A&R Worldwide Newsletter Vol. 832

MUSEXPO 2024 UNVEILS A BUOYANT EVENT PROGRAM
FOR ITS 24TH GLOBAL EDITION

KREATION Music Rights (KMR) is the publishing arm of K-Pop powerhouse, SM Entertainment (SM) – home to mega K-Pop acts like SUPER JUNIOR, Girls’ Generation, SHINee, EXO, Red Velvet, KANGTA, BoA, TVXQ!, NCT and aespa.

KMR was established in September 2023 as part of the SM 3.0 initiative to internalize SM’s IP royalties and invest in the publishing business. Since its launch, KMR has grown exponentially through five major deals and acquisitions (The Hub, MonoTree, Smashhit, 10x Entertainment, Bad X) and 80+ writer signings.

With its goal to become Asia’s No.1 music publisher, KMR operates its head office in Seoul, Korea, and its Europe office in Stockholm, Sweden. Through its monthly song camp in its 41 state-of-the-art studios in Seoul, KMR has successfully pitched 113 songs to major K-pop labels. KMR is committed to serving its global roster of artists/writers in publishing, producing, and management businesses and plans to expand to the U.S. market in 2024 to find more creative collaborations as well as investment/partnership opportunities.

Below is A&R Worldwide‘s exclusive interview with Chris Lee (Sung-su Lee), CEO of KMR. An industry veteran who also holds the role of CAO (Chief A&R Officer) for SM Entertainment, Chris talks about KMR’s vision, successes, and bright outlooks (KMR HQ and KMR Europe). KMR will do their first formal U.S. presentations at this year’s MUSEXPO, which takes place March 17 – 20, in Burbank, CA.

What inspired the establishment of KREATION Music Rights, and could you share the company’s mission statement?

To continue being a global leader in entertainment, SM believes in continued innovation. That is why in February 2023, SM announced its SM 3.0 strategy to address some of the most prominent aspects of the current music industry – digitization, globalization, cross-pollination of genres, and more. SM 3.0 was a plan to integrate the various aspects of SM’s business into a cohesive system, to better position ourselves in the entertainment landscape, and most importantly, to better serve our creators and music fans.

Music publishing is one of the main pillars of SM 3.0 plan – and KREATION Music Rights was established to fulfill this business goal. As a creative, however, I envision KMR to be a stage where our writers and artists can freely and fully unleash their creativity. Kreation, through its name, encompasses the vibrant energy of the company. In German, Kreation means “to create a trend;” in Swedish, it means “new design.” At the same time, by replacing “C” in creation with our signature “K,” KMR emphasizes the ever-growing force of the global K-Pop trend and the interconnectedness of our times. We aim to make a mark in the global music industry by offering the stage for our songwriters to express their colors and concepts through music.

Who are the key members of the KREATION Music Rights team, and what expertise and experience do they bring to the table?

Throughout my A&R career, I have been extremely lucky to be surrounded by those who are equally passionate about music as much as I am. When KMR was established, I knew immediately that I had the right team – a team of seasoned professionals who understand and value the importance of our songwriters.

The KMR executive team comes with extensive backgrounds in music publishing across all sectors. Kyoung Park, KMR HQ’s head of publishing, comes with years of experience in administration. Robin Jenssen, Head of KMR Europe, is a true A&R visionary who has a record of 700+ placements in the Asian market alone and 150+ on Billboard charts. Jin Suk Choi, pka JINBYJIN, and Director of International A&R is a multi-Platinum producer with 60+ No.1 placements on Billboard. Our collective expertise ensures a comprehensive understanding of the global music publishing industry, enabling us to offer unmatched support and guidance to our clients.

KMR, from its inception, was extremely fortunate to bring in some of the best writers and producers in the K-Pop industry through our major acquisitions and Company in Company (CIC) structure. Brian You and his team at The Hub have a history of over 29 title tracks in the past four years and our Platinum writer trio at MonoTree—Hwang Hyun, G-High, and Lee Joo Hyung—has cut singles for top K-Pop groups such as SEVENTEEN, IVE, and TxT. Kang Ta (the legendary singer-songwriter and former member of H.O.T., the first-generation SM idol group) and his Smashhit team, is one of the most versatile production teams in the industry. The list goes on and it will continue to grow!

In a competitive industry like music publishing, what sets KREATION Music Rights apart from other players globally, particularly in the K-Pop arena?

With SM’s 30-plus years of dominance in the Asian music market, KMR is well-situated to provide unparalleled opportunities for our writers. We have ties to all major K-Pop labels and have years of experience working with KOMCA (Korea Music Copyright Association).

This vast network allows KMR to secure exclusive creative partnerships. As part of the SM 3.0 plan, SM operates a Multi Production Center to expand its producing capacity as well as allow for creative autonomy amongst its artists groups. KMR plays a key role in this supply chain by directly providing high-quality compositions for SM artists’ projects. KMR, with its vast network of best-in-class K-Pop writers, secured exclusive projects for SM and other mid-size labels.

