July 2023

Connect with your music.

FLkey 49 and 61 are the ultimate MIDI keyboards for making music in FL Studio. With controls for FL Studio’s Step Sequencer, Channel Rack and Mixer, creative Scale and Chord modes and control over Image-Line Plugins. FLkey lets you play freely so you can make more of your music.

Also included is a bundle of instruments and effects from our friends at AAS, Spitfire Audio, XLN Audio and Klevgrand – plus membership of Novation’s Sound Collective. Throw all this content into your existing FL Studio projects, or have a go with an included 6-month free trial of FL Studio Producer Edition.

The Manager's Playbook

Here are the essential areas you should consider when seeking a manager who has what it takes to guide you to a successful career.

By Bobby Borg

Milky Chance

As their fourth album is released, Music Connection spoke with the German duo's lead singer, Clemens Rehbein, about the band's world-wide popularity, their songwriting process, the dangers of AI, and how Milky Chance is making an effort to reduce their carbon footprint.

By Andy Kaufmann

Directory of Managers & Booking Agents

Compiled By Denise Coso

Studio Crosstalk: Crystal Carpenter

By Rob Putnam

Andrea Beenham

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.

Photos by Anthony Molina

E. Eric Bettelli PUBLISHER

E. Eric Bettelli

GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com

Denise Coso

OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com

Steve Sattler BUSINESS

DEVELOPMENT MANAGER steve@creativesalesresource.com

Hillorie McLarty ADVERTISING / MARKETING hillorier@musicconnection.com

Ray Holt DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com

Jessica Pace FILM / TV / THEATER j.marie.pace@gmail.com

Mark Nardone

SENIOR EDITOR / ASSOCIATE PUBLISHER markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Joseph Maltese ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER josephm@musicconnection.com

Barry Rudolph NEW TOYS barry@barryrudolph.com

Andrea Beenham SONG BIZ drea@dreajo.com

Glenn Litwak THE LEGAL BEAT gtllaw59@gmail.com

Brett Callwood BUSINESS AFFAIRS brettcallwood@gmail.com

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com

Daniel Siwek danielsiwek@roadrunner.com Dan Kimpel dan@dankimpel.com

EDITORIAL INTERN

Remy Annetta intern@musicconnection.com

CONTRIBUTING WRITERS

David Arnson, Andrea Beenham, Bobby Borg, Pierce Brochetti, Alexx Calise, Brett Callwood, Miguel Costa, Gary Graff, Eric Harabadian, Andy Kaufmann, Glenn Litwak, Andy Mesecher, Kurt Orzeck, Jessica Pace, Rob Putnam, Steve Sattler, Adam Seyum, Daniel Siwek, Brian Stewart, Jonathan Widran, Ellen Woloshin

PHOTOGRAPHERS

David Arnson, JB Brookman, Brett Callwood, Alexx Calise, Miguel Costa, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Dave Long, Thomas Long, Charlie Meister, Jackie Naranjo, Scott Perham, Garrett Poulos, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Ellen Woloshin

Founded

CORPORATE HEADQUARTERS

Claim for Credit. Match for Money.

Stay On Top of Your Royalties with The MLC’s Member Tools

Are you missing out on money? The MLC’s Claiming Tool allows members to easily search The MLC’s database to claim their shares of songs.

Next step? The Matching Tool will help you locate existing streaming performances of your songs that haven’t been matched.

ASSIGNMENTS

Edith Bo

Head Of A&R

Rostrum Records

Rostrum Records announced Edith Bo as the Head of A&R. In this role, Bo will be responsible for setting and overseeing the overall direction of A&R strategy, including scouting and signing new artists and ensuring their creative vision is executed. Additionally, she will be responsible for developing strategic branding partnerships and will be working closely with Rostrum’s marketing team to create and implement innovative solutions for artists. This appointment comes on the heels of Rostrum Records announcing its 20th anniversary of developing and empowering the next generation of independent artists. For more, contact robert@therobertavery.com.

Matt Markgraf Strategic Partnership/Alliance Manager

Audio-Technica

Audio-Technica has announced the appointment of Matt Markgraf to the position of Strategic Partnership/ Alliance Manager. In his new position, Markgraf will be responsible for leading A-T’s global planning and implementation of aligning partners for certifications and integrations with various brand partnerships. Markgraf comes to A-T from Industrial Training Services, where his latest title was Director of Strategy & Client Success. He has experience in strategic planning, product development, and project management to align with long-term company goals and vision. For more information on this hiring, contact pr@clynemedia.com.

Shawn Keith

Head of A&R, North America

Nuclear Blast

Nuclear Blast has announced the promotion of Shawn Keith to Head of A&R, North America. Keith joins Nuclear Blast after co-founding SharpTone

Records in partnership with the parentlabel in 2016. Focused on diverse alternative genres, SharpTone has signed established acts like Story Of The Year, We Came As Romans, and August Burns Red. Before co-founding SharpTone, Keith served as Vice President at Sumerian Records for 8 years (2007-2014). Keith’s emphasis on creative freedom, dedication, and a fierce work ethic is a crucial factor in the evolving expansion of heavy music. For more, conact erica@bigpicturemediaonline.com.

Sofia Ilyas Chief Community Officer The Beatport Group

The Beatport Group appointed Sofia Ilyas to the position of Chief Community Officer. Ilyas will oversee the company’s diversity, inclusion and social action efforts. Additionally, she will head corporate communications, set the strategy for emerging growth markets and manage the company’s numerous partnerships with DJ and producer community organizations around the world. Prior to joining Beatport, Ilyas was a Director at the innovative headphone company Nura, where she spearheaded PR and marketing strategy, delivering industry-first campaigns and partnerships within the music-tech and headphone sectors. For more, contact jv@spinlab.net.

Beth Rasnick Chief of Staff to the CEO Gibson Brands

Gibson has announced the promotion of Beth Rasnick to the role of Chief of Staff to the CEO, Gibson Brands. In her new role, Rasnick will act strategically as representative for the Office of the CEO internally and externally, collaborating with the Gibson leadership and extended leadership teams to determine business strategies and action plans. Throughout nearly a decade at Gibson, Rasnick has held diverse key positions spanning finance, accounting, treasury, business acquisitions and divestitures, transformation initiatives, and corporate strategy. She is an emerging player of rhythm guitar, which she has learned from her father. Contact Lcoffey@primeprgroup.com.

Ezekiel Lewis President

Epic

Records

Epic Records announced the appointment of Ezekiel Lewis to President. Lewis has served as the company’s Executive Vice President and Head of A&R since 2020. Throughout his tenure, he has worked with the record label’s new artists and helped develop the careers of Epic’s GRAMMY® Awardwinning roster. Prior to joining Epic Records in 2017, Lewis served as Senior Vice President of A&R at Motown Records from 2011. In 2010, Lewis founded Bar Music Group, a music publishing company responsible for a roster of successful songwriters and producers. For more, contact melissa.victor@epicrecords.com.

Simon Beesley Sales & Business Development Director

EMEA

Videndum Media Solutions

Videndum Media Solutions announced the appointment of Simon Beesley to the position of Sales & Business Development Director EMEA for the Pro Audio Group. In his new role, Beesley will be responsible for sales and business development in the region for the company’s professional audio portfolio of brands, which includes Audix and Rycote. Simon Beesley joins Videndum with a broad spectrum of experience in the professional audio and broadcast marketplaces. For more, contact margaret@msmediainc.com.

Sam Sabet Chief Technology Officer Shure

Shure has named Sam Sabet as its new Chief Technology Officer. Sabet joins Shure after serving as Senior Vice President of Engineering and Head of Product Development and Delivery at Crestron Electronics. Educating the next generation is also a passion for Sabet, as he has served as an adjunct professor for Monmouth University, Southern Methodist University, and New Jersey Institute of Technology, where he continues to teach a number of graduate-level courses. In the past 12 months, Shure has averaged a new product introduction or enhancement announcement every month. For more, contact kaitlyn.trevisan@havasformula.com.

YAMAHA DM3 MUSIC MIXERS

There are two compact DM3 mixers just out by Yamaha: the DM3-D features Dante audio networking interfacing for connecting to a wide range of compatible audio devices and the DM3 Standard comes without Dante and, other than that, both models are identical. There are sixteen mono, one stereo and two FX Return channels inputs to mix. From each mix channel there are six Mix Sends, two FX Sends, and one stereo and two matrix outputs.

With an ultra-compact chassis, the DM3 Series operates at up to 96kHz sample rates, has low latency and is fast to set up. There are 18 onboard effects and an intuitive user interface that uses a large, 9-inch screen with multi-touch controls and multi-language channel names using the DM3 Editor or DM3Stage Mix apps. There are custom fader banks and MonitorMix support for personal monitor mixing, or live sound applications, making it great for simple presentations and conferences to live bands and multi-performer events. The DM3 is also makes an ideal sub-mixer for a Dante-compatible main console.

The ultra-compact 22-channel DM3 Series is a full-specification music production tool for recording and editing with an 18in/18out USB audio interface and DAW Remote functionality.

