Deals
Hopeless Records has partnered with payments platform Trolley to streamline its accounts payable and royalty payout processes as the independent record label marks its 30th anniversary. The collaboration aims to enhance operational efficiency, ensuring timely payments for artists and staff, as well as simplifying end-of-year 1099 filings. Al Person, Chief Financial Officer of Hopeless Records, says, “Adding Trolley has really improved our processes. We’ve had other payment systems that were very segmented, but now, having everything in one place is a huge improvement.” Conor Cox, VP Revenue at Trolley, notes, “We’re seeing tremendous product-market fit across the music industry, particularly in spaces where companies are working closely with their artists.”
CTS Eventim has announced the merger of its German subsidiaries Peter Rieger Konzertagentur and DreamHaus to form PRK DreamHaus. The new company will be jointly led by Klaus-Peter Matziol and Matt Schwarz, current managing directors of Cologne-based PRK and Berlin-based DreamHaus respectively, with Tobi Habla appointed as an additional managing director. CTS Eventim CEO Klaus-Peter Schulenberg says, “The merger between PRK Peter Rieger Konzertagentur and DreamHaus will optimally position the company so that it can continue growing and sustainably strengthen its live entertainment presence within a challenging market environment”. The merger aims to create additional synergies, optimise management structures and drive growth more effectively, while maintaining existing sites and teams.
Candy Crush Saga has collaborated with musicians Kimbra, TOKiMONSTA and Laszewo to create new tracks incorporating in-game audio. The partnership coincides with the game’s third annual Music Season tournament, which launched on 19 Sep. Luken Aragon, VP Of Marketing for Candy Crush Saga at King, says, “Candy Crush Saga is about creating joyful experiences that are inspired by our mission of Making the World Playful, and our collaboration with these incredible artists elevates that”. The tournament offers a unique prize called the Sweet Sound Passport, granting the top ten players tickets to three concerts of their choice worldwide.
In Place of War, an international charity, has launched EarthSonic, a new record label, sound archive and event series aimed at addressing climate change through music collaborations. The initiative will work with indigenous communities, musicians, cultural organisers, scientists and climate activists to create projects that tell the story of climate change. Ruth Daniel, CEO of In Place of War and founder of EarthSonic, says, “This is a huge and ambitious project, which has many partners, all co-curating and creating together to produce collaborative music, immersing people in the story of our planet and inspiring action around six changes we can make in our lives to help preserve the planet, its species and landscapes and ultimately humanity itself.” The project has partnered with several music industry organisations, including A2IM, AFEM, BBC, Beatport, The Outernet, PRS Foundation, Roland and RA, to amplify its work.
Rimas Publishing and Arturia have announced a collaboration which the companies say marks Arturia’s first direct involvement with the Latin music industry. The partnership centres around Arturia’s new KeyLab mk3 keyboard, with Grammy Award-winning producer duo Súbelo Neo serving as spokespersons for the product. Emilio Morales, CEO of Rimas Publishing, says, “This collaboration is unprecedented for us at Rimas Publishing and for Arturia, as it marks the first time the company has worked directly with the Latin/Urban music industry”. Arturia, a French company specialising in music software and hardware development, describes the KeyLab mk3 as “an advanced MIDI controller designed to meet the demands of professional use and to integrate seamlessly with hardware and software instruments”.
Top Dawg Entertainment and Warner Records have signed alt-pop singer Alemeda. The Ethiopian-Sudanese artist becomes the third female act signed to TDE, following SZA and Doechii, and has released her debut EP ‘FK IT’. Alemeda says, “TDE placed trust and time in me to find my sound and develop as an artist at my own pace. I think to be signed to them means to be more than just an artist but to be a pivotal part of black art and culture.” Anthony Tiffith, co-president of TDE, notes, “Artist development is the most important thing to me. It’s a blessing to work with an artist like Alemeda who shares that vision and is willing to do the work.”
Rocket Science Music has become the official music partner of Grand Central, a sound design and audio post-production facility in London. The partnership aims to enhance Grand Central’s offerings with music supervision services, including original composition, music search, licensing and brand partnerships. James Cooper, Founder and Managing Director of Rocket Science Music, says, “We are incredibly excited to join forces with Grand Central. We look forward to bringing our expertise to the table and helping Grand Central’s clients achieve exceptional results”. Simon Kanjee, Joint MD at Grand Central, adds, “Partnering with Rocket Science Music is a game-changer for us. Their reputation for excellence in music supervision and creative services aligns perfectly with our dedication to high-quality sound design and audio post production”.