But this goes beyond the K-Pop landscape. We launched KMR Europe in December 2023 and have already signed top writers and producers in the region including Dsign Music, the two-times Grammy nominated writing team with 70+ No.1 Billboard placements, and Sunshine, a singer-songwriter duo who holds an impressive cut record that amounts to over 57 million physical album sales. KMR is heavily investing in developing and nurturing relationships in the Americas and Southeast Asia to become a truly global music publisher.

Can you highlight some of the notable achievements or track record of KREATION Music Rights since its inception?

In less than half a year, KMR has achieved remarkable success in securing talented writers and creative partnerships. Our operation is in full swing in our head office in Seoul, South Korea, and our Europe office in Stockholm, Sweden. We have signed 86 songwriters globally and amassed 1500+ catalog songs. KMR has been hosting monthly song camps in our state-of-the-art 41 studio facility in Seoul, from which 113 songs have been confirmed for future release. Through KMR’s artist management business, Kim Woo-jin (former member of Straykids, now exclusively signed to KMR) will be releasing his first album in April 2024 and two additional artists will debut this year.

This is just the beginning. We plan to truly expand our reach globally and drive collaboration between creators in K-Pop and other popular genres. KMR HQ and KMR EU co-hosted an international song camp in December. It was an enormous success bringing together writers from around the world and acting as a bridge between diverse musical landscapes. KMR will continue to be a dynamic and influential player in the global music publishing industry. This year, KMR will focus on building its operations in the U.S. and we are excited to announce that KMR will host its first U.S. song camp this summer!

Are there any unique approaches or initiatives that KREATION Music Rights undertakes to nurture emerging talent within the K-Pop industry?

KMR believes in the importance of nurturing future generations of writers and providing a solid foundation for their global career development. KMR has partnered with SM Universe (SM’s audition and trainee nurturing program) as well as several Music Institutions to support the music careers of emerging talents. Internally, MonoTree’s MonoLeaf program offers a 1:1 mentoring program for developing writers to receive individual feedback from their veteran producers.

From a creative standpoint, KMR’s A&R team plays a significant role and promises individual attention to our writer roster. The A&R team, across all CICs and KMR, works hand-in-hand to provide outstanding creative services including specialized pitching, cross-company song camps, and unique session opportunities.

We have also appointed many renowned writers and producers such as JINBYJIN, Kang Ta, and Hong Jong Hwa, many of whom partook a vital role in shaping the K-Pop history in and out of SM, to sit on our advisory board. As resident KMR writers, they will pass along their years of experience from working with the biggest K-Pop acts in history. KMR is dedicated to providing a solid foundation for our writers and will continue to do our best to nurture and develop our emerging talents.

How does KREATION Music Rights approach business opportunities, and what criteria do you consider when evaluating potential partnerships or investments?

One of the biggest focuses for KMR in 2024 is to expand its operations in the U.S. through a series of major investments and partnerships. The US, being the second largest K-Pop importer, is an attractive market for KMR.

We are evaluating both creative and strategic opportunities. Creatively, KMR is planning to host its first U.S.-based K-Pop song camp in the summer. This camp will be one of the biggest camps KMR has planned and we are excited to form new relationships with writers and find creative fits for the next generation of K-Pop.

In parallel, KMR is having conversations with many U.S. publishers to make strategic partnerships whether it is through securing joint venture deals, sub-publishing deals, or capital investments. Exciting times!

Looking ahead, what are the long-term aspirations and future plans for KREATION Music Rights in shaping the landscape of South Korean and global music publishing?

With the growing popularity of K-Pop and our commitment to our artists and the music community, I honestly believe that KMR will be the trailblazer in shaping the South Korean and global music publishing landscape. Our goal is to become the top music publisher in Asia within the next 5 years. We aim to continue innovating, expanding our global network, and providing our writers and artists with unparalleled opportunities for growth and success.

WARNER MUSIC GROUP SIGNS INDIAN SUPERSTAR
NORAH FATEHI TO A GLOBAL RECORDING DEAL

Global star Nora Fatehi, the multi-talented singer, dancer, and actress, whose music has already attracted millions of fans and billions of views and streams, has signed a new deal with Warner Music Group – her first agreement with a major global record company.

The partnership is to promote Nora’s global music career, working with teams in the U.S. and across the world, expanding her fanbase through a range of new projects and releases. She will remain signed to T-Series, the Indian music label and movie studio, for her Bollywood projects.

Based in India, Nora was born in Toronto, Canada to a family of Moroccan heritage. She first made her name as a Bollywood actress, showing her versatility by appearing in Hindi, Telugu, Tamil, and Malayalam films. Fluent in several other languages, including Darija, Arabic, English, and French, she has built a passionate diverse fanbase all around the world, with more than 46 million followers on Instagram and 21 million on Facebook, while her music has generated more than 1.2 billion streams and over five billion-plus YouTube views on her featured videos.