The Yamaha DM3 Standard and DM3 Dante mixers sell for $1,699 99 and $1,999 99 respectively.

usa.yamaha.com/products/proaudio/mixers/dm3

BABY AUDIO BA-1 SYNTH

I could be wrong: the new Baby Audio BA-1 synthesizer was inspired by the Yamaha CS01, a 32-key synth that came out in the mid-'80s. Another underappreciated synth from that time and, as I remember them, the new Baby Audio BA-1 has it beat on so many different levels immediately!

It has a second modeled oscillator and FM polyphony, but keeps the original's basic sound and analog-modeled filter with all the attendant issues like any actual hardware filter. It keeps the original's envelope generator and LFO sections and adds a sync-able LFO to BPM mode. Because it is a software instrument, you get over 500 presets that you can tweak quickly to your purposes and then save them. While the original synth was monophonic only and mostly used as single-note melody lines or high string lines, the BA-1 is switchable to polyphonic, has a resizable GUI, and you can change the front panel's color. The original plastic synth was only a boring gray color.

I do like the Re-Gen button that, when pushed, acts like a randomizer, parameters change but are musically usable in the same general category as the originally selected patch. So, if you have a sustaining pad selected, clicking on Re-Gen keeps it usable and does not turn it into space junk.

Check out Baby Audio's BA-1 for a cool little synth that has many presets to take you back. The BA-1 v1.1 synth sells for $99 MSRP and comes with even more new presets.

babyaud.io/ba-1

CAD AUDIO C98 CARDIOID CONDENSER MIC

To celebrate over 90 years in the microphone industry, the CAD C98 Cardioid Condenser Gooseneck Instrument Microphone is specifically designed for drum sets, conga/ bongo drums, timbale, Cajon, tablas—really any acoustical percussive instrument.

You get a medium cardioid polar pattern to reject sound leakage from other loud instruments on stage as well as cymbals and other drums within a kit if you use the C98 on tom-toms, for example. Frequency response of the electret capsule is rated at 50Hz to 20kHz and the C98 will handle high SPL from drums.

In my tests, both the gooseneck design and included drum rim mounting bracket (that also clamps on RIMS or Dynamount systems) made it easy to get the C98 pointed at exactly where I want it—even in the tightest positions around a kit, all without using a mic stand.

We got great sound using it on a Ludwig Acrolite snare drum and it brought out a monstrous low end on an 8 X 12 rack tom, yet it was not overly boomy on the kit's 16 X 16 floor tom.

With a full 2-year warranty, the C98 is now available at $119 MSRP.

cadaudio.com/products/new-products/c98

SHURE'S LIMITED EDITION BLACK BLX288/SM58 WIRELESS DUAL VOCAL SYSTEM

Shure has an all-black wireless system with two SM58 industry-standard vocal microphones. The easy to set up Limited Edition Black BLX288/SM58 Wireless Dual Vocal System comes with two all-black SM58 vocal microphones and one dual-channel wireless receiver. Derived from the BLX system, presenters and vocalists can enhance their stage presence and rely on the warm and clear performance of Shure wireless audio.

The two SM58 capsules have black grilles and are available in frequency bands H9, H10, H11 and J11. The system operates up to a range of 300 feet, providing musicians and presenters extended stage space, and can run up to 12 channels per frequency band. BLX transmitters get up to 14 hours of power from a single pair of AA batteries. This system retails for $649, but check the link below for the latest!

shure.com/en-US/products/wireless-systems/blx_ wireless/blx288-sm58-wireless-dual-vocal-system

DEAR REALITY EXOVERB MICRO

EXOVERB MICRO is Dear Reality’s latest reverb plug-in for stereo productions. This is a darling of a reverb plug-in that uses the same reverb engine as Dear Reality's EXOVERB but comes with just the eight most popular "greatest hits"—two each of Rooms, Halls, Plates, and Ambiences.

In Pro Tools, when I set up both EXOVERB MICRO and EXOVERB so that I could switch it back and forth from the same source, it has remarkably the same sound with MICRO having a much simpler GUI and without EXOVERB's abilities to precisely tweak a reverb.

You have the same intuitive triangular-shaped "playing-field" surface with a joystick controller to get where you want immediately. Now both Pre-Delay and Decay are separate parameter boxes and adjustable by mouse rather than by turning controls down in the parameter box at the bottom of EXOVERB.

I'm using EXOVERB MICRO in my mixes for adding ambiences—touches and colorations to individual tracks, "wet/dry" style. Sometimes it is this added "touch" that brings a three-dimensional quality in the most unusual way on instruments and voices. I love it!

Dear Reality EXOVERB MICRO sells for EUR/USD $25 dear-reality.com/products/exoverb-micro

BLACK BT SUSEX PEDAL

The SusEx Pedal is wireless and uses BLE MIDI (Bluetooth Low Energy) to send continuous MOD Wheel controller data. It also has 1/4-inch jack to connect a second keyboard at the same time. This pedal can sense where your foot is positioned on it automatically and then allow seamless switching between a basic footswitch control for Sustain and continuous control modes for expressions or cutoffs. It is the first pedal to have both a footswitch and continuous controller in the same body.

Musicians who work live performances will love that the SusEx Pedal eliminates the need for multiple pedals on stage by offering a natural way to play multiple parameters without stomp switches or navigating—moving back and forth between multiple single-parameter pedals. The SusEx Pedal frees both hands using a smaller device that complements your keyboard and/or DAWbased music production setup.

Black BT HubBLE App (iOS/Android) sets up to two SusEX pedals that can run at the same time and connect to any keyboard workstation with only USB MIDI. The SusEx Pedal will be shipping as of July 2023. Orders can be placed for $149 99 on the company site.

blackbt.com

BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility in North Hollywood called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

P M N

Big Hassle Media bighassle.com

From Major Label to Indie PR: A handful of years before PR veterans

Jim Merlis and Ken Weinstein joined forces to launch Big Hassle Media in 1999, the two became friends and hung out at CBGB’s in New York on nights when their respective bands gigged together. While the two bonded as fellow bassists—Merlis playing dirty Americana rock, Weinstein “weird indie power pop”—the two were also making major waves in their day jobs. Merlis, who started at Columbia, became known at Geffen for working Nirvana, Hole and Garbage. After establishing his career in PR, marketing and video production and promotion at Thirsty Ear/Beggars Banquet, Caroline Records, Caroline’s dance/electronica imprint Astralwerks, Weinstein repped Stone Temple Pilots, Bad Religion, Jewel, Page/Plant, and the Melvins at Atlantic. He later worked in marketing at Mercury. When a Polygram/Universal merger left them both free agents, Merlis focused on starting Big Hassle and Weinstein came on board as partner a couple weeks after the official launch.

The Big Hassle Aesthetic: Compared to their very structured years in corporate PR, Merlis and Weinstein’s aesthetic is just the opposite. One of their staff members, Leigh Greaney, calls them “free jazz,” referring to a basic foundation that has structure but is also loose and flexible, allowing for improvisation and creativity. The partners wanted their roster to be as eclectic as their record collections, which included everything from Metallica to Mozart—an effective approach that serves Weinstein well many years later running the press department for Bonnaroo.

In addition to focusing more on music quality than being boxed into specific genres, Big Hassle thrived by creating a unique culture that kept certain elements of “corporate label life” and jettisoning the things they didn’t like. Instead of specific rules, they simply focused on 1) hard work and 2) enjoying the work they did. Providing healthcare for employees was another must. These principles have served them well from the time they signed their first artist, Rufus Wainwright (who Merlis had worked with at Geffen), through their work with hundreds of clients over the past 24 years. Big Hassle Media has offices in New York, Los Angeles, the Midwest and Nashville.

Ken Weinstein: “It’s always been my belief that musicians can save lives, so we take our work with them very seriously, but at the same time, we want to have fun helping people save those lives. Jim and I are blown away and excited by the fact that we stumbled onto something that we loved doing in our lives and created something of great value with it. Whether we’re working with our famous clients or brand-new artists, we love getting near the flame and digging into what moves creative minds. We see ourselves as storytellers who love nothing more than telling these stories, coalesce narratives in a certain way and do our part to get impactful music to the world. The essence of the job in PR is inviting people into our living rooms and encouraging them to check things out.”

Contact Big Hassle Media, 212-619-1360

ALEXPROMIX IN DOLBY ATMOS

Determined to be on the forefront of Dolby Atmos, immersive specialist Alex Solano, founder of AlexProMix, designed a brand-new immersive studio featuring solutions from Avid, NUGEN Audio and more. Solano’s studio acts as homebase for his professional mixing work with labels such as Atlantic Records, as well as his educational masterclasses.

GROUPTHERAPY IN-SESSION

Ready for a new session, trio Grouptherapy has just released i was mature for my age, but i was still a child, a project that blends rap, rock, ballads, pop and more. Pictured are members Jadagrace, TJOnline and SWIM recording their next wave of music in a studio in North Hollywood, CA.

