Universal Music Group,” added UMG EVP of market development Adam Granite, “we are committed to championing local artistry as part of our vision for a diversified global music culture. Liu Huan is a towering figure in contemporary Chinese music history, and we are proud to support his journey in sharing his extraordinary music with the world.”

“I am confident that this collaboration will not only enhance the reach of my works but will also enable them to resonate more powerfully and widely,” Liu communicated in a statement of his own.

“UMGC’s commitment to promoting the global impact of Chinese culture aligns with my lifelong aspirations. I am eager to see how our combined efforts will allow global audiences to experience the richness and beauty of Chinese culture through our music,” concluded the multi-time Sing My Song judge.

Though time will tell precisely how many global fans 61-year-old Liu gains under the partnership, there’s certainly a domestic upside here for him as well as UMGC.

By now, most are at least generally aware of China’s quick-developing music sector, which achieved double-digit growth in 2023. The IFPI has yet to release its 2025 annual report, which will chart the recorded market’s worldwide revenue specifics for 2024.

More immediately, however, Universal Music’s not-so-subtle expansion initiatives underscore the Chinese market’s potential. Since late September alone, UMG has launched Universal Music China Greater Bay Area (UMCGBA), finalized an exclusive deal covering tracks from iQIYI’s The Rap of China show, and partnered with Modern Sky.

Of course, TF Entertainment-allied Universal Music isn’t alone in pursuing commercial results in China, population 1.4 billion. Warner Music has agreements in place with domestically prominent talent as well, and Believe supercharged its Greater China operations this past summer.

Photo Credit: JP Valery

One of the biggest problems the music industry faces is accurate accounting of royalties (or lack thereof) to rights holders and creatives, affectionately known as the nefarious ‘black box’. Although exact figures remain elusive, the industry’s unidentified and undistributed royalties are a known multi-billion issue for the industry. Tacked onto that are bad actors knowingly seeking to tap into royalty stream payments using nefarious tactics. Sounds daunting, though after exploring the issue more deeply with Tipalt, we found that a surprising level of prevention and upstream solutions are available — and often untapped.

In many cases, the resulting non-payments of royalties are the result of bad or missing metadata and in fewer cases, unclaimed works. Bad or missing metadata can be fixed to prevent unclaimed royalties. Over the years, Digital Music News has explored the topic of ‘black box’ royalties and how metadata plays a critical role in preventing undistributable royalties, though the issue has only grown worse as more platforms, uploads, and creators enter the fold.

A more nefarious cousin of this ‘black box’ issue is fraud. Instead of missing metadata or negligence in record-keeping, bad actors knowingly enter incorrect information to divert funds to the wrong recipients. They can also use bot farms to fabricate ‘fake plays’ to siphon funds from royalty pools, which is an issue Spotify and other DSPs have worked to address.

For platforms that feature a large number of creators, transactions, and payouts—some level of all three of these major issues is to be expected. So what are some of the best practices to minimize missed payments due to bad or missing metadata, tackle fraud, and eliminate liabilities? Surprisingly, a lot of upstream ‘blocking and tackling’ can go a very long way.

The first line of defense is a strong participant verification process. Know your customer (KYC) processes through validation steps to eliminate fraud, powered by a financial platform with strong vetting and security protocols in place can keep payments going to the correct rights holders and creatives. Collecting data about who uses the platform can prevent bad actors from gaining a foothold.

Detailed metadata entry requirements can prevent royalties from ending up in a ‘black box’ situation because of ambiguous ownership data. That’s why metadata should include detailed verified information on splits, recording and publishing IP ownership, remittance details, and tax information.

Proper metadata collection ensures payouts are timely and reach the correct parties. It also enables downstream remittance if content is distributed or used elsewhere. With strict metadata requirements, if a content owner is unable to offer the required data—they simply cannot play on the platform. Tight metadata requirements and review also give a secondary chance to spot fraudsters—since incorrect data can be rejected.

An established and fair policy for holding and redistributing money that cannot be distributed due to missing metadata is also a necessity. For example, YouTube holds unaccounted funds for a specified period of time before redistributing those unclaimed funds evenly among registered stakeholders.

Finally, a system to manage disputes must be robust. Freezing payouts until the dispute is resolved is usually standard operating procedure. An in-house team can work to ensure that the conflict is properly adjudicated and both parties of the dispute are satisfied with its resolution.

The Digital Music News x Tipalti Playbook covers how the music industry can minimize the impact of missing metadata and prevent fraudulent streams. Curious to learn more? Check it out here.

Photo Credit: Hayden Bell (Bell Partners), Joey Elwood (Gotee Records/Bell Partners Christian Music)

Christian music label Gotee Records has been acquired by Bell Partners Worldwide, marking the launch of Bell Partners Christian Music.

Tennessee-based Christian music label Gotee Records has officially entered an agreement with Bell Partners Worldwide to acquire Gotee’s label operations, as well as Emack Music Publishing. The partnership marks the launch of Bell Partners Christian Music, a new division dedicated to expanding the global reach of Christian artists.

Gotee executives Joey Elwood and Toby McKeehan will remain in leadership roles at Gotee as well as Bell Partners Christian Music, with Elwood serving as CEO.

Since its founding in 1992, Gotee Records has been a driving force in the Christian music industry, launching the careers of Relient K, Jennifer Knapp, SonicFlood, Jamie Grace, and many more. The label’s current roster features Jon Reddick, Cochren & Co., Terrian, Ryan Stevenson, Joseph O’Brien, and more.

“This isn’t an exit strategy — it’s a strategic evolution,” says Elwood. “After many discussions with Bell Partners, we saw the potential in combining our 30 years of independent label experience with Bell Partners’ global infrastructure. This partnership allows us to elevate Christian music on a worldwide scale, and we’re excited for what’s ahead.”

Headquartered in Stockholm, Sweden, with operations across the US, Europe, Asia, and Latin America, Bell Partners Worldwide specializes in rights management, publishing, synchronization, licensing, and label services. By providing world-class creative and business solutions, Bell Partners empowers its partners to maximize success in their home markets while unlocking international opportunities.

“We are excited to welcome Gotee Records into the Bell Partners family,” says Hayden Bell, founder and CEO of Bell Partners. “Joey and Toby have built an amazing company that has been a cornerstone of the Christian music industry, and I couldn’t wish for better partners as we move forward. This partnership not only strengthens our commitment to nurturing talent but also underscores our dedication to expanding the global influence of Christian music. Together, we will unlock new opportunities for artists, empower their voices, and share their inspirational messages with audiences around the world.”

Photo Credit: Dave Cobb, Chief Creative Officer, and Mike Harris, CEO UMG Nashville

Universal Music Group reorganizes its Nashville operations, appointing Mike Harris as CEO and Dave Cobb as Chief Creative Officer.

In recognition of the growing global influence of country music as well as the rapid evolution of the genre as a multifaceted art form, Universal Music Group (UMG) is reorganizing its Nashville-based operations. The move comes as UMG, the US leader in country music for a decade, aims to enhance its position as the premiere home for country artists. The broader company at large underwent restructuring early last year.

Highly respected Music Row executive, Mike Harris, who served as COO, EVP of UMG Nashville, has been appointed CEO. Dave Cobb, a nine-time Grammy winning producer who has had significant influence on the sound of Music City, has been appointed Chief Creative Officer. Cindy Mabe, Chair and CEO of UMG Nashville, is leaving the company to pursue new opportunities.

In making the announcement, UMG Chairman and CEO Lucian Grainge said, “We see an incredible opportunity to expand our presence in Nashville and build upon our industry leading track record. The worldwide success of our country artists demonstrates that the genre truly has no boundaries and I’m excited for what lies ahead creatively and commercially.”

“I want to thank Cindy Mabe for all her contributions to our Nashville company,” Grainge added. “She leaves UMG with our gratitude and respect.”

Harris said, “I am humbled to have been asked by Sir Lucian to lead UMG Nashville at such an important and exciting time in country music. I also look forward to work closely with Dave Cobb, the amazing roster of artists, and my friends at UMG Nashville.”

Harris joined UMG Nashville as EVP, COO in 2016, after 15 years at EMI, where he held various positions. These include, most recently, EVP GM for Caroline, a division of Capitol Music Group/EMI.

Cobb shared, “I am incredibly excited to work with Mike Harris. I’m here to honor the past and look forward to the future.”

Dave Cobb is one of Nashville’s most in-demand collaborators, regardless of genre, and has worked with and produced countless acclaimed artists and albums. These include Chris Stapleton’s 6x-platinum Traveller, Jason Isbell’s Southeastern, and Brandi Carlile’s By the Way I Forgive You. His recent works include albums for Mumford & Sons, Red Clay Strays, Zayn, Greta Van Fleet, Jamey Johnson, Little Big Town, Reba McEntire, and music for the forthcoming Bruce Springsteen biopic, Deliver Me From Nowhere.

Cobb’s interest in the intersection of film and music has led to him becoming a go-to film music producer and creative consultant. He has worked on Baz Luhrmann’s ELVIS, Jessica Chastain’s Eyes of Tammy Faye, The Hunger Games prequel Ballad of Songbirds and Snakes, and the 2018 remake of A Star Is Born, producing Lady Gaga’s “Always Remember Us This Way.”

Photo Credit: Tori Amos by Kavita Kaul / Downtown Music Publishing

Downtown Music Publishing announces a slew of expansions and renewals, including a renewed partnership with singer-songwriter Tori Amos.

Under the renewed agreement, which was first penned in 2018, Downtown Music Publishing will continue representing Amos’ full body of work. Tori Amos has built one of the most dedicated fan bases in popular music since her 1992 debut album, Little Earthquakes.

A classically trained pianist known for her poetic lyricism, Amos emerged in the early ‘90s as a defining voice of alternative music, celebrated for hits like “Crucify,” “Cornflake Girl,” and “A Sorta Fairytale.” She has continued to captivate audiences ever since.

“For more than three decades, Tori has pushed creative boundaries and built a legacy of artistry and integrity,” said John Witherspoon, Tori Amos’ Artist Manager. “Downtown has been a dedicated partner in honoring and amplifying that legacy, ensuring her music continues to reach and inspire listeners around the world. We’re thrilled to continue this relationship and look forward to what’s ahead.”

Downtown Music Publishing has also extended agreements with a roster of influential musicians and songwriters, including the catalogs of George Gershwin, and DuBose and Dorothy Heyward, co-writers of the classic folk opera, “Porgy and Bess.” These renewals preserve the legacy of timeless works such as Gershwin’s “Rhapsody in Blue” and “An American in Paris,” as well as other standards from the great American songbook, including “Summertime.”

The company also announced a renewed deal with Remi Kabaka, the pioneering Afro-rock drummer known for his collaborations with Paul Simon, Hugh Masekela, Gorillaz, and his deep influence on the Afro-jazz music scenes.

Downtown Music Publishing also extended its agreement with Tim Kellett, who first made his mark with The Durutti Column and Simply Red before co-writing the UK No. 1 hit, “You’re Not Alone” with Olive. Other extended agreements include legendary bassist and songwriter Les Claypool, the creative force behind Primus and widely regarded as one of the most inventive bassists of all time; Geoff Wilkinson, founder of band Us3 and renowned London-based producer behind the classic, “Cantaloop (Flip Fantasia);” and US-based critically acclaimed songwriter Brett Dennen.

“The breadth of talent represented in these renewals speaks to the diversity and lasting impact of our roster,” said Emily Stephenson, President of Downtown Music Publishing. “We’re incredibly proud to continue representing these visionary artists and songwriters and look forward to creating new opportunities to share their music.”

These renewals underscore Downtown’s dedication to supporting boundary-pushing creators across a broad spectrum of genres.

Photo Credit: Claudia Altamimi

Warner Music Group expands its licensing deal with music discovery and streaming platform Audiomack, covering 47 more countries.

Warner Music Group (WMG) and music streaming and discovery platform Audiomack have announced an expanded licensing agreement covering 47 additional countries. In this expanded deal, newly added regions include the UK, France, Italy, Germany, the Caribbean, Mexico, Uganda, and Zimbabwe.

The partnership, which was Audiomack’s first with a major label, began in 2019. Regions like the US, Canada, Jamaica, Nigeria, Ghana, Kenya, Tanzania, and South Africa have already been enjoying WMG’s extensive catalog via Audiomack.

“At WMG, we value partnerships with innovative companies like Audiomack that share our vision for driving music discovery and amplifying emerging talent,” said Allan Coye, EVP, Global Head of Recorded Music Business Development, WMG. “This expanded agreement deepens our commitment to connecting artists with fans worldwide and making music accessible on a global scale. We look forward to continuing to build on this partnership and bring more music to audiences around the world.”

“Audiomack has evolved into a global streaming service in every sense of the word,” added David Ponte, Audiomack CMO. “In the last five years, we’ve established our office in Africa, executed campaigns across multiple continents, and showcased emerging talent from diverse genres. Our mission is to give users worldwide access to music shaping global culture. The Warner Music Group library, with its many talented artists, is naturally a crucial part of that vision.”

The complete Audiomack catalog of WMG artists for these territories has already been added to the service and is now available to listeners.

Audiomack boasts over 35 million monthly users. A music streaming and discovery platform that proudly connects artists with fans, Audiomack lets artists directly upload unlimited music for free while also boasting a curated library from all major labels. Industry-leading features include Connect, a messaging tool for artists to engage with their fans, and Supporters, where superfans can directly support their favorite artists.

Audiomack spotlights rising artists and music scenes worldwide, and is ranked as the No. 1 music streaming app in eight African countries.

Photo Credit: Warner Music Group

ADA extends its partnership with Sonny Fodera’s label Solotoko, which has worked with Dom Dolla, John Summit, James Hype, Vintage Culture, and more.

ADA, the global independent music distribution and artist services arm of Warner Music Group, has extended its partnership with Sonny Fodera’s label Solotoko. Solotoko, now based in London after being founded in Ibiza in 2017, has served up not only Fodera’s music, but hits from artists like Dom Dolla, John Summit, Tita Lau, James Hype, Vintage Culture, and many more.

The news follows the announcement that Fodera’s smash hit, “Somedays,” is the only independent release to be nominated for Song of the Year at the 2025 BRIT Awards. “Somedays” spent a total of eight weeks in the UK’s Top Ten, peaking at No. 5. It was the biggest selling UK independent single release of 2024. The track was also his first song to chart in his native Australia and New Zealand, achieving Gold certification in Australia and the UK, and Double Platinum in Ireland.

Fodera has sold out London’s Alexandra Palace, two Warehouse Projects, and two nights at the 3 Arena in Dublin in a matter of minutes. He also completed his third road-block residency at Ibiza’s Amnesia, with news of a 2025 residency moments away.

ADA and Fodera’s label team, Palm Projects, have enjoyed a close working partnership since ADA struck a deal with Sonny Fodera and his management team five years ago. Together they have developed and grown Fodera’s career, which has seen him generate over two billion global streams to date across his catalog.

“From doing a deal together in lockdown to the best-selling British independent act and a BRIT nomination — what a journey! Sonny’s sound, songs, and shows connect deeply with the public and his impact on dance music in the UK in the last couple of years has been incredible,” says Sonny Fodera’s manager Greg Burnell and MD of ADA’s UK business Howard Corner in a joint statement. “The tracks are starting to connect overseas now and this new deal means we can really start to build a truly global story. We couldn’t be happier to extend our partnership together and take Sonny and Solotoko to the next level in 2025.

Photo Credit: William Hall

Did you know that more than 120,000 new tracks hit digital service providers (DSPs) like Spotify every single day? Nearly every music platform now faces the challenge of ingesting large numbers of rights owners and licensors—each coming with their own associated metadata and payout details.

With such a large amount of data being processed in the industry every single day, thousands of new accounts are created daily with varied inputs. But a well-architected, automated payments system can vastly simplify the process and virtually eliminate issues related to missing metadata, downstream payment problems, and ownership conflicts. With that in mind, Digital Music News and Tipalti teamed up to create a Playbook to showcase how scalable systems can reduce workload and increase compliance.

Music streaming fraud is also becoming a bigger concern on many music platforms, particularly on DSPs and user-generated content (UGC) platforms. With well-regimented on-boarding processes and ‘Know Your Customer’ protocols, music businesses can dramatically lower fraud and virtually eliminate penalties.

