A&R Worldwide Newsletter Vol. 831

POSITION MUSIC ACQUIRES GESAFFELSTEIN CATALOG

TIM GLOVER APPOINTED PRESIDENT OF A&R
AT PULSE RECORDS

Los Angeles, CA-based Pulse Music Group announced the launch of Pulse Records last summer, marking its entry into the recorded music realm through a joint venture with Concord. Now, the label is bolstering its team with the appointment of Tim Glover as President of A&R.

Glover brings a wealth of experience from his decade-long tenure at Interscope Geffen A&M, where he held the position of Executive VP of A&R. Reporting to Pulse Music Group’s co-CEOs Josh Abraham and Scott Cutler, as well as President Ashley Calhoun, Glover will be in charge of artist signings and development while overseeing recording projects from the company’s Silverlake offices.

During his time at Interscope, Glover made major contributions to the success of artists under the Dreamville imprint, such as JID and Ari Lennox, and played a key role in the growth of Love Renaissance (LVRN) artists like Summer Walker and 6LACK. With a track record of nurturing versatile talents, including Lil Mosey, Tierra Whack, and Jordan Ward, Glover’s appointment aims to bolster Pulse Records’ commitment to cultivating a roster of innovative artists.

Supported by Concord’s label services platform and administrative teams since its launch, Pulse Records has announced signings like New Zealand-born South African artist 9lives and forming strategic partnerships with labels such as ISO Supremacy.

In a joint statement, Abraham, Cutler, and Calhoun said, “Tim’s creative ability has led him to sign, and work with some of the world’s top recording artists. We want our artists at Pulse Records to work with the very best in executive talent and Tim will be a key part of the team as we continue to build. We know that Tim will bring his incredible creative instincts, business acumen, and experience to this new position and that he will continue to inspire and launch countless PULSE Records artists along the way.”

At just 29 years old, the Los Angeles-based, British-born native, Taylor Jones is a figure as enigmatic, as he is inspiring, and energetic, earning him comparisons to the modern-day entrepreneurial icon, Richard Branson. As the Founder, Group Chairman, CEO & Global Head of Creative of The Hello Group (THG), Taylor embodies a multi-dimensional approach to entertainment leadership. With a career spanning various roles including executive, manager, A&R, agent, songwriter, executive producer, and creative director, Taylor’s influence is felt across the global entertainment landscape.

His hands-on approach and creative vision drive THG’s operations, where he showcases unparalleled expertise in business strategy, global marketing initiatives, and project management across all facets of entertainment and branding.

We sit down with Taylor Jones for an interview to learn more about this burgeoning business executive, creative, and entrepreneur before his exclusive in-person keynote interview, which takes place at this year’s global music business conference and showcase event MUSEXPO, March 17 – 20, in Burbank, CA.

Taylor, you’ve been a key player in the global rise of K-Pop, having placed songs resulting in numerous Billboard No.1’s and Gold/Platinum certifications for artists like BTS and TWICE. How has your approach to A&R evolved in response to the rapidly changing landscape of the music industry, particularly within the K-Pop genre?

We have honed our A&R strategy in a genre that thrives on virtual collaboration. While in-person studio sessions remain a part of our workflow, most of our creative process involves exchanging briefs, receiving tracks, and selecting top-tier songwriters to topline those tracks remotely. This approach, accounting for nearly 80% of our process, enables us to connect with talented individuals worldwide and leverage technology to our advantage.

As a result, we’ve seen a surge in global collaborations, opening doors to exceptional talent that was once beyond our immediate reach, particularly evident in the timely briefs and song requests we receive from our partners in South Korea. By leveraging this approach, we are churning out a higher volume of polished demos, and our digital pitching capabilities know no bounds. In the end, it boils down to more writers, more songs, more pitching, and more cuts—all without compromising on quality.

The Hello Group has expanded its reach across various facets of entertainment and branding under your leadership. Can you discuss how you balance the diverse responsibilities of being an entertainment executive, manager, A&R, agent, songwriter, TV producer, and creative director within the company?

Despite the perception that managing numerous projects requires a meticulous approach, my strategy revolves around prioritization based on necessity, urgency, and my unique contributions to the topics at hand. While I handle certain tasks directly, such as meetings, planning, and executing specific projects like TV formats or managing acts with Key-Man clauses, I delegate other responsibilities to a qualified team.

My focus lies in crafting high-level strategies, setting policies, and overseeing the implementation of these plans. There is an enormous amount of crossover in my role which allows me to utilize my A&R and writing skills when managing talent and addressing music-related aspects, and so on. I do try to allocate at least 50% of my time to creative projects, as they drive revenue for both our talent and content ventures.