ANTHRAX IN THE STUDIO

Anthrax’s Scott Ian, Charlie Benante, and Frank Bello have been in the studio with producer Jay Ruston, laying down basic tracks in preparation for singer Joey Belladonna to record his vocals, and for lead guitarist Jonathan Donais to add his leads and solos. No title or release date at this time, but this will be the band’s first new album since 2016’s critically acclaimed For All Kings.

PRODUCER PLAYBACK

THISTLE CAN'T WAIT

Jake Thistle is pictured laying down a bass track at Lakehouse Studios in Asbury Park, NJ, during a one-day session to record his new single, “Brooklyn Can Wait.” “It was a great experience, considering this was my first solo session in the studio. Previously I'd gone into the studio with a band, but this time it was just myself and the producer, Tyler Safert,” says Thistle. “I played acoustic and electric guitar, as well as bass, lap steel, piano, and vocals. Tyler produced and played drums. It was a great time and an incredible learning experience!”

“If somebody can do something that no one else can or has a specific talent, make sure the world hears it. “

– ADAM DUTKIEWICZ (Killswitch Engage, Underoath, All That Remains)

DAVID GOGGIN

FLIGHT ATTENDANT

Anders Fleming (left) is a Swedish citizen who moved to Nashvlle to further delve into the world of music. Flight Attendant will be producing their entire EP with the aid of Anders' ear, due out this Fall. Pictured (l-r) at Fleming’s home studio: Anders Fleming, Karalyne Winegarner, Derek Sprague, Vincent Maniscalco, Nikki Christie .

JAM BAND STUDIO

Jam Band Studio (JBS) has recently opened its doors in Gainesville, FL, after being acoustically designed by Carl Tatz Design. Owner Ryan Frankel states his mission plainly on the JBS website: “At Jam Band Studio we can be as creative and weird as we want.”

NOYZR'S ELECTRIC SUN

Under the umbrella of music production company NOYZR, Electric Sun Studios is a fully equipped recording and music production studio featuring a mix of classic and contemporary gear like a Neve 5088 mixing console. Even though it has only recently opened its doors, Electric Sun has already accommodated several influential Los Angeles-based artists, like Joshua Radin, Kaleido produced by Morgan Rose, and many more.

Mark Weiss

CEO

237 Global

Years with Company: 9

Address: New York, Nashville, London, Los Angeles and Valencia

Web: 237global.com

Email: info@237global.com

Clients: The Band Camino, Wiz Khalifa, Panic! At The Disco, Smashing Pumpkins, Weezer, Avril Lavigne, New Kids On The Block, Shawn Mendes

BACKGROUND

Giving his business a name that’s a subtle nod to Stephen King, Mark Weiss founded 237 Global to curate the directto-fan experience. Meet-and-greets, ticketing opportunities, and exclusive merch access all fall under this umbrella. He also works with musicians and other types of celebrities to build apps that facilitate meaningful fan connections.

Rocking Sales

I went to Syracuse University and graduated in the early ‘90s. I then got into sales and financial. I liked being in sales, but didn’t love financial products. Around the mid-‘90s, a friend said, “Why don’t you get into internet advertising?” I started selling advertising space on Prodigy and CompuServe.

A New Vertical

I played in bands, but didn’t know any path to getting into the music business. It didn’t seem possible. Yet, I ended up, through different ad sales ventures, merging into a company called 24/7 Media, which repped thousands of websites. Picture thousands of magazines not having an ad sales force. These aggregator networks, DoubleClick being the biggest, said, “We’re going to deliver ads across all these different websites.”

I said, “Someone should take on the music side of it.” Rolling Stone was a client. Artistdirect was a client. I said, “I’m just going to take on music as a vertical.” That wasn’t what the owners of the company were looking for. I said, “Do you mind if I start that concept?” And they were cool about it.

Site Lines

One day, the Backstreet Boys and NSYNC fell into our laps. The people behind them said, “We have websites for these artists and they’re really popular.” We looked at their metrics and noticed they were getting more traffic than MTV. I said, “Someone needs to build artist websites and bring advertisers to them.” I noticed there was no website for OutKast, Blink-182, Christina Aguilera… All these big artists. So we started building websites and bringing in advertisers.

Revolutionizing Ticket Sales

We started to see tremendous requests from fans. They wanted to find out how to get tickets, could they meet the artist… I was noticing what Pearl Jam and Dave Matthews were doing.

I was blown away by how they were utilizing websites, organizing clubs, and allowing people to pay to be granted access to tickets.

I remembered standing in line in 1987 for David Bowie tickets. I was first in line, figuring I’d be sitting in the front row. By the time I got to the counter, the computer said there are people ahead at the other outlets. I was upset about waiting out all night and not getting good tickets. So this concept of automating the process and allowing it to be more fair and controlled by the artist, I thought, was brilliant.

A Growing Niche

I noticed there was a burgeoning pop/punk/emo market. I said, “Someone needs to help these bands with a direct-to-consumer approach.” I also started seeing social media pop up. I said, “Social media could spur a much more direct-toconsumer play where artists could start making tickets, merchandise, and different experiences available for their consumers.”

So, we started a company called Artist Arena. The first client was 311. The idea was to help get tickets into the hands of diehard fans. We organically started seeing meet-and-greet packages develop. We were able to work with bands that were starting to explode, like Fall Out Boy, Paramore, Panic! At the Disco and 3 Doors Down. We were fortunate to be in with a lot of these artists and grow with them.

Coming Full Circle

Warner Music was diversifying from just being in records and wanted to be deeper in the direct-to-consumer world. They acquired Artist Arena in 2007.

Then, in 2012, Warner changed ownership, went private and I was able to exit. I wanted to do anything but Artist Arena Part 2. I looked

at starting an influencer management company. I started a record label with RCA. I was dabbling in lots of areas and enjoying it.

A few key people I look up to said, “When are you going to do Artist Arena Part 2?” Some of their advice was, “Why don’t you go bigger on the V.I.P. experiences?” That sounded like a great idea.

Easy and Profitable Fan Offers

If fans want to pay to watch sound check, why not let them? And if fans want backstage tours or a picture on stage, those things don’t add a lot of cost or tax the artist. Why not make these experiences available?

Branding Fan Engagement

Here we are in 2016, and all these big artists don’t have a presence in the app stores. How’s that possible? Two brilliant guys walked into my life, Shawn Mendes and his manager, Andrew Gertler. Andrew was working at Artist Arena after I left, so he understood not only how to find and break talent but also the core of what Artist Arena was doing with fan engagement. He said, “There should be a merged access point for everything Shawn.” We said, “Yeah, if we’re going to offer a V.I.P. experience, why don’t we brand it?”

C’mon, Get Appy

We built an app called ShawnAccess. It’s been downloaded more than a million times. It allows Shawn and his team to use push notifications, to put all the tour dates in one place. The whole process of ticket presales is completely automated. You can track data to figure out where fans are coming from, their buying patterns, all of that.

We said, “Wow, we should figure out how to take this platform and make it easy for any celebrity, whether it’s an athlete, podcaster, or comedian, to have a presence in the App Store and connect with fans, sell merch, do live chats, create message boards, use augmented reality, all the things they want to do. We’ve been able to launch apps for New Kids On The Block, Tate McRae… We launched recently with Rival Sons, Tedeschi Trucks Band, and The Band Camino. It’s been a nice buildout.

Giving Artists Control

If somebody jumps on an Instagram Live chat, you can’t control who comes in and out or slow comments down. If you want custom features or want to do it behind a paywall, you can’t. But you can in your own app. Some artists are like, “I want to change all the fonts,” and things like that. We try to make it so every app we launch is custom to them.

Getting On Board With Growing Artists

I’m a sucker for developing artists. I met Justin Bieber before he did his first headlining concert. I met Shawn Mendes when he was selling 1,000 tickets a night. The first time I saw Fall Out Boy was on a Saturday afternoon. I’ve been able to see small artists become big artists really fast.

“If fans want to pay to watch sound check, why not let them? And if fans want backstage tours or a picture on stage, those things don’t add a lot of cost or tax the artist.”

OPPS

Warner Music Group wants an Assistant, Publicity.

The department acts as an inhouse PR team responsible for maintaining the most updated artist bios and press photos, drafting and servicing press releases, as well as assisting in the planning and execution of artist-related events, red carpets, and award shows. Assist the VP of Publicity and Senior Director of Publicity with daily media requests and artist projects, including (but not limited to) writing/editing press releases, media blasts, tour press, bios, maintaining all current press assets (including the Atlantic press site), coordinating press logistics, and execution of artist press activity. Apply at EntertainmentCareers.net.

24 Seven Talent is looking for a Music Operations Specialist. Collaborate with Music leads to onboard new artists to Platoon, including demo-ing services and platform features; Approve, deliver, and ensure perfect go-live of releases at DSPs; Optimize artist videos and channels for search on YouTube; Advise music and marketing teams regarding release plans, lead-times and due dates; Manage multi-faceted operations and metadata projects, past examples include Sync and Mechanicals; Manage operational relationships with distribution partners. Apply at 24 Seven Talent.

