October New Music playlist out now
The latest edition of the IQ New Music playlist, featuring a selection of tracks curated by international booking agencies, is now live.
The playlist complements IQ Magazine’s popular New Signings page, which keeps the live industry updated about which new, emerging and re-emerging artists are being signed by agents. Click here to read the latest issue of IQ now.
The October edition of the New Music playlist features tracks hand-picked by agents at CAA, ICM, ITB, Paradigm, 13 Artists, ATC, WME and Mother Artists.
Listen to the latest selection using the Spotify playlist below, or click here to catch up on last month’s playlist first.
Separated by agency, the full track list for the October playlist is:
|CAA||Laurel||Scream Drive Faster|
|CAA||Gabby Martin||Me & You|
|ICM||J.I the Prince of N.Y||Morning|
|ITB||W.H. Lung||Figure With Flowers|
|Paradigm||Dora Jar||Scab Song|
|Paradigm||Nala Sinephro||Space 2|
|13 Artists||Orlando Weeks||Look Who's Talking Now|
|13 Artists||Holly Humberstone||Scarlett|
|13 Artists||Kid Brunswick||Biploar Rhapsody|
|13 Artists||Helve||Cabin Fever|
|ATC||Metronomy, Pinty||Half an Inch|
|ATC||Joe & The Shitboys||Manspredator|
|ATC||Rosie Alena||God's Garden|
|WME||Sam Smith, Summer Walker||You Will Be Found|
|WME||Steve Aoki, Armin van Buuren||Music Means Love Forever|
|WME||Camila Cabello||Don't Go Yet (Major Lazer remix)|
|WME||Zac Brown Band||Fun Having Fun|
|WME||Carly Pearce, Ashley Mcbryd||Never Wanted To Be That Girl|
|Mother Artists||Thomas Headon||Nobody Has To Know|
|Mother Artists||Unknown Mortal Orchestra||That Life|
|Mother Artists||Cheap Teeth||I Am The Mud|
|Mother Artists||Kills Birds||Glisten|
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CAA to acquire ICM Partners in historic deal
Creative Artists Agency (CAA) and ICM Partners are joining forces in a landmark agency merger that will “drive broader and more inclusive representation” for their clients.
The deal, if approved, will bring together two of the leading global agencies in entertainment and sports. The agency landscape would then consist of what US outlets are calling ‘the big three’ – CAA, WME, UTA – alongside Wasserman, which is also a major player in the US. Financial terms were not disclosed.
The agreement, announced today (27 September), is said to be the largest talent agency transaction since WME acquired IMG in 2014 and since Endeavor joined forces with William Morris Agency in 2009, which forged the contemporary WME.
“Today’s storytellers, athletes, thought-leaders, and trend-setters who can move, inspire, and attract large, global audiences have an unprecedented opportunity and ability to achieve their goals and aspirations,” says CAA’s Bryan Lourd, Kevin Huvane, and Richard Lovett.
“The strategic combination bolsters our collective resources, expertise, and relationships to deliver more opportunities”
“The strategic combination of CAA and ICM bolsters our collective resources, expertise, and relationships to deliver even more opportunities for our world-class clients to build their careers and their brands across multiple disciplines and platforms in an evolving marketplace.
“Our strong financial position enables us to continue to expand and diversify our businesses, with service and representation remaining central to what we do and who we are. We’re fortunate to have a partner in ICM who shares our commitment to the widest and most inclusive vision possible for what our clients and company can accomplish together.”
ICM’s Chris Silbermann, who will join CAA’s shareholder board, added: “We’re thrilled to partner and combine forces with the talented CAA team. Together, we will build upon our accomplishments and entrepreneurial spirit, and continue to demonstrate an unwavering commitment to the best interests of our clients, as well as empowering new, diverse voices within the industry.”
ICM brings to CAA a global roster of artists in film, television, music, comedy, theatre, games, politics, and podcasting.
“[CAA’s] strong financial position enables us to continue to expand and diversify our businesses”
ICM’s music clients include Chaka Khan, Buddy Guy, Chris Rock, Corinne Bailey Rae, D’Angelo, Dan Auerbach, Good Charlotte, J. Cole, Jerry Seinfeld, Jill Scott, Kamasi Washington, Khalid, Lisa Loeb, Los Lonely Boys, Mavis Staples, Migos, Puddles Pity Party, Roger Daltrey, Rosanne Cash, Scott Stapp, Sheila E, The Black Keys, Tower of Power, Trey Songz and more.