In terms of productivity, I put in long hours, typically 12 or more per day. However, I make sure to carve out time for my personal life because those moments are crucial for recharging my creative batteries. To streamline my workflow, I rely on AI for scheduling and use tools like Monday.com and Asana for project management. Here is a tip I often share: aim to keep meetings short, around 15-30 minutes whenever possible, and remember that many matters can be addressed efficiently through a simple email. By freeing up your time from endless meetings, you can focus on executing your plans rather than just discussing them.

With your extensive experience in talent management, including representing winners of major competitions like The Voice Kids and Eurovision, how do you identify and nurture emerging talent amidst such a competitive industry landscape?

Navigating the music industry landscape has undeniably become more challenging over time. In recent years, I’ve consciously opted to take on fewer developmental acts—those still finding their footing, lacking substantial revenue streams, and requiring significant backing to flourish. This decision stems from the realization that, given our size, our resources are finite, and the market is fiercely competitive, with over 800,000 songs released weekly. Even if an artist puts out new music on a weekly basis, it poses a daunting “one in a million” chance of breaking through. But, while it is ‘virtually impossible’ statistically, there are artists breaking out every day and so the mission remains very much alive.

To navigate this reality, we blend our inherent knack for spotting exceptional talent, unyielding drive, and magnetic personalities with data-driven insights. We analyze metrics such as posting frequency, conversion rates, audience growth, and music consistency (from a quality and frequency value). Does the artist have a good team around them that enhances credibility? Are they willing to invest in their own career—whether through securing a part-time job to support their musical endeavors or otherwise? All good questions to ask.

For established acts, the process is comparatively simpler. Our decisions here hinge on whether we’re fans of the music, alignment with our representation approach, and a solid match of personality and vision between us and the client.

As a member of various prestigious industry boards like City of Hope’s “Future Hope,” how do you leverage your position to advocate for positive change and innovation within the music industry?

I have always been driven by a passion for helping others—considering that much of my career as a manager revolves around nurturing others’ dreams into reality. This ethos extends beyond my team and partners to the broader industry. Whether it’s through my role at City of Hope or my involvement with nonprofits like CyberSmile and Make-A-Wish Foundation, and participation in government organizations such as Monaco Private Label‘s “Young Leaders” program, I leverage my connections and relationships to raise funds, offer life-changing experiences, and champion causes close to many hearts.

Beyond philanthropy, I constantly seek to instigate change and innovate within our industry. I have come to understand that unfortunately, resistance to change is prevalent in many sectors of our business, yet I’m immensely resilient, and being told “no” only fuels my determination to drive transformation. From developing technology to revolutionize the music awards sector and certification processes to creating platforms that streamline workflow, and even implementing changes on the creative front—like enforcing proportionate payments to songwriters from producer/master fees—we’re committed to pushing boundaries and are frequently among the first to do so.

Collaborating closely with partners like Sony Music Publishing, we have pioneered unique pitching setups at THG Publishing, significantly boosting our pitching success in APAC regions. Partnering with those who share our passion for innovation is integral to our ethos, driving us to constantly evolve, and elevate the industry as a whole.

You’ve received recognition as “CEO of The Year” at the Global CEO of Excellence Awards and have been listed among the top entrepreneurs under 30 by Yahoo Finance. How do you maintain a balance between achieving personal accolades and driving the success of The Hello Group as a whole?

Fortunately, those two roles intertwine seamlessly. As the Founder and the recognizable face of the business, the bulk of our initial triumphs stemmed from my direct involvement—I personally managed or handled A&R for our top-tier talent, thus sharing in the accolades to my personal credit. Though, with the company’s expansion, our team, clients, and the values instilled by our exceptional colleagues have naturally grown in tandem.

My foremost focus lies in bolstering the organization and supporting our team, facilitating our clients’ optimal performance, and allowing everything else to fall into place organically.

While I do love public speaking and storytelling, I am consistently acknowledged as a spokesperson for The Hello Group. Even in these personal engagements, the benefits reverberate back to the business, opening doors to new opportunities and expanding our reach. Win-win!

The Hello Group has undoubtedly seen significant growth and success under your leadership. Can you discuss any key strategic decisions or initiatives that have contributed to the company’s evolution and continued success?

Despite achieving significant milestones—generating tens of millions in revenue, securing over $20 million (USD) in financing, and signing more than 100 talents—every day still feels like I’m navigating the wild terrain of startup land. While we’ve celebrated monumental successes across various verticals, this journey has been rife with challenges, with each day presenting its own set of obstacles. Yet, amidst the chaos, I find myself thriving under pressure. While we have launched numerous businesses within our group, success is not always guaranteed, but that is all part of the journey—and with each failure, valuable lessons accompany, shaping our path forward.

