This week, Warner Music Group issued its financial results for calendar Q4 2025, generating $1.84 billion in quarterly revenues with recorded music subscription streaming revenues jumping 10.9% YoY, while Sony‘s global music rights operation surpassed a significant financial milestone, generating $3.01 billion across recorded music and publishing for the first time.
Meanwhile, Universal Music Group and AI music firm Suno engaged in a public PR battle over “walled gardens” in AI music, with UMG championing restricted platforms while Suno advocates for “open studios” that maintain creative freedom.
Elsewhere, distribution platform DistroKid confirmed it is holding talks with potential buyers over a sale, with sources suggesting a price tag of $2 billion or higher, represented by both Raine and Goldman Sachs.
Also this week, AI audio startup ElevenLabs raised $500 million in a Series D funding round, valuing the company at $11 billion and marking more than triple its valuation from a year ago.
Here are some of the biggest headlines from the past few days…
Warner Music Group has issued its financial results for the three months ended December 31, 2025 (calendar Q4 2025 – the company’s fiscal Q1 2026).
According to WMG’s fiscal Q1 (calendar Q4) results, Warner saw its quarterly global company-wide revenues reach USD $1.84 billion (across recorded music, music publishing, and other activities).
Total revenue was up 7.1% YoY at constant currency. WMG said on February 5 that its “high-single-digit revenue growth reflects broad-based strength across Recorded Music and Music Publishing”.
WMG noted that a digital revenue settlement of $12 million in the quarter, combined with the ongoing impact of the termination of a distribution agreement with BMG, affected its Recorded Music revenue… (MBW)
Sony’s global music rights operation surpassed a significant financial milestone in calendar Q4 2025 (the firm’s fiscal Q3 2025). Across both recorded music and music publishing, the company’s operations generated USD $3.01 billion in the three months to end of December – the first time that this number has surpassed $3B.
The $3.01 billion figure was up double-digits (+11.4% YoY) at US dollar-converted consistent currency, according to MBW‘s calculations based on Sony Group Corp’s latest fiscal results announcement on February 5.
Its growth, according to Sony, was partly driven by increases in streaming revenues, but also from Sony’s global participation in the live concert and merch businesses.
In monetary terms, Sony’s overall music rights operation (recorded music plus music publishing) generated approximately $309 million more in calendar Q4 2025 than in the prior-year quarter… (MBW)
A PR battle appears to be breaking out between the world’s most prominent AI music company and the world’s largest music rights company.
On Monday (February 2), ex-major label executive Paul Sinclair, now Chief Music Officer of AI music firm Suno, penned a lengthy post-Grammy Week LinkedIn memo entitled “Open Studios, not walled gardens” that takes direct aim at the approach championed by Universal Music Group in its recent AI licensing agreements.
UMG was the first major to settle its litigation with Suno rival Udio (in October 2025), alongside a licensing deal for a new AI platform set to launch in 2026. The concept of a “walled garden” was introduced within that announcement – a model where AI-generated music cannot be downloaded or distributed outside the platform.
Udio disabled downloads, with users given a 48-hour grace period to retrieve previously created tracks before the walls went up… (MBW)
Grammy Week was abuzz with industry-changing news – from BMG’s discussions to acquire Concord to Sony Music Group tying with GIC for a $2B+ catalog-buying fund.
MBW also brought you news from Los Angeles of another transformative potential deal: according to multiple strong sources, distribution platform DistroKid is holding talks with potential buyers over a big-money sale.
MBW hears that DistroKid is being repped by both Raine and Goldman Sachs in these discussions.
The number being bandied around L.A. was USD $2 billion, although some sources suggest that price could escalate even higher… (MBW)
AI audio startup ElevenLabs has raised $500 million in a Series D funding round, valuing the London and New York-headquartered company at $11 billion — more than triple its valuation from a year ago.
The round was led by Sequoia Capital, with partner Andrew Reed joining the ElevenLabs board. Investors Andreessen Horowitz and ICONIQ significantly increased their stakes, while Lightspeed Venture Partners, Evantic Capital, and BOND joined as new investors.
Other backers including BroadLight, NFDG, Valor Capital, AMP Coalition, and Smash Capital also participated, with additional investors expected to be disclosed later this month.
The funding round arrives six months after the company launched Eleven Music – a rival to Suno and Udio – marking its expansion beyond voice synthesis into full AI music generation… (MBW)
Partner message: MBW’s Weekly Round-up is supported by BMI, the global leader in performing rights management, dedicated to supporting songwriters, composers and publishers and championing the value of music. Find out more about BMIhere. Music Business Worldwide
Chat Pile have released two new songs on Seattle label Sub Pop: “Masks” and a cover of Nirvana’s “Sifting.” Both tracks will appear on the limited-edition 7″ the Oklahoma City band announced back in December. Give them a listen below.
“It’s a true dream to put out a single on Sub Pop, and our new song ’Masks’ hopefully honors the spirit of the mythical, sometimes mystical, city of Seattle,” Chat Pile said in a press statement. “We wanted to cover a song from the early Sub Pop era, and something off Bleach seemed the obvious choice.” To mark the release, the band donated $3,000 to the community-based immigrant justice organization DREAM Action OK. Their statement also noted: “Most importantly, FUCK ICE!”
Chat Pile shared their most recent solo LP, Cool World, in 2024. Last year, they also dropped a collaborative album with Texas fingerstyle guitarist Hayden Pedigo, In The Earth Again. Their debut, God’s Country, came out in 2022.
Note: This article contains descriptions of alleged sexual misconduct.
Bethany Cosentino has shared an open letter calling on Casey Wasserman—the founder and CEO of her agency, Wasserman—to step down after his name and old emails appeared in the Jeffrey Epstein files. The documents, released by the Justice Department on January 30, contain intimate messages exchanged by Wasserman and Ghislaine Maxwell, Epstein’s longtime companion, throughout 2003, per The New York Times. In 2021, a New York court convicted Maxwell of conspiring with Epstein to recruit and sexually traffic minor girls; she is currently serving a 20-year sentence in federal prison.
Wasserman Music has represented Cosentino and her band Best Coast since 2021. In her statement, Cosentino demanded Wasserman change its name, and said she has requested to remove both her and Best Coast’s names from the agency’s website. “Ghislaine Maxwell is not a neutral character in a messy story—she is a convicted sex trafficker who helped facilitate the abuse of minors,” Cosentino wrote. “I did not consent to having my name or my career tied to someone with this kind of association to exploitation.” (Pitchfork has reached out to Wasserman, his agency, and Cosentino for comment.)
Cosentino described her statement as a “refusal to continue lining the pockets of people so closely tied to shady business and toxic, deeply harmful people.” She added: “Artists are not interchangeable assets. We are people. Many of us are women. Many of us, myself included, are survivors. We deserve systems that let us work without asking us to compromise our values in exchange for opportunity.”
In his own statement to the press, shared on February 1, Wasserman said: “I deeply regret my correspondence with Ghislaine Maxwell which took place over two decades ago, long before her horrific crimes came to light. I never had a personal or business relationship with Jeffrey Epstein. As is well documented, I went on a humanitarian trip as part of a delegation with the Clinton Foundation in 2002 on the Epstein plane. I am terribly sorry for having any association with either of them.”