By setting up self-service client and supplier portals, music platforms can streamline process workflows and manage and pay vendors in the supply chain. The result is more accurate data entry, faster payments, and increased transparency for everyone involved in the process. Employees and support staff are also liberated to focus on edge cases and exceptions that need excellent customer support—rather than every day onboarding new artists and labels.

Manual payout systems are proving incapable of managing the demands of today’s music environments. They simply burn too many resources, cost too much, and can’t keep up with the thousands (or millions) of payees that DSPs and distributors may deal with.

Music industry companies that deploy mass payout systems enjoy a critical edge over the competition. A streamlined mass payout system has become crucial for survival in the modern-day music business. The good news is that many payment operations can be radically overhauled in a short period of time to reduce administration chores by more than 90%, with the added benefit of payment turnaround times dramatically quickened for those receiving payments.

Mass payouts or ‘batch payments’ as they are sometimes called, involve a system for paying multiple recipients simultaneously in a streamlined manner. With a solid setup, payments can be made regardless of the recipients’ currency, location, ownership percentage, associated license, taxation specifics, or preferred payment method.

Traditionally, mass payouts have been labor-intensive and time-consuming and prone to human error. But with the rise of digital payment systems, mass payouts have undergone a significant transformation.

Mass payments are popular with music companies who process a large number of transactions on a regular basis, but also popular with industries, like:

• • The gig economy
  • E-commerce platforms
  • Online marketplaces
  • Affiliate marketing
  • Adtech businesses
  • Multinational companies with a global workforce
  • Or any company with a high number of contractor or part-time workers

Establishing mass payouts for a music business requires establishing payment needs. That includes the total amount to be paid, the number of recipients, and their desired payment method. Mass payouts help automate the entire payment process, eliminating the need for time-consuming, manual tasks like writing checks and manually remitting payments to thousands of individuals. It significantly reduces administrative overhead and enables companies to allocate their resources more efficiently to focus on core operations.

It’s also easier for businesses to meet regulatory requirements using mass payout solutions. Services like Tipalti help ensure compliance with industry standards and offer features like 1099 reporting, tax withholding, and audit trails. These tools streamline financial operations while reducing compliance-related risks.

Want to know more? Check out Tipalti and DMN’s Playbook for getting people paid in the music industry to learn more.

Pershing Square Holdings is selling some of its shares in Universal Music Group in a listing on the US exchange by September 2025.

Universal Music Group (UMG) has announced that Pershing Square and some of its affiliates will sell off some of its 7.6% stake in UMG on the US stock exchange by September 15, 2025. Pershing Square waived the 120-day filing requirement.

“In line with its contractual obligations, UMG will use commercially reasonable efforts to launch an underwritten offering for the sale of certain shares owned by Pershing by September 15, 2025,” the company’s statement read.

“Any actions or decisions of UMG beyond those necessary to comply with its contractual obligations under the Registration Rights Agreement will be determined by the Board of Directors of UMG, based on an analysis taking into account what is value maximizing and in the best interests of all the shareholders of UMG.”

In November, 2024, violent attacks against Israeli soccer fans in Amsterdam saw UMG board member and Pershing chief Bill Ackman call on the company to de-list from the Euronext Amsterdam exchange. The company has traded on that exchange since it parted with Vivendi in 2021. Ackman also requested UMG move its legal headquarters from the Netherlands to the United States.

Similarly, Pershing Square sought to de-list its own stock from the Euronext Amsterdam exchange, a request that was granted on January 2. The company will officially de-list on January 31, but will continue to be listed on the London exchange.

At the time, UMG told Pershing it could use its holdings in UMG for a US listing but could not dictate terms. “Pershing has the right to request a listing in the US subject to a Pershing entity selling at least $500 million in UMG shares as part of the listing.” Pershing’s 7.6% stake in UMG is currently valued at $3.48 billion.

Listing in multiple countries is not unusual for publicly traded companies. Doing so provides such companies with access to more investors and hedges against unfavorable shifts in any one country.

Photo Credit: NewJeans by Siyoung Song for Ador

NewJeans face a legal injunction against them by record label Ador. Ador alleges the K-pop group is trying to sign independent deals without their approval.

K-pop band NewJeans claimed in November their contracts with record label Ador were invalid due to an alleged pattern of bullying and harassment at the company. Ador denied the allegations and sued the group to have their contracts upheld. Now, Ador has accused NewJeans of trying to sign independent deals without the agency’s approval, and has filed a legal injunction against them.

“This decision was made to prevent confusion and potential harm to third parties, including advertisers,” said Ador in a statement, explaining the move. “Allowing unilateral terminations of exclusive contracts and independent activities without legal procedures could undermine investment in the entertainment industry and destabilize the K-pop sector,” the company warned.

NewJeans were the eighth biggest-selling act worldwide in 2023. In 2024, they secured a nomination for Best Group at the MTV VMAs. But their relationship with the record label took a dive after its parent company, Hybe, allegedly ousted their mentor, former Ador CEO Min Hee-Jin.

The band demanded Min should be restored, and when Hybe refused, NewJeans went public with a slew of allegations against the company. These included that Hybe had deliberately undermined their careers to punish Min.

In November 2024, the group held a press conference announcing their departure from the company, claiming both Hybe and Ador lost the right to represent them. They also filed court papers seeking legal separation from the agency.

But Ador argues the band’s contract runs until 2027 and should be upheld. The band members continue to assert their independence, even creating a new Instagram account under the name “jeanzforfree” where they host livestreams with fans. NewJeans say they will fight to keep their name and their career, but will remain “NewJeans at heart,” even if they lose that legal battle.

The biggest hurdle for NewJeans remains that their case against Ador could take a couple years or more to settle should it go to trial. During that time, they might essentially be in limbo, unable to record or promote new music — unless they agree to work with Ador as per their contract.

Photo Credit: Beau Horyza

Firefighters are still working to contain the deadly blazes that have burned significant portions of Los Angeles County. Over the weekend, UMG Chairman Lucian Grainge sent an update to employees about the impact.

UMG is operationally based in Santa Monica, which is partly under evacuation. Lucian Grainge himself is a long-time Pacific Palisades resident. Digital Music News obtained a copy of the letter sent to UMG employees over the weekend, which you can read below.

Dear Colleagues,

Among the many thousands of Los Angeles residents whose lives have been severely upended by the catastrophic fires are many of our own colleagues. As of today, at least 50 of our colleagues have been totally displaced, with many losing their homes entirely. With the fires still raging and threatening other areas of Los Angeles, unfortunately this situation is far from over.

I’m writing to let you know we are here for those colleagues who have been, and will be, impacted by this horrific tragedy.

Accordingly, I have asked Jody Gerson, Eric Hutcherson, John Janick, Monte Lipman, Boyd Muir, and Will Tanous to work with me to help coordinate a range of efforts to support those impacted.

Given the urgency of this diaster, I have cancelled my previously scheduled business meetings next week in Europe and decided to remain in Los Angeles so that the work of this group can be accomplished quickly.

As a Pacific Palisades resident for more than 15 years, I have great empathy for how many of you must feel and how this has disrupted your (and your family’s) lives. However, amidst all this uncertainty, we must continue to work together to deliver for our artists and songwriters around the world. Let’s not forget—we are strong, we will continue to be brave, and as always, we will march on together!

— Lucian

At least 24 people have died, with dozens more still missing. More than 92,000 people in Los Angeles county are under evacuation orders, while 89,000 more are under evacuation warnings. The entire region, from Ventura to San Diego, should prepare for possible evacuation orders according to Cal Fire. The total area burned by the Palisades, Eaton, and Hurst fires is about 60 square miles.

Photo Credit: Renato Tanchis, Raffaele Razzini, Pico Cibelli, Roberto Zanetti, Francesco Bontempi, Santiago Menendez Pidal, Luca Gentili, Filippo Pardini

Warner Music Group secures a deal to acquire DWA Records’ extensive catalog, as well as that of Extravaganza, DWA’s publishing business.

Warner Music Italy and Warner Chappell Music Italy announce a deal to acquire the extensive catalog of DWA Records, a leading independent Italo Disco label active since 1989. The deal also covers the catalog of Extravaganza, DWA’s music publishing business.

Founded in 1989 by singer-songwriters and producers Roberto Zanetti and Francesco Bontempi, the DWA and Extravaganza catalog includes over 250 masters. These include iconic tracks like “The Rhythm of the Night,” performed by Corona and written by Bontempi; “Happy” and “Uh La La” performed by Alexia; and “Baila,” performed by Zucchero and written by Zanetti.

Italo Disco originated in Italy in the late 1970s and exploded in popularity during the 1980s. Drawing on elements of “hi-NRG” and Euro disco, it was marked by the use of electronic drums and synthesizers, with lyrics often sung in English. While it faded as a distinct genre in the late 1990s, its influence can still be felt in Eurobeat, Italo dance, and Italo house music.

Zanetti, known by his stage name Savage and his producer alias Robyx, burst onto the music scene in the ‘70s as part of groups including Santarosa and Taxi. His hits included “A Love Again,” “Goodbye,” “I Just Died In Your Arms,” “I’m Losing You,” “Only You,” and “Radio.” In the ‘90s, he focused on his producing career, recording with artists like Alexia, Corona, Double You, Ice MC, and Zuchero. In recent years, he has returned to recording and performing live, in addition to his career as a producer.

Francesco Bontempi, also known by his stage name Lee Marrow, began his music career in the ‘70s as a drummer, before going on to be a DJ in Italian clubs. He signed a record deal in the ‘80s, with hits like “Do You Want Me,” “Pain,” “Shanghai,” and “To Go Crazy.”

“Italo Disco is the lifeblood of the Italian music scene, and DWA has been at the heart of the scene for more than three decades. We’re so pleased that Roberto and Francesco have placed their faith in us as the custodians of their catalog, and look forward to repaying their trust in the years ahead. We’d like to thank our CFOs, Raffaele Razzini and Luca Gentili, for their support and hard work in getting this deal over the line,” said Pico Cibelli, President, Warner Music Italy, and Santiago Menéndez-Pidal, President, Southern Europe, Warner Chappell Music.

“Italo Disco is a genre that’s always cross borders and DWA’s catalog contains some of its biggest hits,” adds Simon Robson, President, EMEA, Recorded Music, WMG. “Our people around the world are already collaborating on exciting plans to promote this fantastic repertoire in new and innovative ways.”

Kevin Gore, President, Global Catalog, Recorded Music, comments, “We’re committed to expanding our catalog through strategic acquisitions and are always looking at opportunities outside of Anglo markets. We’re proud to be managing DWA’s catalog and will leverage our teams around the world to create new connections for the artists and their music to be discovered and continue to be loved.”

“We’ve made a significant investment for an amazing catalog,” conclude Guy Moot and Carianne Marshall, Co-Chairs of Warner Chappell Music. “Our global team is now committed to leveraging opportunities to take this incredible songbook to new heights and helping ensure a new generation of fans worldwide get to connect to this life-affirming music.”

Photo Credit: Paul Roper, President of Dualtone Music Group

Paul Roper, President of Dualtone Music Group, has passed away after a battle with cancer. He was 45.

Paul Roper, President of Dualtone Music Group, passed away on Tuesday (December 17) after a courageous battle with cancer. was 45 years old. Paul joined Dualtone Music Group in 2002 as an intern and quickly became a driving force within the label, rising through the ranks to President and Partner.

He played an integral role in the signing and release of over 200 albums, garnering Americana Music Association award wins, multiple Grammy nominations and four Grammy wins. Paul championed critically acclaimed albums by The Lumineers, Gregory Alan Isakov, Mt. Joy, Shakey Graves, Shovels & Rope, flipturn, Brett Dennen, Langhorne Slim, Wilder Woods, Guy Clark, Chuck Berry, Mouse Rat, and June Carter Cash, among many others.

“It is with heavy hearts that we share the passing of Paul Roper,” begins an official statement from Dualtone. “Paul is survived by his beloved wife and their four children. His loss will be deeply felt by his family, colleagues, artists, the Nashville music community, and the music industry at large.”

“When we started touring in our 15-passenger van, we used to park at the venue and bide our time until it was time to load in. We didn’t have money for hotels and we’d usually be splitting Subway sandwiches or Clif Bars between us,” recalls Jeremiah Fraites of The Lumineers. “I’ll never forget when Paul Roper showed up to the parking lot behind the venue in Nashville and met us with beer and pizza. It was a small gesture on his side, but a massive one for us. I’ll never forget that.”

Paul was a visionary leader and a pioneer in a music space he called Amerikinda, celebrating great songwriting in a wide variety of genres. Under his leadership, Dualtone Music thrived, earning its reputation as a trusted partner for artists and a leader in independent music.

“Paul’s vision and unwavering commitment continue to define the heart and soul of Dualtone. He led Dualtone and his team with dedication, authenticity, humor, and kindness, and he will be terribly missed by all of us,” the label’s statement concludes. “Paul Roper’s legacy of kindness, integrity, and deep love for music will continue to inspire us all.”

In lieu of flowers, Paul’s family requests that donations be made to Corner to Corner in his memory.

Photo Credit: Downtown Music Holdings

Virgin Music Group, a division of Universal Music Group, has announced a definitive agreement to acquire Downtown Music Holdings for $775 million. The deal, expected to close in the second half of 2025, will bring together two leading services and technology providers for independent labels, publishers, and music IP owners, while dramatically expanding UMG’s involvement in the indie space.

The acquisition, officially disclosed this (Monday) morning, will enable Virgin Music Group to expand its global footprint and enhance its offerings for independent artists and labels. The combined company will offer a far broader suite of services, including distribution, marketing, rights management, and royalty collection.

The deal follows months of rumblings of a possible sale, with Downtown reportedly consulting with private equity firms in July.

Suddenly, Universal Music Group is a much bigger player in the burgeoning indie space. Once finalized, UMG will enjoy an expanded footprint across numerous tiers of independent distribution (for both artists and labels), not to mention an array of indie-focused monetization and rights management competencies.

Downtown, founded in 2007, has grown into a diversified music services company with divisions spanning artist and label services, distribution, royalty and financial services, and music publishing. Thanks to a string of aggressive acquisitions and expansions over the years, Downtown’s portfolio now includes CD Baby, Soundrop, Curve, FUGA, Songtrust, Found.ee, Sheer Publishing Africa, and homegrown neighboring rights, studio, and artist and label services divisions.

Downtown currently manages more than 50 million music assets from virtually every country worldwide. It serves over 5,000 business clients and 4 million creators across 145 countries, according to stats shared by the company with Digital Music News.

“Justin Kalifowitz, Andrew Bergman, and Pieter Van Rijn have built Downtown Music into one of the most diversified and respected operations in the world,” said JT Myers, Co-CEO of Virgin Music Group.  “This combination enables us to expand on the Downtown legacy and offer the independent music community a dynamic and innovative global infrastructure both in terms of service offering and territorial footprint, and we look forward to working with the Downtown team to serve independent entrepreneurs, artists, and creators with an even broader portfolio of services.”

Justin Kalifowitz, Founder of Downtown Music Holdings, also expressed enthusiasm about the deal, stating, “This is a tremendous recognition of the importance and vitality of independent music, and the value that our company brings to its clients every day.”

Indeed, the deal is happening alongside a growth spurt within the independent music sector that is cramping the market share of major label artist releases. That has prompted a number of strategic changes from the major labels, with acquisitions another weapon to exert more influence in the space.

That said, Downtown Music isn’t focused on music IP ownership — at least not anymore.

Back in 2021, Downtown offloaded a catalog of roughly 145,000 songs to Concord in a deal valued north of $300 million. The decision followed Downtown’s Q4 2020 “strategic review of its business interests,” which involved shifting away from IP ownership in favor of services and other core competencies.

After the deal, Downtown used the proceeds to expand Downtown Music Services, part of a broader effort to focus “exclusively on the fast-growing music services sector to support the extraordinary growth of the independent music economy.”

It may be premature to consider the post-acquisition changes that will happen in 2025. But it’s plausible that Virgin will leave many Downtown sub-divisions intact, in particular CD Baby and FUGA. Both are well-known and established within their distribution niches, with strong brand identities among artists and labels.

Nat Pastor, Co-CEO of Virgin Music Group, emphasized the company’s commitment to supporting independent artists and labels, stating, “This is an investment into the global independent music ecosystem and a commitment to nurture current and future creators and entrepreneurs with world-class support.”