Last year, ICM joined forces with Primary Talent International, one of London’s last major independent booking agencies.
Primary Talent is home to more than 900 music clients, including the likes of Stormzy, the 1975, alt-J, Noel Gallagher, Patti Smith, the Cure, Pussycat Dolls, Two Door Cinema Club, Dave, Lana Del Rey and Catfish and the Bottlemen.
CAA is a leading entertainment, media, and sports enterprise, with expertise in motion pictures, television, music, sports, theater, digital media, publishing, endorsements, media finance, consumer investing, fashion, podcasting, speaking, games, and philanthropy.
CAA was the first entertainment talent agency to build a sports business, create an investment bank, launch a venture fund, found technology start-up companies, and establish a business in China (CAA China), among other industry innovations.
“Together, we will build upon our accomplishments and entrepreneurial spirit”
A subsidiary of CAA, Entertainment Benefits Group (EBG) is a leader in corporate entertainment and travel, with more than 40,000 clients and 60 million users.
Founded in 1975, CAA is headquartered in Los Angeles, and has a significant presence in New York, Nashville, London, Beijing, and Shanghai, as well as offices in Atlanta, Charlotte, Chicago, Dallas, Denver, Geneva, Jacksonville, Las Vegas, Memphis, Miami, Munich, Orlando, Stockholm, and Toronto, among other locations globally.
Originally founded in 1975 as International Creative Management, then rebranded as ICM Partners in 2012, ICM has the expertise and influence of a legacy agency, and an entrepreneurial innovative spirit dedicated to serving its clients across the globe with passion and distinction.
ICM has offices in Los Angeles, New York, Washington DC, and London, and strategic partnerships in Europe, Asia, and beyond.
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The New Bosses 2021: Jenna Dooling, WME
The New Bosses 2021 – the latest edition of IQ’s annual celebration of the brightest young talent in the live business today, as voted for by their peers – was published in IQ 103 this month, revealing the 12 promising promoters, bookers, agents, entrepreneurs that make up this year’s list.
To get to know this year’s cohort a little better, IQ conducted interviews with each one of 2021’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
Catch up on the previous 2021 New Bosses interview with Arjun Mehta, founder and CEO at Moment House in the US here.
Jenna Dooling’s path into the music industry began in her hometown of Liverpool, where she first began working for a club promoter. This prompted her to apply for a course at the Liverpool Institute of Performing Arts (LIPA), for a degree in music, theatre and entertainment management.
During her studies she also worked for various promoters and realised she wanted to be in London to pursue a career in the music industry, and just months after graduating she began working at WME.
Five years later she is an agent at WME having worked her way up from mailroom assistant in 2015. She is now handling all club bookings across the UK and Ireland for the agency’s electronic roster, while her own roster includes Black Coffee, Fatboy Slim, and Damian Lazarus (alongside David Levy).
WME’s mailroom programme is legendary. Can you tell us a bit about it and how it helped set you up for a path into being an agent?
Although my job title was ‘mailroom assistant’, I worked on the front desk so my role also included duties of a receptionist. You are the first and last person that anyone sees when entering the office, so you have to take pride in your role and present yourself in a professional way, with a warm welcome.
Whilst greeting agents and assistants from all departments and learning about the clients they represent, I started to picture my career path and formulate a plan as to how I was going to get there. My main focus was to progress into the music department.
Like any job, you have to start from the bottom and work your way up. From answering calls, handling the mail, to tea/coffee runs, ordering cabs, you have to think of the end goal and that this is only temporary until you have proven yourself.
“Being a former promoter has given me a real appreciation of how hard they work in order to help deliver a successful show”
You had some experience working on the promoter side when you were younger – do you think that’s helped make you a better agent?
Being a former promoter, I understand what it’s like being on the other side of the fence. It’s given me a real appreciation of how hard [promoters] work in order to help deliver a successful show for our clients.
We’ve heard a lot about the closer collaboration between agents and promoters during the past year. What’s your experience of that been, and how do you see it benefitting your clients as the business reopens?
