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Wendy Williams is set to make a rare public appearance this week as the former talk show host sits down for an interview with the hosts of The View.
Williams’ episode airs this Friday, March 14 at 11 a.m. ET/PT on ABC and marks her first television interview since she was reportedly removed from her assisted living facility for a mental evaluation this week. It’s not clear whether the TV personality will appear in-person at the ABC studios in New York or if she’ll be dialing in (some reports have leaned towards the latter).
And while The View panel features Whoopi Goldberg, Joy Behar, Sunny Hostin, Sara Haines, Ana Navarro and Alyssa Farah Griffin, Goldberg is normally absent from Friday dates, and is not expected to be part of Williams’ episode.
Want to watch Wendy Williams’ appearance on The View? You can watch The View on TV through your local ABC affiliate with a digital antenna, or with any basic cable package.
You can also livestream The View online without cable using a streaming service like Fubo or DirecTV Stream. Both streamers carry a live feed of ABC that you watch from home on your TV, phone, computer or tablet. Even better: both Fubo and DirecTV Stream offer free trials that you can take advantage of to watch Wendy Williams on The View online free.
Fubo’s free trial includes free DVR, so you can record Williams’ View episode to watch back on-demand later. Since The View is a daily live talk show, the episode is not expected to repeat or replay on air.
Though she is expected to speak to the hosts of The View live on air, Friday’s show won’t be the first time fans have seen the star on TV in recent years — the Lifetime documentary, Where Is Wendy Williams? premiered to huge ratings last spring, giving viewers a glimpse into Williams’ life under her financial conservatorship. It also documented her health journey, after Williams was diagnosed with frontotemporal dementia and primary progressive aphasia, a brain condition that affects memory and mobility. Williams was an executive producer on the documentary along with her son, Kevin Hunter Jr.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-13 03:02:252025-03-13 03:02:25How to Watch Wendy Williams on ‘The View’: Stream the Interview Online Free
Hipgnosis, the catalog company with rights to songs by artists including the Red Hot Chili Peppers that became the face of music-as-an-asset-class for Wall Street investors, is being renamed Recognition Music Group, the company said on Wednesday (March 12).
The new name covers what was previously three separate companies that each had Hipgnosis in the name: Hipgnosis Songs Fund, a publicly traded music royalty investment fund formerly listed on the London Stock Exchange; Hipgnosis Songs Assets, a privately-held royalty fund backed by Blackstone; and Hipgnosis Song Management, the investment manager previously run by founder Merck Mercuriadis that worked to generate a return on the song rights held in the catalog funds.
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Mercuriadis did not respond to a request for comment.
Since Blackstone acquired Hipgnosis’s public fund for $1.47 billion and Mercuriadis stepped down from his role as chair of the investment manager last year, the company decided it was time to shed the old name, CEO Ben Katovsky tells Billboard.
Recognition’s portfolio of publishing and master recording rights to some 45,000 songs include stakes in megahits like Shakira‘s “Whenever, Whereever,” The B-52s’ “Love Shack,” Fleetwood Mac‘s “Go Your Own Way” and Diana Ross‘ “I’m coming out.” A video made by the company to promote its new name to its roughly 40 employees weaves together lyrics from these and other songs in its portfolio to send a message that despite their history as separate entities, the Hipgnosis companies are meant to “get together,” even if one almost went its “own way” during Blackstone’s billion-dollar bidding war with Concord. Nearly a year after it consolidated ownership, Blackstone and Katovsky “want the world to know” this is a new company.
“It’s impossible not to have those songs resonate in your mind,” Katovsky says from Recognition’s London offices. He tells Billboard that the new name refers to “a combination of how easy it is to recognize those songs day to day and also to recognize the talent of the artists and songwriters and musicians who made those songs.”
Qasim Abbas, Blackstone’s head of tactical opportunities international, the division of the global financial fund that owns Recognition, said in a statement that last year showed “strong investor conviction in this asset class.”
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“The company is now set to build on its position as a leading independent investor in music rights; owning and managing an incredible portfolio of songs and recordings,” Abbas added.
Hipgnosis was known for acquiring dozens of catalogs a year between 2018 and 2021, earning it a reputation of contributing to a run-up in the market for music royalties. In contrast, Recognition intends to be a “selective buyer” of music rights, Katovsky says.