The two companies will continue to operate independently until the deal closes, pending regulatory approvals. Goldman Sachs and Skadden, Arps, Slate, Meagher & Flom advised Downtown Music on the transaction, while Kirkland & Ellis and Freshfields advised Virgin Music Group.

Enhanced Music, part of which belongs to Tritonal members Chad Cisneros and David Reed (pictured), has sold a 50% interest to Create Music Group. Photo Credit: LaetitiaX0

Six months after scoring a $165 million investment and doubling down on acquisition plans, Create Music Group has purchased a 50% stake in dance label and publisher Enhanced Music.

Flexpoint Ford-backed Create Music just recently disclosed its investment in Enhanced Music, which is based in London and says it’s home to “some of contemporary dance music’s most loved releases.”

Those releases have come from Matt Fax, Blonde Maze, Noise Zoo, and an array of others, according to Enhanced, which Will Holland founded about 17 years ago. Also operating genre-specific imprints like Enhanced Chill and Enhanced Progressive, Enhanced is said to possess compositional interests in “thousands of cuts” to boot.

Said cuts include works recorded by The Chainsmokers, Wiz Khalifa, Tiësto, and more, the involved parties communicated.

Unsurprisingly, these same parties opted against disclosing the precise financials behind their deal. However, they did indicate that Holland will keep on leading Enhanced as Create Music Group CEO Jonathan Strauss and SVP of global corporate development Eric Nguyen join the dance label’s board.

Addressing the transaction, Create Music VP of business development Adam Shomer touched on the continued commercial growth of Enhanced and dance itself, which has drawn a number of investments on the year.

“Will is a talented founder,” the NiftyTunes CEO Shomer weighed in, “and we are excited to partner with him to help accelerate Enhanced’s trajectory as a home for premier dance artists to grow and flourish.

“Enhanced is the perfect partner for CMG not only due [to] its consistent growth, but also the genre and one-stop rights synergies that fit perfectly within our strategic model,” concluded Shomer, whose company last month acquired UK label Ostereo.

All told, the Music for Pets owner Create is said to have been valued at $1 billion under the initially mentioned $165 million raise. Additionally, the nearly decade-old business now has more than 400 employees globally, per higher-ups.

Regarding the above-highlighted dance investments closed during 2024, BMG kicked off the year by taking interests in multiple Eurodance catalogs. Believe, for its part, bought 25% of Romania-based Global Records over the summer – and emphasized a not-so-subtle goal of “building a global leader in dance music.”

Plus, Armada Music’s dance-focused investment fund, BEAT, scooped up Amsterdam’s Cloud 9 Music (the publisher, that is; Warner Music Group went on to acquire the namesake label) in April before securing stakes in several well-known dance works the following month, to name a couple examples.

Photo Credit: Realize Music

Realize Music Inc. has reached a strategic agreement with Universal Music Group (UMG) and Warner Music Group (WMG) to feature their music in Realize Music: Sing—a VR all for self-care singing.

Realize Music: Sing aims to create immersive audio-visual journeys while utilizing vocalization aimed at providing therapeutic benefits. The unique VR app aims to offer a unique combination of entertainment and wellness geared toward reducing stress, promoting relaxation, and releasing endorphins. The subscription app will release on January 23, 2025 exclusive on Meta Quest.

Users will have access to all genres of music with a continuously growing library featuring new music dropping every week. The app will launch with an introductory subscription price of $9.99 per month or $99 per year. Future releases are in development for Apple, Samsung, and Sony PSVR2—as well as adaptations for mobile, PC/Mac, Smart TV, and other media.

Realize Co-Founder Mike Wilson is a celebrated producer and publisher (Devolver Digital) from the video game world. He has been a vocal mental health advocate and entertainment-for-wellness pioneer. He’s joined by the company’s CEO, music and wellness industry expert Mark Roemer, who has spent 20+ years working at the intersection of gaming, tech, marketing, distribution, wellness, and content creation. The Realize team is rounded out by industry veterans from Sony, Meta, Rockstar Games, and the Guitar Hero franchise.

“Fear of judgment keeps more than 80% of people from ever enjoying one of the oldest human traditions, and that’s a real shame,” says Mike Wilson. “Singing has perhaps the most well-documented physiological and psychological benefits in the burgeoning new science of music for wellness and we are here to invite people to a personal, private, focused experience that will consistently produce joyous results.”

Deals struck with both UMG and WMG mean that Realize Music: Sing will have a library of more than one million songs, updated weekly to ensure an expanding selection to suit every musical taste and mood. The game’s dynamic visuals respond to your singing, creating a deeply immersive experience with your voice shaping the world around you. Realize Music: Sing also features lyric visualization as lyrics to songs transform into captivating visual effects as you sing.

“UMG has a long and successful track record of partnering with innovative new platforms in critical spaces with exciting potential, like health and wellness,” adds Bryan Stone, UMG’s Senior Vice President, Business Development. “So harnessing the power of music to foster health and wellness is a natural fit for us. We hope that the Realize VR experience will improve people’s lives, offering a new aural experience to promote self-care while singing along with our artists.”

“We believe that music has always been a bridge for self-expression, and this partnership with Realize Music amplifies that connection by providing an innovative experience that blends entertainment with self-care,” adds Allan Coye, EVP, Global Head of Recorded Music Business Development, WMG. “Together, we’re reshaping how fans experience music—turning it into a powerful tool for relaxation and personal expression—while creating unique opportunities for our artists to reach their fans in exciting new ways.”

Photo Credit: Alejandro Gonzalez for Sony Music Publishing (Studio A)

Sony Music Publishing has announced the opening of its new office space and creative hub for songwriters in Los Angeles. The location is located just minutes away from the newly revitalized Vinyl District in Hollywood.

The new SMP office space is in a beautifully re-imagined century-old building, customized from the ground up to elevate the creative experience. The design reflects Sony Music Publishing’s enduring legacy while embracing a modern vision as the premier service company for the world’s most impactful songwriters and composers. The design was achieved in close collaboration with renowned studio architects WSDG and the innovative design collective RIOS.

The new creative and songwriting hub boasts five dedicated writer studios, six listening rooms, as well as a state-of-the-art recording studio with two independent recording booths and an artist lounge. Each creative suite maximizes acoustic performance and is equipped with cutting-edge systems and production gear. The creative suites are alongside collaborative office and social areas to promote engagement between creators and staff.

“Our focus has been on creating environments that nurture the talent, vision, and goals of our songwriters and people,” says Sony Music Publishing Chairman & CEO Jon Platt. “Our aim was to build a space that supports songwriters every step of the way, welcomes creators, and supports their needs. I am exceptionally proud of what we have built as a team.”

The landmark expansion is part of Sony Music Publishing’s ongoing efforts to extend support for its songwriters worldwide. Recent developments and enhancements have also been accomplishes across multiple territories, including the UK, Germany, the Netherlands, Canada, Nashville, Spain, Colombia, Sweden, South Africa, India, and more.

Earlier this year, SMP moved its Nashville headquarters to Music Row’s 17th + Grand office space. SMP leased 24,000 square feet of the building located at 1005 17th Avenue S in Nashville.

(l to r) Universal Music Greater China CEO Timothy Xu, Modern Sky founder and head Shen Lihui, and UMG market-development EVP Adam Granite. Photo Credit: Universal Music Group

Doubling down on efforts to expand in China, Universal Music Group (UMG) has announced a partnership with Modern Sky, ostensibly the nation’s “leading music label.”

UMG unveiled its Modern Sky deal, finalized specifically via Universal Music Greater China, in a brief release today. Founded in 1997, the Beijing-based label touts itself as “the leading music entertainment company in mainland China.”

Behind that billing, Modern Sky’s roster includes approximately 150 artists, with past releases from domestically prominent acts such as Miserable Faith, Zuoxiao Zuzhou, New Pants, and Xie Tianxiao.

Additionally, the Strawberry Music Festival founder Modern Sky “organizes over 30 music festivals annually and more than 1,000 performances across China,” according to Universal Music Group.

In other words, Modern Sky, at least as described, appears to be a big player in China, the recorded music market of which expanded by 25.9% year over year in 2023, according to the IFPI.

Now, the 27-year-old indie is poised to capitalize on “UMG’s worldwide distribution network” in an attempt to find new fans around the globe. Already, Modern Sky’s presence extends well beyond China, referring to offices in New York, Liverpool, and Tokyo. (The latter is set to host the mentioned Strawberry Music Festival next year.)

Unsurprisingly, Modern Sky intends to plant flags in different cities (and countries) yet, higher-ups signaled. Also as anticipated, today’s tie-up is expected to open “doors for expanded collaboration between” UMG and Modern Sky, presumably referring in part to bolstering the former’s commercial reach in the Chinese mainland.

“At Modern Sky,” weighed in founder and CEO Shen Lihui, “we’ve always embraced an independent spirit and a forward-looking vision, committed to reflecting the cultural identity of China’s younger generation. … Through this collaboration, we’re thrilled to bring a fresh side of Chinese originality to the world, inviting audiences everywhere to experience the unique energy and cultural depth of China’s youth.”

And in remarks of his own, UMG market-development EVP Adam Granite emphasized the perceived opportunity for the “two-way connection” to help the major’s “international artists to connect with China’s audiences.”

The Modern Sky agreement marks the latest in a line of China-focused expansions for TF Entertainment-partnered UMG, which launched “Universal Music China Greater Bay Area” in September and, once again via Universal Music Greater China, is distributing releases from iQIYI’s The Rap of China 2024 program.

Of course, UMG isn’t alone in targeting growth in the nation of 1.4 billion. To name one of several examples, Believe (which, incidentally, is entangled in a massive legal battle with Universal Music) over the summer confirmed multiple executive appointments in China.

Photo Credit: Larrosa Music Group / Bell Partners

Larrosa Music Group inks a strategic partnership deal with Bell Partners for the acquisition and development of Latin artists.

Global music rights investment firm Bell Partners and leading music industry financing consultant Larrosa Music Group have announced a strategic alliance aiming to accelerate the growth and global projection of music companies, with a specific focus on investment in catalogs and future rights.

Founded by industry veteran Hayden Bell, Bell Partners has been consolidated as a benchmark in the revaluation of music catalogs while preserving the creative integrity and partner’s control. With experience ranging from publishing and recording to distribution, admin, and licensing, Bell Partners provides access to global markets and unlocks new creative opportunities to maximize the long-term value of music rights.

Larrosa Music, led by Larrosa, who has over 17 years of experience in the development of musical projects and companies in Argentina, Spain, the United States, and the United Kingdom, has pioneered the implementation of innovative solutions in the field of musical financing, blockchain, artificial intelligence, and fintech. After successfully raising funds in 2023 to purchase Spanish music catalogs, Larrosa has promoted investments in Asia and Latin America, consolidating itself in emerging markets.

The two companies share a mission to offer music rights owners a unique and value-forward approach, in response to the growing interest of music as a financial asset.

“Our collaboration with Larrosa represents a unique opportunity to combine our global strength with its deep knowledge of Spanish-speaking markets,” says Hayden Bell, founder and CEO of Bell Partners. “Together, we hope to have a significant impact on the music industry, opening up access to investment for musical rights owners and optimizing their assets through continuous strategic investments. Music rights are emerging as an attractive option for investors, and this alliance is positioning us to maximize opportunities in key markets such as Hispanic ones.”

“This association allows us to expand our acquisitions of high-value catalogs and continue to lead in key markets, especially in the Spanish music industry,” added Larrosa, CEO of Larrosa Music. “In addition, we are moving forward with our technological initiatives, such as ArtSigna, our rights registration platform based on blockchain, and Wolfie, our suite of artificial intelligence solutions focused on the music industry, with the intention of providing new tools, greater transparency, and a profound change in the industry.”

With this partnership, Bell Partners and Larrosa Music aspire to be catalysts for new growth opportunities for music rights owners, promoting a sustainable investment model that not only preserves musical legacy but also creates long-term opportunities for investors seeking to diversify their portfolios in the sector.

Photo Credit: Amarjeet Singha, Jay Mehta, Sujar Parekh, Anmol Kukreja, Roydon Bangera

Warner Music India takes a minority stake in ticketing and live events platform SkillBox as WMG bets on emerging market growth.

Warner Music India (WMI) announced a minority stake in ticketing and live events platform SkillBox as the broader Warner Music Group bets on emerging market growth in the region. The partnership aligns the platform’s ambition to diversify and expand its services within the music and entertainment landscape.

Founded in 2020, Warner Music India rapidly gained a foothold in the domestic market, and aims to become a dominant player by expanding its reach across regional music, global partnerships, and live entertainment.

Managing director of WMI, Jay Mehta, is adopting a “three-pronged approach” to ensure Warner’s success. This includes bringing Indian music to a global audience, establishing itself as a major cultural force in India, and securing a top-three market position in terms of revenue and market share by the end of the upcoming fiscal year. This investment in SkillBox marks a significant move in that strategy.

SkillBox was co-founded by Amnol Kukreja and Sandip Ranjhan, with Roydon Bangera and Amarjeet Singha joining as part of the founding team. Initially, the platform was only a ticketing platform. Since then, it has evolved into a full-service live entertainment company that offers artist tours, ticketing solutions, and branded event experiences. The platform boasts over 1.5 million users, who it taps for community-driven events, artist management, and live technology solutions.

For WMI, the investment represents an opportunity to reach more fans and offer artists a streamlined approach to live performances. SkillBox hopes to expand its artist services in addition to its technological capabilities.

“Investing in SkillBox blends perfectly with Warner Music India’s aim of being an artist-first, fan-first company,” says Mehta, adding that live entertainment is on the verge of substantial growth, and this collaboration could create “dynamic new opportunities” in India’s fast-growing entertainment market.

The global music giant has set its sights on emerging markets like India and China as key areas for expansion, according to Warner Music Group CEO Robert Kyncl. He recently highlighted India as a high-growth potential market and emphasized that WMG is actively seeking acquisition opportunities to solidify a strong foothold in the region.

SkillBox is expected to play an essential role in WMI’s diversification efforts, particularly in live events, merch, and brand partnerships. The investment adds to the company’s ongoing strategy of growing its artist roster and generating multiple revenue streams beyond traditional music sales, largely comprising digital streaming and YouTube royalties.

“Our investment in SkillBox allows us to expand the services we offer to artists, connecting them with fans across India,” said Alfonso Perez Soto, Warner Music’s EVP for recorded music and corporate development.

The live entertainment space in India is continuing to develop, but major players like Warner Music India are eager to tap into that growth. The potential for live music events in such a diverse market is significant, with millions of fans and a thriving independent music scene that spans multiple languages and genres. As more companies look to capitalize on India’s live entertainment sector, Warner Music’s early foray into this space gives it a stronger position in the region.

Photo Credit: Braxton Keith

Warner Music Nashville has signed rising honky-tonk vocalist Braxton Keith. His first major-label debut track, “Fall This Way” will feature on his upcoming EP, Blue, which is dropping on December 6.

Keith’s 80s country sound and aesthetic attracted attention to his live shows in San Antonio. He learned to play piano from his grandmother and grew up singing family-friendly tunes like “The Carroll County Accident.”

“There’s something romantic about the country music scene in Texas—it’s that connection with that crowd,” Keith said about the signing. “It doesn’t matter what day of the week it is, whether it’s an old raggedy bar or wherever the hell you are, they’re going to show up, and I fell in love with creating moments with those fans. I just try to imagine it’s a 90-minute show for me, but it’s a lifetime experience for them.”

Braxton Keith is managed by Alex Torrez and Emily Vincent at Torrez Music Group. He is represented by Andrew McWilliams at Evergreen Artist group. Keith will next take to the stage as a headliner at The Bluestone in Columbus, Ohio on November 14.

The Bluestone is a unique venue with cathedral ceilings thanks to its origins as a 115-year-old church. He’ll also open a run of dates for Cody Johnson’s Leather Tour, which kicks off on November 15 at Philadelphia’s Wells Fargo Center.

Keith says he’s planning on releasing more music in 2025. He’s been touring nationwide non-stop since 2020. His self-released singles and EPs have earned the honky-tonker a solid social media following. Keith first arrived in Nashville in 2021 and currently splits his time between Nashville and San Antonio—honing his songwriting talent. Braxton is a 23-year-old singer and is originally from Midland, Texas. He shares that his two younger brothers were extremely smart and athletic, while God gifted him with a love of music and playing instruments.

