As wildfires across Los Angeles rage on, the global music industry continues to grapple with the devastating crisis.

The 67th annual Grammy Awards, set for 2 February at Ingelwood’s Crypto.com Arena (cap. 20,000), is still projected to go on.

“This year’s show, however, will carry a renewed sense of purpose: raising additional funds to support wildfire relief efforts and honouring the bravery and dedication of first responders who risk their lives to protect ours,” said Recording Academy CEO Harvey Mason Jr.

Yet, Universal Music Group (UMG) has cancelled all Grammy-related events, and will instead “redirect the resources that would have been used for those events to assist those affected by the wildfires,” the firm wrote. UMG historically coordinates an artist showcase and awards after-party around the event.

“L.A. is home to so many of us. We are committed to helping and supporting the music community, our artists, our teams and the people of Los Angeles get through this horrific episode.”

After donating $2.5 million in relief efforts yesterday, Beyoncé has postponed today’s rumoured tour announcement.

“I will continue to pray for healing and rebuilding for the families suffering from trauma and loss. We are so blessed to have brave first responders who continue to work tirelessly to protect the Los Angeles community,” she says.

“My focus remains on supporting the recovery of these communities and aiding its incredible people as they rebuild”

The Weeknd has postponed the release of his new album Hurry Up Tomorrow by one week to 31 January and cancelled a one-off show at the Rose Bowl Stadium (89,702) on 25 January.

“This city has always been a profound source of inspiration for me, and my thoughts are with everyone impacted during this difficult time … My focus remains on supporting the recovery of these communities and aiding its incredible people as they rebuild,” he says.

Donations have been pouring in to aid in the city’s recovery. Sony Corporation will donate $5m in emergency aid and rebuilding efforts, while AEG donated $1m as part of a greater $8m package from 12 professional sports teams.

Metallica, through its All Within My Hands Foundation, has donated $500,000 to various funds supporting recovery efforts.

“In the past week, the community has suffered at least 24 lives lost, nearly 100,000 people under evacuation orders, 40,000 acres burned, and more than 12,000 structures—commercial and residential—destroyed. However, numbers cannot articulate the magnitude of anguish as the disaster upends families and dismantles livelihoods,” the band wrote online.

Other organisations are staging benefit events. Independent promoter Another Planet Entertainment has partnered with IHEARTCOMIX, Brownies & Lemonade and Teragram to present LA Gives Back: Fire Relief at The Bellwether (1,600). The 7th edition of the event, which is set to feature multiple stages, will see 100% of the funds raised go to charity.

“Los Angeles is home to a vibrant independent creative community – we’re proud to open our stage in support of our neighbours who lost everything in this disaster,” says Casey Lowdermilk, The Bellwether general manager.

FireAid, organised by Live Nation, AEG Presents and the Azoff family, will precede the Grammys on 30 January at the neighbouring Intuit Dome (18,000). Performers are expected to be announced in the coming days.

“We are devastated by the impact of the fires in our community and are grieving alongside our city”

Dance music promoter Insomniac Events announced a series of benefit events with “100% of the net proceeds [going] directly to assist those in need.” Details will be announced this week.

Even still, show disruptions are rife. Young The Giant’s two The Troubadour (500) shows, set to celebrate their debut self-titled album and 10 years of their sophomore Mind Over Matter, have been pushed to 4-5 September.

“We are devastated by the impact of the fires in our community and are grieving alongside our city. Our heartfelt gratitude goes out to the first responders and emergency personnel working tirelessly to protect lives and contain fires,” the band wrote.

The blazes have ripped through more than 40,000 acres since igniting last week, causing more than 150,000 people to evacuate and burning 12,000 structures, according to NPR. At least 24 people have been killed, with the cause of the widespread fires’ initial spark currently unknown.

The economic damage could top $50 billion and may rank as one of the most costly natural disasters in US history, according to the Los Angeles Times.