In 2018, she appeared in the movie Satyameva Jayate, in which she performed a version of the classic Bollywood song “Dilbar,” which generated more than 20 million views on YouTube in the first 24 hours of its release – the first song on YouTube to ever achieve those numbers on the platform. She then recorded and sang an Arabic version of the song, in collaboration with the renowned Moroccan group Fnaïre, expanding her horizons and captivating a broad audience across the Arab world. She went on to become the first Arab/African artist to hit one billion views on a single music video on YouTube.

Nora’s other ventures into international music include notable collaborations with performers such as Tanzanian singer-songwriter Rayvanny for the Afropop track “Pepeta,” as well as British singer Zack Knight for the pop song “Dirty Little Secret.” She has also released solo tracks, such as “I’m Bossy,” while her Bollywood film songs have garnered a total of five billion views on YouTube, such as “O Saki Saki,” “Garmi,” “Dance Meri Rani,” “Manike,” Kusu Kusu,” and more.

Nora has appeared on the global stage at prestigious events, including the historic concert with Fnaïre at the Olympia in Paris in 2020, and her performance at the Global Arena of EXPO 2020 in Dubai. Her participation in the closing ceremony of the FIFA World Cup 2022 in Qatar added a new dimension to her career, as she shared the stage with celebrated global artists and captivated fans with her iconic dance moves, singing “Light the Sky,” the FIFA World Cup anthem.

Her movie career has also gone from strength to strength, and her latest film Crakk – Jeethegaa Toh Jiyegaa, was just released on Friday. A Hindi language film, it is billed as the first-ever extreme sports action film in India.

BMG has announced it has promoted longtime publishing executive Marian Wolf to lead its Publishing teams in North America. Wolf currently serves as Senior Vice President, Music Publishing, North America. In his new role, Wolf will head BMG’s single largest business unit from Los Angeles, including publishing A&R in New York, Nashville, and Canada, reporting to Thomas Scherer, recently appointed President, Global Catalog Recordings and Music Publishing, North America.

Wolf joined BMG in 2011 in Berlin before relocating to Los Angeles in 2014. During his tenure at BMG, he has held multiple elevating roles and responsibilities within BMG’s creative teams worldwide. Most recently, he was named Vice President, Global Writer Services & China in 2019, before being upped to Senior Vice President, Publishing & Chief of Staff in 2022.

Wolf has been influential in the signings and renewals of key BMG publishing clients including George Harrison, Jennifer Lopez, Pitbull, Riot Games, Jessie J, and Dave Gibson, among others. Instrumental in generating new and significant revenue streams for BMG songwriters and publishing clients, Wolf developed an industry-leading global digital service for publishing clients. This includes promoting publishing catalogs and frontline clients across platforms including Spotify, Apple, YouTube, Instagram, and others.

In 2016, Wolf developed the BMG SoundLab, BMG’s signature collaborative songwriting camp, which has gone on to generate No.1 charting songs in the U.S., U.K., Germany, Japan, Korea, and other markets. BMG SoundLab has collaborated with partners including American Idol, She Is the Music, major U.S. labels, and charitable organizations including a collaboration between the United Nations and Holocaust survivor Ben Lesser.

Thomas Scherer said, “With Marian’s expertise and success in the U.S. and globally, he is the ideal leader for our North American music publishing business. We are confident he will continue to grow and transform the opportunities and digital services for our music publishing catalog clients, as well as frontline songwriter signings.”

Marian Wolf added, “I am excited to lead our North American publishing teams into this next chapter. Publishing continues to be a cornerstone of BMG’s business and I am thrilled to continuously innovate the way we serve our songwriters and publishing clients as creative partners.”

Wolf has been responsible for leading synergistic opportunities between BMG and parent company Bertelsmann‘s platforms including collaborations with European broadcast and content leader RTL, while managing a diverse U.S. songwriter roster that includes international signings, as well as the acquisition of notable publishing catalogs.

MUSIC SUPERVISOR FOCUS
ON MASON COOPER, FOUNDER, SONGRUNNER ENT’T

Renowned within the music, television, and film industries, Mason Cooper stands as a trusted force at the intersection of sound and storytelling. With an illustrious career spanning decades, Cooper has cemented his legacy as the Founder of Songrunner Entertainment, an influential independent firm in music supervision.

He has been involved with over 100 film and television projects, including blockbuster releases like The Beekeeper featuring Jason Statham, the gripping drama “The Hill” starring Dennis Quaid and Scott Glenn, and the star-studded Savage Salvation boasting talents like Robert De Niro and John Malkovich. Cooper’s creative abilities extend beyond the silver screen, as evidenced by his work on the Steve Jobs biopic Jobs starring Ashton Kutcher and the riveting television series “Bring on The Dancing Horses” starring Kate Bosworth.

As an executive music consultant to LA’s prestigious Geffen Playhouse theater complex, Cooper continues to shape the cultural landscape through his unwavering dedication to creativity. Whether collaborating with iconic songwriters and musicians like Bernie Taupin and the late John Lennon, or producing music for acclaimed films and television shows, Cooper continues to strive for greatness.