Keith says his musical heroes consist of country western legends including Marty Robbins, Merle Haggard, Brooks and Dunn, Hank Williams, Bob Wills, George Strait, and others.

Photo Credit: Euronext FX

Israeli soccer fans were assaulted in a series of antisemitic attacks from young people specifically targeted Jewish people. Five people were treated at hospitals, while dozens more were arrested for participating in the attacks. Now, billionaire Bill Ackman says Pershing Square will seek removal from Euronext Amsterdam and is pressuring Universal Music Group to do the same.

Amsterdam banned demonstrations over the weekend after the antisemitic attacks occurred on Friday, with the Amsterdam mayor calling the orchestrators “antisemitic hit-and-run squads.” Mayor Femke Halsema said Maccabi Tel Aviv soccer fans were “attacked, abused, and pelted” with fireworks around the city—forcing riot police to intervene and protect them from further abuse.

Videos of the attacks went viral on social media, showcasing many attackers shouting anti-Israeli slurs. Antisemitic incidents in the Netherlands have surged since the October 7 Hamas attack on a peaceful music festival and other areas. Many Jewish organizations have reported receiving threats and hate mail. Israel’s Prime Minister Benjamin Netanyahu’s government sent planes to the Netherlands to bring those soccer fans home.

Now, Bill Ackman says he is going to seek approval from the board of Pershing Square Holdings (his family owns 23%) to eliminate the Euronext listing. Ackman says he is also seeking to persuade UMG to jump ship from Amsterdam as well.

“I have also begun the conversation with UMG (on whose board I sit) which is domiciled in Amsterdam as well as listed there, about moving its domicile and its listings to the United States, which will offer similar as well as other highly material benefits,” Ackman said in a statement posted on X/Twitter.

“Pershing Square has a contractual right to cause UMG to be listed in the United States. We will exercise this right and achieve a US listing for UMG no latter than sometime next year.”

“UMG trades at a large discount to its intrinsic value with limited liquidity in significant part due to it not having its primary listing on the NYSE or NASDAQ and not being eligible for S&P 500 and other index inclusion. We are going to fix this. Now is a good and appropriate time to do so.”

UMG has been listed on the Euronext Amsterdam exchange since 2021 and Pershing Square owns 10.25% of UMG’s stock. A UMG spokesperson confirms no one from UMG spoke with Ackman before his statement.

“As disclosed in UMG’s listing prospectus, Persing has the right to reqest a listing in the U.S. subject to a Pershing entity selling at least $500 million in UMG shares as part of the listing. Pershing does not have any right to require UMG to become a US domiciled company or delist from Euronext Amsterdam.”

“While the company will endeavor in good faith to comply with its contractual obligations with respect to undertaking the process of a US listing at the request of Pershing, any actions or decisions beyond those necessary to comply {including any decisions to change the domicile of the company) will be based on an analysis taking into account what is value maximizing and in the best interests of all shareholders of the company.”

Photo Credit: Hanyang Zhang

TikTok’s existing licensing deal with indie collective Merlin ended on October 31st. Now, the social media juggernaut has been busy inking deals outside of that expired deal, apparently with monetization changes in place. Here’s what’s leaking.

As a quick rewind on this imbroglio: TikTok first informed licensing collective Merlin that it would not be renewing its long-standing deal, set to expire on October 31st, back in September. At the time, Merlin went public with a statement claiming TikTok walked away from the licensing negotiation before it had even began. TikTok said it would go its own way in forging licensing deals with the labels and distributors that Merlin represents.

Merlin accused TikTok of attempting to fragment its membership and minimize payments for indie artists. TikTok released a statement calling into question Merlin’s delivered content and the inability to separate fraudulent content from Merlin. Merlin addressed those concerns by mentioning several steps it took to verify the content it delivers—but TikTok said too little, too late.

The first domino to fall came last week, when UnitedMasters announced it had secured its own licensing deal with TikTok. Now, a Billboard report interviewing twelve executives at various indie labels and distributors reveals that many are divided on what to do. Some want to make sure there is absolutely no way to move forward without Merlin, while others are forging ahead, feeling an obligation to their clients to promote them as best as possible.

“If I still thought that not signing would help Merlin get a new deal, or could help the independent music community, I would try not to sign,” one exec speaking anonymously told Billboard. “But even when Universal didn’t sign, [TikTok] didn’t care. We have no choice because our artists want to be on TikTok—perhaps too much—but for them, this is very important.”

According to those sources, the compensation terms provided under the new individual offers are not any better or worse than Merlin’s collective bargaining. But that doesn’t mean no changes at all. The big one? TikTok is not paying out music licensors based on views a song receives, rather than new creations. TikTok calculates market share based on views and the payment to the licensor is divided up from there—but that doesn’t mean there’s now a certain royalty amount per view.

“It won’t lead to a major difference in how much we are paid,” one exec told Billboard. “We are still doing the math, but it seems like there will be about a 4% difference in what we take in from TikTok, give or take.” Most executives view TikTok’s value not in compensation, calling it one of the ‘smallest revenue earners’ for a music company. Instead, they see value in the platform as a promotional avenue.

Some changes to the previous contracts also included a ‘most favored nations’ clause, giving licensors the right to the same terms and benefits as similar licensors who do business with TikTok. These new contracts do not. A new provision across these separate contracts also include a ‘know your customer’ clause, which requires verification of artists’ identities before allowing them to upload songs. That clause came out presumably to weed out bad actors who are using AI and bots to finagle music streaming services out of millions. But it also places the onus of bad actors on labels and distributors—rather than TikTok directly.

Photo Credit: Amr Diab with his seven World Music Awards by Muhammad Rafaat / CC by 4.0

Sony Music signs an exclusive multi-album agreement with Egyptian icon Amr Diab, acquiring his catalog in the process.

Sony Music Entertainment Middle East just scored an exclusive partnership with Middle Eastern music icon Amr Diab, which includes the acquisition of his music catalog and a multi-album agreement.

The deal includes hits like “Inta El Haz,” “Zay Manty,” and “Ya Ana Ya La,” as well as introducing “a forward-looking multi-album deal set to redefine musical boundaries.”

Often referred to as “the father of Mediterranean music,” Amr Diab is a best-selling artist with a decade-spanning career full of numerous accolades, including seven World Music Awards, five Platinum Record Awards, and six African Music Awards.

Amr Diab’s collaboration with Sony Music Middle East will leverage the company’s global network to “explore innovative sounds and partnerships,” and further his international reach and appeal.

“I am thrilled to start this new chapter of my music career with Sony Music,” says Amr Diab. “Their commitment to nurturing artistic growth aligns with my vision for the future of my music. Stay tuned to new innovations coming your way!”

“Amr Diab is a musical visionary whose work transcends cultural and generational boundaries. We are proud to welcome Amr to Sony Music and share his music beyond the Middle East, propelling his musical legacy to even greater heights,” said Shridhar Subremaniam, President Asia and Middle East Sony Music. “This partnership aims to showcase the rich musical heritage of the Middle East on a global stage.”

“Amr Diab’s lasting impact on the music industry is unparalleled,” concludes Rami Mohsen, Managing Director of Sony Music Entertainment Middle East. “This strategic partnership will introduce his unique sound to broader audiences and underscores our commitment to fostering exceptional talent and creative excellence around the globe. As we expand our footprint in the rapidly growing Middle Eastern market, partnering with Amr Diab aligns perfectly with our vision for the region’s music industry.”

The partnership comes amid Sony Music Entertainment’s continued domination of the IFPI Top 200 MENA Chart, showing significant influence in the region.

Which country is witnessing a CD-powered surge in album sales? Read on… (Photo Credit: DMN Pro)

Before streaming, downloads, UGC monetization, and virtual concerts, the CD reigned supreme and powered the recording industry’s most lucrative era. But after flatlining into obscurity, is the CD format quietly staging a comeback?

In this DMN Pro Weekly report, we take a look at some strange new data surrounding this decades-old format. That includes canvasses across multiple markets and datasets for signs of CD-selling life, and a deeper examination of why so many artists — from Taylor Swift to The Weeknd to New Jeans —  are now pressing their albums on digital disc.

Enjoy.

Table of Contents

I. The CD: A Format That Refuses to Ride Into the Sunset

II. Artists Seem to Like CDs – And Why Not?

III. A Look at the Numbers: What Are They Saying About CD Sales?

A. US: The Luminate YoY Crash – And the Stark Contrast With RIAA Figures

B. UK: Sorry, No Booming Comeback Here

C. But Wait: Why Are Global CD Sales Ticking Upward?

IV. The Situation In Japan & South Korea

V. So, Are CDs Coming Back?

Please note: the following report is for DMN Pro subscribers only. Thank you!

Photo Credit: Michael Nash / UMG

UMG partners with ethical AI music company KLAY in a strategic deal to pioneer a commercial, ethical foundational model for AI generated music.

Los Angeles-based AI music company KLAY has announced a partnership with Universal Music Group (UMG) on a pioneering commercial, ethical foundational model for AI generated music that works in collaboration with the music industry and its creators. KLAY aims to be the backbone to power a new era in products and experiences, committed to the premise that AI can bolster and grow musical creativity and human artistry.

At the core of UMG and KLAY’s shared vision is the conviction that state-of-the-art foundational AI models are best built and scaled ethically through constructive dialog and consensus with those responsible for the artistry that shapes global culture. Building generative AI music models ethically and fully respectful of copyright, as well as name and likeness rights, will dramatically lessen the threat to human creators and stand the greatest opportunity to be transformational, creating significant new avenues for creativity and future monetization of copyrights.

Led by accomplished executives from the fields of music and technology, including Ary Attie (music and tech visionary), Thomas Hesse (former President of Sony Music Entertainment), and Björn Winckler (joining soon from Google Deepmind), KLAY is committed to serving artists and songwriters and those who support them, including music publishers and labels, distributors, and other rights holders across the Major and Indie label landscape. KLAY is developing a global ecosystem to host AI-driven experiences and content, including accurate attribution and will not compete with artists’ catalogs in traditional music services.

“We are excited to partner with entrepreneurs like the team leading KLAY, to explore new opportunities and ethical solutions for artists and the wider music ecosystem, advancing generative AI technology in ways that are both respectful of copyright and have the potential to profoundly impact human creativity,” said Michael Nash, Executive Vice President and Chief Digital Officer of Universal Music. “UMG has always endeavored to lead the music industry in driving innovation, embracing new technologies, and supporting entrepreneurship while protecting human artistry.”

“Research is critical to building the foundations for AI music, but the tech is only an empty vessel when it doesn’t engage with the culture it is meant to serve,” added Ary Attie, founder and CEO of KLAY. “KLAY’s obsession is not just to showcase its research innovation but to make it invisible and mission-critical to people’s daily lives. Only then can music AI become more than a short-lived gimmick. Our great artists have always embraced the newest technologies — we believe the next Beatles will play with KLAY.”

KLAY is developing a new Large Music Model (KLAYMM) that will significantly advance state-of-the-art Music AI. The company is currently in stealth but plans to launch in the coming months with a product that will revolutionize the way people think about music, presenting a new, intuitive music experience.

Photo Credit: Yoann Chapalain & Marc-André Niang

Warner Music announces the launch of Warner Music Francophone to operate in France and French-speaking Sub-Saharan Africa.

Warner Music has announced the launch of its latest venture, Warner Music Africa Francophone (WMAFR), which will operate in France and French-speaking Sub-Saharan Africa. The venture is a collaboration between WM Africa, Africori, and WM France, and is led by Co-Directors Marc-André Niang and Yoann Chapalain.

The venture brings together the three entities’ A&R, Digital, and Marketing teams so that they can discover and develop artists, and create cross-cultural collaborations. This development also enables Warner Music to expand its operations in Francophone Africa, serving local artist communities there and connecting them to its global network.

Chapalain takes up his Co-Director role at WMAFR while continuing his current role as A&R Manager at Africori, supporting artists such as Kamo Mphela, Kelvin Momo, Makhadzi, and TitoM & Yuppe.

Niang will combine his Co-Director role at WMAFR with his current role as A&R Director, French Speaking African Repertoire at Warner Music France. He has previously played a key role in the management of artist projects such as Himra and Louzio while contributing to the strategic strengthening in this region.

“I’m excited about the new venture, which will spotlight incredible talent from Francophone Africa,” says Yoann Chapalain, Co-Director, Warner Music Africa Francophone. “It aims to connect diverse sounds and regions, elevate releases for maximum success, and expand the music’s reach globally. I’m grateful to Alfonso Perez Soto and Yoel Kenan for pushing this initiative forward.”

Marc-André Niang, Co-Director, Warner Music Africa Francophone, adds, “It’s important for us to be able to create new synergies for the development and structure of the Francophone market in Africa. While the region is steeped in both culture and talent, the ecosystem faces challenges. Our team will connect creatives and help shape the environment to drive cross-cultural success. I want to thank Alain Veille, Alassane Konaté, and Temi Adeniji for giving us this opportunity to take French-speaking African artists to the world stage.”

Simon Robson, President, Recorded Music, Europe, Middle East and Africa, WMG, concludes, “There’s a strong cultural trade route between France and West Africa. WM Africa Francophone will help us support the artists in that space, just as our 91 North venture is successfully doing with talent working the similar trade route between Canada and India.”

Earlier last month, Spotify revealed that more than 100 million people in non-Francophone countries are listening to French language music, with streams of such repertoires up 94% since 2019, highlighting the potential audience for artists from the region.

The launch of WMAFR underlines Warner Music Group’s continued commitment to Francophone Africa. The Warner Music Group/Blavatnik Family Foundation Social Justice Fund recently awarded grants to three Ivory Coast-based organizations: The African Children Welfare and Minorities Almsgiving (ACWAMA) Foundation, The Boost Initiative by Salon des Industries Musicales d’Afrique Francophone (SIMA), and COSCI. These donations will help the organizations provide specialist education for local communities, empowering the next generation of music professionals.

Photo Credit: Naxos / Recreational Music

The world’s largest classical music label, Naxos, partners with Reactional Music to personalize music for gaming.

Interactive music personalization engine and delivery platform for gaming, Reactional Music, has agreed to a global licensing partnership with the world’s largest classical and regional music rights holder, Naxos. The partnership brings the world’s biggest classical music catalog to game developers and gamers.

Founded in 1987 by Klaus Heymann, Naxos comprises numerous companies, divisions, imprints, and labels covering classical, world, folk, jazz, and cultural music from across the world.

The Reactional Platform allows game developers to create interactive music soundtracks in games. It also enables music to be personalized within a game in real time by the gamer, becoming the soundtrack to the game, in key and in time with gameplay. Notably, it does not affect the master recording.

Naxos and Reactional have also confirmed that they are exploring a collaboration on the composition of interactive soundtracks, allowing composed music to be generated in real time around the gamer and gameplay.

The partnership significantly expands and diversifies Reactional’s music delivery portfolio for game developers around the world, while Naxos becomes the latest in a growing network of rights holder partners who will gain deeper access to game developers and the global gaming market.

“With 14,000 games released on PC, 8,000 on console, and thousands more on mobile each year, the diversity of games development across five continents is huge. The partnership with Naxos is important as it brings music scores from every region of the world together along with an incredible catalog of classical music,” says Reactional Music President David Knox. “Naxos has a vision and understanding of the transformations that are taking place and the new opportunities that now exist for creative and commercial use and consumption of music.”

“Our partnership with Reactional Music is incredibly exciting,” added Håkan Lagerqvist, CEO of Naxos Digital Services. “Reach and access into interactive and game developers and their customers and gamers is an important step for Naxos.”

“Game developers are everywhere. They should be able to more easily access music scores and tracks that are creatively and culturally diverse so they can create and explore without limitation,” Lagerqvist continues. “For gamers, Naxos brings a pallet of ideas and choice that can work in so many different worlds and interactive experiences.”

“Naxos will also explore how our composers’ work and our music catalogs can be enabled as full interactive game soundtracks. This is potentially incredible exciting. It is also a step towards enabling music to be used under license by creators, developers, and enablers in all areas of interactive.”

Reactional is pioneering commercial music to be enabled as an in-game purchase at scale for the first time. In a global games market worth $223.1 billion in 2023, in-game purchases totalled $125.7 billion, of which $72.5 billion was spent on cosmetic content and in-game personalization.