Throughout the pandemic I’ve built closer relationships with promoters by just keeping the conversations rolling, checking in seeing how people are, even when there were no shows happening that needed to be discussed.
We’ve all faced difficult challenges, so working together through these tough times has helped us put our best foot forward. By being proactive, we have implemented backup plans and been constantly flexible across the board with reschedules and cancellations.
One of the best things we have picked up from this is the sharing of information relevant to specific territories which has been invaluable. Throughout the last 18 months, we have built stronger relationships with our promoter partners that in turn will benefit our clients hugely as we work hand-in-hand to deliver the best possible shows and experiences for our careers.
“The most important aspect of the entertainment industry is building strong, long-standing relationships”
Your determination played a significant role in you getting your foot in the door. What advice would you give to others trying to break into the live music business?
The most important aspect of the entertainment industry is building strong, long-standing relationships. Attend as many events and conferences as possible, you never know who you will meet. There’s no harm in reaching out to people on email with a friendly introduction, asking for some advice etc. Don’t be put off when some people don’t respond, consistency is key, so don’t give up!
When I was at school, I didn’t know being a ‘music agent’ was even a thing – we didn’t get taught about all the creative roles in the entertainment industry. You have to do as much research as possible, but speaking to people that you look up to is the best place to start and never be afraid to ask questions! What has helped me through my time at WME is having a mentor, to be able to help guide me, explain things and just absorb information when sitting on calls, as you understand how that agent is thinking logistically and strategically.
What are the biggest challenges facing you and your WME colleagues as the industry starts to get back on its feet?
Diversity and inclusion have been and will continue to be major priorities for me. We continue to push for equality on line ups and open dialogue about how to have better representation.
“Logistically, one of the biggest challenges that we face at the moment is the congested schedule of festivals and tours”
Logistically, one of the biggest challenges that we face at the moment is the congested schedule of festivals and tours, with most artists having missed a full two years of touring. All of them are keen to get back on the road doing what they love best and playing for their fans. This is leading to limited availability at venues and festival slots with many having chosen to honour offers made for artists in 2020 and 2021.
What are you most looking forward to about the year ahead?
I can’t wait to get back to the office to be with my colleagues and friends. Since everything reopened in the UK, it feels so good to be back, attending gigs and festivals – what we have all been waiting (patiently) for and hoping it continues back to normal across the world.
Where would you like to see yourself in five years’ time?
Like any aspiring agent, I want to see myself continue to expand my roster with exciting new talent. Focusing on building a diversified roster, representing artists from the developmental stage to headline level both in the live space and electronic world. I want to look back at the end of each year and be proud of my clients and the team around me for putting together a great run of shows and headline tours.
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IFF ’21: WME, CAA, Marshall, MVT complete schedule
The full schedule for the 2021 edition of the International Festival Forum (IFF) is now complete, with the final addition of WME, CAA, Marshall Live, and a final night in partnership with Music Venue Trust.
WME, CAA and Marshall Live join a line-up of partner agencies which already includes 13 Artists, ATC Live, Earth Agency, ICM Partners, ITB, Paradigm Agency, Primary Talent International, UTA and X-ray Touring, many of whom are showcasing new artists from their rosters.
IFF has also partnered with grassroots venue champions Music Venue Trust (MVT) to present the final night of their recent Revive Live tour, which is supported by the National Lottery. Taking place on Thursday 30 September (19:30 – late), MVT will present five unique artist showcases, with the full line up announced next week.
The completed schedule also includes a double keynote interview with Melvin Benn and Folkert Koopmans, as well as an array of sessions with high-profile speakers.
Replacing the usual closing party on the Thursday night of IFF, MVT will present five unique artist showcases
Joining IQ Magazine‘s Gordon Masson on The Therapy Session will be Earth agent and co-founder Claire Courtney, as well as Mercury Wheels @ Live Nation’s head promoter, Barnaby Harrod.
The Roaring 20s will see chair Clementine Bunel (Paradigm) take the stage with Jim King (AEG Presents), Lowlands Festival Director Eric van Eerdenburg; WME agent Andy Duggan; and Primary Talent International/Decked Out! agent Martje Kremers.
