Category Music Industry News

Richard Stumpf, the esteemed CEO/Founder behind Atlas Music Publishing (HYBE US), President of Imagem Music, US (Concord), and SVP at Cherry Lane Music (BMG), has embarked on an exciting new journey with the launch of Hawkeye Music Publishing.

In a recent press release, Stumpf unveiled the mission of his latest venture, stating that Hawkeye Music Publishing aims to serve as a vital link, connecting relationship-driven catalog clients with its strategic partner Round Hill Music. Additionally, the company will forge close collaborations with active writers dedicated to crafting impactful and resonant musical works.

The impressive roster of advisors for Hawkeye Music Publishing includes renowned figures from various corners of the music industry. Among them is Ann Mincielli, a Grammy-winning engineer celebrated for her work with icons like Alicia Keys. Mincielli’s expertise promises invaluable insights into the artistic process and studio dynamics.

Furthermore, the team boasts the visionary minds behind influential initiatives such as She is The Music and Jungle Studios. Notable names like Josh Gruss, Founder and CEO of Round Hill Music, bring a wealth of experience in music publishing, while Sean Garrett, the prolific producer/songwriter behind hits for Usher and Beyonce, lends his creative prowess to the endeavor.

Other luminaries contributing to the advisory board include Barry Ehrmann, founder/video producer of Enliven Entertainment, with a portfolio spanning luminaries like Billy Joel, Lady Gaga, and Travis Scott. Brandon Young, Head of Music Affairs at Activision Blizzard, brings a unique perspective at the intersection of music and gaming, while Chris “Coach” Rodriguez, Assistant Program Director and Disc Jockey at 107.1 The Peak (NY), offers insights into radio programming and audience engagement.

The international dimension is enriched by Julio Guiu, President of Clipper’s Music Group in Spain, and Amy Berkholtz, a seasoned digital media strategist with a diverse background spanning entertainment, media, tech, and social impact.

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The pulse of the global dance music industry continues to beat stronger than ever as the IMS Business Report 2024 unveils a staggering 17% year-on-year rise in revenue for 2023. Compiled by industry expert Mark Mulligan in collaboration with MIDiA Research, the report’s findings were unveiled at the IMS Ibiza 2024 conference, painting a vibrant picture of the electronic music scene.

In a testament to the enduring allure of dance music, the industry’s value soared to a remarkable $11.8 billion in 2023. Festival grounds and club dancefloors emerged as the primary drivers behind this surge, accounting for nearly half of the total revenue generated. The live sector, in particular, witnessed a remarkable 35% increase in revenue, signaling a robust resurgence in the aftermath of the pandemic-induced hiatus.

Noteworthy insights from the report highlight the unwavering devotion of dance music enthusiasts, who proved to be avid supporters of live experiences by increasing their spending on live music by 31% compared to the average consumer. Moreover, South Africa emerged as a burgeoning hub for electronic music, capturing the attention of industry observers and enthusiasts alike.

A standout example of the genre’s global appeal was showcased through Belgian festival Tomorrowland’s TikTok LIVE event, which mesmerized 16 million unique viewers across both weekends. This landmark achievement propelled Tomorrowland to the zenith of TikTok fame, boasting an impressive following of 5.7 million fans.

The survey’s findings further underscored the buoyancy of the live sector, with 63% of respondents reporting an uptick in event attendance, coupled with a substantial 66% increase in the number of events staged.

Reflecting on the industry’s meteoric rise, Mark Mulligan remarked, “2022 was an unusual year, reflecting the post-pandemic bounce-back effect for live. There was a risk that 2023 would struggle to live up to those inflated expectations, but instead, the electronic music industry grew strongly once again, with impressive growth across virtually all of its constituent parts.”

Mulligan also highlighted the genre’s unparalleled ability to attract diverse audiences, citing the rapid ascent of African music and fans as a contributing factor to electronic music’s expanding cultural footprint and vibrant global scenes.

As the beat goes on, the global dance music industry stands poised on the cusp of even greater achievements, fueled by innovation, passion, and an unwavering dedication to the rhythm that unites us all.