Per Variety, Wasserman’s communication with Maxwell included an email where Maxwell offers to give Wasserman a massage, and another where Wasserman writes to her: “I think of you all the time. So, what do I have to do to see you in a tight leather outfit?” The files indicate that Wasserman and Maxwell remained in contact after a September 2002 flight to Africa, which former president Bill Clinton reportedly organized to conduct HIV research. A 2003 Vanity Fairreport noted that Epstein, Maxwell, Wasserman, billionaire Ron Burkle, Kevin Spacey, and Chris Tucker were among those on board.
Wasserman founded his eponymous talent management company in 2002, and launched Wasserman Music in 2021. Wasserman Group oversees hundreds of high-profile musicians and sports players; artists currently on the roster include Kendrick Lamar, Coldplay, Skrillex, Chappell Roan, Animal Collective, Wet Leg, the Knife, and Geese. Wasserman is also the chairman of the planned 2028 Summer Olympics in Los Angeles. During a press conference on February 4, International Olympic Committee President Kirsty Coventry said she had “nothing to add” to Wasserman’s statement on the files, per the Los Angeles Times.
In 2024, Billie Eilish and her brother Finneasleft Wasserman Music for WME shortly after a Daily Mail report alleged Wasserman had engaged in inappropriate relationships with multiple female subordinates. Wasserman and his company did not comment on the allegations at the time.
Warner Music Group has issued its financial results for the three months ended December 31, 2025 (calendar Q4 2025 – the company’s fiscal Q1 2026).
According to WMG’s fiscal Q1 (calendar Q4) results, Warner saw its quarterly global company-wide revenues reach USD $1.84 billion (across recorded music, music publishing, and other activities).
Total revenue was up7.1%YoY at constant currency.
WARNER’S CALENDAR Q4 2025 IN SUMMARY (% IN CONSTANT CURRENCY):
Warner Music Group’s overall revenues were up 7.1% YoY at constant currency to $1.84 billion in calendar Q4;
Recorded music revenues were up 6.6% YoY at constant currency to $1.48 billion.
Within that figure, recorded music streaming revenues were up 9.1% YoY at constant currency to $960 million.
Recorded music subscription streaming revenues were up 10.9% YoYat constant currency.
Music publishing revenues – at Warner Chappell Music – were up 9.4% YoY at constant currency to $362 million.
WMG said today (February 5) that its “high-single-digit revenue growth reflects broad-based strength across Recorded Music and Music Publishing”.
WMG noted that a digital revenue settlement of $12 million in the quarter, combined with the ongoing impact of the termination of a distribution agreement with BMG, affected its Recorded Music revenue.
The BMG Termination resulted in $6 million less Recorded Music digital revenue compared to the prior-year quarter.
Additionally, Music Publishing revenue in the prior-year quarter included $17 million of revenue recognized in connection with historical matched royalties processed by the Mechanical Licensing Collective (the “MLC Historical Matched Royalties”).
Excluding these items, WMG reported that its total revenue was up 7.4% YoYat constant currency.
Recorded Music revenue was also impacted by a digital revenue settlement of $12 million in the quarter and a $7 million downward revenue “true-up” in the prior-year quarter.
“2026 is off to a strong start as our creative success continues to fuel consistent market share growth and financial performance,” said Robert Kyncl, CEO, Warner Music Group.
“We have an exciting slate of new music ahead and are leading the charge with AI to drive a step change in value creation for artists, songwriters, and shareholders, ensuring that WMG is well-positioned for long-term success.”
Robert Kyncl, Warner Music Group
He added: “We have an exciting slate of new music ahead and are leading the charge with AI to drive a step change in value creation for artists, songwriters, and shareholders, ensuring that WMG is well-positioned for long-term success.”
RECORDED MUSIC
Warner Music Group’s recorded music revenues were up6.6% YoY at constant currency in calendar Q4 to $1.48 billion.
According to WMG, this performance was “driven by increases across digital, artist services and expanded-rights and licensing revenue, partially offset by a decrease in physical revenue”.
Excluding the impacts of the DSP True-Up and Settlement Payments and the BMG Termination, Recorded Music revenue increased 5.7% YoYat constant currency.
Warner’s recorded music streaming revenue (including ad-supported and subscription) was up 9.1% YoY (at constant currency) to $960 million (see below).
WMG also breaks that streaming figure down in its balance sheet to highlight the performance of its subscription streaming and ad-supported streaming revenues, respectively.
The company’s revenues from recorded music subscription streaming reached $721 million in calendar Q4, up 10.9% YoYat constant currency.
WMG generated $239 million in ad-supported recorded music streaming revenues in calendar Q4, which was up 3.9% YoY at constant currency.
(Subscription revenue, adjusted by $12 million for the DSP True-Up and Settlement Payments and $5 million for the BMG Termination, increased 8.7% YoY. Ad-supported revenue, adjusted by $1 million for the BMG Termination, increased 4.4% YoY.)
The company said in its filing on Thursday that the “increase in subscription revenue reflects positive market share trends and chart performance, while the increase in ad-supported revenue reflects strong performance in the quarter”.
Elsewhere in Recorded Music, WMG’s Artist services and expanded-rights revenue increased 12.7% YoY at constant currency to $231 million, driven “primarily due to higher concert promotion revenue primarily in France, and the favorable impact of foreign currency exchange rates”.
Recorded Music licensing revenue increased7.1% YoY at constant currency to $121 million, “driven by higher licensing activity and a $2 million increase in copyright infringement settlements in the quarter”.
Physical revenue decreased11.1% YoY at constant currency to $152 million, “primarily driven by strong releases in Japan and Korea in the prior-year quarter”.
Major sellers in the quarter included Alex Warren, sombr, Cardi B, Ed Sheeran, and Teddy Swims.
Music Publishing
Warner’s global music publishing division – Warner Chappell Music – saw its quarterly revenues increase by 9.4% YoY at constant currency to $362 million.
WMG reported that the increase was “driven by growth across digital, synchronization, performance and mechanical revenue”. Excluding the impact of the MLC Historical Matched Royalties, Music Publishing revenue was up 15.3% YoYat constant currency.
Music publishing streaming revenue increased 1.4% YoY at constant currency to $212 million; however, adjusted for the impact of the MLC Historical Matched Royalties, streaming revenue increased 10.4% YoY at constant currency, “driven by the impact of new deals and renewals”.
Performance revenue increased 10.3% YoY at constant currency to $64 million, “attributable to growth from concerts, radio and live events”.
Synchronization revenue increased 53.8% YoYat constant currency to $60 million, “driven by higher television and commercial licensing activity, a $3 million increase in copyright infringement settlements, and the $3 million impact of the Company’s acquisition of Tempo Music”.
Mechanical revenue increased 20.0% YoYat constant currency to $18 million, “driven by the timing of distributions”.
WMG: PROFITABILITY IN CALENDAR Q4 2025
WMG’s net income stood at $175 million versus $241 million in the prior-year quarter.