But music has so far only accounted for less than 0.01% of this spend. Changing consumption habits and an increase in personalization in all digital worlds means that spending on in-game personalization is predicted to grow to $100 billion by 2029, according to MIDiA Research Global Games Forecast.

Reactional Music has partnered with over 50 music rights holders worldwide over the past three years as it grows its music delivery platform catalog. This includes Beggars Group, Defected Records, Cherry Red Records, Hopeless Records, Hipgnosis Song Management, and leading production music groups like APM Music, Soundstripe, and Alibi.

Photo Credit: Odessey and Oracle Album Cover (1968)

British invasion pioneers The Zombies have entered into an agreement with Q Prime to provide label services and distribution for the band’s iconic ‘60s studio recordings.

Plans are underway for series of four definitive physical re-issues in 2025, remastered from original tapes and compiling all the band’s studio output. The first will be a remastered Odessey & Oracle to hit the shelves early next year. This re-issue will include the classic songs “Time Of The Season,” “Care of Cell 44,” and “This Will Be Our Year.” The album is a regular entry in the Best Albums of All Time lists from publications including Rolling Stone and Mojo Magazine.

The album will be released in its original mono mix, to coincide with the release of The Zombies’ documentary, ‘Hung Up On A Dream.’ The documentary is directed by musician and filmmaker Robert Schwartzman and is co-produced by Schwartzman’s Utopia Films, The Ranch Productions, and Tom Hanks’ Playtone.

Q Prime will manage all aspects of marketing, managing, distribution, and licensing for The Zombies’ new label imprint Beechwood Park Records. The catalog includes the hit singles “She’s Not There,” “Tell Her No,” and “I Want You Back Again.”

The Zombies’ four surviving founding members, lead singer Colin Blunstone, keyboardist Rod Argent, bassist Chris White, and drummer Hugh Grundy, along with Helen Atkinson—the widow and Estate Trustee of late guitarist Paul Atkinson—acquired the rights to their catalog last year from Marquis Enterprises Ltd. The group originally signed with Marquis Enterprises as teens in 1964.

Marquis produced their early recordings, granting limited-term licenses to the labels that released their hits (Decca and CBS Records) and later turned over the production reins to primary songwriters Argent and White. The group recorded Odessey & Oracle at Abbey Road Studios in London with a shoestring budget of just £1,000.

The deal was overseen by Chris Tuthill and Cindy da Silva of The Rocks Management, who together have represented the band for the past 11 years, along with attorney Monika Tashman of Loeb & Loeb. “We went through a painstaking process to find a strategic partner who would truly understand the unique qualities of these beloved recordings,” says Chris Tuthill.

“Ultimately, we knew we had to stay true to the band’s history. They have always benefited from a non-traditional and independent approach to both music and businesses, which is one of the reasons their songs are continually rediscovered by a new generation of fans.”

Q Prime boasts full label creative and digital marketing teams have offices in New York City, Los Angeles, Nashville and London.

Photo Credit: Meg Donnelly by Cibelle Levi

Range Media Partners’ Range Music, distributed through Capitol Music Group and Virgin Music’s label services, signs Disney Channel alum Meg Donnelly.

Range Music, the label arm of Range Media Partners, which is distributed through Capitol Music Group and Virgin Music & Artist Label Services, announces the signing of Disney Channel alum Meg Donnelly. Donnelly is best known for her role in “High School Musical: The Musical: The Series,” and the original movie “Zombies,” the latter of which she served as an executive producer.

The signing was led by Range Music partner Jared Cotter, who was recently named Billboard’s Executive of the Week for his work co-managing breakout star Shaboozey, his co-writer Sean Cook, and Paul Russell, who is responsible for the hit, “Lil Boo Thang.”

Donnelly, who is working on new music, has just released her latest single, “by my heart,” marking her first release with Range Music. In 2018, she was named Radio Disney’s NBT (Next Big Thing), putting her on the map internationally. She has since performed alongside artists like The Jonas Brothers, Avril Lavigne, Alessia Cara, and most recently opened for Doja Cat.

Donnelly’s latest release, the single “title,” with global charting producer Tenroc, laid the foundation for what fans can expect next in her career. In collaboration with creative director Max Pham, who has toured with and choreographed for A-list artists, Donnelly has been able to “bring her passion for dance, music, and her NYC roots to life.”

In addition to her work as a musician and actress, Donnelly is passionate about mental health awareness, having experienced anxiety from a young age. She has partnered with various non-profit organizations and hospitals, including the Children’s Health Fund and Children’s Miracle Network Hospitals as an ambassador. By sharing her own experiences, tips, and resources, she hopes that kids and young adults feel more supported in their journeys with mental health.

“We chose Range because of their incredible creative team and what they’ve been able to build. It feels really special,” says Kasual Kas, Donnelly’s manager at Big Wins Only. “Their entire staff felt young, hungry, and really understood the long-term vision for Meg as an artist, so it was an easy decision for us. On the business side, Range was also extremely flexible and understood that deals are structured differently now for artists, and they made sure to champion ownership. We were in talks with many labels, but this one truly felt like a partnership, and that’s what we always wanted.”

“Meg is an undeniable superstar who is so certain in her vision and was willing to hold out until the right partner came along. For Meg, that partner was Range,” added Kristina Mazzola, also from Donnelly’s management team at Big Wins Only. “After the release of ‘title,’ it was clear Range truly understood the path Meg is carving out for herself. The sky’s the limit for Meg, and I am excited for the world to experience her as an artist.”

“I’ve admired Meg’s talent and tenacity for years, and I’m thrilled to finally have the opportunity to work with her,” concludes Cotter. “She is a genre-melding artist that has had multi-format success, and Range Music is uniquely positioned to help her reach superstar status. We’re very much looking forward to being a part of her journey to the top.”

Warner Music Benelux president of recorded music and publishing Niels Walboomers (left) and Cloud 9 president Raymond van Vliet. Photo Credit: WMG

Warner Music Group (WMG) wasn’t kidding about its aggressive acquisition plans, as the Robert Kyncl-led major label has officially acquired the Netherlands’ Cloud 9 Recordings.

The restructuring-minded WMG reached out with word of that purchase today, after closing a number of different investments (and exploring, albeit without wrapping, others yet) earlier in 2024. Additionally, it was only six or so months back that Armada Music’s BEAT dance-investment fund announced a deal for Cloud 9’s publishing operation.

But the newer agreement, evidently distinct from BEAT’s play, covers the label side. Cloud 9 Recordings serves as the professional home of Claude, Jake Reese, Kris Kross Amsterdam, and Snelle, to name a few, with stakes in the catalog of Antoon and more to boot.

Though the purchasing party opted against publicly disclosing the financial specifics at hand, it did note that Cloud 9 co-founder Raymond van Vliet is expected to remain aboard as president.

Still operating independently (albeit under the Warner Music Benelux banner), Cloud 9 is poised to relocate its current team to WMG’s Amsterdam Music Harbour as well.

A creative hub boasting “a multi-level warehouse with industry chic vibes,” four recording studios, and more, Amsterdam Music Harbour was unveiled just shy of one year ago. Now, this hub will house Cloud 9, Warner Music Benelux, Warner Chappell Benelux, and Spinnin’ Records.

Returning to the publishing front, Warner Music Benelux has also inked an exclusive worldwide admin deal with Blue Skies Publishing. That Laren-based entity likewise involves Raymond van Vliet, reps several Cloud 9 acts, and was according to its LinkedIn profile founded in 2024.

In a statement, WMG Benelux president of recorded music and publishing Niels Walboomers, whose company brought on Goldman vet Michael Ryan-Southern over the summer to “supercharge” its buyouts strategy, touted Cloud 9’s “significant impact on the Dutch music industry.”

And in comments of his own, Raymond van Vliet struck an optimistic tone when describing Cloud 9’s future.

“On November 1st, Cloud 9 Music will celebrate its 20th anniversary,” the Cloud 9 president said in part. “It is a proud moment to sell this incredible company on the eve of this milestone. In the coming years, I will continue to lead Cloud 9, ensuring that my team, enhanced by Warner Music’s expertise, will keep representing our artist roster. We will take the next steps in the careers of our artists and continue to expand Cloud 9 Music.”

Photo Credit: Jimmy Steinfeldt (Jack Douglas)

Reservoir Media Inc. has announced it has acquired the producer royalties to the catalog of Grammy-winning American producer Jack Douglas. The acquisition includes hits by Aerosmith and Cheap Trick.

Douglas’ catalog is a cornerstone of rock music history, with numerous multi-Platinum selling records to his name. He has been recognized with several lifetime achievement awards, including for the LA Music Hall of Fame, the Sarasota Film Festival, and the Institute of Audio Research.

Born in the Bronx, New York City, Douglas began his music career at the Institute of Audio Research before engineering and/or producing on projects by Miles Davis, Alice Cooper, Cheap Trick, Patti Smith, Supertramp, and Montrose, among others. In 1971, Douglas helped engineer The Who’s Who’s Next album, and was one of the engineers on John Lennon’s second solo album, Imagine, featuring the title track, “Imagine.” Douglas also worked with the three other Beatles throughout the course of his career.

Jack Douglas spent the majority of the 1970s focused on production, playing a crucial role in many of Aerosmith’s most successful albums. He produced 3x-Platinum Get Your Wings (1974), 9x-Platinum Toys in the Attic (1975), 4x-Platinum Rocks (1976), and 2x-Platinum Draw the Line (1977). Both Toys in the Attic and Rocks feature on Rolling Stone’s list of the 500 Greatest Albums of All Time.

In the 1980s, Douglas collaborated with John Lennon and Yoko Ono, producing the duo’s Double Fantasy and the single “(Just Like) Starting Over,” as well as Yoko Ono’s “Walking on Thin Ice.” In the mid-2000s, Douglas reunited with Aerosmith to work on additional projects with the group, including 2004’s Gold-selling Honkin’ on Bobo and 2012’s Music from Another Dimension!. Today, he is busy scoring films and running his own label.

“Jack Douglas is a legendary producer who crafted some of the most iconic and sonically powerful rock records over the past 50 years,” says Reservoir President & Chief Operating Officer Rell Lafargue. “We are honored to now represent titles from his extraordinary body of work, which will continue to be played and revered for the next 50 and beyond. Jack’s music now joining Reservoir, we’re further solidifying our representation in iconic rock.”

Photo Credit: FUGA (Francesca Caldara)

Downtown-owned B2B distributor FUGA has announced a new partnership with UNIFIED Music Group, strengthening its position in the Australia & New Zealand markets.

UNIFIED Music Group is a multi-service music company operating in Melbourne, Sydney, Los Angeles, New York, Nashville, and Toronto. The partnership will bolster UNIFIED’s distribution and marketing capabilities while providing neighboring rights services. It will also support UNIFIED Recorded Music labels including UNFD (Silverstein, Thornhill & ERRA), and Domestic La La (Teen Jesus and the Jean Teasers, Dear Seattle, Teenage Joans), alongside future releases of the independently-minded Community Music (Ocean Alley, Sarah Saint James, ISHAN).

UNIFIED’s labels will leverage FUGA’s state-of-the-art technology platform and comprehensive suite of services, including strategic marketing and account management, social video management, YouTube channel partnerships, and physical distribution, to drive audience growth and engagement.

“We’re excited to expand our partnership with Downtown through this new deal with FUGA. The addition of FUGA’s services supports UNIFIED Recorded Music’s ambitious growth plans,” says Francesca Caldara, Vice President—Recorded Music, UNIFIED Music Group. “By tapping into FUGA’s technology and music expertise, this collaboration opens new opportunities for our roster, enabling our artists and partners to reach even larger audiences and continue pushing the boundaries of what independent music can achieve.”

UNIFIED is already an existing client of Downtown-owned royalty accounting platform Curve—a partnership kicked off in January 2022. The new partnership will see UNIFIED gain wider access to Downtown’s global ecosystem through additional services including sync and licensing solutions via Downtown Music Publishing, and comprehensive neighboring rights collection through Downtown Neighboring Rights.

“We’re thrilled to deepen our relationship with UNIFIED Music Group as they take full advantage of the diverse suite of services we offer across the Downtown ecosystem, from our world-class distribution and marketing solutions to neighboring rights and UGC management,” adds FUGA President, Christiaan Kröner. “This holistic approach underscores the value of Downtown’s interconnected services and will empower UNIFIED’s roster to grow and succeed in an ever-evolving music landscape.”

The partnership follows a number of notable successes for FUGA throughout the AUS & NZ markets, including a digital and physical distribution partnership with Queensland-based Commonfolk Records, home to singer-songwriter Ziggy Alberts. UNIFIED join FUGA’s established roster of clients in the region, including Melbourne-based label, distributor, and marketing company Remote Control and Brisbane-based electronic label, Sounds of Mayhem.

Photo Credit: Eric Wong and Jessica Keeley-Carter / WMG

Warner Music Group announces more position realignments in leadership, with Eric Wong as Head of Global A&R and Jessica Keeley-Carter as Chief Marketing Officer.

Warner Music Group’s seemingly never-ending reshuffling continues with two new major leadership appointments: Eric Wong has been named President, East West Records & Head of Global A&R, Recorded Music, and Jessica Keeley-Carter has been promoted to Chief Marketing Officer (CMO), Recorded Music. Both leaders will report directly to WMG CEO Robert Kyncl.

In his new post, Wong will lead East West Records, a storied name in WMG history, which now serves as a connector across the company’s global ecosystem, identifying local talents with global potential and accelerating their pathway to global success. Wong will also help sign and develop artists while working across the company’s roster of stars to foster collaborations and creative opportunities that build careers.

Keeley-Carter most recently served as EVP of Global Marketing at WMG. As CMO, she will power the continued evolution of WMG’s global, regional, and local marketing services for recording talent. Keeley-Carter will lead the company’s marketing network to deliver collaborative worldwide strategies which amplify local activations and drive lasting fandom.

These appointments follow the unveiling of WMG’s new Recorded Music organization, introducing a “flatter regional structure,” backed by strengthened global services, in order to create more direct channels between local expertise and global opportunities.

“I’m excited to build even closer relationships with our artists and put greater firepower behind our worldwide network to connect the dots, unlock new value, and magnify opportunities for emerging talent,” said Wong. “I’d like to congratulate Jess on her promotion, and thank Robert for his trust in me to take on this new position.”

“With the collective WMG team collaborating even more closely in our new structure, we’ll be set up to take our artists and labels to new heights,” said Keeley-Carter. “I’m grateful to Robert for this opportunity; I’d like to thank Eric for his guidance and partnership over the years, and I’m looking forward to continuing our work together.”

Kyncl said, “Eric’s newly created role leans into his long-standing relationships within the artistic community and his deep understanding of how music travels around the world. Jess is an expert marketer and an inventive leader, who will help us orchestrate best-in-class ways of cutting through the noise in an increasingly complex and cluttered world.”

The announcement follows a lengthy string of layoffs throughout the company and its subsidiaries, as well as top-level shakeups at the label, including Elliot Grainge’s ascension to CEO of Atlantic Music Group, the shuttering of distributor Level Music, and numerous admin stepdowns.

Photo Credit: Merlin

The battle between indie collective Merlin and TikTok is heating up as the social media platform seeks to bypass Merlin’s collective bargaining power by striking individual deals with the indie labels it deems worthy.

Merlin sent a letter to its independent members over the weekend, stating that TikTok walked away from renegotiating its contract before those negotiations even began. TikTok says it wants to sign direct deals with the labels Merlin represents, which Merlin says is an attempt to license its members’ music at a cheaper rate than it could collectively with Merlin’s representation.

TikTok released a new statement about those allegations that it “does not want to pay a fair rate for the music that powers their platform. It accuses Merlin of lacking quality control and potentially delivering fraudulent streams in what it calls “operational challenges with Merlin in the past.”

“TikTok must be able to control the quality of the content being uploaded to its platform, and to ensure that all content delivered is legitimate,” a TikTok spokesperson says. “We have had operational challenges with Merlin in the past where music that is not quality controlled for copyright is delivered. It presents a big burden, and doing direct deals allows us to exercise better control and also to forge closer relationships with Merlin members.”