The Agency Business 2021 conversation, chaired by Anna Sjölund (Live Nation Sweden), will see One Fiinix Live’s Jon Ollier joined by ATC Live agent and founder Alex Bruford and Mad Cool festival booker Cindy Castillo.
Finally, virtual panel Counting the Cost of Brexit welcomes UTA senior agent James Wright to a lineup including Marshall Arts’ Craig Stanley, Anita Debaere from Pearle* and Annabella Coldrick of the MMF. Other online topics include sustainability and insurance.
Over 500 music festivals and booking agents are expected to attend the invitation-only event, which returns to Camden, north London, for the sixth in-person edition. This year’s physical event follows an online-only edition in 2020, in light of the Coronavirus pandemic.
Some 500 delegates are expected to attend this year’s IFF
As the first major live music industry gathering in 18 months, IFF 2021 will kick off with the opening party on Tuesday 28 September and end late on Thursday 30 September. And with some international delegates still unable to travel to the UK, all of this year’s conference sessions will be available to watch back on-demand for up to 30 days after the event.
This year’s edition is supported by key partners that include Live Nation, Ticketmaster, Tysers and Megaforce. Association partners on the 2021 are Yourope, AIF and DeConcert!
More information about how to attend, along with the full event schedule is online at www.iff.rocks.
The New Bosses: Class of 2021 revealed
The latest edition of IQ‘s New Bosses goes live today, celebrating the brightest talent aged 30 and under in the international live music business.
The New Bosses 2021 honours no fewer than a dozen young executives, as voted by their colleagues around the world.
The 14th edition of the annual list inspired the most engaged voting process to date, with hundreds of people taking the time to submit nominations.
Our distinguished dozen this year comprises promoters, bookers, agents, entrepreneurs and more, all involved in the international business and each of whom is making a real difference in their respective sector.
In alphabetical order, the New Bosses 2021 are:
- Talissa Buhl, festival booker, FKP Scorpio (DE)
- Jenna Dooling, agent, WME (UK)
- Emma Greco, promoter, AEG Presents (FR)
- Paris Harding, promoter, SJM (UK)
- Tessie Lammle, agent, UTA (US)
- Will Marshall, agent, Primary Talent/ICM Partners (UK)
- Arjun Mehta, founder & CEO, Moment House (US)
- Flo Noseda-Littler, agency assistant, Paradigm (UK)
- Anna Parry, programming manager, the O2 (UK)
- Theo Quiblier, head of concerts, Two Gentlemen (CH)
- Dan Roberts, promoter, Live Nation (UK)
- Age Versluis, promoter, Friendly Fire (NL)
As in previous years, full interviews with each of the 2021 New Bosses will appear online in the coming days and weeks. However, subscribers can read short individual profiles of each New Boss now in issue 103 of IQ Magazine.
Click here to subscribe to IQ for just £5.99 a month – or check out what you’re missing out on with the limited preview below:
WME gears up for huge return to live
Powerhouse agency WME is expecting a boom period for the company as live entertainment resumes, with bookings well above where they were even in the pre-coronavirus era, CEO Ari Emanuel has said.
Speaking yesterday (16 August) during parent company Endeavor’s Q2 2021 earnings call, Emanuel, who took Endeavor public earlier this year, explained: “Our WME bookings for the second half of 2021 are double digits over where they were at the same point in 2019, the most recent non-Covid-impacted year.”
Endeavor CFO Jason Lublin said country music is “leading the way” for a rebound in live music in the US in the second half of 2021, with highlights including sold-out tours by Garth Brooks and Eric Church. “As Ari mentioned, we’re pacing ahead as relates to WME booking for the second half of the year, and we’re booking clients for dates much further into the future,” he added.
Endeavor increased revenue to US$1.1 billion in the second quarter of 2021 – up around $650 million on Q2 2020 – and expects adjusted earnings before interest, taxes, depreciation and amortisation (ebitda) of $765–775m for the whole year. The company paid $600m worth of outstanding debt in Q2, reducing its total debt to $5.351bn (compared to $5.872bn in Q1 2021).
In its representation unit (comprising WME, IMG and Endeavor Content) specifically, Endeavor reported revenue of $328.2m (up from $192.8m year on year) and adjusted ebitda of $61.7m (compared to $52m in Q2 2020).