One pivotal strategic move that propelled us forward was the launch of our music publishing company. Previously, we solely focused on talent management, effectively functioning as a music publisher in many respects. By establishing our own music publishing arm, we streamlined the day-to-day managerial tasks for writers and producers, allowing us to zero in on activities that truly drive revenue and success—such as music creation, pitching, and revenue collection. Empowering our writers to also serve as A&Rs proved to be a game-changing decision, significantly enhancing our incoming talent flow.

Furthermore, we are adept at seizing opportunities presented by market shifts or emerging trends. For instance, when COVID shuttered studios, we seized the moment to launch a TV/film studio, leveraging our newfound access to executives, studio space, and content in what was previously a gated market. Simultaneously, we partnered with an exceptional agent, Cory Riskin, to establish our own agency division, which now books nearly 1,000 shows annually. These opportunities arose from a dynamically shifting marketplace (despite the pandemic being a terrible time for mankind).

Similarly, our keen eye for emerging trends led us to dive headfirst into K-Pop, resulting in our client’s working on BTS‘ first two major projects to achieve Platinum status in the USA—leading us to many more placements in K-Pop, now having solidified our foothold in the K-Pop world. Likewise, we are deeply immersed in the evolution of Indian pop music, thanks in part to my friend Sat Bisla, who facilitated a speaking engagement for me in Mumbai, India last year.

Recently, you faced the loss of a business partner and mentor in Phil Quartararo, how has his mentorship influenced your leadership style and the direction of The Hello Group? Additionally, how have you navigated his loss and worked to honor his legacy while pushing the company forward?

While Phil was not a yes-man by any stretch, he was open to ideas he deemed genuinely worthy. Fortunately for Phil, myself, and our other partners at THG corporate—Kyran and Matt—we often found ourselves on the same page with my out-of-the-box ideas. Whether it was launching a TV/film studio, a publishing company, a beverage company, a tech venture, or an agency, we consistently opted to innovate and shake up industries that seemed stuck in antiquated ways.

Beyond offering business guidance and playing devil’s advocate, Phil provided invaluable personal guidance. He helped shape my temperament, ensured my values were ingrained in every project, coached me on effective communication with my team, honed my listening skills, taught me to pick my battles, and showed me when to let things go and when to persevere. Phil made it his mission to impart his 40+ years of experience and wisdom onto me, and I feel like I absorbed at least 20 of those years because of his exceptional ability to break things down and communicate effectively—we shared the exact same communication style. Every day spent in the office with someone of his caliber was a masterclass in learning.

It is heartwarming to know that Phil’s family are beneficiaries at THG, allowing us to genuinely provide value to the Quartararo family as we continue to grow as a business. Meanwhile, I will carry Phil’s lessons, memories, and a good sense of humor with me no matter where life takes me.

MUSEXPO 2024 SYNC FOCUS
MUSIC SUPERVISOR SPOTLIGHT ON JENNIFER PYKEN

Jennifer Pyken is one of the almost 40 music supervisors, and film, TV, and video game music executives speaking at this year’s MUSEXPO conference and showcase event, which takes place next month in the “The Media & Sync Capital of the World” – Burbank, CA.

Jennifer is known for her excellence in the world of music supervision, having meticulously crafted the sonic landscapes of numerous movies and over one thousand episodes of television. Her unwavering dedication to curating unforgettable soundscapes has not only earned her the admiration of her peers but also garnered prestigious accolades, including a Primetime Emmy Award nomination for “Outstanding Music Supervision” and a Guild of Music Supervisors award for “Best Drama” for her work on the acclaimed series This Is Us. With an impressive repertoire of credits spanning iconic shows like Smallville, One Tree Hill, Felicity, Alias, Lost, Las Vegas, and many more, Jennifer has consistently demonstrated her unparalleled ability to elevate storytelling through the power of music.

Her visionary contributions have left an indelible mark on the entertainment industry, inspiring audiences, and fellow creators alike with her unparalleled sonic curation prowess. We sit down with Jennifer in preparation for her upcoming session at next month’s MUSEXPO to learn more about her music supervision journey and processes on some of Hollywood’s biggest TV shows.

Jennifer, with an impressive resume spanning over one thousand episodes of television and dozens of movies, what initially drew you to the field of music supervision, and how has your approach evolved throughout your career?