We join Cooper for a short interview as he prepares to join dozens of other influential music supervisors, film, TV, video gaming, and brand executives at MUSEXPO in Burbank, CA next month, which is known as “The Media & Sync Capital of the World.”

With an extensive career spanning over 100 film and TV projects, including recent releases like The Beekeeper and The Hill, what initially drew you to the world of music supervision, and how has your approach evolved throughout your career?

Having been a Music Publisher and writer/producer for many years, I forged relationships with some directors and Producers who, from their positive reactions to what I had pitched to them, pushed me to switch sides – going from being a pitcher to a catcher. As a former acting student as well, I have fully enjoyed the switch, and I approach my job as a Music Supervisor as someone no longer in the “music industry,” but as being in the filmmaking community. In summary, being able to be part of the storytelling aspect of a film or television show, utilizing my experience in music and business as that component, and recently expanding into screenwriting, has been most fulfilling and exciting for me.

Your work on a diverse range of projects, from biopics like Jobs to television series like “Loudermilk,” showcases your versatility as a music supervisor. Can you discuss your process for selecting music that enhances the storytelling in such varied genres and formats?

As your question poses, my focus is on the actual storytelling, regardless of genre. I work closely with my directors and showrunners, with the discussions not so much focused on a song or piece of music per se, but on the intentions of a scene, show, or film – be it the literal circumstance happening in a particular scene, an overall character arc or personality they want to present, or an emotion or action that is inherent in what is happening on screen. Often the work of a composer’s score is to enhance or support certain emotional or psychological aspects of the story or characters, while songs are often a trigger back to realism or reality – so the audience has a sense of place and real-world effect in which the music can manipulate or highlight the emotive and character arcs of the full piece. This approach works, regardless if the piece is a thriller film, a comedic sitcom, a documentary, or a dramatic narrative feature. Naturally, not all projects are the same, so the above is not a rule, just perhaps a norm (for example, my tendency is to skew away from the literal in song lyrics and score – however the exceptions might be in certain comedic or horror elements where literal may enhance the absurd). Be it a full action piece like Jason Statham’s The Beekeeper, or a period drama like Lamborghini, or a romantic comedy series such as You Me Her. It all goes back to supporting the story and character intentions, so the audience is drawn into the world of the project without distraction.

As the executive music consultant for LA’s Geffen Playhouse theater complex, how do you approach incorporating music into live theater productions, and how does it differ from your work in film and television?

Because the Geffen Playhouse believes in helping playwrights and producers bring new works to the forefront, they allow show producers to often dictate their visions and wants as they develop or rehearse their shows. I then come into the picture to clear the rights for the run at the playhouse within their limited budget parameters. Most music companies and artists/writers are incredibly supportive of the arts in general, and of course, theater has a certain cachet that is part of that. However, in the instances where rights cannot be cleared within the parameters of a show, I then try to find alternate music pieces that fit the creative vision of the show producers.

With your background as a trained musician and former music publishing executive, how does your expertise inform your approach to licensing music for film, television, and soundtracks?

Simply put – communication, empathy, and understanding. It is helpful to have walked in the shoes of music publishers and musicians when I need to license their music. Understanding their needs and requirements from a business standpoint and having ideas of how the requested uses might benefit them in numerous ways, helps me to communicate with them more effectively. My classical background in music, as well as having written and produced various network television themes, allows me to understand the language musicians speak, which creates a comfort level and camaraderie in that regard. At the end of the day, we are all trying to be creative, and successful, no matter how someone defines those areas. So, communication is key, and having the background I have lets me empathize and strategize better with them.

You have collaborated with a wide range of artists and musicians, from Dennis Quaid to Weezer’s Brian Bell. Can you share any memorable experiences or challenges you’ve encountered while working with these diverse talents to create music for film and television?

So many creative people are talented in diverse areas; I love working with multifaceted actors, like Dennis [Quaid], Jason Alexander, Katie Holmes, Cheyenne Jackson, Joey Lawrence, and others, as well as finding ways to work with special musicians such as Brian Bell and Bret Michaels, to create music pieces tied into visual scenes or perhaps used in hidden and subtle ways (like fun hidden easter eggs). Some of the more unique experiences I’ve enjoyed included producing Katie Holmes remotely for her amazing vocal performance on “These Boots Were Made For Walkin'” for the final scene of her film Miss Meadows, to spending time in Canada producing all of the Jason Alexander (as the singer and leader of the “family band”) performances in his comedy tv series “Hit The Road.” Being an ex-wannabe-actor, getting to be on set during on-camera music performances is always special, such as coordinating Cheyenne Jackson’s acting/performing on the show “Full Circle” and Joey Lawrence playing a lounge singer in “The Sinatra Club” – working with the director and DP to make sure the music looks real, as we’d spent so much time getting it to sound and actually be real. The process of bringing all the elements together — that never gets old.

As the Founder of Songrunner Entertainment, how do you balance the creative aspects of music supervision with the business side of negotiating rights and licenses for music in film and television?