“We have experienced recovery in our business happening slightly faster than we had originally anticipated”
“We have experienced recovery in our business happening slightly faster than we had originally anticipated,” Lublin continued. “And although we continue to closely monitor the delta variant, bookings, ticket sales and other indicators remain positive for the balance of the year.”
According to Emanuel, Endeavor’s strength lies in its diversity, with the business also including sports properties including Ultimate Fighting Champtionship (UFC) and corporate hospitality businesses such as On Location Experiences.
“If you want to think about the whole picture, when you look at the other companies that trade in our space – whether it be WWE, Formula 1, Live Nation – they’re all one-trick ponies,” he told analysts. “We have multiple facets, whether it be sponsorship or sports properties, representation, On Location – there are multifaceted aspects of our business, and we have gone through the pandemic, and we’re raising EBITDA, we’re raising guidance…
“I think you guys are going to learn that we’re a multifaceted business that we get to pivot back and forth from. […] The company has multiple different aspects of our business that protect us against anything in the future.”
Endeavor’s latest quarterly report can be read in full here.
Craig D’Souza joins WME as partner
Agent Craig D’Souza, known for his work with UK rap and hip-hop artists such as Stormzy, Dave, J Hus, and Krept and Konan, has joined WME as a partner.
Based out of the company’s UK office, D’Souza brings a roster that includes Aitch, Arrdee, Dave, D-Block Europe, Fredo, Headie One, Jacob Banks, J Hus, Joy Crookes, Krept and Konan, Mist, MoStack, and Young T and Bugsey. His hiring was announced today (3 August) by WME Music co-heads Lucy Dickins, Kirk Sommer, and Scott Clayton.
D’Souza (pictured) began his career at nightclub agency Mission Control, becoming managing director in 2007, and went on to oversee the growth of the business into the live touring market over the next three years. He left to join Primary Talent International in July 2010.
With Primary Talent, D’Souza guided Stormzy’s live career from 250-capacity club shows in 2015 through to his 2019 Glastonbury headline performance and a sold-out world tour. The grime superstar recently signed a global deal with CAA, while Primary has brought on board Anderson Paak agent Beckie Sugden (formerly of X-ray) as its latest hire.
D’Souza, who was Music Week’s UK agent of the year in 2020, moves into his new position at WME immediately. He is the agency’s latest new partner, following the hiring of hip-hop agents Caroline Yim and Zach Iser in the US earlier this year.
Endeavor-run biz acquires dynamic ticketing firm
WME parent company Endeavor has acquired Qcue, a software developer for dynamic ticket pricing in the live events industry.
Terms of the deal, which was made through Endeavor’s experiential events firm On Location Experiences (acquired in early 2020), have not been disclosed.
According to The Hollywood Reporter, Qcue’s technology, which helps rights holders optimise ticket pricing and maximise sales based on market demand, will be integrated into On Location’s suite of hospitality offerings.
On Location offers corporate clients and others fans access to marquee events like the Olympic and Paralympic Games, Super Bowl, NCAA Final Four and New York Fashion Week. Its overall list of 150 entities also includes artists and festivals, such as Coachella and Bonnaroo, as well as unique experiences owned by On Location.
Qcue, founded in 2007, provides sports teams and entertainment outfits with ticket pricing, analytics, data visualisation, inventory management and efficiency tools.
“[The deal will bring] top-of-the-line dynamic pricing technology and a stellar team of ticketing experts in-house”
Its clients include Major League Baseball teams, college athletic departments and Australian Football League teams. The company will continue to operate out of its headquarters in Austin after the deal has closed.
In announcing the deal, On Location estimated that Qcue has made more than 35 million price changes, generating more than $300 million in incremental revenue for its partners.
“We are thrilled to join forces with Qcue, bringing top-of-the-line dynamic pricing technology and a stellar team of ticketing experts in-house,” On Location CFO Jon Lavallee said in a press release. “Together, we will optimise On Location’s approach to ticketing and pass that benefit on to our valued partners.”
Along with On Location, Endeavor also owns the IMG sports agency and the Ultimate Fighting Championship (UFC).
The company posted a small profit of US$2.4 million in the first quarter of 2021 – the firm’s first since becoming a public company in April.