I loved going to concerts and listening to music, but I had no idea that music supervision was a job. I was a DJ at UCSB, my college radio station, and through that landed an internship at Restless Records. Working as an intern was an aha moment and I set my sights on working in the music business. I loved the casual creative vibe of the music business. My approach is to read the scripts and collaborate with my producers and directors to meet their creative vision. That approach has pretty much stayed the same over the years, but what has changed is the quick and easy access to music from so many sources worldwide. I remember spending hours perusing the CDs and vinyl at Virgin and Tower Records. Now I can listen to music online and curate a playlist of songs and send them to my producers and directors within the hour, if necessary.

Your work on This Is Us has garnered critical acclaim, including a Primetime Emmy nomination and a Guild of Music Supervisors award. Can you share insights into your process of selecting music for such emotionally resonant scenes, and how you balance sonic curation with storytelling?

This Is Us was a dream show to work on. It came together in a magical way and was lightning in a bottle. The first episode really set the tone for the series. We used classic songs and indie songs to move us seamlessly back and forth in time. I worked closely with Dan Fogelman, the creator of the show, who loves and listens to music when writing scripts. I’d share playlists with him and the editors that I curated for each scene. The acting and emotion were on the screen, so my job was to find the right song to fit like a glove and complement each scene.

With credits ranging from iconic series like Lost to more recent projects like The Healing Powers of Dude, how do you adapt your music supervision style to fit the tone and narrative of each unique project?

It is one of the things that I love about my music supervision is that no two projects are alike. When I begin a TV series or film, I have conversations with the creators/director/producers of the project to get an idea of the music style/vibe/tone. For instance, The Healing Powers of Dude was a kid’s series. The main character Noah, a middle school boy with social anxiety disorder, had a great love of music and was the catalyst for music in the series.

After reading the scripts for each episode, I curated music for each of the characters and their surroundings. One of Noah’s favorite bands was Langhorne Slim, so we had framed tickets from one of his concerts on the wall of Noah’s bedroom. He wore band t-shirts and played the drums. The show’s creator sent music from a bunch of cool indie bands, but we still could not afford most of them. I began to listen to up-and-coming artists to fit our budget. What I love about TV and film, video games and commercials is that you can place a song that not many people know and share it with the world.

As the music supervisor for The Way Home on Hallmark, can you discuss any challenges or opportunities you have encountered in curating the soundtrack for a television movie within the Hallmark brand?

I am just finishing Season 2 of the TV series The Way Home. The creators of The Way Home love music and have a hands-on approach to music from script to edit. The first season of the show had over ten visual vocals (songs that are sung on camera) that were integrated seamlessly into the storyline. The series weaves back and forth in time playing the same song in 1999 and the present day with a different version for each era. Sadie LaFlamme Snow, who is a talented musician, who plays Alice in the series sings and performs on the show. That required putting Sadie in the studio and pre-recording her singing, which was a lot of fun. Music sets us in a time and place and is an important character in the series. Licensing and re-recording hit songs is a great way to place the series in a particular time period and stay on budget. I had an original written by Maria Taylor (Azure Ray) for the series for Season 1 that we are using in Season 2 as well.

In addition to your work in film and television, you’ve created a comprehensive Music Supervision master course. What inspired you to develop this course, and what key insights or skills do you hope to impart to aspiring music supervisors?

When I started there were no courses or information on music supervision, and it took me years to learn the ins and outs of music supervision. It’s always been such a mystery, so I decided it was time for me to share my 20+ years of experience in an 11.5-hour go-at-your-own-pace course. Creating this course was a labor of love. Check it out at www.MusicSuper.net.

With the proliferation of streaming platforms, AI, and the increasing demand for original content, how do you see the role of music supervision evolving in the future, and what opportunities do you foresee for the industry?

It is an exciting time for music supervision. I am a firm believer that AI cannot beat the power of human imagination. That being said, there are lots of opportunities for music supervisors in new media including vodcasts, podcasts, webisodes, virtual reality, video games, and advertising on TikTok and Instagram. Also, I’ve noticed more music supervisors are going in-house to music supervision jobs at record labels, streaming platforms, trailers, advertising, AI companies as well as social media outlets.

Given your extensive experience in music supervision across various genres and formats, what changes are you seeking with music integration from around the world into the film and TV shows you’re working on? How do you see an opportunity to meet labels, publishers, managers, creatives, and others from across the US and around the world at this year’s MUSEXPO helping you with your music needs in the future?

This is a business of relationships, so it is great to be able to put a face with a name and meet in person. The MUSEXPO gives me the opportunity to meet with labels, managers, publishers, and creatives.