Merlin itself addressed those operational challenges in its letter to members, outlining the steps its taken to address “illegitimate activity and content.” They include automated systems that detect suspicious activity, a dedicated team to address issues and impose sanctions on bad actors, and the termination of repeat bad actors who manipulate the system.”

TikTok maintains that this is a business decision and it doesn’t want to get into a licensing dispute with Merlin. But Merlin (perhaps rightfully) views this as an attempt to fragment its membership, which accounts for 15% of the global recorded music market. Merlin members who negotiate individually could end up in worse deals than Merlin could bargain for collectively with its full weight.

So where do we stand right now? As of October 31, TikTok’s current deal with Merlin will end without a renewal. The social media giant is seeking deals with labels independently and they will have until October 25 to avoid disruptions on TikTok. It’s also unclear what the status of TikTok will be in the United States, as ByteDance has struggled in court to challenge the new law ahead of its tight deadline.

Photo Credit: Microsoft Copilot

A letter from Merlin to its members has revealed TikTok is ‘walking away’ from licensing negotiations with the collective. Instead, the social media giant wants to seek direct deals from larger Merlin members—completely bypassing the collective.

The Merlin music collective negotiates digital licenses for more than 30,000 independent labels around the world. In a letter addressed to those members dated September 27, Merlin says “with no warning, TikTok walked away before negotiations even began. They informed us that (1) they do not want to renew our deal, which expires on October 31st, and (2) they intend to license some of our members directly.”

“To be even more clear, unfortunately, as of now, there will not be a Merlin-TikTok deal after October 31st,” the letter reads. TikTok pays less than other digital service providers (DSPs) to license music, so this move further undermines independent labels’ ability to negotiate better streaming rates for their music. Merlin alludes to such in their letter to members.

“We believe the most likely reason that TikTok did this is that TikTok does not want to pay a fair rate for the music that powers the platform. If this is right, then TikTok does not value independent music, the independent labels and distributors who support that music, nor the diverse artists who create it. They are unlike every other partner that Merlin works with.”

“Given that TikTok refused to negotiate with us, our view is that they must see the obligation to pay fair royalties as a nuisance. They must view Merlin — with its mission to protect and maximize the value of our members’ music — as too strong a negotiating partner for their liking. Their approach suggests that they believe their objectives can be better served by fragmenting the Merlin membership, in order, we believe, to minimize their payout.”

“TikTok has asked us for an ‘orderly transition’ to do direct deals with those members they deem worthy. As you know, Merlin was founded to stand up for and champion its members. We will not support an approach that devalues our community,” the letter continues.

Merlin outlines a plan to try and re-engage with TikTok as a collective to secure a renewal agreement before the current one expires on October 31. But it also reveals that one of TikTok’s concerns in walking away was potential fraud. “TikTok has also suggested they are walking away because of concerns about ‘fraud,’ but as we have told them on numerous occasions, we are incredibly pro-active on this issue.”

“We recognized early on, and communicated with TikTok, the concerning growth and impact of stream manipulation and fraudulent content both on TikTok and across the marketplace. We have worked productively and collaboratively with TikTok on this issue, and until now, no concerns have been raised about the approach Merlin is taking.”

“We have implemented measures to address illegitimate activity and content; automated systems to detect suspicious activity; and a dedicated team to address issues and impose sanctions, including ultimately, termination of membership for bad actors.”

Merlin represents around 15% of the global recorded music market, making this a big departure from TikTok’s music catalog if the deal falls through. Merlin licenses music from artists including The Lumineers, Wet Leg, Nirvana, Phoebe Bridgers, Mac Demarco, Coolio, Diplo, and many more. Without a collective agreement, each individual label would be responsible for negotiations with the platform.

Earlier this year, Universal Music Group saw its music temporarily removed from TikTok as the two sides struggled to come to an arrangement. UMG music disappeared from the platform until Taylor Swift struck a landmark deal in April to bring her music back—with the rest of UMG and UMPG music returning to TikTok on May 1.

Photo Credit: HE.SHE.THEY.

HE.SHE.THEY. Records partners with Too Lost, further cementing their position as the industry standard in inclusivity and diversity.

Global music and technology distribution platform Too Lost announces a new partnership with HE.SHE.THEY. Records, which has been setting the industry standard for diversity and inclusion for the past six years.

The brand has toured across 40 cities globally, staging the biggest talent from the underground, and platforming the most exciting emerging artists — all while curating one of the most forward-thinking label rosters in the industry and earning a nomination for Best Label at DJ Mag’s 2023 Best of British Awards.

Independently owned by co-founders Sophia Kearney and Steven Braines, HE.SHE.THEY. has releases from Catz ‘n Dogz, Sister Bliss, Cakes da Killa, Hammer, Alinka, Anja Schneider, Chloe Robinson x DJ ADHD, Meg Ward, Giulia Tess, and many more.

In partnership with Too Lost, and with a rich history of championing diversity and inclusivity, HE.SHE.THEY. are ready to expand the label’s reach and spotlight diverse voices on an even wider scale, while they continue to be a home for the most cutting-edge artists from the global underground and beyond.

“Too Lost is proud to represent HE.SHE.THEY. as the leading inclusivity brand in dance and electronic music, and look forward to building a lasting future together,” said Too Lost CEO Gregory Hirschhorn.

Too Lost is a music and technology company providing software-as-a-service (SaaS) solutions for independent music rights holders. Their distribution and publishing services deliver, monetize, and protect songs across the globe for over 300,000 musicians, record labels, studios, brands, investors, and platforms.

The news comes on the heels of HE.SHE.THEY.’s announcing their return to ADE 2024, with their biggest run of shows to date, taking in four venues over three days. These feature artists like Indira Paganotto, DAX J b2b SPFDJ, Jennifer Cardini b2b Gabriel Kwarteng, SNTS, Eats Everything, Chippy Nonstop, Roi Perez, BELLA, SYREETA, Cinthie, Elisa Elisa, Wax Wings, and many more.

Following another summer of sell-out shows, including their third years at Ibiza superclub Amnesia, HE.SHE.THEY. make their return to Amsterdam Dance Event, at which they have been a key player since their debut in 2019. The announcement contains four shows, including two simultaneous daytime parties — Dockyard Festival and Mystic Garden Festival — and a boat party.

HE.SHE.THEY. kicks things off on Wednesday, October 16, returning to the Duke of Tokyo for their renowned ‘Wet Your Whistle Mixer,’ soundtracked by a lineup of artists including Abel, Nyra, The Menendez Brothers, and a very special secret guest. RSVP here.

Thursday sees the club brand take their first foray into the waterways of Amsterdam for the inaugural HE.SHE.THEY. boat party, featuring a first-ever back-to-back between London-based DJ/producer and HE.SHE.THEY. resident, SYREETA, and brand favorite Cinthie. Further, the show will feature the talents of Eats Everything and rising Dutch artist, BELLA.

On Friday, the HE.SHE.THEY. crew will bring the party simultaneously to two iconic venues — the Dockyard Warehouse Festival Mainstage and Mystic Garden Festival — for an immersive experience of light and dark. Dockyard is celebrating its 10th anniversary, and to mark the occasion, HE.SHE.THEY. is bringing a selection of underground heroes as well as some of the biggest bubblers on the international scene.

The dark prince of the UK queer club scene, Wax Wings, kicks things off at midday, with a kaleidoscope of sounds encompassing the darker side of techno, while PEP Rally co-founder and Rinse FM resident, Chippy Nonstop, is sure to bring her high-energy techno to the lineup.

DJ-producer Adiel goes back-to-back with Vault resident and local artist, Grace Dahl, while Barcelona-based Cera Khin will be joined across the day by German DJ SNTS, followed by Artcore Records boss, Indira Paganotto, as night falls. To close out, DAX J kicks off a set with a very special back-to-back with Swedish hard techno queen, SPFDJ.

Meanwhile, the fairytale-esque Mystic Garden Festival will play host to a cornucopia of artists, including Berghain resident, Roi Perez, alongside queen of the dancefloor Jennifer Cardini going back-to-back with Lot Radio’s Gabrielle Kwarteng. Other b2b sets to come from HE.SHE.THEY. include SYREETA and Dutch party starter Benny Rodrigues, alongside Amsterdam locals Carlos Valdes and Kyra Khaldi, and Berlin-based DJ-producer Elisa Elisa.

Photo Credit: Proper Music Group

Proper Group, formerly Utopia Music, appeals against Swiss bankruptcy proceedings over an unpaid invoice.

Proper Music Group, the Swiss company formerly known as Utopia Music, has been hit with bankruptcy proceedings in Swiss court after the group failed to attend a court hearing related to a debt of 23,000 Swiss Francs ($27,360). The provisional announcement of bankruptcy was filed on Tuesday, September 24.

“We are disappointed that bankruptcy proceedings have been triggered. Our company was unfortunately unaware that legal proceedings over a minor debt were taking place, and as a result we were not represented at the court hearing,” said Proper Group in a statement to Digital Music News. “Our debt has now been settled, and we are, of course, appealing this decision. Recent positive developments in the business have placed us on track to near-term cash flow positivity, with clear prospects of profitability by 2025, so we expect to reach a favorable outcome.”

The company’s inability to represent itself at the court hearing stems from industry-wide downsizing that left no appropriate staff in Proper Group’s Swiss offices to receive and process the hearing notice. As a result, Proper is ensuring mechanisms are in place to prevent something similar happening again.

Regardless, the bankruptcy proceedings will require the company to demonstrate in court that not only has this debt been settled, but the company is more “generally solvent.” This isn’t the first financial or legal challenge faced by Proper Group this year, following an intense acquisition spree that cooled significantly and left many companies across Europe forced into insolvency proceedings.

But changes in leadership and direction at the company following a boardroom coup initiated by its key investors late last year have worked to stabilize Proper and correct its heading. Even so, the company is still dealing with significant legal and financial difficulties, including multi-million pound insolvency proceedings in the UK related to its subsidiary Utopia UK, and a court judgment related to its failed acquisition of US royalty finance firm Lyric Financial. The latter still leaves Proper Group owing over $1.8 million to Lyric’s founders, with daily mounting interest.

Proper has until October 7 to file its appeal with the Swiss courts in order to stop bankruptcy proceedings.

Photo Credit: Connyct

Warner Music Group licenses mobile short-form video app Connyct as potential US TikTok ban looms large.

As TikTok faces a potential ban in the United States, a new platform appears hoping to seize the opportunity to fill TikTok’s role. Startup short-form video app Connyct is taking a slightly different approach in targeting a specific demographic — college students.

Like the earliest days of Facebook, signing up for a Connyct account requires an .edu email address. The platform aims to “meet the market demand for closer connections and streamlined community coordination.” Users can “plan adventures and parties together,” and “seamlessly blend online connection with real-world activities.”

But to meet its goals and grab its core audience, Connyct knows it’s going to need music. To accomplish that, ahead of its launch, the platform has announced a partnership with Warner Music Group (WMG).

“Music is the heartbeat of the college experience, and Warner Music Group is committed to ensuring that our artists’ music is available wherever their fans are,” explains Rachel Scarpati, Vice President of Digital Strategy & Business Development at WMG.

“Connyct has created an innovative platform that amplifies this connection, offering students a space to integrate music into their social lives. We’re excited to see how this partnership will bring music and community together in a whole new way.”

At the heart of the app beats its Events Center, powered by video and featuring an extensive library of licensed music clips, where users can create videos promoting their events.

“We created Connyct to spark joy and excitement around real-life experiences, a digital reflection of your favorite times,” says CEO and co-founder Matthew Berman. “We’re all about connection and discovery, meant to help users find people who share the same passions and want to publicize events to enjoy them with their friends. Our partnership with WMG takes this vision to the next level, allowing students to soundtrack their college experiences with an incredible array of music.”

“Connyct is more than just a playground for music-loving content creators,” adds David Polinsky, Chairman and Founder. “Connyct is a purpose-built technology platform that champions user rights, safety, privacy, transparency, and fosters authentic engagement. Connyct prioritizes giving users full control over their content and visibility and never selling or sharing their personal data.”

Connyct will be available on the iOS App Store in the coming weeks, exclusively for “select universities” upon launch. Currently, it’s unknown when an Android app will be available, or when the platform will be expanded to other schools, or those outside academia.

Believe has officially completed its multimillion-dollar acquisition of Doğan Music Company, which is said to be the largest indie label operating in Turkey. Photo Credit: Believe

Believe has officially completed its acquisition of Doğan Music Company, which is billed as Turkey’s largest indie label.

The Paris-headquartered buyer reached out with word of the deal’s wrap today, after first announcing the play closer to the top of August. At the time of the latter disclosure, the investment was still subject to regulatory approval in Turkey, where Believe had taken a 60% stake in Doğan in 2020.

With that years-old move having evidently proven lucrative, Believe exercised a call option for the remaining 40% or so. This purchase for the outstanding piece brought a $42.65 million (€38.3 million) price tag, according to the expansion-minded business, which didn’t hesitate to drive home its “full ownership” of the Turkish label.

Said label’s roster features a number of artists across a variety of genres, with rock band Yüksek Sadakat, pop singer Yonca Evcimik, and rapper Reckol alike part of Doğan, per its website.

Meanwhile, on Believe’s side, the company pointed to a nearly 25% year-over-year revenue increase in Europe (excluding France and Germany) for H1 2024, at $169.22 million/€152 million. In Asia-Pacific and Africa, Believe experienced a roughly 4% YoY revenue improvement at $129.57 million/€116.4 million, the appropriate report shows.

And as described by the Sentric owner, which opened an Istanbul office in 2012, it’s poised to work towards “supercharging the growth and global reach” of the Doğan roster.

Elaborating on that objective, Believe president for META, East and Southern Europe, and the Americas Viktoria Siniavskaia emphasized the continued development of Turkey’s music market.

“The Turkish music industry has undergone a massive change since Believe’s launch in the market back in 2012,” relayed the 13-year Believe exec, “with a solid growth of streaming and countless artists and labels reaching new and wider audiences both locally and beyond.

“On Spotify alone, the Top 100 list went from 11 local artists in 2013 to 91 in 2023! I couldn’t be prouder of Believe having been a key driver in this evolution, alongside DMC and our digital partners, boosting the digitalization of the market and that of local music genres,” concluded Siniavskaia.

Closing with a recap of Believe’s other 2024 buildout initiatives, July saw the business take a 25% interest in Romanian dance label Global Records and move forward with Greater China executive appointments ahead of a wider expansion in the increasingly lucrative region.

Photo Credit: Dickon Stainer by Carsten Windhorst

Universal Music UK announces the appointment of Dickon Stainer as Chairman and CEO, following the departure of David Joseph after 17 years.

Universal Music Group Chairman and CEO Sir Lucian Grainge has announced appointing Dickon Stainer as Chairman and CEO of Universal Music UK. Stainer follows longtime Chairman and CEO David Joseph, who held the position for nearly 17 years and recently announced his departure.

In this new role, Stainer is in charge of the overall management and strategic direction of Universal Music UK. Divisions including the newly-created Island EMI Label Group and Polydor Label Group, as well as Decca Records and Abbey Road Studios, will report to him. Stainer served as President and CEO of Universal Music Group’s Global Classics and Jazz division, splitting his time between London and New York.

Further, Stainer will also continue in the capacity of Chairman of Global Classics and Jazz. Announcements regarding new leadership roles and internal promotions will be made in the coming weeks.

The changes come on the heels of UMG announcing it was merging its EMI label divisions as part of a broader restructuring. This restructuring created two new divisions: Island EMI Label Group (with president Louis Bloom), and Polydor Label Group (headed by Ben Mortimer), which itself followed some divisional realignments in the US-based UMG label group.

“Dickon has embraced an expansive musical worldview throughout his career, taking artists from a wide variety of genres and bringing them to audiences globally,” said Grainge. “He not only has deep experience in leveraging our worldwide organization on behalf of our artists, but a track record that includes global commercial and creative artist successes and countless awards in many countries.”

“I would also like to thank David Joseph for his many contributions,” Grainge adds. “He leaves with our gratitude.”

Stainer said, “It is an honor to be asked by Sir Lucian Grainge to lead Universal Music UK. The depth of talent that we have at the company, coupled with our remarkable roster of artists, gives me tremendous confidence in what we can achieve together. Having worked in both the international and domestic divisions of UMG, I know how central the UK is to the global music industry — a vital repertoire source that provides the world with great artists and great music. I can’t wait to get started.”