TikTok needs a Music Strategy Analyst. Define music categorization and

conduct statistical analysis of music consumption data to depict the pattern of viral music and form in-depth reports to localize the strategy in North America market; Work with Artist Partnership team to validate the content strategy and keep the methodology evolved based on the practices; Work with Product team to strengthen the monitoring capability, so as to improve the e iciency of music discovery. Apply at LinkedIn.

For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.

LABELS • RELEASES SIGNINGS

Katelyn Tarver has signed to Nettwerk. Los Angeles-based singer and songwriter Katelyn Carver is celebrating her deal with Nettwerk with new single “Starting to Scare Me” and a headline tour. Nettwerk is currently also home to Miya Folick and SYML, and Tarver’s forthcoming album will be released by the label early next year. This single, they say, “confronts the allure of indulging in harmful behavior as a temporary escape, rather than confronting the underlying causes head-on.” Contact skayden@nettwerk.com for more info.

The Criticals sign to Fantasy Records. Nashville rock duo the Criticals announced that their debut release for Fantasy will be the Front Door Confrontations EP, out July 24. The first single from the

DURRY

BROTHER/SISTER indie rock duo

Durry was born in the suburbs of Minneapolis, MN, where the siblings (Austin and Taryn Durry) were homeschooled by an art teacher and a music teacher. Perhaps their chosen path was inevitable.

“I started my first band when I was 16, just me and my friends trying to make music we liked,” says Austin. “Fast forward a decade, and I had toured a decent amount but never really found much wider success than our core fans. Then 2020 kinda shook everything up, and I was back to square one with my music. So, I started going in a totally new direction.”

Austin and Taryn found themselves quarantined together

at their parents’ home, so they started creating music together.

“Durry honestly came about pretty naturally from us just bouncing ideas off of each other and making something we both liked,” Austin says. “We started really working together in 2020, put out our first song and played our first few shows in 2021. Then late 2021 is when we really picked up traction and the gears started turning from there.”

DIY is an important concept for the Durry pair. It’s a way of life, and it’s the way they’ve always gotten everything done. “Growing up we never had much” Austin says. “If we didn’t DIY it didn’t happen. So honestly, DIY

ETHEL TRAVELS THROUGH ANDROMEDA

Rising French singer Ethel has released ethereal new single and video “Andromeda.” For the 23-year-old, Paris-based singer and songwriter, the song was born out of a spark in her brain. “I immediately started recording some ideas and began creating a beat out of the melodies I was singing,” she said in a statement. “We slept on the song for about a year, and then one day, we both got very impatient and decided we were going to set a goal for ourselves; record, mix, and release the song within two weeks or else we would destroy it luckily, we didn’t.” Contact bobbie@2bentertainment.net for more info.

EP is “Clever Girl,” out now. “We really wanted an upbeat, straightforward song to finish out this EPone to tie all the others together,” the band said in a statement. “‘Clever Girl’ started after having a dance party of all the new tunes we were really digging. Lyrically, I felt like I had been writing the same stu over and over again recently, so I just decided to go o of a personal encounter I had eaves-dropping on a couple at a bar a few nights before we started writing the song.” Contact meghanh@grandstandhq.com.

X Ambassadors sign to Virgin Music. Alt-rockers (and former Music Connection cover stars) X Ambassadors signed with Virgin at the end of May and have released new single “Happy People.” “X Ambassadors are at a point in their career where they know exactly where they are going and what they want in a partner to help them get there,” says Virgin Music president Jacqueline Saturn. “We are thrilled to have them join Virgin and we will use our global resources to help them reach new

is the only way we’ve ever done anything and I think it’s actually been a really valuable experience. When you’re writing songs, producing the songs, filming the videos, editing the videos, taking your own photos, designing your own merch, it really gives everything a cohesive vision. Now that things are moving, we’re learning to delegate those tasks more, but also trying to hang onto that DIY drive. I think that ultrafocused, cohesive vision is what has made this work so well so far.”

Durry releases a debut album, Suburban Legend, in October— something they see as a reward for their grind to this point. But they’re not ready to slow down.

Visit facebook.com/DURRYMPLS

audiences and excel even further in what is already an incredible career. We can’t wait to share their new music.” Contact johnny@e2pr. biz for more info.

PROPS

Congratulations to the winners of the 44th Blues Awards. The awards event took place on May 11 in Memphis, TN. The evening’s top award winners were Buddy Guy, Albert Castiglia, and John Németh, each earning two BMAs. Buddy Guy’s The Blues Don’t Lie picked up Album of the Year and Contemporary Blues Album. Albert Castiglia won Blues Rock Album as well as Blues Rock Artist, and John Németh’s May be the Last Time nabbed Traditional Blues Album; Németh was also awarded instrumentalist Harmonica. Contact pati@ deviousplanet.com for more info.

The Village Studios Hosted WIM’s Shoptalk 102. The Los Angeles Chapter of Women In Music’s Shoptalk 102 hosted its second in a series of workshops about the technical basics of audio recording and the terminology of the control

BY GLENN LITWAK

On June 5, 2023 three members of South Korean K-Pop group EXO announced that they have filed a claim against their label and management company, SM Entertainment Group (“SM”) claiming they have issues with “slave contracts” they entered into with SM. The members stated that they had filed a “complaint of abuse” with the Fair Trade Commission in South Korea.

The three members, Baekhyun, Chen and Xiumin, are members of EXO as well as performing for another trio called EXO-CBX.

The dispute involves alleged payment information not provided

room. Moderated by producer Lenise Bent, and assisted by engineer Jasmine Mills, the panel was curated by The Village Studios manager Tina Morris

"Most female artists are still working in studios with an all-male production crew and are hesitant to ask about the aspects of the process that they don’t fully understand," says organizer Kathleen Wirt, who hosted Shoptalk 101 at 4th Street Recording. "Shoptalk serves to empower female artists in their recording sessions by providing a safe space where they can ask women engineers and producers any question without judgment." To connect with WIM, visit womeninmusic.org.

BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks, the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

COMPUTERWIFE RELEASED SELF-TITLED DEBUT ALBUM

Computerwife is the pseudonym of New York-based singer and songwriter Addie Warncke, and she recently announced that her self-titled debut album will be available from Aug. 4 via Danger Collective Records. That will be preceded by the “Lexapro” single. “‘Lexapro’ was made when I was back with my parents over the first summer of school,” says Warncke. “I had tried to stay in New York and pay rent as a freshman, but I was not used to making that much money and being under that much pressure.” Contact christina@chromaticpr.com for more info.”

K-Pop Group EXO File Claim Against Label

to the members under their contracts. They are also objecting to the length of their contracts with SM which were entered into on 2011 and 2012 (and extended in 2022) for a total contract term of 17 or 18 years. Their lawyer, Lee Jachak of the South Korean law firm Lin Law, said in a statement that SM has not provided all information about the payments as they have requested despite the fact that under South Korean law a company is required to provide updates on payments twice a year.

The Lin attorney also stated that SM has used its power in the K-Pop market to compel artists to sign contracts with SM for longer than the seven year industry standard term. The law firm further asserts that SM automatically extends recording contracts for three more years if the artist works overseas, as the three members have.

On June 1, 2023 the group members released a statement that they were terminating their contracts with SM, contending that their contracts are “unfair” and much longer than the

standard seven years that FTC guidelines recommend for artist contracts. The members also claim that SM has refused to provide reports which detail payments to the artists.

SM stated that it was told that another business was trying to steal the EXO members, and that the three have already signed contracts with the new company.

The issues raised in this dispute have come up in the past with regard to musical groups in the U.S.A. From the label's perspective, they usually claim they need long-term contracts in light of all the money they invest in a recording artist or group. They don’t want to invest millions in an unknown group and then have the group terminate their recording contract once they have achieved success. From the artist point of view, they may have signed unfair contracts with or without adequate legal advice and they may have valid claims that the label has breached the recording contract. Or sometimes a group just wants

out of a contract to pursue other opportunities and uses alleged breaches of contract as a pretext to terminate a contract. And labels may enter into unfair contracts with artists who have unequal bargaining power.

Usually these types of conflicts are settled without a trial. Sometimes a settlement might involve the record company releasing the group and getting an override royalty if and when the group signs with a new label.

GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail. com or visit glennlitwak.com.

THE POPES OF CHILLITOWN

Date Signed: April 12, 2023

Label: Criminal Records

Band Members: Matthew Conner, vocals, acoustic guitar; Arvin Bancil, bass; Jack Ashley, drums, vocals, keys, percussion, programming; Thiago Trosso, saxophone, vocals; Leuan Williams, trombone, vocals; Mike Coppa, electric guitar

Type of Music: ska/punk/dub/hip-hop/drum n bass

Legal: Bray & Krais

Publicity: lisa@criminalrecords.cc; Jordan, Full Stride PR Web: popesofchillitown.com

A&R: The Kut (aka Princess Maha), Criminal Records

Yes, that name is ludicrous. If you’re anything like us, you initially misread it as the Popes of Chilltown. But no, it’s Chillitown a reference to a Chief Wiggum line from an episode of The Simpsons where Homer enters a chili cook-off.