“Our ambition is to continue to grow the portfolio, and we already have scale as a business,” Katovsky says. “The scale allows us to invest … but it also means we’re not under any pressure to deploy capital.”
Recognition’s portfolio remains heavily weighted to publishing rights, which comprise roughly 80% of its assets; the remainder are mostly master recording rights. Blackstone still owns Hipgnosis Songs Group, the subsidiary that has housed Big Deal Music’s administration business since Hipgnosis acquired the independent publisher in 2020. The company has said the division is under strategic review, and Recognition is now looking to partner with publishers and music companies for the administration of its assets.
“Recognition Music will be a very collaborative player in this space in ways that it was not historically,” Katovsky says. “We want to work with other partners in this industry to do that.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 05:02:452025-03-12 05:02:45R.I.P. Hipgnosis: New Owners Change Influential Catalog Company’s Name to Recognition Music
Fresh off the release of a joint single last month, Thom Yorke and Mark Pritchard have announced their debut collaborative album.
Pritchard, who has 30 years’ experience as an electronic musician and producer, first teamed up with the Radiohead and the Smile frontman in 2016, with Yorke providing guest vocals on “Beautiful People” for Pritchard’s Under the Sun record.
The pair had first met when Radiohead last toured Australia in 2012, where English-born Pritchard is based, though their association extended back slightly further (at least in name only). In 2011, Radiohead’s TKOL RMX 1234567 album featured two remixes of “Bloom” reimagined by Pritchard, with one made available under his Harmonic 313 alias.
Yorke’s 2024 Australian tour brought with it the live debut of the new song “Back in the Game,” which was officially released in February, and is set to also appear on their forthcoming album, Tall Tales. The LP will be out on May 9 via Warp Records.
The record’s announcement also coincides with the release of a new song from the pair, with “This Conversation Is Missing Your Voice” once again being accompanied by a Jonathan Zawada-directed music video. The clip, along with the visual for “Back in the Game,” is part of a feature length film made by Zawada which had been developed in tandem with the creation of the music. A one-off screening of the film will also be announced in the near future.
“Mark sent me a large file of MP3s of ideas during lockdown,” Yorke explained. “There were so many great ones, I knew straight away that I had to drop what I was doing. It felt very much that I had not been anywhere like this before — both as soon as I put my headphones on and started trying to find the vocals, words and sounds, but also, as it progressed, watching Jonathan respond so freely and spontaneously with all his video and artwork ideas.
“It was mental, and I feel lucky to have been involved. I am looking forward to this finally coming out. Tall Tales is very important to me. I hope people get it, and get to hear it!”
The release of Tall Tales comes following a surprisingly prolific year for Yorke. In January 2024, The Smile released their second album Wall of Eyes, with a third album, Cutouts, arriving in October. The records peaked at No. 42 and No. 52 on the Billboard 200, respectively. In April, Yorke also issued the soundtrack to Daniele Luchetti’s drama film Confidenza.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 04:51:582025-03-12 04:51:58Thom Yorke and Mark Pritchard Detail Collaborative Album, ‘Tall Tales’
Spotify released its annual Loud & Clear report on Wednesday (March 12), trumpeting the growing number of musicians earning robust royalty income from the platform, along with its users’ increasingly global listening patterns.
“The number of artists generating $10,000, $100,000, and $1 million dollars on Spotify alone has at least tripled since 2017,” says Sam Duboff, the platform’s global head of marketing and policy, music business.
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And those artists are coming from a wider variety of countries. “Ten years ago, you probably had to be singing in English and maybe Spanish to have a really high ceiling,” Duboff adds. “Now we see eight languages where songs are generating $100 million a year [in royalties] just on Spotify” — not only English and Spanish, but also German, Portuguese, French, Japanese, Korean and Italian. In addition, “the majority of artists generating significant revenue on Spotify have the majority of their royalties coming from outside their home market.”
Perhaps more than past iterations of Loud & Clear, the latest report aimed to push back on popular complaints about the streaming era.