Stainer has enjoyed success on the global stage, consistently championing a generation of international talent. That includes Grammy wins for Jon Batiste for Album of the Year in 2022, and Samara Joy for Best New Artist in 2023.

Photo Credit: Jimmy Fontaine (Gregg Nadel)

With Warner Music Nashville now firmly under the Warner Records umbrella, there are some changes to leadership at the top. Ben Kline is stepping down after a decade with the company, while Gregg Nadel was appointed Co-Chair & Co-President alongside Cris Lacy.

Based out of the Nashville office, Nadel and Lacy will report to Warner Records CEO & Co-Chairman Aaron Bay-Schuck and COO & Co-Chairman Tom Corson, who both direct report to WMG CEO Robert Kyncl. The move is effective October 1, while Nadel, Lacy, and their teams will continue to work with Nashville artists co-signed to Atlantic Music Group.

Gregg Nadel has three decades of music industry experience under his belt, most recently serving as the President of Elektra Entertainment. He has signed or championed acclaimed country and roots-based artists including Zac Brown Band, Brandi Carlile, The Highwomen, Sturgill Simpson, Bailey Zimmerman, and Brittney Spencer, among many other artists across multiple genres.

“Gregg grew up at WMG, and over the past three decades, he’s brought his impeccable taste, wisdom, and guidance to an exceptional array of original, powerful voices,” adds Aaron Bay-Schuck. “He’s an ambidextrous A&R marketing expert with a global perspective, which will be a tremendous asset at a time when Nashville artists are crossing boundaries and reaching the world stage like never before.”

“Like Gregg, Cris has expanded from her roots as an A&R force into a true multi-dimensional leader, and together, they’ll be a phenomenal team to take Warner Music Nashville into a dynamic future,” Bay-Schuck concludes.

“I’ve had the honor of working with incredibly talented artists across many sounds and styles, and through it all, I’ve always felt a deep connection to the heartfelt music that comes from Nashville’s rich creative culture,” adds Gregg Nadel. “I’m excited to be diving deeper into this brilliant community of musicians and storytellers, and I’m especially excited about working alongside Cris Lacy and the entire team. Thank you to Tom and Aaron for this incredible opportunity.”

“Thanks to WMG’s cross-label and cross-genre philosophy, Gregg and I have been collaborating within the company for over a decade,” adds Cris Lacy. “We’re both rooted in a deep love of the music that comes into and out of Nashville. Gregg brings a unique, wide-ranging perspective to what will be a fantastic partnership. He has long invested in the culture and the community of this town, and together, we are fiercely committed to amplifying what makes its music so special. My heartfelt thanks and admiration go to Ben. It’s been a great ride, and his expertise, leadership, and friendship have made it all the more gratifying. I wish him the very best in all things to come.”

“Together, we’ve grown Warner Music Nashville to new heights and played vital roles in the development of so many artists,” adds Ben Kline. “Thanks to WMG leadership for all of the opportunities, faith, and guidance along the way. And thank you to Cris Lacy for her never-wavering support for the artists and their musical visions. I’m excited for the next adventure.”

Prior to being named President of Elektra Entertainment in 2017, Nadel served as General Manager of Elektra Records and before that was SVP, A&R and Marketing, for Atlantic Records. A 27-year veteran of WMG, Nadel joined Atlantic straight out of college in 1997.

In his marketing capacity, he has spearheaded high-profile campaigns for global superstars such as Ed Sheeran, who he’s worked with since the early days of Sheeran’s career.

Elliot Grainge (Photo Credit: Logan Mock)

Warner Music heralds ‘a new era’ after intense layoffs at Atlantic Music Group, announcing a new leadership team with a focus on ‘cultural impact and creative expertise.’

Atlantic Music Group (AMG), part of Warner Music Group, has announced its new leadership team and structure following a deep round of layoffs. Designed to “maximize AMG’s cultural impact and strengthen its creative expertise,” these changes aim to empower dedicated A&R and marketing teams at Atlantic Records, 300 Entertainment, and 10K Projects. Beginning October 1, Elliot Grainge assumes the role of CEO of Atlantic Music Group, as Julie Greenwald passes the torch after two decades.

“Atlantic Music Group is home to the most extraordinary artists and executives in the world. This great label has moved through a meaningful transition, and emerged with a world-class team, made up of ambitious innovators and veteran visionaries,” said Grainge. “We have a plan to build on the extraordinary achievements of the last twenty years, honor the independent DNA of our labels, and collaborate with artists to pioneer a future filled with opportunity. To all our artists, managers, and partners, we are committed to a single principle — maximum impact for original artists. We’re looking forward to doing big, bold, brave things together.”

Warner Music Group CEO Robert Kyncl added, “AMG will be lean, agile, fiercely creative, and deeply passionate about artists and their fans. We’re opening an exciting new chapter in the story of an iconic label. Elliot’s thoughtfully chosen a team that combines a wealth of experience, a diversity of expertise, and a commitment to excellence.”

Atlantic Records, 300 Entertainment, and 10K Projects will all be helmed by forward-thinking leaders, with 10K operating within AMG as a standalone venture controlled by WMG. The Elektra, Fueled By Ramen, and Roadrunner imprints will continue under the AMG banner.

Atlantic Records

Lanre Gaba is promoted to President of Hip-Hop, R&B, and Global Music. Lu Mota is EVP, Head of A&R, Hip-Hop, R&B, and Global Music, while Marsha St. Hubert is EVP, Head of Marketing, Hip-Hop, R&B, and Global Music. They have supported and helped develop acclaimed artists like Cardi B, Jack Harlow, Lil Uzi Vert, Burna Boy, and many others. Kevin Weaver is President, West Coast. The longtime Atlantic leader was most recently behind the record-breaking “Barbie: The Album,” as well as the “Twisters” soundtrack.

In addition, Brandon Davis and Jeff Levin are EVPs and Co-Heads of A&R, Pop & Rock. Marisa Aron is promoted to EVP, Head of Marketing, Pop & Rock. The trio has managed a roster that includes Lizzo Charli XCX, Charlie Puth, Ava Max, Melanie Martinez, and many others.

300 Entertainment

Rayna Bass and Selim Bouab are Co-Presidents. Under their guidance, 300 has supported marquee names like Young Thug, Mary J. Blige, and Gunna, among others.

10K Projects

Nicholas Ziangas and Molly McLachlan are promoted to Co-Presidents, having been instrumental with breakout stars like Artemas, Trippie Redd, and Rich Amiri. Atlantic Music Group will combine the strengths of key functions at Atlantic, 300, and Elektra, to create one central set of artist development services. These functions at the group level include Creative, Legal & Business Affairs, Promotion, Press & Media Strategy, Digital Marketing & Analytics, Sales & Streaming, A&R Research, A&R Administration, and Marketing Operations.

Atlantic Music Group

Craig Kallman is elevated to Chief Music Officer, expanding his remit to bring his wealth of expertise to artists and projects across the group, while enabling him to mentor the next generation of executives. Zach Friedman and Tony Talamo are promoted to Chief Operating Officer and General Manager, respectively. Friedman and Talamo joined 10K Projects in 2018 and their company Homemade Projects was acquired in 2022.

Erica Bellarosa is promoted to General Counsel, heading legal and business affairs efforts across the entire group. Dave Rocco is appointed President of Creative, with responsibilities spanning creative strategy, video, artwork, advertising, and more. He most recently served as Chief Creative Officer at Republic Records and held the title of Global Head of Artist Marketing and Label Relations at Spotify.

Gregg Nadel has been appointed to a new role within WMG’s Recorded Music division, which will be announced soon. More appointments regarding department heads will be made over the coming weeks.

Photo Credit: Gary Chan / Universal Music Group

Universal Music Group launches Universal Music China Greater Bay Area (UMCGBA) in Hong Kong and Macau.

Universal Music Greater China (UMGC), a division of Universal Music Group (UMG), has announced the launch of a new label division — Universal Music China Greater Bay Area (UMCGBA), covering China’s Greater Bay Area which includes Hong Kong and Macau.

This initiative marks the first time a major music company has established a division in China’s Greater Bay Area (GBA), the world’s largest and most economically vibrant urban cluster, with its new headquarters in Shenzhen. One of the world’s most dynamic music markets, Universal Music Greater China now has offices in Beijing, Hong Kong, Shanghai, Shenzhen, and Taiwan to fully support the next phase of growth across the region.

Spearheaded by Gary Chan, who currently serves as Managing Director of Universal Music Hong Kong and Senior Vice President of UMGC, the new division will help enrich the Greater Bay Area’s music scene by embracing its economic and cultural vibrancy, elevating both the local and global appeal of the region’s diverse musical heritage.

A bustling megalopolis encompassing nine cities in Guangdong Province along with the twp special administrative regions of Hong Kong and Macau, the Greater Bay Area is the world’s most populous urban area and a significant cultural hub. With a combined GDP contributing 11.1% to China’s total in 2023 and a population surpassing 86 million, the Greater Bay Area is a formidable economic powerhouse and cultural epicenter, accounting for nearly a quarter of China’s music performance revenue.

UMCGBA will assemble a robust local team dedicated to marketing, A&R, and artist management, with the vision to discover and cultivate local talent across the GBA. Additionally, its mission is to transform the local music scene by blending global musical trends with the Greater Bay Area’s vibrant and youthful energy. This approach not only taps into the region’s rich musical heritage but also engages with the expansive entertainment landscape, offering entertainment experiences for audiences worldwide.

Timothy Xu, Chairman and CEO of Universal Music Greater China said, “The launch of UMCGBA represents a strategic expansion, leveraging the vast market potential and unique cultural atmosphere of the Greater Bay Area. We eagerly anticipate welcoming the outstanding talents from this region to join us in driving forward the next era of Chinese pop music. In this pursuit, we are setting our sights on transforming the GBA into a trendsetting hub that epitomizes creativity, vitality, and connectivity, crafting fresh musical expressions and innovative entertainment experiences.”

Adam Granite, Executive Vice President, Market Development of Universal Music Group concluded, “Our commitment to the Greater Bay Area is part of UMG’s global strategy to invest in local and regional music scenes, particularly in rapidly growing markets like China. By deepening our roots in local cultures and enhancing support for local artists, we aim to elevate the Chinese music landscape and introduce its unique sounds on the world stage.”

Photo Credit: Matt Berinato

The Chairman & CEO of Sony Music Nashville, Randy Goodman, will retire at the end of 2024 after more than 35 years in the music industry.

Goodman was appointed to his current role in 2025, during which time he has also overseen Sony Music’s Christian music enterprise, Provident Entertainment. Sony Music Group Chairman Rob Stringer commented on the announcement saying, “Thank you to Randy for leading our Nashville company through the last nine years and providing some of the biggest new superstars in the genre of country music. These artists are part of his legacy, and he should be proud of that. We look forward to building on the strong base he and his team have set up for the future.”

While working at Sony Music, Goodman and his team helped shape the careers of stars including Luke Combs, Kane Brown, Maren Morris, Megan Moroney, and Nate Smith. Goodman and his team also helped bring key breaking artists into the Sony fold including Mitchell Tenpenny, Kameron Marlowe, Corey Kent, and Morgan Wade among others.

“Thank you to Rob for his leadership and support throughout my entire time at the company,” Randy Goodman comments. “The Sony Music Nashville and Provident Entertainment teams are some of the finest executives I’ve had the privilege of working with over my many years in this business.”

“There are too many people to thank specifically who helped and supported me along the way—my family foremost for their support and grace in letting me stay with it all these years. Looking back over my career’s arc, I am humbled and honored to have had the privilege to work with the artist legends I have; and as importantly, the teams I’ve been privileged to work with and lead. As excited as I am for what’s next no doubt it is bittersweet. It’s all been a gift.”

Randy Goodman is a Nashville native, with an extensive career that includes 16 years at the beginning with RCA Records. Goodman served for five years as Senior Vice President, Global Marketing for RCA in New York prior to returning to Nashville. He also served as Executive Vice President and General Manager of the RCA Label Group in Nashville, which would later become Sony Music Nashville.

While at RCA, Goodman worked with superstars including Waylon Jennings, Charley Pride, Alabama, Kenny Chesney, Dave Matthews Band, Wu-Tang Clan, Dolly Parton, Clint Black, Keith Whitley, and The Judds.

In 1997, Goodman opened Lyric Street Records for the Walt Disney Co., overseeing the label as President through 2010. He worked with artists who enjoyed multi-Platinum success including Rascal Flatts, Aaron Tippin, and Josh Gracin.

Photo Credit: Nesta592 / CC by 4.0

Pink Floyd is reportedly in ‘advanced talks’ to sell their catalog to Sony Music for around $500 million.

The potential sale of Pink Floyd’s catalog has been a topic of much discussion for the past couple of years, but it’s seemed increasingly unlikely that a deal might come to fruition. Now, the Financial Times reports that Sony Music is in “advanced talks” to acquire the band’s music for around $400 million to $500 million.

Specifics on the deal have been kept under wraps, with representatives for neither the group nor Sony responding to media requests for comment. But if the price is as high as reports indicate, it would imply that Waters’ remarks have had little impact. A lower price tag would mean he has effectively devalued the catalog.

The group seemed close to reaching a deal back in 2022, but the continuous feud between the band’s members — especially over Roger Waters’ controversial political statements regarding Israel and Ukraine — seemed to have complicated the deal and scared off any potential buyers.

Waters’ former bandmate David Gilmour agreed with his wife Polly Samson’s assessment on Twitter back in February that Waters was “anti-Semitic to [his] rotten core.” Waters was quick to refute those accusations, calling them “incendiary and wildly inaccurate.”

Regardless, the tensions between Pink Floyd’s members could make a sale of their catalog a source of relief for the band. Earlier this month, Gilmour told Rolling Stone that he would be pleased to reach a deal on the catalog’s sale, which would enable him to finally get “out of the mud bath” — seemingly referring to Waters’ controversial views.

“To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” said Gilmour.

Sony has never officially confirmed its recent catalog purchases, which have included those of Bob Dylan, Bruce Springsteen, and Queen’s name and likeness rights outside of North America. But those deals have all been widely reported and/or listed later on the company’s earnings reports. Still, if news emerges of the deal having closed, Sony could face hefty amounts of criticism for paying such a sum to Waters.

Other companies who showed an interest in the catalog and were close to a deal in 2022 include Hipgnosis, BMG, and Warner Music. But each of those companies has experienced leadership changes since then, and BMG even dropped Waters as a solo artist from its roster following some of his political remarks.

Photo Credit: Darren Young, Sam Lowe, George Pritchard, Wez Saunders, Shani Gonzales, Shamus Damani, Amber Davis

Warner Chappell Music UK teams up with Defected Records to launch a new joint venture, with WCM UK administering Defected’s roster and catalog.

Warner Chappell Music UK (WCM UK), the music publishing arm of Warner Music Group, has teamed up with British dance label Defected Records to launch a new joint venture. WCM UK will now exclusively administer the publishing roster and catalog of Defected Music.

Established in 1999, Defected has evolved and adapted over time, while maintaining its cultural values and musical identity, and now resembles more of a music media group with the label as its epicenter. One of the longest running independent labels of its kind, Defected continues to advocate for the cultural impact of house music in the UK and has remained well-respected in the music industry for 25 years.

The label’s publishing arm, Defected Music has recently enjoyed a number of big successes, including credits on Beyoncé’s Renaissance album, and Elton John and Dua Lipa’s “Cold Heart (PNAU Remix),” as well as massive tracks from Purple Disco Machine and John Summit, such as “Substitution,” “Where You Are,” and the Camelphat club classic, “Cola.”

The signing was marked at Defected’s legendary residency at Ushuaïa last month.

“Our mission is to uphold house music’s standards globally, to service our community while helping artists build longer lasting, more impactful, and more profitable careers,” said Wez Saunders, Defected’s CEO. “This JV with Warner Chappell Music UK will allow us to continue this and grow even further. I am particularly grateful to Darren Young, Sam Lowe, and the whole Warner Chappell team for making this happen and to our Director of Business Affairs, Shamus Damani, for his ongoing support and joining me on this next stage of Defected’s journey.”

“We look forward to working with Warner Chappell Music UK who clearly understand our DNA and are able to provide us with an award-winning team to ensure this next phase of Defected Music’s evolution is a success,” said Shamus Damani.