Operating income stood at $288 million versus $214 million in the prior-year quarter, up 26.3% YoY at constant currency
The firm’s quarterly Adjusted OIBDA was $463 million versus $363 million in the prior-year quarter, up 22.2% YoYat constant currency
Adjusted OIBDA margin increased 3.1 percentage points to 25.2% from 22.1% in the prior-year quarter.
WMG noted that the decrease in net income was “due to the impact of exchange rates on the Company’s Euro-denominated debt resulting in a $1 million loss in the quarter compared to a $61 million gain in the prior-year quarter”, as well as currency exchange movements on intercompany loans and hedging activity.
“We are delivering on our promises by combining significant transformation with accelerated growth and profitability, marking our third consecutive quarter of broad-based success.”
Armin Zerza, Warner Music Group
“We are delivering on our promises by combining significant transformation with accelerated growth and profitability, marking our third consecutive quarter of broad-based success,” said Armin Zerza, CFO, Warner Music Group.
“By fortifying our core through strategic investments and pioneering ethical AI partnerships, we have established a solid foundation to drive sustainable, long-term value for our artists and shareholders alike. This is just the beginning of our momentum, and we are well-positioned to accelerate our growth even further in 2026.”
All percentage changes referenced in this article are at constant currency unless otherwise stated.Music Business Worldwide
Taylor Swift will release the music video for Opalite exclusively on Spotify Premium and Apple Music on Friday (February 6) at 8am ET.
The video will not be available on YouTube until Super Bowl Sunday (February 8), meaning the pop superstar is windowing a major music video premiere on paid streaming platforms before its YouTube release.
Opalite is the second single from Swift’s album The Life of a Showgirl, which debuted at No. 1 on the Billboard 200 in October 2025 with 4.002 million equivalent album units — the largest single-week consumption figure in the chart’s history, surpassing Adele‘s 25.
Alongside the music video announcement, Swift’s online store launched a limited 48-hour pre-order window for a blue pearlescent Opalite 7-inch vinyl, priced at $10.99.
YouTube’s Global Head of Music Lyor Cohen announced the move in December, one day after Billboard revealed changes to its chart methodology that narrowed the weighting gap between paid and ad-supported streams.
Under Billboard’s previous formula, one album unit equalled 1,250 paid streams or 3,750 ad-supported streams — a 1:3 ratio.
The new methodology tightens that to 1:2.5, with one unit now equalling 1,000 paid streams or 2,500 ad-supported streams.
Cohen argued the changes did not go far enough, insisting that all streams should be counted equally regardless of whether they come from paid subscriptions or ad-supported services.
“Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported,” Cohen said in December.
“This doesn’t reflect how fans engage with music today and ignores the massive engagement from fans who don’t have a subscription.”
With YouTube no longer contributing data to Billboard, views on the platform have no impact on chart positions.
Swift’s two-day windowing strategy ensures the “Opalite” video will accumulate streams exclusively on platforms where every play counts toward the Hot 100.
2018: BILLBOARD TIPS THE SCALES TOWARD PAID
The question of how to weight different types of streams has been contested since Billboard first introduced tiered streaming values in 2018.
Prior to that change, all streams — whether from paid services like Apple Music or ad-supported platforms like YouTube — were counted equally.
In a 2017 interview with MBW, Apple‘s Jimmy Iovine argued that having YouTube streams count equally alongside paid-for music on Billboard’s Hot 100 disadvantaged artists.
Iovine was unequivocal about his view that paid streams should carry more weight on industry charts. “I’ll put it this way: people who pay for subscriptions should be advantaged,” he said. “The labels owe it to their customers.”
He added: “The most important thing for labels is to make the paid services compelling and entertaining. And don’t make free services as good as the paid services. Is that not obvious?!”
When the 2018 changes were implemented, paid subscription streams were weighted more heavily than ad-supported streams on both charts.
On the Hot 100, paid streams were given full point value, ad-supported streams two-thirds, and programmed streams half. On the Billboard 200, it took three times as many ad-supported streams (3,750) as paid streams (1,250) to equal one album unit.
Recent data shows that the US recorded music industry’s overall streaming revenue performance in 2024 was dragged down by payouts from on-demand, ad-supported music services, including YouTube and Spotify’s free tier.
Combined, these platforms saw their revenue contribution to the recorded music industry decline in the US last year, down 1.8% YoY to $1.83 billion.
However, Spotify’s overall US payouts — across both its free and Premium tiers — grew by double-digits in 2024, outpacing the wider market.
Meanwhile, on-demand paid subscription platforms contributed $11.685 billion to recorded music rightsholders, up 4.6% YoY.
The disparity in revenue per stream between paid and free tiers is at the heart of the debate.
As Iovine put it in 2017: “The fact is that ‘free’ in music streaming is so technically good and ubiquitous that it’s stunting the growth of paid streaming. Two things have to happen: free has to become more difficult or restricted, and the paid services have to get better.”
Cohen’s decision to withdraw from Billboard represents a reversal from 2019, when he welcomed YouTube’s inclusion in the Billboard 200, calling it a “very important moment in making the chart a more accurate representation of what people are listening to.”
At that time, Cohen said: “Genres like Latin, hip-hop and electronic, which consistently dominate the YouTube charts, will now be properly recognized for their popularity. This is another great step in bringing YouTube and the industry together.”
YouTube reported in October that it paid more than $8 billion to the music industry during the 12 months from July 2024 to June 2025, covering revenue from both advertising and subscriptions on the Google-owned platform.
In his December statement, Cohen directed fans to YouTube’s own charts as an alternative to Billboard’s lists.
“If you’re curious about what music is making waves on YouTube, you can visit our charts,” he said.Music Business Worldwide
Rappers Boldy James and Ransom have a new album on the way with the producer Nicholas Craven. Salvation for the Wicked lands on February 12 via Ransom’s label, Momentum Entertainment. The trio have released the lead single “Offerings,” which features Ransom and James swapping bars over crackly boom bap. Listen to it below.
Craven and James have been working together as a producer-rapper duo since they collaborated on the 2022 album, Fair Exchange No Robbery. Their last record together, Criminally Attached, was released in 2025. Craven and Ransom also have history, having released several installments of their joint album series, Director’s Cut, since 2020.
Salvation For The Wicked:
01 Sinners 02 Forgiveness 03 Collection Plates [ft. Young Chris] 04 Offerings 05 Field Of Nightmares [ft. OT the Real] 06 Leather Sandals 07 Tithes
Mr. Bungle were joined onstage by Avenged Sevenfold vocalist M. Shadows during their February 3 performance at Movistar Arena in Buenos Aires, Argentina.
The collaboration follows Avenged Sevenfold personally selecting Mr. Bungle as their opening act for their Latin American tour in January and February 2026. The connection between the two bands runs deep: Avenged Sevenfold famously covered Mr. Bungle‘s 1999 track “Retrovertigo” in 2017, with Shadows praising vocalist Mike Patton as “one of the greatest vocalists of our generation.”
Mr. Bungle originally dusted off “Retrovertigo” for its first live performance since 2000 during their January 15 show in Zapopan, Mexico. The Buenos Aires show saw Shadows step in for a partial performance of “Retrovertigo” during Bungle‘s set, much to the delight of the crowd. Fan-filmed footage of the moment has since circulated online, capturing the rare pairing of two iconic vocalists.