Flavor Unit Entertainment, Westbrook Studios and Jesse Collins Entertainment have announced a partnership to produce hip hop biopics, independently financed by HarbourView Equity Partners. The first project will be a biopic of Queen Latifah, tracing the life and impact of the Golden Globe, Grammy, and Primetime Emmy Award-winning artist. Queen Latifah and Shakim Compere will produce for Flavor Unit Entertainment, Will Smith and Miguel Melendez for Westbrook Studios, and Jesse Collins and Dionne Harmon for Jesse Collins Entertainment. Sherrese Clarke Soares, Founder & CEO of HarbourView, says, “As a girl from Queens, hip hop fundamentally shaped who I am. Music and storytelling was my passport to destinations both familiar and untraveled”.
Mixcloud has acquired Encore, a leading European online music marketplace for live performances. Encore, founded ten years ago, connects artists with customers seeking live acts for events and has facilitated over 50,000 bookings, helping musicians earn £25 million through live performances. Nikhil Shah, co-founder of Mixcloud, will join Encore as its new Chairman. Nico Perez, CEO of Mixcloud, says, “We are excited to welcome Encore into the Mixcloud family. Both companies share a deep passion for music, and by working together to use Mixcloud’s global reach and resources, we can provide even greater support to musicians and creators, helping them to earn a living and connect with their audiences in new and innovative ways.”
Appointments
Downtown Music has promoted Gareth Mellor to SVP, Global Marketing & Communications. Mellor will oversee global marketing and communication efforts across Downtown Music’s four core divisions, serving over 5000 business clients and reaching over 4 million creators and artists in 145 countries. The promotion follows the appointment of Molly Neuman as President of CD Baby and the alignment of the Downtown group under a single operating company. David Driessen, Chief Business Officer of Downtown Music, says, “Since initially joining FUGA in 2021, Gareth has been an integral part of establishing FUGA’s brand presence and awareness. With a strong understanding of global marketing, he has continued to deliver exceptional results-driven work at Downtown and I look forward to working alongside him in his new role as he continues to elevate and position Downtown’s brand in the global marketplace.”
Empire has established a presence in Australia, with Ghazi Shami, founder and CEO of Empire, announcing at the All That Matters conference in Singapore earlier this week that the company has hired Cameron Walsh as territory management for Australia. Walsh, who previously served as Director Of Label Services & Head Of Digital for Australia and New Zealand at [PIAS] Australia/Inertia Music, will begin his new role next week. Shami says, “We’re really picky about the people that we select in territories to plant the flag because they have to be representative of our ethos of our cultural composition, and there has to be some type of commitment to excellence that we perceive”.
All Things Live Sweden has appointed Magnus Widell as CEO, effective 1 Oct. Widell, who has ten years experience as CEO of amusement park Gröna Lundh, says, “I am incredibly happy and looking forward to meeting all my new colleagues at All Things Live”. The company, which has brought artists such as Taylor Swift and Justin Bieber to Sweden, organises the annual Melodifestivalen song competition and festivals including A Day In The Park. Gry Mølleskog, Group CEO for All Things Live Europe, says, “We are very happy to have Magnus as the new leader of All Things Live in Sweden”.
Believe has appointed Henri Jamet as Managing Director of Believe France. Jamet, who previously served as Director of labels including AllPoints, Morning Glory, naïve and Animal 63, will manage all of Believe France’s operations and develop the group’s external growth strategy in the market. He succeeds Romain Vivien, who has been promoted to President of Europe and Global Head Of Music. Jamet says, “After eleven incredible years at Believe, passion is still what drives me the most. I am truly honoured and excited to take on the role of Managing Director for France”. Denis Ladegaillerie, Founder and CEO of Believe, adds, “Henri is as close as possible to the ground, he is respected in the industry, he has a creative vision and knows the company culture”.
Legal
Live Nation has asked a federal judge to dismiss claims from several US states that it harmed concertgoers by stifling competition through its ticket-selling arm, Ticketmaster. The request comes as part of the larger lawsuit filed in May by the US Department Of Justice and a coalition of states, which seeks to break up the company and alleges illegal inflation of concert ticket prices. The lawsuit now involves 39 states and the District of Columbia, with two-thirds of them seeking triple damages on behalf of event-goers. Live Nation argues that the allegations “have almost nothing to do with consumers or the ticketing fees they pay”, stating, “The premise of their claim appears to be that in a world in which their marginal costs went down, venues would respond by gratuitously reducing prices for consumers rather than pocketing the incremental profit”.