“I am delighted that we’re partnering with the iconic Defected Records — which is such a well-respected and innovative name in house music,” added Amber Davis, SVP and Head of A&R, Warner Chappell Music UK. “I’ve been such a fan of its genre-defining catalog for many years and it’s been a real team effort and privilege to bring these two companies together. I’d like to thank Wez, Shamus, Sam, Shani (Gonzales) and Darren (Young) for all their work and support in getting the deal done.”

Sam Lowe, A&R Consultant, Warner Chappell Music UK, concluded: “We are proud and excited to be partnering with Defected Records. The group clearly ha a great recipe for success and we can’t wait to start collaborating. Defected is a cultural phenomenon in the UK dance scene and we want to help it take its vision to the next level. I know this is going to be a great partnership and we’re excited for what is to come.”

Photo Credit: Mattias Caliste by Joyce Rodriguez

Universal Music Sweden launches Def Jam Recordings Sweden under the leadership of Mattias Caliste, coinciding with Def Jam’s 40th anniversary.

Universal Music Sweden, a division of Universal Music Group (UMG), has announced the launch of Def Jam Recordings Sweden. Led by Mattias Caliste, the label will continue to follow the blueprint of the iconic Def Jam Recordings label, which has led and influenced hip-hop culture worldwide for four decades.

Def Jam Recordings Sweden will launch with a flagship roster made of both well-established artists and new talent. The roster includes heavy-hitters Asme and Sarettii, rap-veteran Sebastian Stakset, and rising star Zikai. Supported by a dedicated team encompassing A&R and production, Caliste will be joined by Hamid Jamshidi and Hermon Alemseghed and will be bolstered by UMG’s regional and international network of labels and corporate divisions.

Mattias Caliste brings a wealth of experience, first as an artist in the group Fjärde Världen, as well as success as a producer and founder of the record label Stadsbild. Most recently, he ran Virgin Music Sweden, releasing a number of acclaimed albums by artists including 23 and Asme.

“It is a great honor for me to start up Def Jam Recordings in Sweden,” said Mattias Caliste. “Def Jam raised me! I grew up on artists like Public Enemy, EPMD, LL Cool J, Redman and Method Man, Warren G, and many others who all released some of their most outstanding albums under Def Jam. The label has a legacy that is incredibly important for hip-hop as both a genre and a subculture.”

Founded in 1984, Def Jam Recordings has represented the cutting-edge in hip-hop music for nearly 40 years. Def Jam began as an independent label inspired by downtown New York City’s vibrant street culture and the emerging sound of hip-hop, pioneered by stars like LL Cool J, Slick Rick, The Beastie Boys, and Public Enemy.

Def Jam established its dominance with superstar acts like Jay-Z, DMX, Ja Rule, Method Man and Redman, Ludacris, Rihanna, and Jeezy. Now in its fourth decade, Def Jam’s music and lifestyle have grown into a global brand.

Further announcements on signings and upcoming projects will follow in the coming months.

Universal Music India launches Vedam Records, a wellness-focused music label rooted in the timeless traditions of Indian culture. The first collaboration comes from three-time Grammy winner Ricky Kej.

Vedam Records will introduce traditional Indian sonics to the wellness music category, following the tenets of the Indian Vedic Wellness Systems (I.V.W.S.) to support yoga, meditation, focus, sleep, and chakra balancing. In the sacred Indian texts of the Vedas, The Samaveda details Vedic melodies and chants that have been practiced in India for thousands of years. These ancient guides channel deep sonic-cleansings techniques and sounds to help encourage better mental wellness and balance.

Vedam Records has collaborated with acclaimed Indian composer, U.N. good will ambassador, and three-time Grammy winner Ricky Kej who brings his unparalleled musical expertise and his knowledge of Indian wellness practices. Ricky’s work has been celebrated worldwide for its ability to bridge cultural divides and elevate consciousness. He’ll work closely with Vedam Records to help ensure the highest standards of artistic excellence and solidifying the label’s position at the forefront of this emerging musical category.

His first collaboration with Vedam Records is Break of Dawn, his latest audio album which explores the ancient Indian musical heritage of the Vedas—using their core tenets in every composition. Collaborating with nine of the finest musicians in their respective fields from around the world, Break of Dawn delivers soothing melodies, rich with Indian musical and cultural influences and is the perfect companion to the daily practices of yoga and meditation.

“With the launch of Vedam Records, we are embarking on a transformative journey, focused on improving the effectiveness and accessibility to authentic wellness music worldwide, steeped in traditional Indian Vedic practices and calibrated to various aspects of your wellbeing,” says Devraj Sanyal, Chairman & CEO, India & South Asia; SVP Strategy, AMEA at Universal Music Group.

“We are also thrilled to collaborate with Ricky Kej, one of the most acclaimed and respected Indian musicians today to help bring the label to life. Our mission for Vedam is simple, to release powerful music from India, created for the world to support better mental, emotional, and spiritual wellbeing.”

“Music has the unique ability to transcend boundaries and elevate the human spirit,” adds Ricky Kej. “For me, Vedam Records presents an opportunity to compose music that is therapeutic and necessary—now more than ever. In alignment with the I.V.W.S., I am crafting music that is not just a listening experience—but an introspective sonic journey, filled with joy.”

“Every song in Break of Dawn is such a unique journey that I feel will touch listeners at a deeper and more emotional level. I am certain that together with Vedam Records, we will create a positive impact around the world, through the powerful medium of music.”

Photo Credit: Odd Atelier (Jennie Kim)

Blackpink member Jennie Kim has signed a solo deal with Columbia Records in partnership with her record label Oddatelier. As part of the new solo deal, she’ll drop a new single in October.

Jennie emerged in 2016 as a member of Blackpink and is the highest-charting female Korean act on the Billboard charts. She’s also the only artist from South Korea to have headlined Coachella. Kim was born in Korea, but moved to Auckland, New Zealand when she was 10. She lived in New Zealand for five years before returning to Korea to join YG’s talent academy.

Blackpink was formed in 2016 and has gone on to become the first music group and Korean female act to have five music videos receive more than one billion views each on YouTube. They are also the most-followed girl group on Spotify with 16.3 million monthly listeners.

Kim also had a part in The Weeknd’s ill-fated HBO drama ‘The Idol,’ which explores a female pop idol’s (Lily-Rose Depp) complex relationship with a sleazy night club owner (Abel Tesfaye). Kim performs under the stage name Jennie Ruby Jane and plays a backup singer and dancer who gets the opportunity to break out on her own.

Jennie Kim opted not to renew her contract for solo activities with YG Entertainment, instead moving ahead with her own company Odd Atelier. In June 2024, the pop idol starred in a new Beats by Drew campaign promoting the brand’s Solo Buds. The star appears with backing of a yet-to-be-released original as she dances and swishes her ponytail—which could be a taste of her upcoming solo sound.

Her last truly solo venture was a single called “You & Me” that she debuted and performed during the BORN PINK Tour. She also contributed the song “One Of the Girls” to ‘The Idol’ soundtrack—that song has been certified platinum.

Photo Credit: Gus Stewart for Getty Images (Redferns Collection) / Primary Wave

Primary Wave Music inks a partnership with the estate of The Cars’ Ric Ocasek, which includes his publishing catalog from his time with the band.

The Estate of Ric Ocasek and Primary Wave Music have announced their new partnership, with terms of the deal seeing the publishing giant partner with Ocasek’s estate on the artist’s publishing catalog. This includes all songs from his time with The Cars as a cultural innovator and driving force of the band, in addition to his music released as a solo artist.

In this new partnership, Primary Wave will now share in name, image, and likeness rights with the state, and will provide access to the company’s marketing team and publishing infrastructure, working closely on new marketing, branding, digital, and sync opportunities, as well as TV and film projects.

“It is an absolute honor to partner with the Estate of Ric Ocasek,” said Adam Lowenberg, Primary Wave’s Chief Marketing Officer. “His words, music, and overall vision left such an indelible mark on the historical music landscape. I cannot imagine my own youth without the songs of Ric Ocasek. We are so eager to begin creating new opportunities to introduce Ric’s world to a whole new audience.”

Over the course of his five-plus decade career, Ocasek sold over 20 million records with The Cars and had over ten Top 40 hits. The band was nominated for six Grammys, including Best New Artist in 1979, and were inducted into the Rock and Roll Hall of Fame in 2018. Ocasek was the primary vocalist and songwriter for the band, writing some of their biggest hits, including the critically acclaimed singles, “My Best Friend’s Girl,” “Let the Good Times Roll,” and “Let’s Go.” Each of those songs are included in the multi-million-dollar deal, as well as their hit, “Drive,” which was the band’s highest charting single.

Other gems from the catalog included in the partnership are the hits “You Might Think” and “Just What I Needed,” the former of which was the first single off the band’s fifth album, and which shot to the Top 10 on the Billboard 100. The accompanying music video was a huge hit, and one of the first music videos to use computer graphics.

Released in 1978, “Just What I Needed” was the first single off The Cars’ debut album and was the most successful single from the release. The track has become praised by fans and critics alike, with Rolling Stone including it on their “500 Greatest Songs of All Time” list. The song influenced Weezer frontman Rivers Cuomo to select Ocasek to be the producer for the band’s debut. His reputation as a producer developed, and he found himself working with other bands like Bad Religion and No Doubt.

Photo Credit: Gideon Benari / CC by 2.0

Fitch Ratings gives Warner Music Group a first-time long-term credit rating of a decent ‘BBB,’ spelling good news for the company.

Just a few days after Bill Ackman’s Pershing Square Holdings, which owns approximately 10% of Universal Music Group’s equity, led to the company receiving an increased stock rating of “outperform,” its rival, Warner Music Group, receives similar good news. Fitch Ratings, one of the “Big Three” credit rating agencies in the US, has given WMG a first-time long-term “Issuer Default Rating” (IDR) of ‘BBB.’

The Fitch website’s ratings system guide confirms this is good news for the company. Fitch wrote that WMG’s rating “reflected its leading position in the music entertainment industry supported by its extensive portfolio of music assets and diversified revenue base.” The rating also takes into consideration the company’s “modest leverage and robust Free Cash Flow (FCF) generation, balanced against the inherent volatility of its hit-driven recorded music segment.”

Further, Fitch’s outlook for Warner Music also incorporates expectations for its continued growth in paid music streaming, expansion into emerging markets, and new monetization opportunities from new platforms and “dedicated superfans.”

“The global music industry has strong growth potential with opportunities from continued adoption of paid streaming services, price increases by Digital Service Providers (DSP), growth in emerging markets, monetization from new platforms, and premium plans for superfans,” Fitch explained, adding that it believes WMG is “well positioned to capitalize on emerging market opportunities.”

“Although major labels have signed licensing rights with platforms like Meta and TikTok, Fitch believes there is still a sizable value gap from unlicensed use of music by emerging platforms such as short-form video, exercise, gaming, and livestreaming,” the company concluded.

Meanwhile, Warner Music Group CEO Robert Kyncl has hinted that he’s interested in the company’s presence growing in the so-called “middle class artist market.” Warner’s recent minority stake in Brazil’s Sua Música will also be “a significant partner” for its strategy of expanding its presence throughout the Brazilian market.

A live performance from Dublin-based Lankum, which Beggars Group said achieved commercial success with False Lankum last year. Photo Credit: Paul Hudson

Beggars Group labels including XL, Rough Trade, and 4AD achieved a double-digit improvement in overall revenue during 2023 thanks in part to a material sales spike outside the UK.

London-headquartered Beggars Group just recently revealed its 2023 financials in a Companies House filing. All told, the year delivered 35 albums (up from 31 in 2022) across the company’s labels, with “commercial successes” including but not limited to Queens of the Stone Age’s In Times New Roman…, Romy’s Mid Air, and Lankum’s False Lankum.

Despite the relatively small increase in the number of label projects, Beggars disclosed $135.97 million/£103.18 million in revenue (including JVs), with $79.55 million/£60.41 million having derived specifically from non-JVs.

Behind the latter sum, core music sales and licensing contributed $67.51 million/£51.27 million (up 13.7 percent YoY), with the remaining $12.04 million/£9.14 million (up 23.7 percent YoY) attributable to the management side.

Geographically, the breakdown points to slightly reduced UK revenue of $15.96 million (£12.12 million) in 2023 – and a comparatively substantial £48.29 million from all other markets. That’s up a noteworthy 20.1 percent YoY, though it’s worth reiterating that the UK sum had jumped by north of $2.63 million (£2 million) across 2021 and 2022.

Nevertheless, total operating profit slipped by 11.4 percent YoY to $9.30 million (£7.06 million), per Beggars Group’s 2023 report.

Post-tax, total profit came in at $7.91 million (£6.01 million) for the non-JV labels of Beggars, which acknowledged YoY increases for cost of sales ($17.79 million/£13.51 million, up 15.2 percent YoY), distribution expenses ($7.93 million/£6.02 million, up 54.4 percent YoY), and admin expenses ($48.76 million/£37.30 million, up 11.6 percent YoY).

Meanwhile, a further $745,763 (£566,370) hit stemmed from exchange-rate fluctuations concerning investments in foreign operations, contributing to comprehensive 2023 income of $6.65 million (£5.06 million), the report shows.

As a pertinent aside, the above figures pertain to the label group’s aforementioned divisions, not the overarching Beggars Group itself. Beggars proper, the resource spells out, “has not presented its own profit and loss account in these financial statements.”

“The profit before tax of the parent company for the year was £14,200 [$18,697] (2022 – £16,035,317 [$21.11 million]) and the loss after tax was £75,756 [$99,738] (2022 – profit of £16,069,803 [$21.16 million]),” the relevant text reads of the multifaceted organizational structure at hand.

In any event, Beggars’ annual report acknowledges an average of 163 employees (including directors) for 2023, up from 156 in 2022. Overall, the individuals’ wages and salaries came out to $17.26 million (£13.11 million), up from $15.21 million (£11.55 million) in 2022 and excluding another £2 million or so in social security as well as pension costs.

Tatiana Cantinho, who’s joined Warner Music Brazil as general manager. Photo Credit: WMG

After kicking off 2024 by opening a “dynamic and inviting” Rio de Janeiro headquarters, Warner Music Brazil has unveiled a major restructuring initiative.

Warner Music reached out with word of the new executive structure, designed to “turbocharge” the Brazilian division’s presence across “diverse domestic genres.”

Said genres are proving increasingly lucrative against the backdrop of the South American nation’s quick-expanding recorded music market, which was deemed the ninth largest in the world last year and remains the target of aggressive antipiracy campaigns.

Keeping the focus on the revamped Warner Music Brazil, president Leila Oliveira has brought on Sony Music (and Som Livre) vet Tatiana Cantinho as GM and enlisted Mariana Frensel (previously with Sony Music, Warner Music itself, and most recently Match Group) to serve as marketing director.

Both the higher-ups are based in the Rio headquarters and will begin in the posts “immediately.” Additionally, Warner Music Brazil is retooling its A&R and marketing operations “to better serve key domestic genres” including but not limited to sertanejo, forró, and samba.

Consequently, existing A&R director Marcos Kilzer is poised to stay aboard and “work closely with Cantinho,” per the business. Plus, a newly formed creative services team will be helmed by Thiago Abreu, who’ll report to Oliveira and aim to support marketing as well as A&R while simultaneously spearheading brand partnerships and live projects.

In a statement, Oliveira touted the reorganization as “a key moment” for her company, which in July invested in Sua Música, the self-described “largest Brazilian music content platform.”

“This is a key moment for Warner Music Brazil,” summed up Oliveira, who’s been part of the executive suite for over a decade. “The arrival of Tatiana and Mariana strengthens my leadership team and together we’ll rewrite the rules about how the industry operates here.

“Our new genre-specific teams mean that we’ll be able to superserve artists better than ever and help all types of Brazilian talent connect with fans here and around the world,” concluded the Warner Music Brazil president.

At the top level, Warner Music Brazil’s latest changes are significant given the continued industry growth (fueled chiefly by streaming) attributable to the nation of over 215 million. But particularly regarding Warner Music, the pivots have come just weeks after a massive stateside shakeup within the major label’s decidedly important recorded music division.

Lastly, it was only in July that Universal Music moved forward with another round of layoffs, and different executive departures could be indicative of an ongoing reorganization at the leading label.