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The Music Copyright Society of China (MCSC), a collective rights management organization based in China, has signed licensing deals with the country’s two largest digital music platforms, Tencent Music Entertainment and NetEase Cloud Music.
The news was welcomed by the Korea Music Copyright Association (Komca), which has been in talks with the China Music Copyright Association (MCSC) and local music platforms to improve the Korean music copyright royalty collection environment in China.
MCSC collects royalties for Korean music works used in China and forwards them to Komca under a management agreement.
China is the world’s fifth-largest recorded music market.
Komca, South Korea’s largest music copyright collective, says it had previously identified “structural problems inherent in the Chinese digital music market’s institutional and environmental characteristics”, which was hindering the “smooth collection and settlement” of Korean music royalties.
Komca staff visited Beijing last year to discuss the current state of K-pop licensing operations in China and data exchange strategies with the MCSC. The organization has also been directly negotiating with major platform operators in the Chinese digital music market.
The MCSC’s licensing agreement with Tencent Music, signed with officials from the National Copyright Administration of China (NCAC) and the International Confederation of Copyright Societies (CISAC) in November 2025, includes retroactive coverage for usage prior to the deal.
MCSC’s licensing agreement with NetEase Cloud Music also includes retroactive coverage, with additional agreements for future years reportedly underway.
Komca says the development is significant as it “brings about changes to the structure in which the collection and distribution of Korean music royalties was limited due to contractual gaps with major platforms in China”.
“I’m pleased that a meaningful turning point has been reached on the issue of China royalties.”
Lee Si-ha, Komca
“I’m pleased that a meaningful turning point has been reached on the issue of China royalties, for which we have long called for corrective measures,” said Komca president-elect Lee Si-ha.
“Building on the association’s accumulated practical groundwork and my own experience from closely tracking the China royalties issue, I will do my utmost to ensure these agreements lead swiftly to actual royalty collection and distribution.”
The move offers further evidence of the growing collaboration between China’s and South Korea’s music industries, following years of strained relations.
Meanwhile, South Korean tech giant Kakao recently partnered with China and Japan’s largest audio streaming providers last month to launch a new ‘K-pop Artist Chart.’
Additionally, in November 2025, South Korea’s national broadcaster KBS entered into a media exchange and cooperation business agreement with the Chinese state media company China Media Group.
Other signs of collaboration between players in the two markets came from South Korean entertainment and retail company CJ ENM, which has just unveiled a joint venture with Tencent Music and JYP CHINA, with a strategic focus on the Greater China market. The partnership, named ONECEAD, will combine “CJ ENM’s content production expertise with JYP CHINA and TME’s local infrastructure and networks”.
Elsewhere, in May last year, K-pop giant HYBE officially launched a subsidiary in China.
Separately, last year, Komca introduced a new rule requiring creators to guarantee that AI wasn’t used to write songs when registering those new songs with the organization.Music Business Worldwide
CNN and Universal Music Group are teaming up for a new television series set to premiere later this year, with Fred Armisen serving as host. While the show is currently untitled, it promises an unprecedented behind-the-scenes look at UMG’s massive music archives, spotlighting legendary artists such as Nirvana, Guns N’ Roses, and more.
According to a press release, the series will explore pivotal moments in pop culture, featuring the stories of iconic artists and songwriters who changed the course of music history.
UMG’s vaults — including a highly secure PA located 220 feet underground in a former limestone mine in Boyers, Pennsylvania — hold priceless artifacts like original recordings, master tapes, rare photos, alternative album art, and unreleased performances. Many of these items have never been seen or heard publicly.
Speaking at UMG’s “Music Is Universal” showcase, Armisen shared his excitement about the project: “I’m honored and I can’t wait to get started with this project. I want to move into that vault! I hope we get to dive in, deeper and deeper, into these recordings.”
He also expressed his personal enthusiasm for the archives: “And I also want to say that to Universal Music Group that whenever you put out boxed sets with the demos and everything on them, I buy all of it! For real, I buy the LPs and CDs, because I want both collections. I’m really honored, and thank you so much for having me — I can’t wait to get started.”
The series aims to give fans a unique, archival-driven experience, unearthing treasures from UMG’s collection that span decades of music history. Details regarding the premiere date and episode structure are expected to be announced in the coming months.
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Flying Lotus is releasing a new EP, Big Mama. The seven-song project is out March 6 and marks the electronic musician’s debut release on his own label, Brainfeeder. A short film will be released alongside the EP—watch the teaser for that below.
Big Mama was produced in New Zealand while Flying Lotus was working on his debut film, the science-fiction horror Ash, which will premiere March 21. He was inspired to simplify his production setup, using only a laptop and a controller. “As we get into a place where tracks are becoming more ‘perfect’ and things are becoming more sterile, I want to try to keep it interesting and try to keep bringing in things that are uniquely human to electronic music, which is, you know, becoming harder I guess,” he said in a press release.
Warner Music Group and Bain Capital are upping their joint spending power.
The two parties have today (February 5) confirmed in an SEC filing that they have each made an additional USD $100 million equity commitment to their catalog-buying JV.
Said joint venture, known as Beethoven JV 1, LLC, is 50/50 owned by Warner and Bain and – before today – had access to $1.2 billion in capital.
When Beethoven was launched last summer, Warnerconfirmed that it and Bain had jointly committed $500 million in equity capital (so $250 million each). In addition, the JV had access to up to $700 million in debt.
Now, it appears that the equity capital piece of the JV has been increased to $700 million ($350 million from each shareholder), and the potential spending power has increased to $1.4 billion.
Why would Warner and Bain agree to a bump in capital for Beethoven at this point?
Perhaps because a juicy catalog deal is on the table.
Rumors circulating around Grammy Week in Los Angeles suggested that Warner recently locked down an acquisition of a catalog from alt-metal band Deftones, though it was unclear whether this transaction was secured through Beethoven or by Warner itself.
Another long-rumored purchase under consideration at WMG/Beethoven is the Red Hot Chili Peppers’ recorded music catalog.
RHCP’s representatives were reported to be seeking in the region of USD $350 million for the catalog last year. The band’s masters are currently distributed by WMG via Warner Records.
The catalog-buying space in music has been hotting up in recent weeks, not least via the news that Sony Music Group has entered into a JV with Singapore’s sovereign wealth fund, GIC.
That Sony/GIC venture is planning to deploy over USD $2 billion in buying rights, according to Bloomberg.
Confirming the deal last week, Kevin Kelleher, Sony Music’s Chief Operating Officer, said: “Partnering with GIC brings together long-term capital and Sony Music Group’s operational capabilities to acquire and manage premier catalogs, creating new opportunities for artists’ and songwriters’ music globally.”
Sony Music Group Chairman and CEO, Rob Stringer, revealed last June that the company had spent $2.5 billion on over 60 deals in the past year.
In February 2024, UMG acquired a minority stake in Chord Music Partners, a platform established by investment giant KKR with DundeePartners, for USD $240 million.