Finally, with such a diverse portfolio of projects under your belt, are there any moments or collaborations that stand out to you as particularly memorable or impactful in your career as a music supervisor?

This Is Us touched my heart. I began to receive emails, letters, and songs from all over the world. I am grateful to have been part of creating the sound for such an iconic series.

Each week, A&R Worldwide shares a snapshot of creatives and executives that we have collaborated or worked with in various music markets around the world, albeit in recent or previous times!

Over the past two decades, the globally renowned A&R Worldwide dinner events have taken place at hundreds of great locations, many cities, and on six continents worldwide. From Helsinki, London, Mumbai, Beijing, Amsterdam, Berlin, New York, Nashville, Syndey, Auckland, Singapore, Paris, Stockholm, Tokyo, Seoul, Johannesburg, Hong Kong and beyond – these auspicious occasions are engaging and inspiring.

Over the years, these intimate and impactful events have nurtured incredible relationships, knowledge, business, and creative relationships that have helped thousands of people around the world.

In a world where social media and non-personal relationships have become the digital norm, the A&R Worldwide dinner events have always fostered meaningful, thoughtful, and powerful relationship currency that stands the test of time. In addition, the A&R Worldwide dinners continue to foster an environment of authentic AI “Actual Intelligence.”

 

DOLORES FOREVER

 

Dolores Forever , comprised of close friends and talented songwriters Hannah Wilson and Julia Fabrin, has swiftly become a noteworthy presence in the U.K. music scene. Their rise to prominence in 2023 set the stage for a promising 2024, marked by the release of their infectious single “Someday Best.” Produced by Daniel Hylton, known for his work with acclaimed artists like Rachel Chinouriri, Hak Baker, and Ama Lou, “Someday Best” showcases Dolores Forever’s signature synth-driven, retro pop style. The track carries a liberating message, urging listeners to let go of worries and embrace life’s moments, as expressed by the duo’s playful advice to “shut up and eat the pasta.” Their music is gaining substantial traction, with “Someday Best” receiving support from BBC Radio 1, including recognition as one of the “Hottest Records in The World” with Ciara Amfo. Additionally, the single has been featured on influential playlists across Spotify, Apple, and Amazon. The duo’s live performances at Glastonbury and Reading & Leeds Festivals have further solidified their place in the industry, earning acclaim from various sources such as BBC Introducing, BBC Radio 1, NME, The i, i-D Magazine, The Independent, The Line of Best Fit, Dummy, Mahogany, and more. With this momentum and widespread recognition, Dolores Forever appears poised for a substantial and exciting musical career ahead. Listen to “Someday Best” HERE and contact

Richard Perry at rich@oystermanagement.co.uk for all available opportunities worldwide with Dolores Forever.

MILK & HONEY MUSIC + SPORTS SIGN JOZZY: Milk & Honey Music & Sports, the burgeoning management company launched by Lucas Keller, Founder & CEO has welcomed manager Jason Ramos into the Milk & Honey Music + Sports fold, and has also announced the signing of three time Grammy-winning songwriter and artist Jozzy. Prior to his job at Milk & Honey, Ramos worked at Roc Nation in the artist brand development department with J Balvin, Big Sean, ASAP Ferg before running his own artist management and brand marketing consultant company with clients Jozzy, Lil Mexico Beatz, and Paris Jordan. Jozzy is a Diamond-selling, 3-time Grammy award-winning singer/songwriter from Memphis, Tennessee and currently based in Los Angeles. Mentored by industry icons Timbalandand Missy Elliott, Jozzy has made a significant impact as a songwriter for legendary artists across various genres. Her breakthrough came in 2019 with international recognition for her contribution to the “Old Town Road Remix” featuring Lil Nas X and Billy Ray Cyrus. Following this success, Jozzy continued her remarkable journey, securing multiple Platinum-selling records for artists such as Beyoncé, Summer Walker, 21 Savage, Metro Boomin, Don Toliver, Latto, Pharrell Williams, Madonna, and more. With three Grammy wins (including her recent 2024 win for “Best Progressive R&B Album” for SZA) and numerous nominations, Jozzy looks poised to build on her success in 2024. Jozzy’s debut EP and forthcoming album is set to widen her audience. Milk & Honey’s Max Geistfeld had an instrumental role in securing this partnership. Nic Warner, General Manager & Partner of Milk & Honey said, “I have been a fan of Jozzy’s work for years and have always loved the records she’s made both as an artist and as a writer/producer, getting the opportunity to work alongside her in 2024 and onward is a huge honor. Looking forward to everything to come and excited for the rest of the world to hear what she has been getting ready to release. There is a long list of amazing music talent in this town that we admire from the sidelines, grateful that Jozzy is here with us now and excited for this next chapter.”