One frustration voiced frequently about streaming is that the platforms’ payouts have crippled most aspiring artists’ ability to build a career. Last year, for example, Reps. Rashida Tlaib (D-Mich.) and Jamaal Bowman (D-N.Y.) introduced the Living Wage for Musicians Act in the House of Representatives; the Union of Musicians and Allied Workers (UMAW), which helped draft the act, said it was necessary because “artists continue to be underpaid, misled and otherwise exploited by streaming platforms.” Across the Atlantic, members of the European Parliament also called on the music industry to explore “fairer models of streaming revenue allocation.”
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Spotify has a sunnier view of the streaming economy: Loud & Clear notes that “more artists than ever before are generating royalties at every career stage.” The company argues that much of the discontent with the modern music landscape stems from the fact that an unprecedented number of people are uploading music to streaming services, and “the sheer volume of uploaders means the fraction [of acts] who find success appears smaller over time.”
On Spotify, the number of artists making at least $10,000 grew nearly 8% in 2024, to 71,200, according to the platform’s data, while the number of acts making at least $100,000 from Spotify increased a similar percentage, rising to 12,500.
Those royalty-income brackets on Spotify grew faster than total music consumption in the U.S. last year (5.6%, according to Luminate) but not as fast as they did in 2023. “There are always fluctuations,” Duboff says. He is unconcerned by chatter about streaming growth tapering off, especially in the U.S. and Western Europe. “We still see a ton of growth in mature markets,” he says. “We also see a lot of really exciting growth in emerging markets.”
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Another idea targeted by Loud & Clear as a “misconception”: the notion of per-stream payouts. “One of the top conversations we have with artists is about this perception of our per-stream rate,” Duboff explains. “The way you hear people on social media talk, you’d think every streaming service pays out based on per-stream rate.
“But no major streaming service pays out based on a fixed per-stream rate,” Duboff continues. “Every major streaming service pays out based on stream share,” meaning the royalty pool is divided up according to rights holders’ portion of total streams.
Duboff hopes that Loud & Clear can start to “demystify the idea of stream share” and “help artists think through the actual ways in which royalties are generated.” Though it’s possible that, even after thinking this through, acts might still advocate for alternative payout methods, like the user-centric model that was in vogue a couple of years ago. The Living Wage for Musicians Act proposed to fund additional royalty payments — one penny per stream partially generated by charging an extra fee for every streaming subscription — on top of the current payout system.
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Spotify also hopes to change perceptions about its highest earners. “When I ask people what type of artist would be generating $1 million a year just from Spotify, the first assumption is it’s the biggest stars with the biggest hits,” Duboff says. “The second thing we hear a lot is, ‘It’s just a lot of legacy acts who were popular decades ago.’ The third is that it must be American, Canadian and Western European artists.”
Spotify’s data flies in the face of those assumptions, according to Duboff. For the second year in a row, 80% of the $1 million earners — close to 1,500 artists — never had a track crack Spotify’s Global Daily Top 50, he says, and more than half of them started their career after 2010. Plus, those acts sing or rap in 17 different languages.
With “momentum on Spotify, you have access to hundreds of millions of listeners all over the world,” Duboff adds, “and the revenue that they bring in.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 04:02:132025-03-12 04:02:13Spotify Says More Artists Made More Money in More Languages in 2024, Per-Stream Rate a ‘Misconception’
30 years since the Smashing Pumpkins released Mellon Collie and the Infinite Sadness, frontman Billy Corgan is reimagining the record for a series of opera performances.
The event, dubbed A Night of Mellon Collie and Infinite Sadness, will take place in the musician’s hometown, with the Lyric Opera of Chicago hosting the event for seven evenings beginning Nov. 21. Tickets to the event go on sale from Friday, April 11.
The arrangements and orchestrations for the production are being undertaken by Corgan and James Lowe to craft “a new commission inspired by one of the greatest alternative albums of all time.” According to a description of the event on the Lyric Opera of Chicago’s website, Corgan and some unnamed special guests will team up with the Lyric Opera’s Orchestra and Chorus to offer a “completely new, sonic and visual experience” that provides the chance for fans hear the Smashing Pumpkins’ music “in a sumptuous new dimension.”
“It is thrilling to collaborate with Lyric head John Mangum, my musical partner James Lowe, and all of the artists at Lyric in reimagining this very special and historic album, and to discover how Lyric’s full operatic treatment is helping me experience my own compositions in powerful new ways,” Corgan said in a statement.