Subsequent to partnering with UMG, Chordraised over USD $2 billion in investable capital to buy music rights, according to MBW sources close to the company.
The biggest revenue-earning catalog for Hipgnosis (and now, no doubt, Recognition), that price-tag might now look like an enviable one for today’s predominant catalog buyers.Music Business Worldwide
Queen guitarist Brian May has revealed that the band has no plans to tour the United States again in the foreseeable future, citing concerns that the country has become too “dangerous.”
Queen wrapped up their most recent U.S. tour in 2023, but in a new interview with the Daily Mail, May explained why a return is currently off the table.
“America is a dangerous place at the moment, so you have to take that into account,” May said. “It’s very sad because I feel like Queen grew up in America and we love it, but it’s not what it was.”
Queen have a deep history with the United States, having performed hundreds of shows across the country throughout the mid-to-late 1970s and early 1980s. More recently, the band toured extensively in North America with Adam Lambert, who joined as lead vocalist in 2014.
Despite that long-standing relationship, May says the current climate has made touring the U.S. a more complicated decision. “Everyone is thinking twice about going there at the moment,” he added.
May‘s remarks come amid heightened political and social tensions in the United States, including widespread protests against ICE (U.S. Immigration and Customs Enforcement) following the killings of Renee Good and Alex Pretti during encounters with ICE agents.
In recent weeks, numerous musicians have publicly criticized ICE and President Donald Trump, including Green Day, Neil Young, Moby, Duran Duran, Billie Eilish, Sabrina Carpenter, and Bruce Springsteen, who recently released the protest song “Streets of Minneapolis.”
Elsewhere in the interview, May reflected more broadly on the state of the world, expressing concern over increasing division and cruelty. “I feel despondent about the world of humans,” he said. “It keeps me awake at night. The cruelty, the ignorance, the lies, the rewriting of history. I think an understanding and love of art and music make it impossible to be the kind of person who wants to go out and be cruel to others.
“There’s so much suffering in the world, why would we want to add to it? We’ve lost the ability to discuss things and respect other people’s point of view. We have a horrendous polarization. If people spent more time looking at the stars and making music, none of this would be possible.”
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Music companies ABKCO and Universal Music Group won partial summary judgment against a UK-based documentary production company in a copyright infringement case.
US District Judge Katherine Polk Failla on Wednesday (February 4) ruled that Coda Publishing and its directors Robert Kirk Carruthers and Gwilym Michael Davies willfully infringed copyrights owned by the labels.
The judge also approved a permanent injunction blocking Coda from using the labels’ content in connection with the promotion and future sales of the “infringing films,” according to the ruling, which you can read here.
The infringing films in question are documentaries about musicians including The Rolling Stones, Elton John, U2, ABBA, Nirvana, Lynyrd Skynyrd, and the Red Hot Chili Peppers.
ABKCO and Universal Music Group subsidiaries, including Polygram Publishing, sued Coda, Vision Films and directors Carruthers and Davies in 2020, accusing them of producing and distributing the films without obtaining licenses for the sound recordings and concert footages used in the films.
According to the six-year old complaint, which you can read here, Coda had been creating these documentaries since the mid-2000s and distributed them through platforms including Amazon and Vimeo. Two of the films were titled The Rolling Stones – Their Satanic Majesties (2018) and The Rolling Stones – Big Hits (2012), which the labels said “are partial titles of Rolling Stones phonorecord albums.”
“Neither Plaintiffs nor their predecessors authorized Coda to use or reproduce any of the Content in any manner or more specifically to reproduce any concert performances of musical compositions, to synchronize the musical compositions and/or sound recordings with the visual components of the Infringing Films, or to exploit the Content in any way for commercial gain,” according to the lawsuit.
In a March 2019 letter, the labels demanded that Coda stop distributing the films and provide an accounting of revenues generated from them.
ABKCO controls rights to early Rolling Stones recordings made before 1972, while Universal Music companies own or administer rights to compositions by numerous songwriters from the rock era. The plaintiffs sought either statutory damages of up to $150,000 per infringement or actual damages plus the defendants’ profits.
The court’s latest ruling excluded one work from the judgment, Higher Ground by Red Hot Chili Peppers. The court also did not grant summary judgment against defendant Clare Anne Gambold, who was listed in the complaint as having an interest in Coda.
Judge Failla granted the plaintiffs’ motion to exclude expert testimony from MichaelDonaldson, while denying the defendants’ motion to exclude testimony from Barry Massarsky. The court also denied the defendants’ request for attorneys’ fees and costs.
The judge directed the parties to discuss and propose next steps once issues with Carruthers’ representation are resolved. Carruthers was identified in the complaint as director of the films in question.
The court has yet to determine the damages.
This marks another lawsuit over music used in documentary films about artists. In late 2024, Sony Music Entertainmentsettled a copyright lawsuit against the makers of the 2022 biopic Whitney Houston: I Wanna Dance With Somebody. The complaint lodged in February 2025 alleged that Anthem Films, NYBO Productions, and Black Label Media failed to pay the licensing fees for 24 Whitney Houston tracks used in the movie.
Oakland-based songwriter and field recordist Kathryn Mohr has announced a new album, Carve. Her second full-length LP will arrive on April 17 on the Flenser. Mohr has also shared its lead single, “Property,” which you can listen to below.
“Property” took shape from an “amalgamation of dream images and visions” that Mohr had throughout last year. “It’s also inspired by an underground man made waterway I found that went on for miles under the city I live in,” she adds. “Walking through, climbing 50 feet up a ladder to look out the man hole, see where I am.”
Carve serves as the follow-up to last year’s Waiting Room, a standout album of 2025 and Mohr’s full-length debut after releasing two other records prior. Mohr wrote the 12 songs on Carve over the course of five years, and eventually retreated to the rural Mojave Desert to properly record them. The album was then mixed by Agriculture guitarist Richard Chowenhill. In a press release, Mohr describes Carve as an album about how memory exists outside the body, in the form of landscapes and locations, and how love can be experienced as a form of grief and intimacy.
Recording Academy CEO Harvey Mason jr. sat down with Luminate CEO Rob Jonas during Grammy Week for a wide-ranging conversation on the forces reshaping the music industry — from algorithmic discovery to artificial intelligence.
Speaking at the Peppermint Club in West Hollywood last Thursday (January 29), Mason struck an optimistic yet cautious tone on AI’s role in music, framing it as the latest in a series of technological shifts that have historically expanded creative possibilities rather than diminished them.
“We believe in human creativity,” he said, adding, however, that “there’s a place for AI, and it is a tool,” Mason said. “It’s not unlike some of the other technological disruptions we’ve experienced in the past. Remember when painters were so mad when the camera came out? It’s not something that’s going to decimate us, but it will be disruptive.”
Mason noted that AI has already become ubiquitous in professional production environments, and suspects not all Grammy entrants are being fully transparent about its use.
“I’ve seen AI in every studio, in every session,” he said. “I’m not remembering a song that I’ve been around or a room that I’ve been in that was not using some form of AI.”
Rather than viewing this as cause for concern, Mason expressed enthusiasm about AI’s potential to enhance human creativity.