Nelly has been sued for at least $50 million by his former bandmates, the St Lunatics, over a copyright dispute regarding several tracks from his 2000 album ‘Country Grammar’. The complaint, filed in New York, alleges that Ali Jones, Torhi Harper, Robert Cleveland and Lavell Webb are “the authors, creators, composers, writers and copyright owners” of eight songs on the album. The plaintiffs claim Nelly “showed considerable talent in his lyrical delivery of the songs written and arranged by plaintiffs” but failed to credit them, despite allegedly promising to “ensure that plaintiffs received writing and publishing credit”. The St Lunatics say they eventually discovered that Nelly “had been lying to them the entire time”.
The European Union Copyright Directive has been fully implemented across all 27 EU member states, with Poland becoming the last country to transpose the law. The directive includes Article 17, which increases the obligations of user-upload platforms and was widely campaigned for by the music industry. Jackie Alway, Chair of ICMP and EVP International Legal & Industry Affairs at Universal Music Publishing, says, “The landmark legislation of ‘Article 17′, which so many helped realise, has significantly boosted the digital licensing landscape for music publishers, songwriters and composers around the world whose music is used online in Europe”. Other areas of the Copyright Directive relevant to the music community include new rights for artists and songwriters around transparency, contract adjustment and fair remuneration.
Apple has been targeted by two new “specification proceedings” under the European Union’s Digital Markets Act. The European Commission will instruct Apple on how to comply with interoperability provisions for iOS connectivity features and app developer requests. Apple says, “We’ve created ways for apps in the European Union to request additional interoperability with iOS and iPadOS while protecting our users”. The Commission now has six months to conclude the proceedings and send preliminary findings to Apple, explaining expected measures for DMA compliance. If Apple fails to meet the requirements, it could face fines of up to 10% of its global annual turnover.
IFPI has announced that ‘Operation 404’, an ongoing anti-piracy campaign, has completed its seventh round of actions targeting infringing music services in Paraguay and Brazil. The operation carried out its first blocking action in Paraguay, targeting the top six stream-ripping sites which had over 31 million visits in the last year. In Brazil, the campaign blocked the three most popular music stream-ripping mobile apps, which accounted for more than 7.5 million active users in the country in the past year. Victoria Oakley, CEO of IFPI, says, “Operation 404 is one of the largest and most effective global efforts against music piracy. It is very good to see it extending its reach across Latin America and into Paraguay for the first time”.
Streaming, Digital, Broadcast & Retail
Music Tectonics has announced four finalists for its ‘Swimming With Narwhals’ start-up competition, set to pitch at the Music Tectonics Conference in Santa Monica, CA, from 22-24 Oct. The selected startups are DAWn Audio, Soloist, Soundspace and un:hurd music, each offering innovative solutions in areas such as online collaboration, practice tools, studio booking and data-driven marketing for the music industry. Finalists will demonstrate their products at a ‘Startup Carousel’ event on 22 Oct and present final pitches on 23 Oct. Shayli Ankenbruck, Head Of Events at Music Tectonics, says, “We are always deeply impressed by the pool of startups who apply to Swimming With Narwhals. There is so much energy and passion in music tech right now, in all parts of the tech ecosystem that involve music, and our finalists reflect that”.
SoundExchange has announced plans to develop a global artificial intelligence registry for sound recording creators and rights owners, set to launch in the first quarter of 2025. The registry aims to provide a resource for creators and rights owners to protect their rights related to the use of their content in AI models. It will utilise SoundExchange’s authoritative ISRC database, allowing companies building AI training models to reference authorisation declarations before ingesting recordings. Michael Huppe, President and CEO of SoundExchange, says, “The rapid proliferation of companies building and leveraging AI music models demands creators have an ability to declare easily whether or not they want their work used in that process”. SoundExchange maintains a catalogue of more than 126 million sound recordings and is designated by the Recording Industry Association of America to maintain US ISRCs.
Mellomanic says that it has secured an additional $6 million in funding, bringing its total capital raised to $13.8 million. The music community platform – formerly known as We Are Giant, and which has partnerships with major labels including Atlantic Records, Def Jam, Sony Music Nashville and Virgin Music Group – will use the funds to scale up operations and enhance its centralised music experience for artists and consumers. Andy Apple, Mellomanic CEO, says, “We’ve learned so much about music communities and fan behaviors this past year, and wanted our name to reflect that. ‘Mellomanic’ pays homage to the melomaniacs, all types of superfans, embodying the spectrum of emotions that exist within different genres of music and their listeners”. The platform, which hosts exclusive listening parties and community tools, says that its monthly active users have increased to over 400,000 since January, an increase of more than 13,000%.