I really do take both words of my role seriously – Music and Supervision. Naturally, the “music” part is inspiring and creatively fulfilling as part of the filmmaking team. But equally so, I love the Supervision side – the licensing of songs is very detail-oriented, so I get to pull from my business and legal backgrounds; However, even more so, the best part of that side is working the relationships I develop with the licensing rights people, and remembering that they are indeed ‘people,’ so those relationships are what makes that side enjoyable (even when the negotiations are tough). I also view the music supervision role as a Department Head, responsible for all aspects of any music-related element in the production; That it’s not just about ‘finding a good song’ during post-production – but working from script to screen through edits and post-into final delivery – being part of the whole process, in finding and coordinating with the composers (whom I find, hire and work closely with) and sound teams, as well as the song elements (searching, spotting, creative, business, legal) and the technical logistics to bring it all together… I would sum it up with my mantra, I strive “to fulfill a director’s vision within the producer’s parameters.”

MUSEXPO is known for bringing together rights holders and creatives in the music industry. In what ways do you believe events like MUSEXPO can benefit music supervisors like yourself in connecting with potential collaborators and discovering new music for your projects?

MUSEXPO has forged its place in not just the music industry, where it has become a standard-bearer of networking, talent finding, and creative professionalism, but also in the Sync world, where it has proven its understanding of the needs and wants of film and television production regarding how and why music is a huge part of that world. Bridging the worlds between music and sync has become a specialty of MUSEXPO, proven by its ability to attract top-level executives and talents from the music industry and producers/studios around the world. That global aspect is also unique to MUSEXPO, in that it has brought the world closer together – not just in the educational aspects of its seminars, but in bringing people together from many countries and cultures. There really are few other experiences in our industries that fulfill that mission so adeptly and successfully.

Looking towards the future of music licensing in film, television, and soundtracks, what trends or developments do you anticipate shaping the industry, and how do you plan to adapt your approach as a music supervisor to stay ahead of the curve?

The talk of the industry has circled around AI recently, but there has always been something new. Technology such as synthesizers worried musicians. New foreign film markets excited the distributors for new outlets, yet there were worries about how to monetize or collect revenues. VHS, Betamax, Downloads, Napster, now streaming, and various V.O.D. models. I prefer to not look at the problems, or even try to create solutions in search of problems. Yes, the legal and financial minds will address factors like AI, digital distributions, etc., but my approach will stay focused on storytelling and how music can be part of the experience for an audience to get lost in the 100 minutes of the fantasy or made-up world that we can create for them…. to educate, elucidate or entertain. Things the world always needs.

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!

Since A&R Worldwide’s initial focus on this market back in 2005, India’s music industry has experienced a seismic shift in recent years, propelled by the country’s digital revolution. With a population exceeding 1.3 billion and a burgeoning middle class, India presents a lucrative market for the music business. The Indian music industry has been witnessing robust growth, with digital platforms playing a pivotal role in driving consumption patterns. According to the Indian Music Industry (IMI), the industry grew by a staggering 24.5% in 2023, reaching a valuation of $1.7 billion.

Streaming services have emerged as the primary revenue driver, with platforms like Gaana, JioSaavn, and Spotify leading the charge. The International Federation of the Phonographic Industry (IFPI) reported a 32.6% surge in streaming revenue in India in 2023, reflecting the increasing adoption of paid subscription models. Furthermore, the proliferation of affordable smartphones and internet connectivity has democratized access to music, particularly in rural areas, fueling demand across demographics.

Looking ahead – India’s music industry is poised for continued expansion. Projections from IMI suggest that the market could surpass $3 billion (USD) by 2028, driven by sustained growth in streaming revenue and increasing investments in live events and artist development. Furthermore, collaborations between Indian and international artists are on the rise, reflecting the country’s growing influence on the global music scene.

India’s music industry is navigating a transformative phase, fueled by digital innovation and evolving consumer preferences. Despite challenges, the sector’s rapid growth trajectory underscores its resilience and potential as a formidable player in the global music landscape. As stakeholders adapt to the changing dynamics, India stands poised to emerge as a powerhouse in the international music business arena.

 

ACROBVT

 

Hailing from the U.K.’s vibrant music scene, ACROBVT is a dynamic alternative pop-rock sensation with a distinct identity that emanates the stadium sounds of Coldplay and Imagine Dragons. Teaming up with Skindred‘s Mikey Demus and renowned producer James Loughrey, known for his work with Manic Street Preachers and Björk, ACROBVT crafts songs blending infectious melodies and introspective lyricism. Recorded at Rockfield and Vada Studios, their music, masterfully touched by Sean Magee at Abbey Road, captures a journey marked by raw emotion and sonic innovation. Standing out from mainstream comparisons, ACROBVT’s sonic landscape invites listeners into an authentic artistic realm, promising a unique journey in the global pop/rock scene. Their debut single “Neon” has already gained support from various tastemaker playlists and airplay in numerous countries including the U.K., Germany, U.S., India, Holland, Ireland, South Africa, and many others. Discover ACROBVT’s global sound with “Neon” HERE, and witness a musical journey that defies expectations. ACROBVT will be making their debut N. American music industry showcase at MUSEXPO on Monday, March 18th in Hollywood, California. Contact Ben Edwards at ben@acrobvt.com as ACROBVT is available for signing, booking, management, sync, and co-writing opportunities.