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BMG is stepping away from the live music business after agreeing a deal which will see its two live companies, Undercover and Karo, transferred back to the minority shareholders.

The German-headquartered music giant acquired a majority stake in Brunswick-based promoter/event production firm Undercover in October 2020, enabling it to “offer artists an integrated tour promotion and ticketing service” on an opt-in basis, in addition to “releasing recordings and publishing songs”.

BMG and Undercover subsequently formed a strategic alliance with Karo, the company behind the Taubertal Festival, in 2021, and booked out Berlin’s 1,600-seat Theater des Westens every night until the end of 2024 to showcase domestic and international recording artists.

However, in late 2023, BMG CEO Thomas Coesfeld announced the company would be focusing on its “core service areas” of music publishing and recordings moving forward.

“We wish BMG and its team all the best and every success in focusing on its core business”

“Michael Schacke [Undercover founder/owner] and Volker Hirsch [Karo founder/owner] are seasoned entrepreneurs who have built enviable reputations in the live music business,” says BMG chief content officer Dominique Casimir. “We are pleased to have agreed terms which allow them to pursue an independent future and we wish them and their teams the best for the future.”

The new deals will see the two companies return to their previous ownership structure.

“I have looked for and found the best solution for Undercover and our artists,” says Schacke, who launched the company in 1991. “Undercover will remain strong and independent in the future. We wish BMG and its team all the best and every success in focusing on its core business.”

Founded in Tauber Valley in 1996, Taubertal has featured acts including Biffy Clyro, Placebo, Rise Against, Pink, Die Toten Hosen, The National and Skunk Anansie.

“It has been a pleasure working with Michael Schacke and Dominique Casimir and we are pleased yet again to be pursuing an independent course as we near the 30th year of existence of Taubertal in 2026,” adds Hirsch.

The record business has had a complex relationship with its live counterpart down the year

The record business has had a complex relationship with its live counterpart down the years, arguably reaching its zenith with the controversial proliferation of so-called ‘360’ deals with artists in the late 2000s/early 2010s.

More recently, major label Warner Music Group (WMG) crossed the divide to acquire India-based live events and artist management company E-Positive. WMG said that the deal would strengthen its position in the market while allowing its artists “to tap into new expertise in brand partnerships and live events”.

Also in 2023, Warner Music France’s live entertainment and concert production company Décibels Productions secured a majority stake in French talent agency Les Visiteurs du Soir, while Warner Music Poland bought a minority stake in Polish concert and festival promoter Big Idea in 2022.

Meanwhile, Sony Music Masterworks, a division of Sony Music Entertainment (SME), acquired a majority stake in Barcelona-based Proactiv Entertainment last year. Other investments by Sony Music Masterworks include Backyard Cinema; Holland-based GEA Live; Dubai-based concert promotion, talent management, events and production company MAC Global; Raymond Gubbay Ltd and UK concert promotion and production company Senbla.

Elsewhere, Universal Music Group (UMG) launched live music arm U-Live in 2012. French-headquartered media giant Vivendi, which announced the partial spin-off of its UMG stake in 2021, is reportedly working with advisers on potentially offloading parts of its Vivendi Village subsidiary, including See Tickets and 11 festivals such as the UK’s Love Supreme and Kite, as well as Garorock in France.

Sources indicate that Vivendi has concluded its ticketing and festival businesses were not of sufficient scale to compete with the likes of Live Nation and AEG. The Financial Times reported the firm is seeking up to £300 million (€348m) for See Tickets, which it bought for €96m in 2011, with AEG and CTS Eventim said to be among the interested parties.

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Nineteen organisations from across the music industry have formed a coalition to “collectively advocate for a ticketing experience better than the nightmare many fans and artists currently navigate”.

The coalition, named Fix the Tix, comprises companies and associations operating in North America such as Wasserman, See Tickets, Universal Music Group and DICE.