Fal.ai has raised $23 million in funding from investors including Andreessen Horowitz (a16z), Black Forest Labs co-founder Robin Rombach, and Perplexity CEO Aravind Srinivas. The dev-focused platform for AI-generated audio, video and images secured $14 million in a Series A round led by Kindred Ventures, with the remaining $9 million from a previously unannounced, a16z-led seed round. Co-founded by Burkay Gur and Gorkem Yurtseven in 2021, Fal.ai offers privately managed compute and workflows for running models, as well as APIs for open source models that generate images, audio and video. Gur says, “Our platform can handle hundreds of millions of requests [and our] own inference engine is the most performant”.
Digital Catapult has selected ten start-ups for its Black Founders Programme, in partnership with Sony Music UK and Sony Music Publishing UK. The initiative, now in its second year, aims to support Black entrepreneurs in the UK tech sector by providing mentorship and investment knowledge to help scale and commercialise deep tech solutions. Michael Adex, founder and managing director of NQ, and an ambassador for the Black Founders Programme says, “This programme provides a showcase for UK Black tech talent and the potential within our community, and I’m eager to see how their ideas, their products and their business vision will help create meaningful change and inspire future generations.” Hari Ashurst-Venn, Senior Director Of Digital & New Tech at 4th Floor Creative, Sony Music UK, comments, “We are THRILLED to be supporting the second wave of the Black Founders Programme building on the successes of last year’s cohort, which are testament to the amazing talent of that group of companies.”
Ram Gopal Varma has announced he will exclusively use AI-generated music in his future film projects. The Indian filmmaker has launched RGV Den Music, a venture that will feature music created by AI apps such as Suno and Udio. Varma says, “Eventually, the music comes from your thoughts. You need to have clarity on what you want the app to produce. It’s the taste that will matter.” He argues that AI delivers music instantly at “zero cost,” predicting, “Human musicians, composers, lyricists and singers will be vastly affected and then completely disappear in the near future as the apps keep developing at a rapid pace.”
Live
San Francisco Symphony chorus members have gone on strike, leading to the cancellation of upcoming performances of Verdi’s ;Requiem;. The strike action, which began on 20 Sep, saw more than 150 musicians and patrons joining chorus members on picket lines outside Davies Symphony Hall. Ned Hanlon, president of the American Guild Of Musical Artists representing the chorus union members, says, “Management has repeatedly failed to show how targeting the Symphony’s internationally acclaimed Choristers will solve their alleged financial issues”. The strike comes amid reported financial troubles at the San Francisco Symphony.
Doune The Rabbit Hole, a Scottish festival that ceased operations in 2022, has been announced to return in 2025 under new management. The event, rebranded as Back Doune The Rabbit Hole, is scheduled for 1-3 Aug 2025 and will be organised by a team led by recording artist Brian Harkin alongside Rock Artist Management. The original festival, which had a 15,000-capacity, ran for a decade at the Cardross Estate in Stirlingshire before its organiser went into administration. Harkin says, “The new team is committed to preserving the essence of the original festival while bringing stability and fresh vision to the new event”.
Eventix data analysis has revealed a significant age shift in festival attendees in the Netherlands and Belgium between 2020 and 2024. The average age of festival-goers has increased from 26 to 31, with the proportion of attendees over 35 more than doubling since pre-pandemic times. In contrast, club nights continue to attract a stable core of 18 to 26 year olds. Rising costs post-pandemic have made festivals less accessible for younger, price-sensitive attendees, while clubs have maintained their appeal by keeping prices stable at around €15-20. Rick Batenburg, Country Manager at Eventix UK, says, “While we excluded UK events from the analysis as we have only been in the market for a year, discussions with event and venue organisers across the country suggest that similar trends are likely occurring here”.
Bresh, the company behind Fiesta Bresh parties, has partnered with New York-based investment firm Carroll Street Capital to launch Bresh Global, an international media and live events platform. The partnership aims to expand Bresh’s global footprint, with Carroll Street Capital providing funding and strategic support. Bresh Global will establish its headquarters in Miami, with additional offices in Los Angeles, while maintaining existing offices in Buenos Aires and Madrid. Jaime James, Bresh’s founder, says, “Our mission at Bresh Global is to create human connections through entertainment and collective experiences.”
Kevin Lyman has confirmed that “something is cooking” for Warped Tour in 2025, addressing rumours of the festival’s potential return. The founder of the long-running rock festival told Pollstar, “We have something cooking for 2025. Details should be ready in a few weeks”. This development comes after Rock Feed reported that the retired festival would make a comeback in 2025 with “a series of festivals”, potentially involving Live Nation. The timing coincides with Warped Tour’s 30th anniversary, as the first event took place in 1995. Lyman previously ended Warped Tour as a touring festival in 2018, citing frustrations with a “fractured fanbase” and changes in the sense of community.