“Opera and rock both tell stories of heightened emotions, and I am excited for both fans of my music and traditional opera fans to hear some truly inspired work; for the balance here is to honor both traditions in a magisterial way.”
“Next season is filled with a tremendous range of lavish and powerful opera productions that we are excited to share with our audiences,” added Lyric Opera of Chicago President and CEO John Mangum. “I’m just as excited about the special performances like ‘A Night of Mellon Collie and Infinite Sadness’ that open the aperture and expand the definition of opera and what an American opera company can be.”
First released in the U.S. on Oct. 24, 1995, Mellon Collie and the Infinite Sadness was the Smashing Pumpkins’ third record, and their first double-album. Though often described as a concept album (with Corgan himself referring to the album as “The Wall for Generation X”), the record was a departure in terms of what the band had crafted on the previous efforts, with Corgan tellingBillboard in 1995 that the somewhat grandiose 28-track release was still a “song-based album.”
The efforts of the band were rewarded at the time, with Mellon Collie and the Infinite Sadness managing to become the Smashing Pumpkins’ first release to debut atop the Billboard 200 (despite the increased price resulting from its two-CD format). The record also garnered seven nominations at the 1997 Grammys, including album of the year and best alternative music album, ultimately winning best hard rock performance for lead single, “Bullet with Butterfly Wings.”
A Night of Mellon Collie and Infinite Sadness Dates
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 03:35:332025-03-12 03:35:33Billy Corgan Plots 30th Anniversary ‘Mellon Collie and the Infinite Sadness’ Opera Concerts
There is so much pressure on pop stars to simultaneously evolve as artists while retaining what made them a beloved musician in the first place. And somehow, in that unforgiving landscape, Lady Gaga managed to thread the needle with her seventh studio album, Mayhem, and create a project that both honors the past and moves toward the future.
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On the new Billboard Pop Shop Podcast, Katie & Keith are talking all about Mayhem and sharing our favorite tracks on the no-skips pop project.
Also on the show, we’ve got chart news on Kendrick Lamar’s GNX returning to No. 1 on the Billboard 200 while his “Luther” duet holds steady atop the Billboard Hot 100. Plus, Blackpink’s LISA notches a top 10 debut on the Billboard 200 with her first solo full-length studio album Alter Ego, while Gracie Abrams gets her first No. 1 on the Pop Airplay chart with “That’s so True” and Elton John extends his record for the most top 10s on the Adult Contemporary chart with his latest single, the Brandi Carlile collab “Who Believes in Angels?”
The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 03:02:312025-03-12 03:02:31How Lady Gaga Managed to Conjure the Past & Look to the Future on ‘Mayhem’
Jack White has once again turned his focus to U.S. politics, putting President Donald Trump and Elon Musk in his sights at a recent performance.
White is currently in the midst of his global No Name tour, which has seen him perform a number of concerts in areas as diverse as central America, Asia and Oceania in recent months. As Consequence of Sound points out, Feb. 18 saw White wrapping up a brief run of gigs in Canada and the northeastern U.S., closing out the dates with two nights at the Roadrunner in Boston.
During his main set, White shared a rendition of his 2018 single “Corporation,” which originally featured on his third solo album Boarding House Reach, and typically begins with the line “I’m thinking about starting a corporation. Who’s with me?”
In the version played in Boston, White switched up the lyrics to offer a sharp-tongued takedown of Musk, leaning on the Tesla CEO’s involvement in the current administration after debuting the new line, “I was thinking about becoming an oligarch, who’s with me?”
“I was thinking about taking government subsidies and starting my own electric car company. Who’s with me?” White sang. “I’m thinking about not being elected. Never holding a public office. Never serving one day of military service. But somehow having the authority to control parts of the U.S. Government. Who’s with me?
“I’m thinking about not being properly vetted by the Supreme Court or Congress, just doing whatever the hell I want because some fucking bloated asshole orange fucking gorilla who’s failed at every business he’s ever ran wants me to be his golf cart partner!”
This isn’t the first time that White has changed his lyrics to reflect his distaste towards Trump. Previously, The White Stripes sold “Icky Trump” shirts during the President’s successful 2016 campaign, altering the title to their 2007 song “Icky Thump” in the process. In 2018, White performed the song with new lyrics that specifically called out the President by name.