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In a significant triumph for Malaysia’s music scene, the local industry has achieved a historic revenue milestone, raking in RM303.89 million in 2023. This achievement marks the highest income ever recorded, surpassing the previous record set in 1998 at RM300 million.

The remarkable 57% increase over the last three years has been attributed to various factors, notably a 53% surge in digital sales and a remarkable 70% rise in collections by Collective Management Organizations (CMOs) such as Public Performers Malaysia (PPM), Music Copyright Protection Body Berhad (MACP), and Recording Performers Malaysia Berhad (RPM).

This success has not only elevated the industry’s financial standing but has also propelled local artists onto the international stage. Artists like Ernie Zakri and the group Dolla have garnered international acclaim, with Ernie’s duet “Masing Masing” topping the charts in Indonesia and Dolla featuring in the popular Chinese reality show “Show It All”.

Rosmin Hashim, chairman of the Recording Music Industry Association of Malaysia (RIM), emphasized the critical role of copyright protection in sustaining this growth. Hashim highlighted the necessity to extend copyright protection from 50 years to at least 70 years, aligning Malaysia with international standards.

He pointed out that 73 countries, including 17 of the top 20 music markets globally, have already adopted this extended copyright term, benefiting their respective music industries. Hashim stressed the economic significance of this extension, citing its contribution of an annual RM8.6 billion boost to the Gross Domestic Product (GDP), support for 111,000 jobs, and RM210 million in taxes.

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On the podcast “I Never Thought It Would Happen” hosted by the charity Help Musicians, Sharleen Spiteri, the frontwoman of the Scottish rock band Texas, bared the complexities she’s faced during her tenure in the limelight, shedding light on her turbulent relationship with the music industry.

Since the inception of Texas, Spiteri recounted encountering obstacles, notably on the day of the band’s first signing, when she was advised to alter her appearance and style. However, rather than succumbing to the pressures, Spiteri asserted that such critiques fortified her resolve, providing her with the courage to assertively decline conforming to industry standards.

According to Spiteri, although such critiques persist today, they are often veiled in subtlety, making them harder to discern. The Glasgow-born star, who ascended to fame in the 1980s, emphasized the pervasive nature of these comments while acknowledging the evolution of their delivery over time, describing them as “completely camouflaged” and “hidden really well.”

Amidst the challenges, Spiteri reminisced about the profound impact of Texas’s performance at Glastonbury 2023, a milestone she dubbed as “the best day” of her life. The experience not only revitalized the band but also bestowed upon them a newfound relevance. Spiteri expressed gratitude for the privilege of still resonating with audiences, as discussed in the latest podcast episode released on Tuesday.

Delving into her experience at Glastonbury, Spiteri expressed her overwhelming joy at the reception, confessing, “I didn’t think they were going to act the way they did.” Furthermore, she revealed how their set at the iconic festival catalyzed a shift, with contemporary artists like Fred Again incorporating Texas’s songs into their performances. Spiteri fondly recalled a pivotal moment when her daughter acknowledged her newfound coolness, marking a significant personal milestone.

Photo credit: Tore Sætre.

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Despite mounting pressure from the creative industries watchdog CIISA and a chorus of female voices within the sector, the Government has rebuffed key recommendations aimed at safeguarding women in the music industry from harassment and discrimination.

In a response to WEC’s (Women and Equalities Committee) groundbreaking January report on ‘Misogyny in Music’, the Government acknowledged the necessity for a workplace free from misogyny and discrimination. However, it fell short of embracing the comprehensive reforms proposed by the cross-party Committee.

WEC’s report highlighted the pervasive nature of misogyny and discrimination faced by women in music, particularly those navigating the freelance landscape characterized by power imbalances. Among the recommendations were amendments to the Equality Act to extend protections to freelance workers, the imposition of a duty on employers to shield workers from third-party sexual harassment, and reforms concerning non-disclosure agreements (NDAs).

While the Government recognized the importance of the Committee’s inquiry in amplifying industry concerns, it expressed reluctance to adopt certain measures. Specifically, it declined to implement the dual discrimination provision in the Equality Act and hesitated to impose a retrospective moratorium on NDAs, citing potential unintended consequences.