Wasserman Music appoints veteran agent Brent Smith
Wasserman Music, the new booking agency formed following Wasserman group’s acquisition of Paradigm’s North American live music business, has appointed veteran agent Brent Smith as executive vice-president and managing executive.
Smith started his career at Ian Copeland’s Frontier Booking International (FBI), a prominent New York-based talent agency that represented seminal rock acts such as the The Police, R.E.M., XTC, The B-52’s, The Go-Go’s, The English Beat, The Bangles, and Nine Inch Nails.
Following the agency’s closure, Smith went to William Morris Agency (later William Morris Endeavour) where he spent more than two decades and eventually became a partner. His roster at WME included Kendrick Lamar, Adam Levine, Mark Knopfler, Frank Ocean, and Tyler, The Creator.
In a statement published on Variety in October 2020, WME said that Smith and the agency had “mutually decided to part ways, following an investigation based on complaints of bullying behaviour by the agent”.
“We have come to know Brent as a smart, genuine, professional team player who always puts clients first”
The news came a month after Smith’s suspension for “behavioural issues,” first reported by Deadline.
“As many of you know, the senior leadership team and I have been spending time with Brent Smith, and today I am pleased to share that he is joining Wasserman Music as EVP and managing executive,” founder and CEO Casey Wasserman wrote in a note to staff.
“We have come to know Brent as a smart, genuine, professional team player who always puts clients first and is ready to embrace the Wasserman value system and culture.
“I am really proud of our team and the discipline and insight they brought into this process. We are committed to quality, clients and teamwork and this is just one more win for Wasserman Music as we grow together,” he concluded.
Loud and Proud: IQ pride playlist out now
The Pride takeover edition of the IQ New Music playlist, featuring a selection of tracks curated by major international booking agencies, is now live.
Launched last year, the playlist complements IQ Magazine’s popular New Signings page, which keeps the live industry updated about which new, emerging and re-emerging artists are being signed by agents. Click here to read the inaugural Pride edition of IQ now.
The Loud and Proud (July) playlist features contributions from CAA, ICM, ITB, Paradigm Talent Agency, UTA, ATC, WME, Mother Artists, Primary Talent International, FMLY and Hometown Talent, each of which have picked several tracks apiece, showcasing some of their best queer touring artists.
Listen to the latest selection using the Spotify playlist below, or click here to catch up on the June playlist first.
Separated by agency, the full track list for the Loud and Proud (July) playlist is:
|CAA||Jodie Harsh||No Sleep|
|CAA||MUNA||Number One Fan|
|ICM||Tayla Parx||Dance Alone|
|ICM||Amorphous, Kehlani||Back Together|
|ITB||Annabel Allum||ordinary life|
|ITB||Brandi Carlile||The Joke|
|ITB||Cherym||Listening to My Head|
|ITB||Dream Nails||Kiss My Fist|
|ITB||Hot Milk||I Just Wanna Know What Happens When I'm Dead|
|Paradigm||Pabllo Vittar||Modo Turbo|
|Paradigm||Lynks||This Is the Hit|
|Paradigm||Ezra Furman||I Can Change|
|Paradigm||Perfume Genius||On the Floor|
|Paradigm||girl in red||Serotonin|
|UTA||Jake Wesley Rogers||Momentary|
|UTA||Madeline The Person||As a Child|
|UTA||Princess Nokia||It's Not My Fault|
|UTA||Sam Lee||The Tan Yard Side|
|ATC||Joe & The Shitboys||Drugs R'4 Kidz|
|ATC||Beverly Glenn-Copeland||Ever New|
|WME||Maya Jane Coles||Run to You|
|WME||Jazmin Bean||Hello Kitty|
|WME||Carla Prata||Certified Freak|
|WME||Kim Petras||Heart to Break|
|Mother Artists||Joy Oladokun||sorry isn't good enough|
|Primary||Rina Sawayama||Chosen Family|
|Primary||Rufus Wainwright||Going To A Town|
|Primary||Marika Hackman||Claude's Girl|
|FMLY||Eliza Legzdina||Eat Your Greenz|
|FMLY||Ralph TV||4 U|
|FMLY||Du Blonde||All The Way|
|FMLY||Lazy Day||Real Feel|
|Hometown Talent||Jerry Paper||Cholla|
|Hometown Talent||Angel Haze||Battle Cry|