More recently, White reacted to Trump’s 2024 election win by sharing a lengthy social media post in early November to express his disbelief at the state of U.S. politics.
“Americans chose a known, obvious fascist and now America will get whatever this wannabe dictator wants to enact from here on in,” he wrote. “It’s absolutely dumbfounding that this con man succeeded in pulling the wool over so many Americans eyes not once, but twice.”
White has since returned to the road since his February performance, appearing in Europe and the U.K. before his current Japanese leg. However, he’s yet to perform “Corporation” again since the Boston show.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 03:02:312025-03-12 03:02:31Jack White Takes Aim At Donald Trump and Elon Musk in Live Performance of ‘Corporation’
The U.K. streaming market rose to record levels in 2024 as it crossed the £1 billion ($1.28 billion) revenue barrier for the first time, according to annual figures from labels trade body BPI published Wednesday (March 12).
Subscription, ad-supported and video-streaming revenue totaled £1.02 billion ($1.3 billion) to make up 68.1% of the country’s recorded music revenue, a rise of 5.7% compared to the previous year. In an accompanying statement, the BPI suggested that the increase is in part the result of multiple streaming platforms raising their subscription prices.
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Combined with sales of physical music and digital downloads, along with synch and public performance revenue, the U.K. recorded music market saw total revenue rise 4.8% to £1.49 billion ($1.9 billion), marking a decade of continuous growth. The report notes that since 2014, annual streaming revenue has increased by more than 800% to become the dominant format for recorded music in the U.K.
The 2024 revenue figure is the highest ever achieved in the U.K. in one year. However, after adjusting for inflation, annual revenue is still hundreds of millions of pounds lower compared to where the music industry should have been in real terms since 2006, the first year when public performance and synch were included in the annual total, reports the BPI.
Breaking down streaming revenue, ad-supported streams enjoyed the biggest annual growth in the market last year with an 8.9% increase to £77.9 million ($100 million). However, paid subscriptions to services such as Amazon, Apple, Spotify and YouTube continue to make up the vast majority of total streaming revenue, bringing in £875.5 million ($1.13 billion) in 2024.
Although the physical market generated more revenue in the U.K. than in any year since 2017, growth slowed last year despite high vinyl and CD sales of new albums by artists including Coldplay (Moon Music), Sabrina Carpenter (Short n’ Sweet) and Taylor Swift (The Tortured Poets Department). Total revenue from vinyl, CD and other physical music formats increased by 1.3% in 2024 to £246.5 million ($317.9 million) after climbing 12.8% the year before. Within this, revenue generated by vinyl LPs rose by 2.9% to £145.7 million ($188.2 million), while CD revenue fell by 0.5% in 2024 to £96.7 million ($124 million).
Despite slowing growth in physical formats, the BPI attributed the continued strength in vinyl partially to the enthusiasm of new generations of music fans. In 2024, eight of the year-end top 10 across vinyl were current records, led by Chappell Roan (The Rise And Fall Of A Midwest Princess), Charli XCX (Brat) and Fontaines D.C. (Romance). In 2014, half of the top 10 sellers were catalogue titles.
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At the start of the decade, CD revenue in the U.K. suffered from a series of year-on-year double-digit percentage declines, but over the last three years, it has stabilized. Like vinyl, the CD market is led by new releases.
Elsewhere, public performance revenue climbed 5.6% year-on-year to £161.7 million ($206.5 million), while synch revenue ended the year with a new annual high of £43.9 million ($56.7 million).
In terms of individual songs, four singles generated more than 200 million audio and video streams last year: Noah Kahan’s “Stick Season” with 233.1 million streams, Benson Boone’s “Beautiful Things”with 219.3 million streams, Carpenter’s “Espresso”with 202.8 million streams and Teddy Swims‘ “Lose Control”with 201.6 million streams. Kahan and Carpenter’s tracks each spent seven weeks atop the Official U.K. Singles Chart, while Boone enjoyed two weeks atop the summit. Swims, meanwhile, peaked at No. 2 but earned the most-downloaded single of 2024 in the U.K., with 67,000 units sold.