ADA INKS DEAL WITH SOUTH COAST MUSIC GROUP: ADA Worldwide, the independent label and artist services arm of Warner Music Group has announced their new global distribution deal with Charlotte, NC-based label, South Coast Music Group (SCMG). Founded by industry vet Arnold Taylor, SCMG is home to some of the hottest rising hip-hop talent including, Dustystaytrue, DeeYounginn, Luclover, and Big Mali, who recently supported Sexxy Red on her nationwide tour this past fall. Cat Kreidich, President, ADA Worldwide, said, “Arnold is an entrepreneur who had a vision and carved his own unique path in the industry. A decade in, and South Coast is thriving. We are thrilled he has entrusted ADA to support and grow his business and put our firepower behind the rich talent coming out of the Carolinas.” After a successful career which included roles at Epic, Republic, Interscope, Def Jam, and Blackground Records, Taylor founded South Coast Music Group in 2014 as an expansion of his South Coast Marketing group. SCMG has established a proven ecosystem for authentic artist development – the label notably launched the careers of multi-platinum rappers DaBaby (who remains signed to SCMG/Interscope) and Toosii (who remains signed to SCMG/Capitol). A breeding ground for up-and-coming acts hailing from the Carolinas, SCMG has since supported projects from a diverse group, including recent releases from TiaCorine, Goldiie Lux, and more.

NEW KIDS ON THE BLOCK SIGN WITH BMG: New Kids on the Block (NKOTB) have inked a new global recordings deal with BMG, marking their return to the studio after over a decade. Formed in 1984, the group comprising Jonathan and Jordan Knight, Joey McIntyre, Donnie Wahlberg, and Danny Wood, dominated the late ’80s and early ’90s with hits like “You Got It (The Right Stuff),” “Cover Girl,” “Didn’t I (Blow Your Mind This Time),” “I’ll Be Loving You,” “Tonight,” and the back-to-back international No.1 songs, 1988’s “Hangin’ Tough” and 1990’s “Step By Step.” After a 14-year hiatus, they returned in 2007, selling out arenas and earning accolades including a star on the Hollywood Walk of Fame. Cyndi Lynott, Sr. VP Marketing, BMG, tells us, “New Kids on the Block are trailblazers in the music world – creating a blueprint for not only pop music, but pop culture. It is an honor to be able to work with this iconic group and deliver brand new music to their passionate fanbase – we could not be more thrilled.” New Kids on the Block added, “We are super excited to partner with our new label home BMG. We promise 2024 is going to be a big year for NKOTB and our blockheads. New label, big tour, we are just getting started! Much more to come. Very soon. And we could not have asked for a better partner than BMG to usher in this new era!”

ATLANTIC RECORDS U.K. FORMS LABEL IMPRINT WITH EYC LTD AGENCY: Atlantic Records U.K. has announced a label imprint with EYC LTD, which is a London, England-based agency headed up by Cora Delaney. The company specializes in talent and brand management, as well as event planning. Atlantic Records U.K. will work closely with Delaney and her team to sign and develop new talent under the new imprint, which is called EYC Records. The new imprint will serve as a conduit between Atlantic U.K.’s roster and EYC LTD’s extensive cultural network across the United Kingdom. Currently, EYC LTD has a global client base, which includes brands like Prada, Dior, Louis Vuitton, Bentley, Samsung, and many others. EYC LTD is already working closely with the Atlantic Records team in the U.K. across content-creator marketing, cultural positioning, and styling. This follows a successful collaboration on Atlantic’s 75th anniversary celebrations and party at the end of last year, which saw performances from the likes of Mahalia, Tion Wayne, and exclusive merchandise from contemporary U.K. artist Slawn. The EYC Records imprint has begun acting as an incubator for new talent. It will combine forces with Atlantic U.K. and ADA whilst maintaining an independent approach to artist development. Briony Turner, co-President, Atlantic Records U.K., said, “Cora and her team have built an industry-leading agency that is right at the heart of culture. Together we will combine Atlantic’s world-class artist development skills with EYC’s unrivaled creative strategy and brand management expertise, allowing us to further enhance how we tell our artists’ stories.” Cora Delaney added, “EYC LTD has spent the last five years creatively pushing, platforming, and positioning the artists we work with. Working even closer with Atlantic talent we are excited for the shared space and successes we can build in this partnership.”