“With representation from venues, promoters and producers, the performing arts, artists groups, recorded music, and independent ticketing companies, this coalition represents stakeholders who take on all the risk to create once-in-a-lifetime experiences and bring joy, employment, and economic impact to communities across America,” reads a statement from the alliance.

“We are collectively advocating for a ticketing experience better than the nightmare many fans and artists currently navigate”

“We are coming together to protect fans from price gouging and deceptive and predatory ticketing practices.”

The creation of the coalition comes during an upheaval of ticketing practices in the US, with lawmakers attempting to clamp down on ticket sellers.

Fix the Tix is the latest coalition to be formed by the live industry after Fans & Artists Insisting on Reforms (FAIR) Ticketing, launched in March by 20 companies including Live Nation, CAA, UTA, Wasserman Music and WME.

Live Nation CEO Michael Rapino this week addressed high-profile furores over ticket prices and on-sales and identified areas of improvement for the ticketing industry.

Fix the Tix has promised more “important announcements” in the coming weeks.

At launch, the coalition includes:

• National Independent Venue Assocation (NIVA)
• American Association of Independent Music (A2IM)
• Americans for the Arts (AFTA)
• Artist Rights Alliance
• Arts Action Fund (AAF)
• Association of Performing Arts Professionals (APAP)
• Black Music Action Coalition
• DICE
• Future of Music Coalition
• Music Artists Coalition
• Music Managers Forum (MMF-US)
• National Independent Talent Organization (NITO)
• Recording Academy
• Recording Industry Association of America (RIAA)
• Seattle Theatre Group
• See Tickets
• Songwriters of North America
• Universal Music Group
• Wasserman

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ASM Global has appointed seasoned executive Brian Celler to the newly-created role of SVP, content and programming, Europe.

The major label veteran brings more than 25 years of experience in major live events, international marketing, and artist management.

He will be responsible for leading ASM’s live entertainment offering, driving “high-calibre, diverse content” across the company’s venue portfolio in the UK and Europe, including AO Arena in Manchester, P&J Live Aberdeen, OVO Arena Wembley, First Direct Arena in Leeds, Friends Arena Stockholm and Rudolf Weber-Arena Oberhausen.

“I am delighted to welcome Brian to ASM Global. Brian comes armed with tremendous international experience, and a fantastic reputation as a highly skilled live events industry professional,” says Chris Bray, ASM’s EVP, Europe. “Brian’s vision and ambition for our European content and programming operations will bring huge value as we look to the future, developing a diverse, relevant and truly exciting calendar of events across Europe.”

Celler began his music industry career in the production teams of bands such as Aerosmith, AC/DC and Metallica, going  on to work as an artist manager with Q Prime, after which he ascended to progressively more senior roles in artist development and international marketing.

He developed award-winning creative campaigns for artists at Sony Music in New York and London, as well as at Universal Music Group UK in London where he served most recently as EVP and head of the label’s international team. He also oversaw all operations including creative, marketing, touring, production and content for U2 during an eight-year stint working as MD of Principle Management in Dublin and London.

“I’m honoured to join the incredible ASM Global team in a role that aligns perfectly to my passions for the future of our industry and leverages the diversity of experience I’ve accumulated over the course of my career,” says Celler. “I’m inspired to support ASM Global’s mission to redefine what world-class content looks and feels like to live event fans. I ‘m very much looking forward to getting started.”

John Boyle, global chief content officer at ASM Global, adds: “Brian is the consummate music business and live event executive. He has spent his entire career working with big artists on an international level. He is incredibly well-respected around the world, and there is nothing he hasn’t seen or done. I really look forward to having him on our Global Content team, and I am certain he will add significant value to our business”.

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Live Nation Electronic Asia (LNEA) has entered into a multi-year global licensing and distribution agreement for its recently launched Fabled Records label.

The promoter’s Asian electronic dance music division, LNEA is partnering with global dance label Astralwerks and Capitol Records China (CRC), which are both divisions of Universal Music Group.