More than a dozen other tracks scored over 100 million audio and video streams in the U.K. in 2024. These included “Stargazing”, the breakthrough hit by BRITs Rising Star 2025 winner Myles Smith, as well as releases by fellow British artists Cassö, RAYE, D-Block Europe (“Prada”), and Artemas (“I Like The Way You Kiss Me”).
Despite gains in each area of the U.K. recorded music market, Dr. Jo Twist, BPI’s CEO, stressed the importance of raising awareness around the government’s potential future approach to generative artificial intelligence training. At present, a data mining exception to copyright law is being discussed, meaning that AI developers could use songs for AI training in instances where artists have not “opted out” of their work being included.
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Last month, over 1,000 artists, including Kate Bush, Damon Albarn, Annie Lennox and Hans Zimmer, contributed to a new “silent” album to protest this proposal. Titled Is This What We Want?, the album featured recordings of empty studios. In an accompanying statement, the use of silence was said to represent “the impact on artists’ and music professionals’ livelihoods that is expected if the government does not change course.”
“After a decade of growth, it is all too easy to take for granted the success of UK recorded music and the vital role record businesses play in this, underpinned by copyright, by investing billions to nurture and promote diverse talent from across the UK,” said Twist in a statement. “But in the face of intensifying global competition, it’s essential they’re empowered by a supportive policy environment to keep British artists on the world’s top step.
“Crucially, this requires the exciting potential of AI to be realised by the government safeguarding the UK’s gold-standard copyright framework and not siding with global big tech at the expense of human artistry and our world-leading creative industries,” Twist continued.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 03:02:302025-03-12 03:02:30U.K. Recorded Music Revenue Hit Record High in 2024 on Continued Streaming Growth
Concord is an advanced talks to acquire music distributor Stem, according to multiple sources close to the talks.
Los Angeles-based Stem is a 10-year-old digital distributor that gives independent artists ownership of their works and retains a distribution fee. Nashville-based Concord has vast music publishing and recorded music catalogs that include the compositions of Rodgers & Hammerstein, classical music publishing company Boosey & Hawkes, and the catalog of Round Hill Music, which it purchased in 2023 for $469 million.
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Financial terms are unknown, but a report at Music Business Worldwideclaims the deal could reach $50 million. The Hollywood Reportercites sources as saying that figure “is wildly inaccurate” and that negotiations could result in a partial sale.
Stem would help Concord in its ambition to develop its frontline business. While Concord’s annual revenue is split roughly 50-50 between its publishing and recorded music divisions, it has notched more publishing hits, such as Miley Cyrus’ “Flowers,” which Concord owns a piece of through Tyler Johnson’s co-writing credit. In September, Concord merged its Concord Records and Fantasy Records into a single label, naming Margi Cheske and Mark Williams as co-presidents.
Concord’s frontline record label business includes Rounder Records, Concord Jazz, Fearless Records, Concord Theatrical Recordings and the Kidz Bop franchise. Concord also has joint ventures in Loma Vista Recordings with Tom Whalley; Easy Eye Sound with Dan Auerbach; and PULSE Records with PULSE Music Group. Launched in 2023, PULSE Records saw major success with Tommy Richman’s 2024 hit “Million Dollar Baby.” Billboard estimates the song generated $4.99 million from on-demand audio streams and digital song sales, based on Luminate data.
Stem, which raised $40 million in three fundraising rounds from 2017 to 2022, has been looking for a strategic investor since at least last year to give it access to more funding for artist advances after losing a series of stars to major labels. Competition for artists seeking distribution deals had picked up enough that Stem “lost numerous deals historically as it wasn’t able to be competitive with advances,” according to a Stem pitch deck Billboard obtained in 2024.
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In 2023, Stem secured a $250 million credit facility from Victory Park Capital to expand its advance check product, which has funded projects by Brent Faiyaz and Justine Skye. That line of credit was “restrictive,” a source with knowledge of the company tells Billboard, because it was doled out on a deal-by-deal basis, requiring each artist’s project to recoup its own advance. Lewis says a better option is to borrow against the whole company’s balance sheet so that if one artist’s project flops, the loan can be repaid by a successful one.
“Music is a hit-driven business, and you need to have capital that understands that and is willing to allow you to take the risk across multiple projects, knowing that the overall portfolio will perform,” this person says.