It’s all good fun, and that sense of silliness is in line with the English band’s manic sound. Ska-punk slams head-on into dub and drum n bass to create something eminently danceable and just damned fun.

“The band started when me and a group of my mates at university in Nottingham were playing guitar instead of going to lectures, as you do,” confesses frontman Matt Conner. “We all started playing loads of reggae, reggae turned into ska-punk, which turned into punk, and over the years turned into drum n bass/metal.”

ISABEL LAROSA

Date Signed: February 2022

Label: Slumbo Labs / RCA

Type of Music: Pop

Management: Ron Shapiro and Joe Hegleman - Have Fun Management

Publicity: Amanda Charney, amanda@blackpandapr.com

Amanda Zimmerman - RCA, Amanda.zimmerman@sonymusic.com

Web: isabel-larosa.com

A&R: Jake Ottmann, Sr. Vice-President, RCA Records; Founder, Slumbo Labs

Signed to Slumbo Labs/RCA, Isabel LaRosa learned jazz standards from her father at an early age, and older brother Thomas started on the guitar. Jamming around Annapolis, the sibling duo first began songwriting while Isabel was in elementary school, with Thomas interning at Slumbo Labs in New York after high school. Moving into an engineering position, Thomas began providing sister Isabel with feedback as she began to release singles, and all of Isabel’s music has been written as a duo (with Thomas doing all the production). “Isabel and I have been working on music since she was 7, and I was 11,” he shares. “I don’t think there’s anybody that it feels more natural to work with than Isabel.”

Following three independent releases (“16 Candles,” “Closer,” and “Game Boy,” all in 2021), LaRosa’s music started getting attention online, and she was approached about a record deal. The timing of the offer,

Drummer, keys-man, programmer Jack Ashley said that their wildly eclectic sound stems from their wildly eclectic individual influences.

“Ska-punk has ended up being the kind of central point that everyone agreed on,” Ashley says. “It’s ended up being a melting pot of what everyone likes, and that energy comes through.”

After a few years of DIY effort, the logical next step was a deal and Criminal Records was the right home for these Popes. “I’ve known Maha [aka Princess Maha, A&R] for years,” Ashley says. “We actually originally got in touch because we were looking for somewhere to rehearse in London and she had a studio that was available. Since then, I’ve done various engineering work for her, as well. We’ve just kept in touch over the years, and we’ve always been DIY for the most part, doing as much as we can on our own. It was getting to a point where it was nice to have someone, who’s just really good at what they do, show an interest and come onboard. Help us get to the next level. It was a natural thing.”

The band’s first release for Criminal Records is the “Crashmat” single. Lyrically, “‘Crashmat' is about a descent into madness and how you’re supposed to be able to save yourself from that,” Conner explains. “But really, it’s like the blind leading the blind, especially when you don’t have a good system to help you with the big problems that you keep getting into. It’s about surviving when you’re making things worse for yourself every day. Realizing that it’s only you that can help you get out of the situation.” – Brett Callwood

says LaRosa, came down to a combination of online momentum (the numbers were moving), and the sound feeling “right” (her confidence had caught up). She feels that her first RCA single, “HAUNTED” (from debut EP i’m watching you), was where things “clicked into place,” and her music started gaining traction on TikTok. 2022’s “i’m yours” garnered over 150 million streams, with LaRosa sharing that what landed for listeners was “the feeling, and the way the visuals matched that feeling sonically.”

Of Jake Ottmann, Sr. Vice-President at RCA (and founder of Slumbo Labs), LaRosa says that Ottmann really helped her find who she was artistically by advising her to write about things that mattered to her—and to not just focus on cool lyrics. Ottmann is quick to add that LaRosa stood out for him because “she had a vision as a young person, and a clarity that I found really well-formed and beyond her years. She knew exactly what she wanted to sound like and who she wanted to be.”

Following 20 shows supporting Nessa Barrett’s national Young Forever tour, LaRosa’s latest release is five-song EP YOU FEAR THE GOD THAT LOVES YOU. – Andrea Beenham

“It’s like the blind leading the blind, when you don’t have a good system.”

“She knew exactly what she wanted to sound like.”

SHAWN SMITH

Date Signed: April 2023

Label: Roc Nation

Type of Music: Rap/Hip-Hop

Management: Cordeiro Henry / Nathaniel Smith - shawnsmithmgmt@ gmail.com

Booking: Cordeiro Henry / Nathaniel Smith

Legal: Jason C. Berger - Margolis Edelstein

Publicity: info@heliopr.com

Web: instagram.com/shawnsmithstory

A&R: Earl Johnson, earl@rocnation.com

Philadelphia rapper Shawn Smith signed with Roc Nation in April and recently celebrated by releasing the “Chain Gang” single. The track, the label states, "pays homage to state property in his hometown of Southwest Philly and features him at various landmarks, including underneath artist Miguel Horn's latest alleyway sculptural project ContraFuerte.”

That connection to his hometown is very much a part of who Smith is, having started rapping and writing at about 9 or 10 years old and performing at 15

“It was serious for me ever since I was 9,” Smith says. “I started out being inspired to write verses because my big brother used to rap. So, I got turned on because I liked everything he liked.”

Smith describes his sound and style as urban art, and culture and lyricism. “My style is storytelling, but fun at the same time,” he says.

ARROWS IN ACTION

Date Signed: January 2020

Label: N/A

Band Members: Victor Viramontes-Pattison, vocals; Jesse Frimmel, drums; Matthew Fowler, guitar

Type of Music: Pop-Rock / Alt-Rock

Management: Jacob McKay - Fly South, info@flysouthmusic.com

Booking: Jason Parent - APA, jparent@apa-agency.com

Legal: Bryan Christner - BKChristner, bryan@bkchristner.com

Publicity: Stephanie Estrada - Big Picture Media, stephanie@ bigpicturemediaonline.com

Web: arrowsinaction.com, instagram.com/arrowsinaction

Gainesville, FL trio Arrows in Action formed in 2019 while the three members were undergraduates at the University of Florida. At the same time, vocalist Victor Viramontes-Pattison worked at the student-run label Swamp Records where he met local music habitué Jacob McKay. The others were familiar with McKay through his music photography work, and since they all knew, liked and respected him, he was invited to manage the band. He’d always operated independently, but in the summer of 2022 McKay was tapped to join management powerhouse Fly South and brought Arrows in Action along. Fly South oversees the affairs of bands including Paramore, the Linda Lindas and Falling in Reverse.

“In 2018, I dropped a mixtape called Sink or Swim, which featured a song called ‘Heaven’ that was featured on the Joe Budden Podcast and began gaining a lot of traction,” Smith recalls. “From there I started doing a lot of freestyles, including at the BET Hip Hop Awards Cypher. I then met with Roc Nation and they believed in the vision and I signed.”

“Chain Gang” wasn’t Smith’s first release for Roc Nation, but it is a song that sums up his life and career quite beautifully. “’Chain Gang’ is about the streets of Philly, crafted into audio artwork,” he says. “This particular song pays homage to state property and featured Don Cannon as well.”

“The ‘Chain Gang’ video is a soft launch to what I'm kicking off this year,” he said earlier in a statement. “The mixtape era is my direct inspiration to pick up a pen in the first place. This record is all of those moments wrapped into a new musical mural—an appreciation to hip-hop and what this feel has done for the streets of Philly.”

Smith has opened for rap icons such as Rick Ross, Jeezy, DMX, Juelz Santana and Ice Cube, and he’s planning on having a big 2023. “I plan to dominate 2023 with music, videos, content, fashion, film and culture,” Smith says. “My new EP Hope Dealer is coming soon and there’s an album on the way.”

Renaissance man Smith writes lyrics about his admiration for Michelle Obama, while questioning Congress for not passing laws against lynching, and expressing his love for his hometown. He’s his own man and he’s going to play this rap game his own way. – Brett Callwood

“We met Jacob [McKay] when he was taking photos of bands,” guitarist Matt Fowler recalls. “He was super-hungry, went to shows and offered his photo services. He was lightly managing a friend’s band, and I think that Jesse [Frimmel, drummer] suggested that we ask him to manage us. We didn’t have a ton of management experience, but we had a feeling about him. Also, we didn’t know any other managers. We liked him a lot. He was methodical and organized in everything he did. There’s no one I trust more in the world than Jacob.”

“I recognized his work ethic when we were both with Swamp Records,” Viramontes-Pattison adds. “He was on the programming team, but he went way beyond that and helped artists do other things. Based on that, we knew he could help [us].”

Visibility is often key and being seen in the scene can bolster credibility. “We were playing a show in Gainesville with a band that he managed,” Frimmel recollects. “He also did some photos for us.”

Although originally from Gainesville, Arrows in Action now makes its base in the Midwest music mecca of Nashville. Built To Last dropped on May 26 and the accompanying tour will be the first nationwide jaunt for the trio. “We’ve headlined before on some short runs, but this is our first full U.S. tour, with a bit of Canada,” Viramontes-Pattison explains. “We’re excited about it.” The band has released four EPs and as many singles, but Built To Last is its debut full-length record. – Rob Putnam

“It was serious for me ever since I was 9.”