POSITION MUSIC SIGNS JORDAN SUASTE: Burgeoning, Burbank, CA-based music publisher, sync, recording, and management company Position Music has announced its signing of Jordan Suaste. The deal was announced last week by Tyler Bacon, President & CEO, Position Music. Suaste’s long-awaited debut under this new alliance, “Love Who You Want To,” was released last Friday, and has already garnered over ten million impressions, and over 10,000 user-generated TikTok creations. Suaste’s allure extends beyond numbers, resonating deeply with his 630K+ TikTok following and the broader Gen-Z LGBTQ+ community. At just twenty-three, Suaste has a track record, with hits like “Body” amassing over 80 million streams, and his work featured in Netflix‘s film To All the Boys: Always & Forever. Managed by Niki Zahedi of Hallwood Media, Suaste’s addition expands Position Music’s roster, alongside artists like NoMBe, Elohim, Kid Bloom, Ryan Oakes, Layto, and Welshly Arms. Joe Brooks, A&R, Position Music, tells A&R Worldwide, “As a vocalist, songwriter, and performer, Jordan is quite remarkable. With his raw, honest, and emotionally driven lyrics, stunning vocal range, and heart-felt delivery, he has a real gift to share with the world. We are excited to be label partners with him and his team as he grows into the next chapter of his young career.”

UMPG INKS DYLAN GOSSETT TO GLOBAL DEAL: Universal Music Publishing Nashville (UMPN) has announced that singer-songwriter Dylan Gossett has been signed to an exclusive, global publishing agreement and has dropped the second single, “Somewhere Between,” off his forthcoming EP, Songs In The Gravel, set for release on March 22nd via Big Loud Texas/Mercury Records. The single comes after Gossett’s critically acclaimed debut EP, No Better Time, which Gossett wrote, recorded, produced, and mixed in his bedroom in Austin, Texas. The EP includes the viral breakout single “Coal,” which has garnered over 150 million global streams to date and is now Certified Gold in the United States. It recently debuted on Billboard‘s Hot 100 (Gossett’s first career entry) and climbed to No.21 on Billboard‘s Hot Country Songs Chart and Top 25 on Billboard‘s Country Digital Song Sales Chart, as well as cracked the Top 5 on Spotify‘s Global and US Viral 50 Charts. Roxy King, Director A&R at UMPG Nashville, stated, “Gossett has a natural ability to tell meaningful stories in a unique and poetic way. It caught my ear from the get-go. Meeting Dylan is what sealed the deal. He is a star in every sense of the word. I am thrilled to work alongside Dylan, Range Media Partners, Big Loud Texas, and Mercury Records to help spread Dylan’s words around the world.” The 24-year-old Texan singer, songwriter, and multi-instrumentalist has also kicked off his first headline “No Better Time” tour, which is completely sold-out and making stops in London, Dublin, New York, Atlanta, Nashville, Chicago, and more.

BUCKS MUSIC GROUP FORMS JV WITH EDDIE LEVY FOR CHELSEA SONGS: Veteran music publisher Eddie Levy has announced his latest venture, Chelsea Songs, in collaboration with Bucks Music Group. The partnership will focus on its current roster, which includes names like Bill Withers, Andre Rieu, Janet Kay, Buscemi, Barton Music catalog, which includes classics from Dean Martin (“Ain’t That A Kick In The Head”), and Frank Sinatra‘s “Come Fly With Me,” as well as, hits like The Hues Corporation‘s “Rock The Boat,” and Janet Kay‘s “Silly Games,” and more. The venture will be backed by Bucks’ backend administration and creative sync services, and other services. Levy’s storied career, spans over five decades including him being the Founding Director of ATV Music (owner of The Beatles catalog), and co-Founder of Heath Levy, alongside Geoff Heath. Levy will bring invaluable expertise and experience in nurturing talent and managing catalogs for the new venture. Simon Platz, who is Director of the new company alongside Levy, commented, “There are few publishers in our business with the pedigree and experience that Eddie has. He has built and nurtured relationships with some of the greatest songwriters of all time throughout the course of his career, and the fact that he maintains so many of them proves that no matter how many revolutions our industry goes through, certain qualities are timeless. I look forward to working closely with him in this new venture.”