It was for that reason that Stem was looking for equity investors rather than debt. Outside investors, many from the venture capital world, already own a majority of Stem’s equity. Stem’s decision to provide artists with advances came at a time when interest rates were lower than they are today, and one industry source speculates that rising interest rates were a pressing matter for Stem. Concord would likely be able to provide Stem with a lower cost of capital, this source tells Billboard. Concord has raised more than $3 billion from three asset-backed securities led by Apollo Global Management.
Warner Music Group (WMG) has also been in the market for a distribution company, having passed on an opportunity to acquire TuneCore owner Believe in 2024. But speaking at a Morgan Stanley conference on Monday (March 11), WMG CEO Robert Kyncl suggested the company could build rather than buy a distributor at the going rates. “I’ve looked at all distribution companies over the last 18 months … and what I can tell you is that we’re not willing to grow this at all costs,” Kyncl said.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 03:02:302025-03-12 03:02:30Concord in Advanced Talks to Acquire Stem
Two-time CMA entertainer of the year winner Luke Bryan has notched 26 No. 1 chart-toppers since his debut in 2007 with “All My Friends Say,” so it’s safe to say he’s knows a thing or two about choosing a hit song.
But every artist has songs they’ve passed on and later regretted not recording. For Bryan, one of those songs is a certain Morgan Wallen hit that reached No. 1 on the Country Airplay chart in 2022.
During an appearance on radio/media personality Bobby Bones’ BobbyCast, Bryan discussed passing on the song. “There was a point in my career where I had sang about trucks enough to where I…I passed, stupidly, on the Morgan [Wallen song] ‘Sand in My Boots,’ because it had Chevrolet in it,” Bryan said, referring to a line in the song’s chorus that goes, “But now I’m dodging potholes in my sunburnt Silverado.”
Asked by Bones if the song had too much truck imagery in it for Bryan at the time, Bryan said, “I just went through two years of my life where I was like, ‘I sing about trucks a lot, I sing about tailgates.’ I think I got in my head a little bit because I think I had a lot of negativity, socially, on socials, that I was getting pegged as maybe a one trick pony in that lane.”
“You’re also a victim of your own success,” Bones noted, to which Bryan responded, “Which happens…I’ll take that any d— day of the week.”
In the interview, Bryan would go on to note the pros and cons of building a hit career that features so many light-hearted hit songs such as “Country Girl (Shake It For Me)” and “That’s My Kind of Night,” combined with his outgoing personality–though Bryan has also released more somber songs including “Do I,” “Drink a Beer,” and the fan-favorite “We Rode in Trucks.”
“I think no matter how people wanna categorize me, I think generally think my personality is ‘Let’s have some fun,’” Bryan said, saying he felt that though his hit songs and megawatt personality have drawn in legions of fans, those same attributes caused him to be overlooked at times when it comes to certain awards categories.
“If I don’t get male vocalist of the year, and Grammys or whatever because I may be known as the guy that has had fun through throughout his career and put out a lot of fun songs, I’m cool with that,” Bryan said. “I think, vocally, I may have been overlooked for that party-ness. I think there’s stuff out there that I’ve done vocally, that certainly it’s not Chris Stapleton vocals and Ronnie Dunn vocals and the guys who are really, really known as vocalists, but I think I might have gotten overlooked in that a little bit, which is fine.”
Still, knowing the grind it takes for any rising artist to truly see their career take off, he feels his personality has been a key factor in his rise to hitmaker and headliner. “Every artist that makes the leap from throwing out some radio hits, they’ve gotta have something that takes them to that…I didn’t ever know I’d be like what’s termed a ‘superstar’…Every time somebody introduces me as ‘Country Music superstar, Luke Bryan,’ it still freaks me out. I’m still like, ‘How in the hell did I pull that title off?’ So when you look at somebody that goes from climbing, digging, digging…one hit, two hit, three, four, then next thing you know they blow up to be a superstar, there’s something about ’em that made that happen. And with me, I think it was my personality and willingness onstage to just go for whatever, to dance and cut up. I think that was different enough to set me apart.”
See Bryan’s full appearance on the BobbyCast below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-03-12 03:02:292025-03-12 03:02:29Luke Bryan Reveals Why He Passed on Recording Morgan Wallen’s ‘Sand in My Boots’