“We didn’t have a ton of management experience, but we had a feeling about him.”

INTERSCOPE JOINS AFTERLIFE

Tale of Us (Carmine Conte and Matteo Milleri) joined their Afterlife label with Interscope Records, and is set to release Anyma (Milleri)’s debut, with single “Welcome To The Opera” out in collaboration with Grimes last month. Interscope will distribute Afterlife existing and future works.

AIMP L.A. AWARDS

The L.A. Chapter of the Association of Independent Music Publishers has presented Jaqueline Gibson with the 4th annual Linda Komorsky Scholarship. Gibson is slated to be a Junior in the Fall, pursuing a Bachelor of Science in Music Industry Studies, with minors in Communication.

BMI CELEBRATES NO. 1'S

BMI celebrated breakout artist Bailey Zimmerman’s recent chart-toppers, joining cowriters behind “Fall In Love “Rock and a Hard Place.” Taylor Guitars presented each BMI writer a custom guitar. Pictured (l-r): Jack Hackworth, Jet Harvey, Heath Warren, Bailey Zimmerman, Austin Shawn

SESAC Americana Nominees

With the awards taking place in the Fall, SESAC congratulated all the nominees for the annual Americana Music Association Honors & Awards, including Artist of the Year nominees Sierra Ferrell and Margo Price, Album of the Year nominees Margo Price and Strays, and Song of the Year nominees Margo Price and Jeremy Ivey for song, “Change of Heart.”

The awards are set to take place at Nashville’s historic Ryman Auditorium, from Sept. 19-23, 2023. Full list of nominees and details at: americanamusic.org

Songwriters HoF

The Songwriters Hall of Fame has unveiled “The Power of Song: A Songwriters Hall of Fame Exhibit,” a traveling exhibit that runs through Sept. 4, 2023 at the Grammy Museum in Los Angeles. Celebrating world-renown songwriters, the exhibit includes rare artifacts and memorabilia, handwritten lyrics, sheet music, instruments, interactive displays, and more.

Curated in partnership with the Grammy Museum, the display gives insights into the art of songwriting and celebrates the work and legacy of Hall of Fame inductees and other notable artists. Features include items from Diane Warren, Mariah Carey, Cyndi Lauper, Steve Dor , Desmond Child, Eric Clapton, Will Jennings, Billy Steinberg, and many others. More at songhall.org

ASCAP & BMI Task Force

Frustrated by the AI track explosion, ASCAP and BMI have formed

a joint task force to address suspicious musical work registrations. The collaborative group will work to keep track of musical registrations that “can result in financial loss or operational ine iciencies.” The idea behind the collaborative e ort is to maintain data integrity with respect to registrations, raise awareness around suspicious activity, and to share best practice information internationally.

BMI President and CEO Mike O’Neill adds that “Bad actors don’t just limit themselves to one company, or one territory, and the more we can collaborate on this issue, the better it is for everyone involved.” ASCAP head Elizabeth Matthews echoed the need for “all collective management organization and DSPs” to tackle fraud.

CEMM Secures Hartman

U.K.-based Cutting Edge Media

Music has moved into pop music, purchasing the catalog of songwriter-producer Jamie Hartman, whose credits include Rag ‘n’ Bone Man, Calvin Harris, Kyogo, Lewis Capaldi, etc. The deal includes royalties from Hartman’s commercials, TV and film placements which encompass work written for Carole King, Jennifer Hudson, and Christina Aguilera. While Hartman continues to be published by Reservoir, the CEMM purchase covers a majority of his writer’s share.

After partnering with a iliates of Biantyre Capital (London) to secure $125 million for film and TV music publishing acquisitions in 2022, CEMM secured a further $100 million from banks led by Pinnacle Financial Partners (Nashville). This latest CEMM purchase

UPCOMING LISTENING RETREATS

After 21 years, BPLR Listening Room Retreats Community Through Co-Writing experience is offering interest-free payments, barter/trade options and more. Upcoming retreat destinations include Idyllwild, Copenhagen, Flagstaff and Ireland. Detailed information at: listeningroomretreats.com

is rumored to be worth somewhere in the eight figures.

CRB Issues Determination

The Copyright Royalty Board has finally issued a determination on U.S. songwriters’ and publishers’ mechanical royalty rates for 2018 to 2022. The ruling increases royalties yearly over the five-year period from 11 4 percent to 15 1 percent by year-end 2022. Royalties will be limited based on the total content cost (TCC), based on key requests from streaming services, and will reinstate a rate ceiling into the royalty calculation. An appendix outlining the latest ruling is available here: bit.ly/3qHtecR

There will now be a 15-day period for rehearing motions before the U.S. Copyright O ice must undertake a legal review for any errors—with up to 60 days allowed for completion—after which a determination will be published, with DSP’s given a maximum of six months to make retroactive adjustments.

HYBE Inks Tencent

China’s Tencent Music Entertainment has signed a distribution deal with K-Pop-driven HYBE which will reportedly see HYBE artists streaming on Tencent platforms including QQ Music, KuGou Music, KuWo Music and We Sing. HYBE artists will also be promoted on company platforms. The hope is that the deal will help HYBE artists get more momentum in the Chinese music market (outside of Korea, the majority of K-pop artist business comes from Japan).

Tencent’s music platforms serve roughly 90% of the over 700 million people in China that listen to streaming, with Tencent’s paid membership standing at over 94 million members, and online revenue reaching $510 million in Q1 of 2023

Int'l Songwriter Winners

West Coast Songwriters wishes to congratulate the International Song Contest winners for 2023, with the grand prize going to Ava Della Pietra for “Optimist.”

In the category of Americana, congratulations go out to Chance McCauley for “Glory,” the winner in the Children’s category goes to Jessica Campbell for “Vuela, Vuela, Fly,” and the Country winners are Mark Beynon, Joe Label and The Rhodes for “Who’s Gonna Drive The Truck (If Mama Goes To Jail).” Winner in the Adult Contemporary group went to Jane Canfield for “Rain In The Desert,” Mark Beynon

and Joe Label won for SingerSongwriter with “Angel Before His Time.”

Full details at: westcoastsong writers.org/song-contest-winners

20th Annual IAMA

Registration is now open for the 20th Annual IAMA (International Acoustic Music Awards), which provides an opportunity for acoustic artists everywhere to get prominent radio and web exposure and compete for awards in eight categories including Best Male Artist, Best Female Artist, Best Group/Duo Folk, Americana/ Roots/AAA, Instrumental, Open (any musical style or genre), and Bluegrass/Country, as well as an Overall Grand Prize award worth over $11,000, which includes radio promotion on over 250 radio stations in the U.S. and Canada.

IAMA has a history of winners getting signed and moving up the Billboard charts. Past awardees include Meghan Trainor, Zane Williams, Je Gutt, Charlie Dore, Bertie Higgins & Bellamy Brothers, Ryan Sheridan, Pat Byrne, and Deidre McCalla. Entry deadline is Nov. 20, with details at: inacoustic.com

ANDREA BEENHAM (aka Drea

Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadianraised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com

PRIMARY WAVE’S SKILLET

Award-winning Christian rock group Skillet has sold their publishing and recording catalog to Primary Wave Publishing in a multi-million dollar deal. With over 1 billion streams, Marvel, NFL, NHL, MLB and WWE features, it includes 2003-2016’s Collide, Comatose, Awake, Rise, and Unleashed.

TOO HOT FOR BROWN

The same week as releasing the band’s 34th studio album, People Just Wanna Have Fun, Kool & The Gang founding member, George Brown, releases Too Hot: Kool & The Gang & Me. The self-taught drummer-songwriter with six decades in music, shares a cautionary tale of life lessons.

REDMAN TO BLUE NOTE

Saxophonist Joshua Redman has signed to Blue Note Records, with a debut album set for release this Fall. Winning the Thelonius Monk International Saxophone Competition, he has released over 20 albums with top reviews in DownBeat, Jazz Times, The Village Voice and Rolling Stone.

HEAVY HITTERS CREATIVE

Film, TV and ad sync company, Heavy Hitters Music, with an all-female creative team and Emmy-winning music catalog, has signed a deal with N.Y.C. record label GSI Records to secure sync placement for GSI artists in on and off broadcast media, across film, tv, gaming and advertising.

BOOK STORE

Introduction to Music Publishing for Musicians

Motorbooks

By Bobby Borg & Michael Eames

Introduction to Music Publishing for Musicians

The Storyteller—Tales of Life and Music

quarto.com/motorbooks

Motorbooks

By Dave Grohl

(hardcover) $29.99

The Storyteller—Tales of Life and Music

is a down-to-earth new book written by two musicians and industry Music Connection contributors) with decades of experience. They’ve organized it into seven clearly-written sections that will help musicians, students, songwriters, beat makers and others save time and avoid getting screwed. Topics include the basics of copyrights, types of publishing income, publishing companies and types of deals, creative matters of music publishing, and things you need to know about music publishing’s future.