CYNDI LAUPER SELLS CATALOG TO POPHOUSE ENTERTAINMENT: Pophouse Entertainment Group, the Swedish company behind ABBA Voyage and the upcoming KISS avatar show, has acquired the majority share of Cyndi Lauper‘s master recording revenue and publishing now belongs to Pophouse, marking its first major move in the U.S. market. This follows previous ventures into music rights, including the catalogs of Avicii and Swedish House Mafia. Lauper’s iconic hits like “Girls Just Want to Have Fun,” and “Time After Time” will be the focus of collaborative efforts between Pophouse and the artist herself. Through joint ventures and creative activations, Pophouse aims to introduce Lauper’s repertoire to new audiences while enriching her catalog with fresh content and experiences. Led by industry veterans like Björn Ulvaeus and Per Sundin, Pophouse continues to redefine music entertainment on a global scale. Per Sundin, CEO, Pophouse said, “Cyndi Lauper is an icon, with a career that has inspired generation after generation of music lovers. That she has entrusted us to protect and continue to grow her legacy is a privilege we are proud to accept.”

UNIVERSAL MUSIC ACCELERATES REVENUE AMIDST STAFF LAY-OFFS: Universal Music Group (UMG) made its anticipated staff cut-backs last week across a variety of its music groups, divisions and sectors, whilst its showcased resilience and growth in its fourth-quarter earnings report for 2023, with revenue hitting a notable €3.21 billion euros ($3.45 billion USD), marking a 9% increase year-over-year. The company’s strategic focus on non-subscription streaming propelled its record labels forward, bolstered by robust physical sales and licensing opportunities. Spotify‘s price adjustment notably contributed to a surge in UMG’s recorded music division subscription revenue by 8.9%, reaching €1.14 billion euros ($1.22 billion USD). Despite a slight dip in non-subscription streaming revenue, the ad-supported streaming sector demonstrated stability, though tempered by uneven market recovery. UMG’s decision to withdraw its catalog from TikTok did not impact its revenue stream, indicating the company’s diversified portfolio and strong market presence. Noteworthy performers in the quarter included Taylor Swift, The Rolling Stones, Drake, Jung Kook, and Stray Kids, reflecting UMG’s continued success across various genres and artists.

BELIEVE SIGNS GLOBAL LABEL SOLUTIONS DEAL WITH BELLA UNION: Believe‘s U.K. division has announced the signing of a global solutions deal with British independent music company Bella Union founded by Simon Raymonde formerly of the legendary atmospheric indie band Cocteau Twins. The partnership will encompass both upcoming releases and the company’s catalog material, which will bolster Believe’s service offerings. With comprehensive digital and physical distribution, coupled with bespoke services like sync placement and retail editorial Believe will focus on supporting Bella Union’s artists to reach their widest audience yet. This alliance further enhances Believe’s eclectic U.K. roster, with alternative genre music companies like Communion and Scruff of The Neck. Bella Union, founded in 1997, has been home to artists such as Fleet Foxes, Ezra Furman, Beach House, Susanne Sundfør, Father John Misty, and many others. Simon Raymonde, Founder, Bella Union, stated, “We are all thrilled to begin an exciting new chapter in the Bella Union story, working with the fantastic team at Believe. I am an instinctive person who always follows my gut. My team at Bella Union have all been with the company long term and we need to feel the love from the people we work with and for.”

BELLA FIGURA MUSIC ANNOUNCES TWO KEY HIRES: Bella Figura Music has unveiled two additions to its leadership team. Billy Millar, an executive with previous experience at BMG and Hipgnosis, takes on the role of Sr. Vice President of Creative. His position spans the orchestration of global sync initiatives and the cultivation of innovative prospects for the company’s repertoire. With a career spanning over a decade, Millar’s knowledge transcends across the realms of sync, publishing, recorded music, and acquisitions. His portfolio showcases collaborations with artists including Blink-182, Bon Jovi, Labrinth, and more. Alexi Cory-Smith Co-Founder & CEO of Bella Figura Music said, “When drafting the role of the person who would build and lead our sync business from scratch we wrote down, creative, experienced, commercial, ambitious, data and tech orientated, self-starter, must share our values, passion and energy and will roll up their sleeves and do the dirty work as well as the big ticket and high-level stuff. I had worked with Billy at BMG, and I knew he would be a great fit for Bella Figura.” Also, the company has announced the appointment of Chris Presland to the role of Catalog Project Manager. Amongst his responsibilities, Chris will oversee the transition of David Gray‘s recorded output to Secretly Distribution, which will include his best-selling album White Ladder, with global digital support and vinyl reissues across the entire catalog. Based in London, Chris started his new role earlier this month and will also report to Hannah Overton, Head of Operations, Bella Figura Music.

