Warner Music Group’s Post

It's hard not to talk about the undeniable impact of the Super Bowl halftime show on artists' careers. Usher's Super Bowl halftime show generated a staggering 46% surge in streams, translating to 35.9 million U.S. streams in just two days following his performance. Additionally, his music sales skyrocketed by 210%, demonstrating the unparalleled exposure and commercial boost such a platform provides. I'm sure we'll get more data soon about an influx in ticket sales for his tour in the coming months, as his tour is more than halfway sold out already. This demonstrates that strategic visibility on the world's biggest stage can dramatically amplify your brand, reach, and revenue. https://lnkd.in/eNrj8x-z #superbowl #usher #musicindustry

Investors will soon be able to invest in slices of music royalties, see article via the WSJ. There is no reason why this concept cannot be extended to data where companies assign their data to wholly-owned data subsidiaries. Read More ➡️https://lnkd.in/e4vmPSF5 #Data #Analytics #Investment #ROI #CDO #CheifDataOfficer #Music #StockMarket

New Post: Believe’s Board Invites Warner Music Group to Make Them an Offer - https://lnkd.in/g7FutBgQ - Believe’s board of directors on Monday (Mar. 25) asked Warner Music Group (WMG) to submit a formal bid for the French music company after stating that French financial regulators found an offer by a group that includes Believe CEO Denis Ladegaillerie violated certain securities rules. WMG said earlier this month that it approached Believe in February with a non-binding offer to combine the two companies at a price of “at least” 17 euros ($18.60) per share. It now has until Apr. 7 to “submit a binding, unconditional and fully financed offer,” according to a statement from Believe’s board.  Related Believe Revenue Rose 16% in 2023 on Streaming Growth & Expansion in Developing Markets 03/25/2024 Soliciting a take-over bid to compete with an offer by the company’s own chief executive is uncommon and signals an escalation in the fight for control of Believe. In its statement, Believe’s board said the bid from Ladegaillerie and investment firms EQT X and TCV was “not compliant with the rules governing tender offers.” Ladegaillerie and the investors had offered to take Believe private at a price of 15 euros per share — or roughly 1.523 billion euros ($1.64 billion) for the company. Upon learning of WMG’s approach, the consortium tried to speed up the acquisition process by waiving a condition that the board’s ad hoc committee receive an independent expert report into the financial fairness of their offer. A review by the French financial regulatory body, Autorité des marchés financiers (AMF), stated the group could not waive this condition. “The Board must permit…that all shareholders of Believe have the option to take advantage of the best possible offer, to the extent such offer is reasonably likely to be successful,” the board said in a statement earlier this month. Believe owns a large label services business, digital distributor TuneCore, publishing administration service Sentric and a stable of record labels including Naïve, Nuclear Blast and Groove Attack. The company’s business model is built around helping to develop artists and using digital marketing and distribution to impact local charts. In 2023, the company posted revenue of 880.3 million euros ($952.8 million at the average exchange rate), up 15.7% from the prior year helped by geographical expansion and strong streaming growth. - #news #business #world -------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR -------------------------------------------------- or downloa

New Post: Universal Music Group Announces Label Restructure, With Monte Lipman and John Janick as Leaders - https://lnkd.in/g-r_RGbT - The Universal Music Group announced a massive restructuring of its record label operations Thursday (Feb. 1), reorganizing its web of frontline labels to align them under two main companies, in Republic Records and Interscope Records. The move, which can loosely be termed an East Coast (Republic) and West Coast (Interscope) realignment, means that Interscope’s John Janick and Republic’s Monte Lipman will be leading U.S. label operations for UMG. As part of the move, the other U.S. label heads will now report through to Janick and Lipman, a source confirms. In the new alignment, Janick will now oversee Interscope, Geffen, Capitol, Motown, Priority, Verve and Blue Note, while Lipman will oversee Republic, Def Jam, Island and Mercury. UMG chairman/CEO Lucian Grainge announced the move today in a memo to staff, in which he acknowledged that Republic and Interscope have been the two market leaders in current market share in recent years; in 2023, Republic claimed 13.47% of the U.S. market, while Interscope was second, at 8.80%. “As our labels continue to maintain their creative A&R and marketing independence, unique identities, and entrepreneurial spirit, they’ll also be provided with access to the talent and resources best able to support their rosters and bring them to new levels of success,” Grainge wrote in the memo, obtained by Billboard. “It’s a proven model we pioneered on the East Coast several years ago—one that we will accelerate and expand. “As this model takes shape and spurs new creativity, our U.S. recorded music business will continue to outperform and outgrow our competition,” Grainge continued. “Led by the industry’s best creative visionaries — we will cultivate more repertoire sources, we will invest more in new artists and emerging genres, and UMG will become an even more attractive destination for the world’s most gifted artists.” The move comes after weeks of speculation about layoffs and restructuring at the company, and while no other moves were announced Thursday, layoffs are still expected, according to many sources. In his memo, Grainge said that “In the coming weeks, John and Monte will be making further announcements about structure, resources and next-generation partnerships. These and other developments will also power some of the other initiatives I outlined in my New Year’s note, including super-fan and audience monetization, state-of-the-art D2C, e-commerce, branding and more.” - ----------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR

Investors will soon be able to invest in slices of music royalties, see article via the WSJ. There is no reason why this concept cannot be extended to data where companies assign their data to wholly-owned data subsidiaries. Read More ➡️https://lnkd.in/eC_d5mFb #Data #Analytics #Investment #ROI #CDO #CheifDataOfficer #Music #StockMarket

Remember that post I shared about how tough it is in majors right now? Because the things they used to do no longer matter... It's playing out..... Atlantic Records are firing two dozen of their team... (who counts in dozens??) ...from the RADIO and MUSIC VIDEO departments. 😲 Aren't those two of the key things majors used to differentiate themselves? Wasn't that the core strength of companies like Atlantic? They will be replaced by: "Multi-talented, ambidextrous people – our ‘SWAT teams’ – who encircle the artist and do everything possible to help achieve their full potential." And with a new approach that is: "Bold, and bespoke to individual artists." What chance that the perfect, bespoke, multi-talented SWAT team for each artist is made up of a set group of employees inside a particular label? None. The approach is right. But the route to get their is through independence not dependence. #signofthetimes #musicbusiness #redundancies #gameover https://lnkd.in/deJmSyR8

New Post: Executive Turntable: Spotify’s UK Boss Departs; TuneCore and 10K Add to C-Suite - https://lnkd.in/ga-z7Qrk - If it’s Friday, you know it’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the global music industry. Tom Connaughton is out as Spotify’s managing director in the UK and Ireland, he announced this week on social media. The British-born executive joined the streaming giant in March of 2018 as head of artist and label marketing before getting a quick promotion three months later to his most recent role, which centered on driving content strategy and artist partnerships in the two powerful markets. He came to Spotify after seven years at Vevo, including two as senior vp of creative content & programming. In that role, he had responsibility for artist and label relationships across the U.S., U.K. and eleven different international markets and was based in New York at the time. Earlier this week, Spotify chief Daniel Ek outlined an aggressive round of job cuts at the company, however a spokesperson for the company declined to comment when asked if Connaughton’s exit was related in any way. He has spent a good chunk of the last year on paternity leave, a perk that was the subject of a recent Fortune profile, and in his LinkedIn announcement, which was gracious and positive in tone, said he’s looking forward to “taking some time out to spend with my young family.” He added in his note: “The UK and Ireland is a massive market for Spotify, and the business today is unrecognisable to what it was when I first joined. That’s all been made possible by the incredible people that I’ve had the pleasure of working alongside. They all care so deeply about giving a platform to artists and creators, and to providing an amazing user experience for all of us to enjoy.” As Music Business Worldwide noted in their coverage, Connaughton is the second market honcho to exit following last week’s departure of Jenny Hermanson as MD of the Nordics. Related Spotify Slashes Global Workforce By 17% in Latest Cost-Cutting Effort 12/08/2023 Warner Chappell Music tapped Jessica Entner to be its first vice president of creative sync strategy, a multi-faceted role focused on business development, partnerships and working directly with agencies and brands to realize WCM writers’ creative goals. Based in Los Angeles, she reports to Keith D’Arcy, WCM’s senior vp of sync and creative services. Entner arrives with roughly 24 years of industry experience under her belt, dating back to stints at Maverick Publishing, FM Rocks, Elias Arts and

The most interesting space in #musictech right now is #superfan brands that combine #content, #community and #commerce - the legendary #3Cs (for those of us who started out in #DotComOne . . .) As an example, investors are now alive to the fast growth of country music as a genre, but it's the changing consumption behaviours that are driving innovation and value. Who knew the 'Nashville lifestyle' would be where Gen Z and Gen A spend their disposable income? (Well, apart from the team at CountryLine of course 💁♂️ . . .) The smartest way for media & entertainment brands to thrive is through #experiential innovation. Indeed, if there's no #IRL dimension, is it even a community at all? The Maidthorn Group #targetglobalverticals #globalpassionniches https://lnkd.in/eT98duU7

For independent music creatives, leveraging licensing opportunities is crucial for sustaining their careers. By licensing their music to businesses, TV shows, and films, they not only generate revenue but also gain exposure to wider audiences. This exposure can lead to increased recognition, further opportunities, and ultimately, greater success in the industry. #IndieMusic #MusicLicensing #IndependentArtists #MusicBusiness #TVShows #FilmMusic #CreativeOpportunities #MusicExposure #MusicForBusinesses #MusicIndustry

“At live music events, everybody wins by walking away with a lasting memory, and no one goes home disappointed that their team lost. In fact, according to surveys, 76% of U.S. fans say a concert was one of the most memorable moments of their lives. And the experience fuels loyalty—93% agree that brands offering live music perks share their values.” I believe this to be true. I have recently been working with an organization called Women Who Rock™ to conduct a brand valuation. The power of associating live music to a sponsor brand can raise brand value exponentially. In some cases a factor of 9x to revenue generated or money invested. Who doesn’t want a 9x ROMI? This is especially true when the missions align across the event and the partners. In the case of #womenwhorock who uses live music events to increase visibility of women musicians and to raise awareness and money for women’s health research initiatives at Magee-Womens Research Institute & Foundation . It’s an incredible mission alignment, serving a great cause. It’s a win win. Do good to feel good. #purposedrivenbusiness #musicbusiness #valuecreation