“There’s going to be some incredible flesh and blood human creativity that uses the technology in a way that we haven’t thought of,” he said. “It creates a sound we haven’t even imagined, and it allows us as champions of creativity to be even more prolific.”
On the question of Grammy eligibility, Mason clarified the Recording Academy’s position. “You can submit a song that has used AI,” he explained. “What we’re not going to do is give a Grammy to an AI artist for singing.”
He noted that 2023’s viral AI trackHeart On My Sleeve — which featured vocals mimicking Drake and The Weeknd — would have been eligible for a songwriting award had it not been for rights issues, since a human wrote the track and lyrics. Similarly, a human vocalist performing over AI-generated instrumentation could be considered for a performance-related Grammy.
Mason was unequivocal, however, on voice cloning and deepfakes. “That’s not even debatable. No cloning,” he said.
“You can’t take someone’s voice, are you kidding me? Take someone’s singing, voice, and likeness and use it however you want? Absolutely not. I don’t think there’s anybody who disagrees with that.”
The Recording Academy continues to advocate for the NO FAKES Act, which would establish federal protections against unauthorized AI voice replication. Mason said he expects the legislation to pass in the current Congressional session.
His advice to artists navigating this shifting landscape: lean into the technology, but double down on what makes you irreplaceable.
“Get immersed, buy into the technology, understand it, integrate it into your [creative] process if you have an appetite for that,” Mason said. “But if you’re a creator and you want to be in this industry, you better have an authenticity, a voice, an honesty. No computer is going to do that for you.”
Mason also drew a parallel to past debates over what constitutes “real” musicianship, recalling how DJs were once dismissed by traditionalists — including his own father, a jazz musician.
“My dad used to tell me, ‘Oh, that’s not music, that’s hip hop, that’s just playing records,’” Mason said, in reference to the emergence of DJs. “And now think about how important that is, how incredible those musicians are, and how genius what they create is.”
But Mason acknowledged that a meaningful distinction will emerge between casual AI-assisted creation and the work of trained, experienced artists who understand both the craft and the culture of music. “That is a special talent that is going to always be valuable,” he said.
The conversation also touched on the Recording Academy’s efforts to better represent the global music landscape, with Mason crediting Luminate’s data for helping the organization identify emerging scenes and ensure its membership reflects music’s increasingly borderless nature.
The Grammy Awards, presented by the Recording Academy, took place on Sunday (February 1) in Los Angeles. Kendrick Lamar won five awards, including record of the year for Luther. He also won best rap album for GNX.
Album of the Year was won by Puerto Rican superstar Bad Bunny. See all the winners here.
Last month, free solo star Alex Honnold stunned the world with a rope-free climb of Taipei 101 — a 101-story skyscraper in Taiwan — broadcast globally on Netflix. But beyond the sheer physical feat, Honnold also drew attention in the music world: he soundtracked the ascent himself, curating a playlist largely made up of Tool tracks.
Speaking to Variety, Honnold explained that his playlist wasn’t just motivational; it also helped him maintain a steady pace during the climb.
“It was mostly Tool. It’s a random playlist that I made, that I shared with production. I made it months ago while I was driving. I’ve been training to it a bunch. Basically, rock music that I’ve liked my whole life. Part of the appeal of music is that actually it helps me with pacing.
“Each bamboo box had been taking me about five to six and a half minutes. I just know how long the songs are. So it gives you a sense of if you’re going fast or slow. But in this case, it all kept cutting out anyway, and I couldn’t really hear and I was kind of like, ‘Whatever. I’m just doing my thing.’”
Honnold‘s “T101” playlist has since been shared online, and it does not skimp on Tool cuts. Opening with “Forty Six & 2” from the band’s multi-platinum sophomore album Ænima, the playlist also includes tracks from Fear Inoculum (“Invincible” & “Pneuma”) and four songs from Lateralus (“The Grudge”, “Lateralus”, “Schism”, “Parabola”).
Other notable selections highlight Honnold‘s taste for intense, rhythmically driven rock and metal:
Nothing More – six tracks featured
Linkin Park – “The Emptiness Machine” & “Papercut”
The Used – “Men Are All The Same” & “Hands And Faces”
Chevelle – “Rabbit Hole – Cowards, Pt. 1”
Senses Fail – “Choke On This”
The Offspring – “Session”
Check it out below!
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Reservoir Media has published its financial results for the three months ended December 31, 2025 – the company’s fiscal Q3 2026 (calendar Q4 2025).
The New York-headquartered music company generated $45.6 million in the quarter, representing8% YoYgrowth, or 5%organically excluding acquisitions.
The company’s revenue growth was propelled by a12% YoYrise in music publishing revenue and an8% YoY increase in recorded music revenue.
Operating income reached $10.3 million, up8% YoY, while OIBDA (Operating Income Before Depreciation and Amortization) climbed 11% YoY to $18.1 million.
Adjusted EBITDA (Earnings Before Interest, Taxes, Depreciation, and Amortization) grew 11% YoYto $19.2 million (see below).
Music Publishing
Reservoir’s music publishing segment generated $30.1 million in Calendar Q4, up12% YoY, with OIBDA increasing21% YoYto $11 million.
Digital revenue climbed 5% YoYto $17.4 million, while performance revenue surged 42% to $6.2 million.
Synchronization revenue increased 11% YoY to $4.6 million, and mechanical revenue decreased37% YoY to $0.6 million.
Recorded Music
Reservoir’s recorded music division generated $12.9 million in revenue, an increase of 8% YoY. OIBDA for the segment grew 5% YoY to $6.7 million.
Digital revenue in the recorded music segment increased 15% YoY to $9.3 million, driven by catalog acquisitions and continued growth at streaming services.
Physical revenue declined6% YoY to $1.9 million, while neighboring rights revenue grew 29% YoY to $1.1 million. Synchronization revenue fell 47% YoY to $0.5 million.
The quarter saw Reservoir strike deals with R&B legend Gladys Knight and hip-hop star T.I.
“This quarter was also marked by new partnerships with two music icons, R&B legend Gladys Knight, and Hip-Hop icon, T.I.,” confirmed CEO Golnar Khosrowshahi on the company’s earnings call.
Added Khosrowshahi: “The agreement with Gladys Knight includes rights to her income streams across both publishing and master recording catalogs.
“The deal with T.I. will see Reservoir work with the acclaimed rap superstar across his entire publishing back catalog and future works as well as select recorded music interests, including master recordings, artist royalties and neighboring rights.
“These agreements mark our team’s proven ability to structure and execute unique flexible deals with legendary talent and further build our portfolio of evergreen hits that are accretive to the portfolio as a whole.”
Elsewhere in calendar Q4, Reservoir also acquired the catalog of yacht rock icon and singer-songwriter Bertie Higgins, including publishing and recorded music rights.
Reservoir also said that it continues to prioritize emerging markets, where Khosrowshahi said acquisition multiples remain “favorable” and streaming growth rates “outpace” the US and Europe.
Recent moves include a joint venture with Jamaican dancehall publisher Abood Music and genre star Cordell “Skatta” Burrell to acquire catalogs and develop Jamaican creators; and the extension of DIVINE’s publishing deal through Reservoir’s Indian subsidiary, PopIndia.