Under the new agreement, Astralwerks and Capitol Records China will collaborate on the global release and distribution of Fabled Records artists and projects globally. The partnership will see all organisations working together to advance the awareness of Chinese electronic music and artists worldwide.

“Fabled Records and our whole division at LNEA are committed to bringing the best artists and music from Greater China to the global stage”

LNEA’s management company, Dancing Dragon, was formed in August 2019 to meet the rising demand for electronic dance music in the region, and has signed a roster including Chinese EDM artists and producers Chace, Beauz, Carta, and Yåko, who will release music via Fabled Records.

“Greater China dance music has grown tremendously in the past decade, particularly in the live and club sectors of business,” says Jim Wong, MD at Live Nation Electronic Asia, Dancing Dragon Management, and label head of Fabled Records. “It has influenced a lot of artists, adults, and teenagers in Greater China to start listening, engaging and producing dance music.

“Fabled Records and our whole division at LNEA are committed to bringing the best artists and music from Greater China to the global stage.”

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Live Nation has pledged not to do business with Russia following the country’s invasion of Ukraine.

The concert giant, which had a Moscow office in the early 2010s as it expanded its operations in the region, has vowed not to promote shows in Russia and says it is cutting ties with Russia-based suppliers.

“Live Nation joins the world in strongly condemning Russia’s invasion of Ukraine,” the company says in a statement released to IQ. “We will not promote shows in Russia, and we will not do business with Russia. We’re in the process of reviewing our vendors so we can cease work with any and all Russian-based suppliers.”

Venue management and services company ASM Global, whose portfolio includes Moscow Convention Center and MTS Live Arena, says it “stands with the people of Ukraine and condemns Russia’s actions”.

“We fervently support a community’s right to freedom,” it says. “Our thoughts are with the people of Ukraine, their families and loved ones all around the globe.”

Sports and entertainment firm Oak View Group (OVG) had earlier announced it was boycotting Russia amid widespread outrage over the country’s actions. OVG’s Climate Pledge Arena lit up Seattle Center in the colours of the Ukrainian flag in a gesture of support for #StandWithUkraine.

“In light of the tragic conflict rapidly unfolding in Ukraine, Oak View Group has pledged to not do business in or with Russia, nor will we serve Russian brands in any of our venues on a global basis, effective immediately,” it said. “We stand with the people of Ukraine, we condemn the actions of Russia, and we hope our stance inspires others in our industry to take action where they can.”

“We have taken a number of actions in response to the invasion”

Universal Music Group, which has a Russian branch, has also posted a statement on its Instagram account saying: “We stand with our partners who are on the ground delivering urgent humanitarian aid to Ukraine refugees.”

It adds: “The situation in Ukraine affects millions of innocent civilians with urgent humanitarian needs – from food and water to shelter and clothing. UMG and our employees are proud to support organisations providing assistance to refugees in need.”

Apple has also paused product sales in Russia. 

“We have taken a number of actions in response to the invasion,” it said. “We are deeply concerned about the Russian invasion of Ukraine and stand with all of the people who are suffering as a result of the violence.”

Ukraine vice prime minister Mykhailo Fedorov says some Ukrainian companies have appealed to Apple chief Tim Cook asking to allow Ukrainian artists to change their album covers “in order to show the truth about the situation”.

“In addition to this, we ask you to block Apple Music accounts who support the war and Putin’s aggressive actions,” he adds.

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Universal Music Group (UMG) is capitalising on two of the biggest trends of the last year – NFTs and the metaverse – with the formation of a new ‘NFT Supergroup’.

The multinational music cooperation is collaborating with collector Jimmy McNelis to convert four of his ape NFTs into a band called Kingship.

McNelis, an early buyer of Ethereum, acquired hundreds of ape NFTs from the creator of the Bored Ape Yacht Club, which gave anyone who bought one of the apes full commercial rights to use the image.

McNelis was later approached by Universal’s 10:22PM record label, a “next-gen Web3 label” which was set up by former Sony exec Celine Joshua.