By Bobby Borg & Michael Eames (paperback) $34.00

Alan Chang Branching Out B

quarto.com/motorbooks

Worth every penny, this is a down-to-earth new book written by two musicians and industry pros (and Music Connection contributors) with decades of experience. They’ve organized it into seven clearly-written sections that will help musicians, students, songwriters, beat makers and others save time and avoid getting screwed. Topics include the basics of copyrights, types of publishing income, publishing companies and types of deals, creative matters of music publishing, and things you need to know about music publishing’s future.

(hardcover)

By Dave Grohl

est known as Michael Bublé’s musical director for almost 20 years, Alan Chang has helped write and produce much of Bublé’s discography from 2003 to 2022, co-writing hits “Home” and “Haven’t Met You Yet.” Following his 40th birthday, and a shift in momentum during 2020’s lockdown, the DIY jazz artist began to switch gears and pursue his own performance career.

Leader in Illustrated Publishing: Launched in 1976, U.K.-based Quarto is a longtime leader in the world of illustrated non-fiction publishing. While diversifying and adding numerous imprints over the decades, its ongoing mission has remained the same—to make and sell books that entertain, educate and enrich the lives of readers around the world. One of the most exciting current manifestations of this comes from their Minneapolis-based Motorbooks imprint, which Quarto acquired in 2007. Since 1965, Motorbooks has been among the world’s leading transportation publishers, creating volumes about cars, motorcycles, aviation, racing, etc.

(hardcover) $29.99

Leader in Illustrated Publishing: Launched in 1976, U.K.-based Quarto is a longtime leader in the world of illustrated non-fiction publishing. While diversifying and adding numerous imprints over the decades, its ongoing mission has remained the same—to make and sell books that entertain, educate and enrich the lives of readers around the world. One of the most exciting current manifestations of this comes from their Minneapolis-based Motorbooks imprint, which Quarto acquired in 2007. Since 1965, Motorbooks has been among the world’s leading transportation publishers, creating volumes about cars, motorcycles, aviation, racing, etc.

Looking to expand beyond the transportation topic, publisher Zack Miller and executive editor Dennis Pernu launched a dedicated music program in 2021, drawing on Pernu’s prior experience in music book publishing under Quarto’s Voyageur Press imprint. Under their creative, visionary leadership, they have built on the success of their first book the authoritatively written (by Dave Hunter) and lavishly illustrated Fender 75 Years, the officially licensed celebration of the legendary instrument company to publish a series of dynamic works celebrating some of rock’s greatest artists and albums.

Starting on the piano at the age of six with a push from his mother, he became infatuated with jazz at age 13 after playing Gershwin tunes in his middle school music program. Befriending David Bertuzzi (now a great jazz pianist) as a teen, the two would challenge each other to learn various voicings and keys each week, have sleepovers and play piano for hours, and attended Stanford’s Jazz Camp together each summer. “Those were my favorite two weeks of the year,” says Chang.

Made in Hollywood: All Access

By Gina Schock

(hardcover) $40.00

JIM VANCLEVE

Foo Fighters frontman Dave Grohl has penned a vivid memoir that conveys both the ordinary and the extraordinary moments and events of his life. Standouts include some harrowing incidents with Nirvana bandmate Kurt Cobain as well as heartfelt moments with Grohl’s wife and kids. Experiences with Pantera, John Fogerty, Tom Petty, Iggy Pop, John Paul Jones, Paul McCartney and others make this autobiography a satisfying read.

JIM VANCLEVE

Looking to expand beyond the transportation topic, publisher Zack Miller and executive editor Dennis Pernu launched a dedicated music program in 2021, drawing on Pernu’s prior experience in music book publishing under Quarto’s Voyageur Press imprint. Under their creative, visionary leadership, they have built on the success of their first book the authoritatively written (by Dave Hunter) and lavishly illustrated Fender 75 Years, the officially licensed celebration of the legendary instrument company to publish a series of dynamic works celebrating some of rock’s greatest artists and albums.

Foo Fighters frontman Dave Grohl has penned a vivid memoir that conveys both the ordinary and the extraordinary moments and events of his life. Standouts include some harrowing incidents with Nirvana bandmate Kurt Cobain as well as heartfelt moments with Grohl’s wife and kids. Experiences with Pantera, John Fogerty, Tom Petty, Iggy Pop, John Paul Jones, Paul McCartney and others make this autobiography a satisfying read.

The Anniversary Aesthetic: According to Pernu, Motorbooks’ goal with the line of heavily illustrated upscale coffee-table music books is to merge unique text with archival artist and memorabilia images from agencies, individual photographers, and collections. He works closely with the company’s talented art department to bring the books to life.

Made in Hollywood: All Access with The Go-Go’s

Go-Go’s drummer Gina Schock takes fans behind the scenes for a look at her personal photos documenting her band's wild journey to the heights of fame and stardom. Featuring posters, photographs, Polaroids, and other memorabilia from her archives, Made In Hollywood also includes stories from each member of the band, along with other cultural luminaries like Kate Pierson, Jodie Foster, Dave Stewart, Martha Quinn and Paul Reubens.

Rock Concert

By Marc Myers

(hardcover) $30.00

Rock Concert

The Anniversary Aesthetic: According to Pernu, Motorbooks’ goal with the line of heavily illustrated upscale coffee-table music books is to merge unique text with archival artist and memorabilia images from agencies, individual photographers, and collections. He works closely with the company’s talented art department to bring the books to life.

Three Pianos: A Memoir

Go-Go’s drummer Gina Schock takes fans behind the scenes for a look at her personal photos documenting her band's wild journey to the heights of fame and stardom. Featuring posters, photographs, Polaroids, and other memorabilia from her archives, Made In Hollywood also includes stories from each member of the band, along with other cultural luminaries like Kate Pierson, Jodie Foster, Dave Stewart, Martha Quinn and Paul Reubens.

Three Pianos: A Memoir

The Something Corporate and Jack’s Mannequin frontman delivers an engrossing memoir about the challenges and triumphs of his childhood and career, as seen through the lens of his personal connection to three pianos. McMahon not only recounts his grueling efforts to make it as an indie artist, but also how he dealt with––and prerailed over––a bout with leukemia at age 23.

By Marc Myers

Chang’s passion for jazz led to a jazz studies major from the University of Southern California, where he was spotted by a Warner Executive as he provided accompaniment at a friend’s drum recital. Asked to audition for a “new jazz singer,” he got the gig after two rounds of auditions when the first pick was too busy. “The industry threw me in and I got my doctorate in Michael Bublé, which was great,” shares Chang. “I was his musical director and pianist and very lucky to be able to co-write with him, but at the end of the day, this was his career, his vision, his esthetic. I started seeing songwriting as a commodity because Michael was selling millions of albums,” admits Chang. “It’s financially rewarding, so I forgot what really moves me, what would I write if I was going to do my own thing.” While they don’t work together anymore, Chang describes the end of the Bublé run as an “amicable divorce” and says the two are still friends.

There’s plenty of fascinating information to glean from Myer’s oral history examination of the evolution of the rock concert business, from the wild west ‘50s to the corporatized ‘80s. Myers does it with insightful statements from prominent insiders (Seymour Stein, George Wein, Henry Diltz, Marshall Chess, Michael Lang), performers (Ian Anderson, Todd Rundgren, Alice Cooper) and the fans in the stands, with special attention to milestone events such as Woodstock, Altamont and Live Aid.

(hardcover) $30.00

During lockdown, Chang started collaborating with a group of songwriters, sharing songs they wrote and recorded each week, and exchanging notes and critiques. He feels there has been more musical growth. “I hope something feels a little bit di erent about the song, whether it's a chord progression, or the phrase has a bar of 2/4 or something,” says Chang. “Some songs on this new album have been done for two or three years. If the songs feel like me, I've arrived at a song that hits the mark.” Writing lyrics still feels “like a homework assignment at times” Chang says of his process, and he admits that he has to write on a real piano (as keyboards do not inspire him). “It’s physical for me,” he says. “I like finding voicings and changes, whether that comes with the melody, or the melody comes later.”

Carpenters: The Musical Legacy

There’s plenty of fascinating information to glean from Myer’s oral history examination of the evolution of the rock concert business, from the wild west ‘50s to the corporatized ‘80s. Myers does it with insightful statements from prominent insiders (Seymour Stein, George Wein, Henry Diltz, Marshall Chess, Michael Lang), performers (Ian Anderson, Todd Rundgren, Alice Cooper) and the fans in the stands, with special attention to milestone events such as Woodstock, Altamont and Live Aid.

The Something Corporate and Jack’s Mannequin frontman delivers an engrossing memoir about the challenges and triumphs of his childhood and career, as seen through the lens of his personal connection to three pianos. McMahon not only recounts his grueling efforts to make it as an indie artist, but also how he dealt with––and prerailed over––a bout with leukemia at age 23.

By Mike Cidoni Lennox & Chris May

(hardcover) $35.00

Carpenters: The Musical Legacy

While he was fortunate to get in some writing sessions between the songs for Bublé, he found co-writing situations challenging. “I get how it's great for some people and some personalities, it's just not really for me,” he says. Chang says that he just wanted to make the best music and tried to encourage colleagues to submit music for Bublé’s consideration. “I could have hidden songs from Michael, but it was a ‘lift all boats’ scenario,” he added. “I could have been way more of a dick through those years.”