ALTERNATIVE SONGS ANNOUNCE FOUR KEY SIGNINGS: London and Los Angeles-based Alternative Songs, under the guidance of Joe Etchells, has announced several new signings. The new deals will be administered by Downtown Music. The label’s latest acquisitions include Glen Roberts, RNDM BEATS, DeijuVHS, and Ed Cousins, each bringing a distinct flair to its roster. Glen Roberts, a U.K.-based artist, has a track record with co-writes on chart-toppers like Aurora‘s “The Gods We Can Touch,” and Joy Crookes‘ “Skin.” He co-wrote the England Women’s World Cup anthem” Call Me A Lioness,” and his credited songs have been streamed over 400 million times. RNDM BEATS has had recent success with Craig David and Wes Nelson and has collaborated with an array of talent from Aitch, Black Sheriff, Ella Henderson, Yungblud, Claudia Valentina, Robin Knightz, and many others. DeijuVHS’ fusion of Linkin Park and The Prodigy has led to a MOBO nomination and visceral live performances that have already captivated audiences and the industry alike. Ed Cosens, who is a stalwart in Sheffield, England’s music scene, will bring his songwriting prowess to the company. He has had success with the song “In the Dark” by Sophie & The Giants x Purple Disco Machine. Joe Etchells, Head of A&R and Artist Music Publishing, Alternative Songs stated, “We are off to a great start with these four signings, we are here to stay and we are looking to add to our growing pool of talent. Alternative Songs exists to offer the chance for songwriters and producers to come in from left field and deliver mainstream success!”

THIRD SIDE MUSIC LANDS PUBLISHING DEAL WITH THE LATE ALAN WATTS: Third Side Music (TSM) has revealed its latest signing with the posthumous addition of the renowned philosopher, Alan Watts, to its roster. Through a global creative publishing deal with The Alan Watts Organization, TSM aims to unlock new avenues of artistic expression by tapping into Watts’ extensive archive of audio commentary, lectures, and radio programming. Watts’ insights have resonated across generations and cultures, permeating not only philosophical discourse but also popular culture. His wisdom has found resonance in various mediums, from commercial campaigns for global brands to viral TikTok sensations. Artists like Harry Styles and Nas have incorporated Watts’ teachings into their work, reflecting his enduring influence. Watts’ ability to bridge Eastern philosophy with Western audiences solidified his legacy as a visionary thinker around the world. His radio broadcasts, which date back to the 1950s, continue to captivate audiences, showcasing his relevance in today’s world.

HARBOURVIEW ACQUIRES SELECT ASSETS FROM FULL FORCE: HarbourView Equity Partners has announced the acquisition of songwriting and publishing assets from hip-hop and R&B pioneers Full Force. The band has a musical legacy that spans decades. Full Force’s influence is profound, having crafted chart-topping hits for global artists like Backstreet Boys and Rihanna. Beyond their own hits such as “Ain’t My Type of Hype,” “Can You Feel the Beat,” “Unselfish Lover,” “Temporary Love Thing,” “Alice, I Just Want You for Me,” and countless others. They have also sculpted successful songs for an array of artists from Justin Timberlake, Britney Spears, Patti LaBelle, Wild Orchid, ‘NSync to James Brown. The six-member powerhouse, led by brothers Bowlegged Lou and Paul Anthony, has not only shaped the sound of generations but also discovered talents like Lisa Lisa & Cult Jam.

IDOL SIGNS TWO U.S. LABELS: The multi-faceted distribution and label services platform IDOL has enhanced its presence in North America with new deals and key personnel appointments. They’ve also strengthened their collaboration with Le Plan Recordings, IDOL will offer comprehensive digital distribution, marketing, and audience development services for Le Plan’s entire catalog and forthcoming releases. This extended partnership includes exclusive distribution of the French electronic, atmospheric, and jazz ensemble Caravan Palace‘s anticipated album, Gangbusters Melody Club, in North America. Also, IDOL has inked a global distribution and marketing pact with Old Soul Music, the burgeoning label founded by producer L’Orange, extending its reach into the North Carolina music scene. Mandy Freebairn has been appointed as Label & Project Manager, which will enhance IDOL’s U.S. operations, as she brings her extensive experience from Omnian Music Group to the company.

DEEZER CEO JERONIMO FOLGUEIRA EXITS: Jeronimo Folgueira, CEO of Deezer, has announced his resignation, effective March’s end. Deezer reported a 7.4% rise in annual consolidated revenue to €484.7 million euros ($525.2 million USD). Folgueira has pledged his full support during the transition. The service’s price hike in select European markets led to significant growth acceleration in Q4 2023. Folgueira previously held the role of CEO and Director of the Board at Spark Networks — an online dating company — before he joined Deezer in 2021. “I am extremely proud of what we have achieved over the last three years,” he said in a statement last Wednesday. He cited, “not only the strong 2023 financial results announced recently, and our listing on Euronext Paris, but also the adoption of our new brand identity, our evolution to an experience service platform, and the introduction of the new artist-centric payment system. Together, we have accelerated the development of Deezer… and put us on a path to profitability and free cash flow generation, in line with our commitments since the IPO.” Iris Knobloch, Chairwoman of Deezer’s Board of Directors, added, “Deezer is back on a growth trajectory and can now build from a solid foundation, with a talented management team to capture the many opportunities in a rapidly evolving music market.”

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: James Dewar, Rudy Chung, Dan Ziber, Paulina Ahokas, Cate Wright, Darus Beese, Ray De La Garza, Greg Sowders, Gabi Serafine, Anurag Rao, Matt Pincus, Nick Shymansky, Ian Montone, and Danny Rogers.

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