Joshua pitched him on the idea of creating a new group and picked four characters that she thought would work as a band before signing the ‘metaverse group’ to the label.

10:22PM is now working with a team of crypto artists and animators to turn the two-dimensional apes into three-dimensional beings.

One of the band’s members, the golden ape, is currently valued at over $300,000 USD

One of the band’s members, the golden ape, is currently valued at over $300,000 USD. McNelis has a collection that he estimates is worth more than $100 million.

The company will record music for Kingship that it releases on streaming services and the band will perform and participate in video games, virtual-reality applications and across the constellation of digital experiences known as the metaverse.

Joshua and her team are going to create these characters stories’ from scratch. They will put together a marketing campaign to introduce the apes to potential fans, explain how they met and describe who they are. “It’s just like just like the way we introduce new artists to the world,” she told Bloomberg.

Kingship is just one of the ape-themed virtual bands to follow in the footsteps of Gorillaz, an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett.

US music producer Timbaland is also cashing in on the trend, starting new company Ape-In Productions that will also use Bored Ape Yacht Club characters to form a music group.

Timbaland’s group, named TheZoo, features six Bored Ape characters – such as Lincoln Aperaham and Safari Ferrari – and will release their first song ‘ApeSh!t’ on Wednesday, according to Variety.

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Music industry bodies, artists and MPs have hit out after it was reported that Universal Music Group (UMG) boss Sir Lucian Grainge’s 2021 earnings will exceed what all UK songwriters combined made from streams and sales of their music in 2019.

One-off cash bonuses totalling £123 million following UMG’s flotation on the stock market in September and the sale of an additional 10% stake in the company to China’s Tencent could see Grainge’s pay packet top £150m this year, according to the Guardian.

In comparison, government body the Intellectual Property Office calculated that UK composers and lyricists earned £150m in 2019 from streaming, downloads and sales.

Crispin Hunt, chair of songwriters’ association The Ivors Academy, slams the “imbalance” in remuneration as “just plain wrong”.

“Nobody’s against success being rewarded, but not if that success is at the expense of those who create the value,” says the former Longpigs frontman. “This is evidence of a business which is completely out of control. For songwriters who are struggling to make a living, there’s only one word for it – obscene.”

There is no other industry anywhere in the world that would tolerate this gross unfairness

Gomez musician Tom Gray, founder of the #BrokenRecord campaign, tweets: “To earn the same amount as the CEO of Universal this year, a solo artist on a standard contract would require 180,000,000,000 streams,” tweets musician Tom Gray, founder of the #BrokenRecord campaign. “That’s right, 180 billion! And people think it isn’t a #BrokenRecord industry.”

Musicians’ Union general Horace Trubridge adds: “To the best of my knowledge Sir Lucian has never played or written as much as a note of music. No one buys his records or queues for his gigs, yet he enjoys rewards and riches beyond the wildest dreams of even our most popular artists and writers.

“There is no other industry anywhere in the world that would tolerate this gross unfairness and it has to stop now.”

Grainge has not commented on criticism of his pay.

Earlier this year, the UK government’s Department for Digital, Culture, Media & Sport (DCMS) called for a “complete reset” of the market in its report into the economics of music streaming, following a wide-ranging inquiry.

It concluded that “comprehensive reform of legislation and further regulation is needed, not only to redress the balance for songwriters, performers and composers, but to tackle fundamental problems within the recorded music industry”.

Conservative MP Esther McVey says: “It’s shocking that record label owners are earning more out of artists’ works than the artists themselves”. Labour MP Jo Stevens, shadow secretary of state for DCMS, adds: “Artists get a pitiful amount while streaming sites and record companies cash in.”

Labour MP Kevin Brennan’s Copyright (Rights And Remuneration Of Musicians etc) Bill, which seeks to “create a new right to fair remuneration for musicians when their work is played on streaming platforms” will receive its second reading in parliament on 3 December.

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