Other Industry News & Events
Spanish performer collecting society AIE has signed a collaboration agreement with The Latin Recording Academy to become an official sponsor of the 25th Annual Latin Grammy Awards. The event, celebrating its 25th anniversary, will take place in Miami on 14 Nov 2024. This partnership aims to promote and elevate Spanish-language music both within and beyond borders. José Luis Sevillano, AIE’s CEO, says, “It is a great milestone for AIE to be an official sponsor of such an important event in the world of music as the 25th Annual Latin Grammy Awards, because of the great visibility it provides to Spanish and Latin music in the international arena and the opportunity it gives us to highlight the work we do in defence of the rights of performing artists”. AIE currently represents the intellectual property rights of more than 36,000 music artists from Spain and other countries.
The French recorded music market has grown by 5.9% in the first half of 2024 compared to the same period last year, generating revenue of €415 million. Trade group SNEP reports contrasting trends, with physical sales declining by 6.8% after a temporary upturn in the first half of 2023, while digital revenues increased by 9.6%. Vinyl sales have surpassed CD sales for the first time since the 1980s, with CD sales declining by 13%. Alexandre Lasch, Director General of SNEP, says, “We are seeing encouraging results, but they should be better, especially those of streaming service subscriptions, given the path that remains to be traveled to reach a satisfactory level of maturity”.
Music For Dementia has released a new report highlighting the potential role of younger generations in improving dementia care through music and technology. The report, ‘The Music Sounds Better With You’, based on interviews with 1000 non-professional carers, found that while 80% of caregivers use music in dementia care, only 61% feel confident with technology. Sarah Metcalfe, Managing Director at Music For Dementia, says, “Young people might not think they have a vital role to play in dementia care, but Gen Z and Gen A can make an important contribution just by using their tech knowledge”. The report reveals a digital divide among carers, with 79% of 18 to 24 year olds confidently using technology compared to 35% of 65 74 year olds. It recommends addressing this divide through community and peer-to-peer focused learning, with emphasis on intergenerational music projects.
Production Futures has announced a collaboration with the Institute Of Sound, Communications And Visual Engineers to strengthen industry links and provide pathways for newcomers in the sound, communication and visual engineering sectors. The partnership aims to bridge the gap between education and industry by offering access to ISCVE’s training programmes via the Production Futures platform. Jason Williams, Early Careers Chairman at ISCVE, says, “ISCVE is excited to be joining forces with Production Futures to help build a network that supports individuals at the start of their careers and throughout their professional journeys”.
Mark Beaven, co-founder and co-CEO of Advanced Alternative Media, has been announced as the recipient of a Lifetime Achievement Award at the 25th global edition of MUSEXPO. The award will be presented on 17 Mar 2025 at Castaway in Burbank, California. Founded in New York City in 1982 as a marketing company, AAM has represented artists such as The Smiths, Depeche Mode, Talking Heads and Prince, later evolving into producer, artist, and songwriter management. AAM has also been involved in managing high-profile transactions, including the sale of over 40 music catalogues.
Artist News
A$AP Rocky has withdrawn from the 2024 iHeartRadio Music Festival in Las Vegas due to illness. The rapper announced the news on Instagram on Thursday, saying, “UNFORTUNATELY, I ENDED UP GETTING SICK & I WON’T BE ABLE TO PERFORM AT THE @iheartfestival. IM SORRY TO MY FANS & THANKFUL TO @iheartradio FOR THE OPPORTUNITY!”
Jessi has launched her own independent label called UNNI and signed a management contract with DOD Entertainment. The Korean-American singer and rapper announced the news on 20 Sep, sharing new profile photos on Instagram and tagging the new label’s account. DOD Entertainment says, “We will do our best to support Jessi, who has a versatile talent in various fields as well as music.” This development comes eight months after Jessi parted ways with her previous agency, Jay Park’s More Vision label.
Future has released ‘Mixtape Pluto’, his first solo mixtape in eight years. The eighteen track project features production from Southside, Wheezy and ATL Jacob, but does not include any guest appearances. Some listeners have drawn comparisons between Future’s vocal style on the track ‘Plutoski’ and Playboi Carti‘s signature sound, with one user on Xcommenting, “Carti wanna sound like Future and Future wanna sound like Carti”. Future dedicated the mixtape to his late mentor Rico Wade, stating on X, “My cousin never died in my eyes. Rico Wade u already know what u mean to me!”