Additionally, the company announced publishing deals with female-led disco-soul group Say She She, 2x-Platinum selling country and pop songwriter Allison Veltz Cruz, and multi-genre songwriter-producer Britten Newbill.
“This quarter, we continued to execute with focus and discipline, advancing our top-line objectives while maintaining strong cost and balance sheet control,” said Golnar Khosrowshahi, Founder and CEO.
Credit: Becky Yee
“Across a range of new deals this quarter, spanning emerging talent and enduring cultural icons, and with our commitment to creators at the forefront of everything we do, Reservoir remains a trusted global partner.”
Golnar Khosrowshahi
Added Khosrowshahi: “Our strong, diversified pipeline positions us well to continue to execute on transactions while delivering attractive returns.”
Based on its nine-month performance, Reservoir raised its fiscal 2026 guidance.
The company now expects revenue of $170 million-$173 million, representing 8% growth at the midpoint.
Adjusted EBITDA guidance was raised to $71.5 million-$73.5 million, representing 10% growth at the midpoint.
“We are raising our guidance ranges for both revenue and adjusted EBITDA for the full 2026 fiscal year.”
Jim Heindlmeyer, Reservoir
Jim Heindlmeyer, Chief Financial Officer of Reservoir, said: “Our financial results through the first three fiscal quarters underscore the strength of our portfolio of talent and our disciplined approach to sourcing deals with strong fundamentals and compelling return potential.
“We are raising our guidance ranges for both revenue and adjusted EBITDA for the full 2026 fiscal year.”
The Black Keys are keeping up their loose pattern of releasing an album every year; their newest, the enthusiastically titled Peaches!, arrives May 1 via Easy Eye Sound/Warner. Leading the blues-rock band’s return is the single “You Got to Lose” and its music video directed by E.J. McLeavey-Fisher, in which the duo plays a surprise show at Memphis juke joint Hernando’s Hide-A-Way. Check it out below.
Spanning 10 songs, Peaches! is billed as the Black Keys at their “most natural” since their 2002 debut, The Big Come Up. The follow-up to 2025’s No Rain, No Flowers is the duo’s 14th album together overall. The band started working on the record after singer-guitarist Dan Auerbach’s father was diagnosed with esophageal cancer and stayed in his son’s Nashville home while rapidly declining.
“We weren’t making a record. We were just jamming, like this is for us,” Auerbach said in a press release. “Really primal, in a moment when all the nerves were raw, just kinda screaming. We were going through a lot, trying to lift our spirits. I think my dad getting sick made me not give a fuck and just wanna scream for a bit.”
01 Where There’s Smoke, There’s Fire 02 Stop Arguing Over Me 03 Who’s Been Foolin’ You 04 It’s a Dream 05 Tomorrow Night 06 You Got to Lose 07 Tell Me You Love Me 08 She Does It Right 09 Fireman Ring the Bell 10 Nobody But You Baby
MBW’s Inspiring Women series profiles female executives who have risen through the ranks of the business, highlighting their career journey – from their professional breakthrough to the senior responsibilities they now fulfill. Inspiring Women is supported by Virgin Music Group.
Cindy James has come a long way. Not just because she’s gone from putting on indie rock shows to being General Manager of Virgin Music Group’s North America division, via stints at Sony and Island.
But because she’s gone from Sydney, Australia to LA, via stops in London and New York. That’s nearly 17,000 miles. And it’s been some journey.
As a teenager, she recalls “music felt less like a hobby and more like a language”. She specifically remembers, in the early 2000s, “local bands putting Sydney on the map: kids packed out shows, and there was this buzzing scene with no one to organize it — so I did”.
James started booking and promoting shows, “creating the moments I wanted to experience”, as well as launching a blog reviewing new music and gigs.
By way of an explanation, she says, proudly: “Australia has this incredible get-it-done spirit. If you want something to exist, you build it. That shaped me long before I understood it as culture.”
At the same time, she first realized that “the stories behind the songs were just as powerful as the songs themselves, and I knew that was the world I wanted to spend my life in.”
Alongside the promoting and the blogging, James had got herself a proper job in, where else, a record store. And it was there that a Universal rep suggested she apply for a role on the company’s sales team. She aced the interview and she was on the ladder.
“I was young, ambitious, and endlessly curious, probably asking more questions than anyone had time to answer”
Looking back, she says, “I was young, ambitious, and endlessly curious, probably asking more questions than anyone had time to answer. I volunteered to help with additional tasks, showed up early, stayed late, covered lunch breaks, and took every opportunity to learn every corner of the business.
“That curiosity has been the through-line of my career. As I often say, curiosity is the most underrated leadership skill.”
It certainly helped James climb that ladder, led her to the forefront of music’s digital revolution and, ultimately, to the heart of the industry’s powerbase.
First though, like many Australians looking to make an impact on the world, it took her to London…
How did you get over to the UK – and how hard was that move?
After a few years at Universal Music Australia, I set my sights on becoming a field sales rep, which led me to Sony Music. That move changed everything.
A couple of years in, I transitioned into the Digital team just as the region was undergoing a massive transformation. Streaming was emerging, APAC was shifting quickly, and artist-led brand activations were becoming major revenue drivers. My role expanded to include oversight of the Digital Sales, Web Development, and Digital Operations departments, which gave me a front-row seat to the early stages of the digital & streaming era.
I helped lead teams across the organization navigate into the streaming era. That journey included working with Spotify as they launched in Australia and New Zealand and, prior to that, working closely with APAC regional commercial teams on the rollout of iTunes across Asia.
Those moments placed the company at the forefront of digital music adoption and gave me a front row seat to how quickly audience behavior was evolving. The work also brought me into close collaboration with our global headquarters in New York, at a time when an international team was taking shape in London.
Having experience across Australia, Asia, and the very early days of streaming gave me a valuable perspective on global strategy and market nuance. Ole Obermann and Dennis Kooker were instrumental in opening the door to that next chapter.
Moving to the UK was a real leap, personally and professionally, but I have always believed you can’t lead through disruption by playing it safe. You lead by staying curious and embracing change. Going to London was me choosing that path.
Living and working across continents became one of the greatest gifts of my career. Music is a global language, but every market has its own heartbeat, and once you understand that, the industry reveals itself in an entirely new way.
You were on the forefront of streaming and digital marketing as they were becoming dominant — do you feel that gives you an advantage?
Absolutely. I’ve always been drawn to staying at the forefront of change. Starting my career during the music piracy era really showed me that the way people consume music is always evolving, and it’s our job to stay ahead.
Those early years taught me that technology is never the story itself; it’s the amplifier. Innovation in music isn’t just about the tools; it’s about imagining new ways for artists and fans to connect. That mindset has shaped everything I do and continues to guide how I lead today.
You spent pretty much 10 years at Sony across Sydney, London and New York. What were the biggest lessons you learned there? And can you talk about some of the biggest artists you worked with — and the execs that gave you the best advice?
Those years at Sony were my foundation — the place where I grew up professionally. I was surrounded by leaders who invested in my growth and encouraged me to think bigger, take risks, and build teams with heart.