The response drew criticism for its failure to address the urgent need for systemic change in an industry marred by gender-based discrimination. Despite assurances of continued engagement with CIISA, the Government’s stance raises doubts about its commitment to fostering an inclusive and equitable music industry.

As voices within the sector continue to call for action, the debate over protecting women in music rages on, underscoring the imperative for substantive reforms to ensure a safer and more equitable workplace for all.

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In a bold move towards addressing pervasive issues of racism, misogyny, and sexual harassment in the music industry, Black Lives In Music (BLiM) has launched an anonymous survey aimed at gathering crucial data on these systemic problems.

Following earlier research that uncovered shocking evidence of misogyny and sexual harassment, BLiM is now doubling down on its efforts to confront racism within the industry. The organization emphasizes that the information gathered through this survey will be instrumental in shaping its anti-racist code of conduct and will also be shared with governmental bodies like the Department of Culture, potentially influencing legislation.

Reports flooding in to BLiM include distressing testimonies of women feeling pressured to conform to certain dress codes at events, disturbing allegations of rape and sexual assault within music studios, and numerous accounts of racial and sexual discrimination.

Renowned singer-songwriter V V Brown has thrown her support behind the survey, recognizing it as a vital step towards eradicating discrimination, bullying, and harassment, especially targeting Black and POC individuals within the music industry.

Grammy award-winning songwriter Kamille, celebrated for her collaborations with industry giants like Dua Lipa and Little Mix, has bravely shared her own experiences of facing barriers in her career. She highlights the additional challenges faced by Black women in music, noting the negative labeling they often encounter when defending themselves against bullying.

The music industry is being called upon to stand in solidarity with these initiatives by participating in the anonymous survey, amplifying the voices of those who have endured discrimination and harassment. Together, we can work towards a more inclusive and equitable future for all within the realm of music.

Photo credit: Matt Batchelor.

You can carry out the survey here.

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Get ready to dive into the vibrant world of audio as Spotify’s highly anticipated All Ears Podcast Summit and All Music Friday Summit make their return to Berlin on April 18 and 19. With experts spanning the audio spectrum—from artists and publishers to marketing and advertising mavens—these events promise to be a dynamic convergence of industry insights, creative inspiration, and unforgettable performances.

Following the resounding success of the 2023 summits, which marked a milestone as Germany’s largest podcast event to date, this year’s edition is poised to set new standards. Attendees can look forward to engaging panel discussions, immersive workshops, and captivating live podcast recordings, all set against the backdrop of Berlin’s vibrant cultural landscape.

For the Record had the privilege of catching up with Michael Krause, Spotify’s General Manager for Europe and the mastermind behind these summits, to glean insights into the audio trends shaping the industry, especially within the German market.

When asked about his anticipation for this year’s summits, Krause expressed eagerness in reuniting the industry’s thought leaders and fostering discussions on the future of audio in Germany. He highlighted the spontaneous energy and diverse conversations that make these events truly electrifying.

In discussing emerging trends, Krause underscored the excitement surrounding new ad formats and enhanced targeting capabilities. He emphasized Spotify’s commitment to innovation, citing recent launches like Streaming Ad Insertion and call-to-action cards as transformative tools driving engagement and value for advertisers and creators alike.

As Germany stands as one of the world’s largest music markets, Krause shed light on Spotify’s role in fostering its growth. He emphasized the platform’s mission to empower artists, particularly emerging talents, through initiatives like EQUAL and RADAR, thereby democratizing access to global audiences and amplifying diverse voices.

Reflecting on his seven-year journey with Spotify, Krause marveled at the company’s evolution from a music-centric platform to a multifaceted audio powerhouse. From podcasts to audiobooks and beyond, Spotify’s expansion into new territories and formats has been nothing short of monumental, with over 600 million users now tapping into its vast ecosystem.

Turning his gaze to the future of podcasting in Germany, Krause spoke of a landscape ripe with opportunity. With a plethora of tools and functionalities at creators’ disposal, including video podcasts, Spotify is committed to empowering creators to cultivate and engage their communities in innovative ways, further enriching the audio experience for all.