BOSWORTH MUSIC SIGNS DEAL WITH RANDOM NOIZE MUSICK: Random Noize Musick‘s publishing catalog has confirmed it has secured international representation from Bosworth Music, a division of Wise Music Group. Known for its electronic music roster featuring artists like Markus Popp (Oval), Annika Henderson (Anika), and Apparat, whose tracks have been featured in commercials and trailers, the label has garnered Grammy nominations and accolades from events like the Venice Film Festival and VIA Indie Awards. Collaborations with labels, filmmakers, and TV series, including Breaking Bad and Dark, have elevated its presence in popular media culture. Upcoming releases include works from DJ Koze, Anika, and more. Michael Ohst, Managing Director, Bosworth Music, stated, “We are very happy about the collaboration with Random Noize Musick. This cooperation expands the repertoire of Bosworth Music and the Wise Music Group in a new and promising way. The partnership with Daniel, Eva, and Yamirah has been successful and has initiated great prospects for the future. The team is looking forward to joint projects with Random Noize Musick and is confident that this alliance will lead to outstanding musical results.”

DOWNTOWN SIGNS DEALS WITH ICONIC FRENCH ARTISTS: Downtown Music Publishing (DMP) has unveiled a global music publishing agreements with notable producer and one-half of the renowned duo, Cassius, Boombass, and acclaimed DJ and producer, Étienne de Crécy. Downtown Music Publishing will be entering into a worldwide administration deal with celebrated producer, Boombass, who – together with Phillipe Zdar – co-produced MC Solaar‘s first album before forming the revolutionary duo Cassius that went on to become one of the key vanguards of the French touch era. Boombass – given name, Hubert Blanc Francard – will benefit from Downtown Music Publishing’s global administrative and sync services across the producer’s past and future catalog, as well as Boombass’ publishing efforts across the Cassius historical catalog; including ‘Cassius 99’ which entered the U.K. singles chart at No.7, 2002 album, Au Reve, which featured Jocelyn Brown, Ghostface Killah, and Leroy Burgess, and the duo’s 4th album, Ibifornia, featuring the likes of Pharrell Williams, Ryan Tedder, and Cat Power to name a few. The deal will also include the single “I <3 U SO,” which was famously sampled by Jay Z and Kanye West in their hit single, “Why I Love You,” on Watch the Throne. The deal will include de Crécy’s legendary back catalog and all future releases, including “Super Discount,” “Tempovision” released in 2001 and the 2009 follow-up to his debut solo album, Super Discount 2, produced entirely using old analog instruments. Laura Bedikian, Senior A&R Manager, Downtown Music Publishing, France, tells A&R Worldwide, “Downtown Music Publishing is proud to be working and representing the seminal work of two legendary producers. Boombass and Étienne de Crécy are both pioneers in their genre, and we look forward to working closely with both of their teams and providing their iconic music with our administrative and creative sync services.”

WASSERMAN MUSIC ANNOUNCES FOUR NEW HIRES: Wasserman Music has announced the addition of four seasoned executives to its global agent team. Josh Dick, a veteran with over two decades of experience in the music industry, brings his expertise as Vice President in New York. With a background in artist management and independent record labels, Dick has steered the careers of notable acts such as Macklemore & Ryan Lewis and Flatbush Zombies. He will continue to represent Flatbush Zombies among other artists in North America. Additionally, Jonathan Insogna, formerly of WME, joins Wasserman Music as Vice President in Nashville, bringing his experience representing prominent Country and Americana artists. His roster includes talents like Morgan Wade and Yola. Insogna’s dedication to the music community is evident through his involvement in initiatives like the To Nashville, With Love Fund. Also, Rebecca Prochnik, known for her work in propelling underground artists into broader markets, joins as Director in New York. With a background at Earth Agency and UTA, Prochnik will represent artists including AJ Tracey and Ghetts. Lastly, Gideon “Shay” Royale, an executive in music, entertainment, and technology, brings his multifaceted experience to Wasserman Music. Royale will lead the agency’s growth in the Afro-music space, representing artists such as Victony and WurlD.

THOMAS JAMOIS NAMED MD OF WISE MUSIC FRANCE: Wise Music Group has appointed Thomas Jamois as the managing director of Wise Music France. With 27 years of experience in the music industry, Jamois brings expertise in music supervision and sync. He previously founded Velvetica Music and served as head of music publishing and sync at Naïve. His role encompasses overseeing French publishing houses like Première Music and Éditions Alphonse Leduc. Jamois joins a global network of Wise Music Group offices across major cities. Velvetica Music will continue to operate separately under the leadership of Johanna Bisac, who has been promoted to managing director. Marcus Wise, CEO, Wise Music Group, tells A&R Worldwide, “I’m delighted to have Thomas join the Wise Music family, and I look forward to working with him to lead our French and Francophone business forward with continued catalog acquisitions and high-profile signings.”