One small example that has stuck with me is my former CEO’s license plate, which started with ‘ATD’ — short for Attention to Detail. Every time I make a mistake through a lack of ATD, I remind myself of the critical foundational skills that matter.
Another favorite saying was a testament to why so many records broke out of Australia: “If you’re driving home and the entrance to your street is blocked off, are you going to sleep in your car and wait for it to reopen, or find another way to bring it home?” It was a vivid reminder to remove roadblocks and drive the record to the top.
During my time in London, I contributed to global campaigns and artist launches across multiple markets, each of which taught me something new about the power of storytelling. My role focused on aligning and building campaigns to break records on streaming platforms, showing the industry that simultaneous releases on Spotify and elsewhere would not harm chart debuts.
We broke records working closely with Spotify’s Kevin Brown, Chris Stoneman, and Louise Woolsey from Sony Music UK. One campaign with One Direction was the first track to ever go straight to # 1 on the Spotify Global Charts on release day.
I also worked on major campaigns with Calvin Harris, whose song Blame, featuring John Newman, became the most-streamed song in a single day at the time and helped him become the first British solo artist to reach one billion streams.
Other campaigns along the way ranged from Beyoncé to The 1975.
The best advice I received during those years came from a mentor: “Stop, look, act.” It has guided every step I’ve taken since.
How did the move to Island – and New York – come about, and what was that experience like for you?
As the streaming landscape evolved, Sony suggested relocating my role to New York to focus on streaming strategy for the US market, particularly with the frontline labels — a setup unlike any other market. It was an incredible opportunity to get a taste of the frontline world and see firsthand how a major repertoire owner signs, develops, and breaks artists.
In my role, I was one step removed from the artists, focusing on streaming strategy, market growth, and audience adoption. Experiencing the energy and pace of the frontline labels up close reminded me why I love the business so much.
Then, as if the universe had a hand in it, a recruiter reached out about a role at Island Records, leading the label’s Commercial and Streaming Strategy under David Massey and Eric Wong.
“Working at a frontline label has a magnetism that’s hard to describe. I loved being in the room, helping bring an artist’s vision to life, from emerging talent to some of the biggest acts globally.”
After reflection, I decided to make the move. Having worked across Australia, APAC, London, and the US central strategy team, I realized that joining a frontline label would round out my experience and take me closer to the music. That opportunity simply wasn’t available at Sony at the time, so I moved back to Universal Music Group at Island Records.
Working at a frontline label has a magnetism that’s hard to describe. I loved being in the room, helping bring an artist’s vision to life, from emerging talent to some of the biggest acts globally.
Remind us where Virgin Music Group was in its evolution when you joined in 2019 — and what made you want to join that journey?
When Jacqueline Saturn [pictured], Matt Sawin and Steve Barnett at Capitol Music Group invited me to join them in Los Angeles, it was to join what was then known as Caroline, which sat within Capitol Music Group.
Independent labels and distributors were starting to make waves in the industry, and I found that landscape fascinating. I had watched it from afar but hadn’t yet experienced it firsthand. I could see that this part of the business was thriving with huge potential, and I wanted to be part of that era.
In 2022, Virgin Music Group launched as the global independent music division for UMG, where Nat Pastor and JT Myers joined as Co-CEOs of the global organization. There was electricity in the air! We rallied at the idea of creating the best company possible to serve and support independent labels and artists around the world.
I’ve always been drawn to building, and Virgin is a place where we collaborate with entrepreneurial partners to support and amplify their efforts globally to help them reach their goals. Empowering independent music and helping it thrive on a global stage is the kind of work that makes me excited to wake up in the morning.
What were your biggest successes in those first years at Virgin?
My early years at Virgin aligned with a wave of global breakthrough artists, and helping shape those stories was some of the most rewarding work of my career. I was deeply involved in the early development and commercial expansion of artists like Rema with our label partner Mavin, David Kushner, and Mark Ambor (Hundred Days), each requiring a different strategic approach but sharing the same objective: build a global foundation that could sustain real, long-term careers.
With Rema, it was about amplifying a movement already happening — tapping into culture, positioning him as a global leader in the Afrobeats explosion, and building a commercial strategy around what made him a star. Rema’s vision was to take Afrobeats to the world, and that became our mission, guiding every decision we made and grounding our global approach.
For David Kushner, it was recognizing and accelerating lightning-in-a-bottle momentum with his single Daylight, using pre-release data and audience insights to turn a viral spark into a global hit while building a story and identity, and creating space for him to grow into the artist he was becoming.
And with Mark Ambor’s Belong Together, it was about recognizing the song’s universal pull early and building the right conditions for it to travel — aligning markets, partners, and narratives so the record could find its audience everywhere.
How would you describe the culture at Virgin? Has it changed at all during your time there?
Over the past few years, we have become even more connected and collaborative as a global organization, which helps us to better serve our partners’ local and global needs. Our core values and entrepreneurial spirit are part of our DNA.
For me, leadership means creating a culture and space for other voices to be heard, and that mindset shapes how we collaborate every day. Our culture is inclusive, curious, and unafraid to challenge assumptions, which is exactly what the modern music landscape demands.
In a competitive landscape, what’s your pitch to artists looking for a partner?
My pitch is simple: we see you — not just the metrics or the moment, but the whole arc of what you’re building.
We want every label and artist we work with to feel seen, understood, supported, and set up to win.
We pair creativity with insight, global reach with local expertise, and ambition with the operational muscle to back it up. And we are in it for the long game.
What’s the best career advice you’ve ever received and who was it from?
Jacqueline Saturn once challenged me with the simple question, ‘Will it help or will it hurt?’. In the context of an industry where we’re pulled in a dozen directions every day — meetings, events, travel, commitments — it’s so easy to overextend yourself.
Her question became a simple but powerful filter that helps me stay grounded, avoid burnout, and make intentional choices about where I direct my time and energy. It’s also a constant reminder that relationships sit at the heart of everything we do in this business… they’re the compass, the foundation, and often the reason the work matters at all. That framing has made the advice one of the most practical, protective, and perspective-setting gifts I’ve ever received.
What are your headline goals for 2026?
To empower more independent partners to break globally, strengthen our data and insights capabilities, continue building a culture that attracts bold, diverse thinkers, and champion the next generation of leaders, especially women rising through the industry.
Virgin Music Group is the global independent music division of Universal Music Group, which brings together UMG’s label and artist service businesses including Virgin and Ingrooves.Music Business Worldwide
London band Sorry dropped two new songs today, “Billy Elliot” and “Alone In Cologne.” The former premiered on BBC 6Music this morning, and the latter was released shortly after. Listen to both, out now on Domino, below.
The two tracks mark the quintet’s first new release since 2025’s Cosplay. That album followed 2022’s Anywhere But Here and their 2020 debut, 925. Next week, Sorry embark on a UK and Ireland tour in support of Cosplay, which kicks off at Bristol venue The Fleece on February 11 and concludes at London’s Outernet on February 26. They’ll then head to Europe for a short run of shows in Paris, Brussels, Amsterdam, and Berlin.