As Spotify’s All Ears Podcast Summit and All Music Friday Summit gear up to captivate audiences in Berlin, the stage is set for a momentous celebration of audio excellence, creativity, and collaboration. Don’t miss your chance to be part of this immersive journey into the future of sound.

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In a harmonious call to action, the music industry is striking a chord with young adults, urging them to “Give an X” by registering to vote before the clock strikes 11:59AM today (April 16) for the upcoming UK Mayoral Elections next month.

Statistics reveal a staggering truth: while six million vibrant souls immersed themselves in the pulsating rhythms of festivals and electronic music events last year, an equivalent number neglected to register their vote in the last Mayoral Election.

In a resounding effort to bridge this gap, a constellation of UK-based festivals, electronic acts, publications, and nightlife venues have penned an open letter, rallying their communities to seize their electoral power.

Among the illustrious signatories lending their voices to the cause are luminaries such as Annie Mac, the dynamic duo BICEP, the trailblazing AVA Festival, the iconic Mixmag, the avant-garde Block9, the electric vibes of The Cause, the transcendent sounds of HAAi, the empowering Foundation FM, and a plethora of other esteemed names.

This collective resonance underscores the transformative potential when artistry and activism intertwine, amplifying the heartbeat of democracy. Let’s make our voices heard, let’s give an X, and let’s shape the future together.

Photo credit: Descrier.

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In a recent revelation, Paloma Faith, the soulful voice behind hits like “The Glorification Of ­Sadness,” has hinted at the possibility of bidding farewell to the music industry. The 42-year-old singer shared her contemplation during an episode of Jamie Laing’s Great Company podcast.

Paloma disclosed that she’s entertaining the idea of releasing one final album before redirecting her talents toward a different career path. Surprising many, she mentioned the prospect of becoming a teacher, a notion fueled in part by her mother, Pam Oakes-Ash. It seems Pam has been gently nudging Paloma towards the teaching profession, emphasizing the appeal of synchronized summer holidays with her children.

The singer, who is a mother to two daughters from her previous marriage to Leyman Lahcine, expressed her mother’s encouragement: “My mum’s always telling me I need to train to be a teacher.” Paloma further revealed, “She’s like, ‘You’ve had kids, you’ve done the pop star thing. Go and do PGCE [teacher training] because then you can have the same holidays as your kids.’ I’m considering it. I just might put one more record out.”

During the podcast, Paloma also candidly discussed the dissolution of her marriage to French artist Leyman, shedding light on personal aspects of her life beyond the spotlight.

As fans absorb the news, many are left pondering the potential shift in Paloma Faith’s career trajectory and eagerly await updates on her musical and professional endeavors.

Photo credit: Steven Leith.

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In a candid interview with NYLON magazine, iconic singer Gwen Stefani has revealed the challenges she faces in navigating the ever-evolving landscape of the music industry while juggling her roles as a mother and wife. The 54-year-old artist, renowned for her chart-topping hits both as a solo artist and as the frontwoman of No Doubt, likened the music industry to “the Wild West,” emphasizing the unpredictable nature of the creative process.

Stefani, who is married to country music star Blake Shelton, shared her struggles with finding the time and inspiration to write music amidst her familial responsibilities. “To be a mom and a wife and then write a record? Everybody might be like, ‘Why did it take so long?’ Well, OK, I want to see you try to find five seconds to get creative,” she remarked.

The Grammy Award-winning artist admitted that balancing her music career with her parental duties has been tough. “It’s so hard to squeeze it into the life that I have. And that’s why I think it’s more special than ever,” she expressed. Stefani equated the process of making music to those precious moments of self-care that new mothers cherish amidst the chaos of raising a child.

Despite the challenges, Stefani and Shelton recently collaborated on the track ‘Purple Irises,’ which was released earlier this year. The song’s inspiration stemmed from their time together on Shelton’s Oklahoma ranch during the pandemic, offering a glimpse into their personal lives and creative partnership.

As Stefani continues to navigate the music industry with her signature blend of pop and rock influences, her candid reflections serve as a testament to the dedication and resilience required to pursue one’s passion amidst the demands of everyday life.

Photo credit: Lorie Shaull.

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