ATLANTIC RECORDS NAMES NEW HEAD OF BUSINESS AFFAIRS: Respected music attorney Erica Bellarosa has been promoted to Head of Business Affairs and General Counsel for Atlantic Records. In her new role, Bellarosa, a 19-year veteran of Atlantic, will head up the company’s Business & Legal Affairs and Contract Administration departments. Based at Atlantic’s New York headquarters, she will report to Julie Greenwald, Chairman & CEO, Atlantic Music Group, and Craig Kallman, Chairman & CEO, Atlantic Records. Greenwald and Kallman said, “At Atlantic, we nurture executive development as much as artist development, so it has been great to watch Erica develop into a powerhouse leader over the past two decades. An invaluable asset to our team and a passionate advocate for our artists, she has a deep understanding of the music and legal landscape, along with second-to-none negotiating skills. With Erica at the helm of our world-class legal team, we know we are in good hands.” Bellarosa started her career at Atlantic Records in 2005 as Associate Director of Business & Legal Affairs, rising through the ranks to her most recent post as Executive VP of Business & Legal Affairs. She was named to Billboard‘s prestigious Women in Music list in 2022. Bellarosa holds a J.D. from Yeshiva University‘s Benjamin N. Cardozo School of Law.

NORDIC OPPORTUNITY WEEK COMES TO LOS ANGELES: Nordic Opportunity Week (NOW) returns to Los Angeles from March 6th to 10th, offering a unique networking opportunity for professionals in the creative industries. The annual event encompasses a two-day conference on March 6th and 7th at the Creative Artist Agency (CAA) offices in Century City from 2:00 PM – 6:00 PM, followed by industry mixers hosted by Sweden and Norway on various days. NOW caters to individuals involved in music, TV, film, and gaming, regardless of their Nordic background. Attendees can expect valuable insights, networking opportunities, and industry connections. The event culminates on Sunday, March 10th, with a glamorous red carpet Oscar viewing party at the top of the Andaz Hotel on the Sunset Strip. NOW promises to be an enriching experience for professionals seeking to expand their networks and engage with the creative community. Utilize this opportunity to connect with industry leaders and peers. Limited tickets are available, and early purchase is encouraged. Use code the A&R Worldwide discount code ARW30 for a 30% savings upon checkout. For more details, log on to https://www.nowla.org/.

ENTRIES OPEN FOR THE UNSIGNED ONLY MUSIC COMPETITION: The Unsigned Only Music Competition is looking for great artists who are not signed to a major record label; however independent label artists are acceptable. As there is no physical event to attend, the competition is open to artists from anywhere in the world. Artists can upload songs as MP3’s or provide streaming links to their songs for consideration. This exposure can open doors to international audiences (more fans and more connections) and opportunities to take artists’ careers to new levels of success. Unsigned Only welcomes music in all genres, ensuring that all artists have the chance to enter and win. The panel of esteemed judges and successful past winners make it the premier music competition in the world for unsigned artists. Entering Unsigned Only gives artists the chance to have their music heard by renowned musical artists and industry professionals who have the power to open doors and shape careers. The competition gives away over $150,000 in cash and prizes, and the Grand Prize winner is awarded $20,000.00 (USD), plus additional merchandise and services geared toward helping an artist’s career and there is also a First and Second Place winner in each of the 18 categories. Previous winners and entrants have included Grammy nominee Ingrid Andress, Coco Jones, GAYLE; Faouzia, Gabby Barrett, BélO, Tenille Arts, Goodbye June, Anna Wolf, Wes Mack, Brett Young, and others. Click HERE for more information.

NEED TO MAKE CONTACT, SEND NEWS AND NEW MUSIC RELEASES?: If you have any A&R, publishing, technology, agent/promoter, international radio, management, new media or film/TV music supervisor news you’d like to share with A&R Worldwide, or need to respond to information published in the weekly newsletter please E–mail it to the attention of Sat Bisla at sat@anrworldwide.com. Also, all demos and new music releases should be sent as STREAMING LINKS ONLY to info@anrworldwide.com.

IN THE SPOTLIGHT: Andrea Von Foerster, Brett Alperowitz, Mike Pickering, Vanessa Tara A, Allan Klepfisz, Ashish Jose, Zane Lowe, Susan Busch, Jeremy Yohai, Fiete Klatt, Dominique Casimir, Tom Sarig, Joel Klaiman, and Danny Rogers.

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