“We want to approach these artists and historic recordings from different angles than those published previously,” he says. “The @50 and @75 concepts offer a fresh way of telling the stories and allow our authors some leeway in curating the high and low points of a career. We created a list of artists, bands and albums that have anniversaries and birthdays approaching. Our criteria included which are still touring, their popularity overseas, cross-generational appeal and album sales over the course of their careers. We’re also starting to branch away from the anniversary concept, but that’s been a strong starting point for this program.”

By Mike Cidoni Lennox & Chris May

(hardcover) $35.00

“We want to approach these artists and historic recordings from different angles than those published previously,” he says. “The @50 and @75 concepts offer a fresh way of telling the stories and allow our authors some leeway in curating the high and low points of a career. We created a list of artists, bands and albums that have anniversaries and birthdays approaching. Our criteria included which are still touring, their popularity overseas, cross-generational appeal and album sales over the course of their careers. We’re also starting to branch away from the anniversary concept, but that’s been a strong starting point for this program.”

Falling in love with jazz as a youngster himself, Chang is ultimately proud to be part of a conduit to the American Songbook for young people who otherwise might not hear it, referencing times on tour when a child would reference loving “I’ve Got You Under My Skin” that “Michael Bublé wrote.” She'll eventually find out who wrote it, “and then delve into Cole Porter and find Miles Davis,” gushes Chang. “It felt like I was part of a good gateway drug; I was the musical marijuana and eventually people were going to find ecstasy.“

Celebrating Iconic Artists: In September 2022, Motorbooks kicked off their current slate of titles with Elton John @ 75 (by Gillian G. Gaar) and Bowie @ 75 (by Martin Popoff). Their early 2023 titles include Alice Cooper @ 75 (by Gary Graff), Pink Floyd and The Dark Side of the Moon (by Martin Popoff), and AC/DC @ 50 (by Martin Popoff). Coming this fall are Ozzy @ 75 (by Daniel Bukszpan), KISS @ 50 (by Martin Popoff) and The Who and Quadrophenia (by Martin Popoff). Also in 2023, Motorbooks will be marking the 75th anniversary of the LP with a broad, illustrated history.

The story of one of the most enduring and endeared recording artists in history—the Carpenters—is told for the rst time from the perspective of Richard Carpenter, through more than 100 hours of exclusive interviews and some 200 photographs from the artist’s personal archive. This nicely illustrated book takes you through the multimillion-selling, Grammy-winning duo’s formative years right up through their 1970s stardom and Karen’s unfortunate end.

Contact Motorbooks, 612-344-8186

Contact Hunter Scott - Trend PR, hunter@trendpr.com

Experience Alan Chang at music.trendpr.com/alanchang

Contact Motorbooks, 612-344-8186

The story of one of the most enduring and endeared recording artists in history—the Carpenters—is told for the rst time from the perspective of Richard Carpenter, through more than 100 hours of exclusive interviews and some 200 photographs from the artist’s personal archive. This nicely illustrated book takes you through the multimillion-selling, Grammy-winning duo’s formative years right up through their 1970s stardom and Karen’s unfortunate end.

Celebrating Iconic Artists: In September 2022, Motorbooks kicked off their current slate of titles with Elton John @ 75 (by Gillian G. Gaar) and Bowie @ 75 (by Martin Popoff). Their early 2023 titles include Alice Cooper @ 75 (by Gary Graff), Pink Floyd and The Dark Side of the Moon (by Martin Popoff), and AC/DC @ 50 (by Martin Popoff). Coming this fall are Ozzy @ 75 (by Daniel Bukszpan), KISS @ 50 (by Martin Popoff) and The Who and Quadrophenia (by Martin Popoff). Also in 2023, Motorbooks will be marking the 75th anniversary of the LP with a broad, illustrated history.

Debut solo album Check Please drops this September as a collection of jazzy pop songs featuring Pino Palladino on bass and Dave Koz on saxophone. Lead single, “Love As A Weapon,” is out now.

ROBBIE JEFFERS

DROPS

Grammy- and Oscar-winning rockstar Melissa Etheridge will debut her Melissa Etheridge: My Window in a nine-week Broadway residency at the Circle in the Square Theatre beginning Sept. 14, with an o icial opening night of Sept. 28. Tickets are on sale at Telecharge.com. The show is produced by Michael Cohl and EMC Presents, in association with Larry Mestel, Deborah Klein, and Steven Greener for Primary Wave Music. Glenn Orsher is Executive Producer. Melissa Etheridge: My Window is written by Melissa Etheridge, with additional material by Linda Wallem-Etheridge (Nurse Jackie showrunner, That ‘70s Show), and directed by Amy Tinkham. Get more info at melissaetheridge.com/mywindow

RHIANNON GIDDENS

For the first time and for one night only, fans can see Odesza: The Last Goodbye Cinematic Experience an immersive concert film on July 7 in cinemas worldwide. The film provides an intimate look into the process of creating the group’s record-setting return to the stage with The Last Goodbye Tour with visuals and pyrotechnics, behind-the-scenes content and personal interviews with the group’s Harrison Mills and Clayton Knight, their creative team members, and fans over the past 10 years. Interviews are woven in with footage from one of the band’s hometown shows in Seattle as well as their 2022 national tour. Contact Josh Page at jpage@shorefire.com for more information.

The debut album of singer, songwriter, producer, filmmaker and actor Kaelen Ohm, who performs under the musical moniker AMAARA and stars in the Netflix original series Hit and Run, dropped July 7 via Lady Moon Records. Child of Venus is the first full-length release from the musical project, which has also released a single and video, “New Love’s Mortal Coil.” Learn more by contacting Sarah Avrin at sarah.avrin@charmschoolmedia.com.

On June 30, Nadya Tolokonnikova, founding member of Russian feminist protest and performance art group Pussy Riot, took over Santa Fe art center CONTAINER with a 5,000-square-foot immersive art exhibition, “This Art is a Hammer that Shapes Reality.” The exhibit includes Tolokonnikova’s conceptual artworks, prison artifacts and the New Mexico premiere of her first short film

and original musical score, Putin’s Ashes. The art film was created after August 2022 when Pussy Riot burned a giant portrait of the Russian leader and collected the ashes into vials to be used in artwork which resulted in Tolokonnikova being placed on Putin’s Most Wanted list and an arrest warrant under the Russian “Pussy Riot Law.” Contact Inge Colsen at inge@goldatl.as.

A new six-part docuseries, Breaking Beyond, follows world-class breakers including Junior, Neguin and Shigekix from the Red Bull BC One family (Red Bull’s annual B-Boy competition) to explore the roots of breakdancing and hip hop cultures around the world. Each episode features breakers in a di erent location across the globe.

The first episode depicts B-Boy Junior introducing Shigekix to his birth city Goma in the Democratic Republic of Congo where they explore the areas traditions, markets and culture. Watch the series on Red Bull TV, Insight TV, INFAST in North America, and INULTRA worldwide.

Composer and multi-instrumentalist Chuck Johnson has released the original soundtrack for the true crime HBO docuseries Burden Of Proof via All Saints. The album was released digitally and in a special silver vinyl edition on

June 30, featuring Johnson’s work combining electronic influences, chamber music and pedal steel guitar. The show, directed by Cynthia Hill, debuted on June 6. For further details, contact Tim Wilson at unsunghunger@gmail.com.

Following the season one finale of Paramount+ original series Grease: Rise of the Pink Ladies, Capitol Records has released the original soundtrack including 30 original songs created for the series. It also includes a modern take on the iconic song from the 1978 classic musical, “Grease is the Word,” which was written by Barry Gibb and performed by Frankie Valli. Executive music producer and Grammynominated songwriter Justin Tranter helmed the music and soundtrack. Contact kristen.kanopka@umusic.com.

OPPS

Nintendo is bringing its live fan event to the U.S. for the first time this year and will be held Sept. 1-4 in Seattle alongside PAX West. Attendees can expect themed concerts, game tournaments, as well as hands-on sessions with emerging video games, panels with industry professionals and more. Register and learn more at nintendo.com/nintendo-live.

Sync Con, one of the nation’s top music for media conferences, will be held Dec. 1-3 in Hollywood. Participants will be able to network and attend educational panels with the leading music creatives and decisionmakers in film, television, video games, and advertising. For tickets and more information, visit synccon.com.

Head to Atlanta Aug. 17-20 this year for the Southern Soul Radio, Music and Film Conference. This event will include educational workshops, networking opportunities, vendors, artist showcasing, a formal Awards Dinner honoring the top industry professionals and more. Register and find additional information at southernsoulradiomusicconference.com.

The Guild of Music Supervisors’ 9th Annual State of Music in Media Conference will be held virtually and in person at the Los Angeles Film School on Aug. 19 this year. The

Grammy-winning musician Rhiannon Giddens’ and Emmy- and Grammy-nominated composer Michael Abels’ opera, Omar, has received the 2023 Pulitzer Prize for Music. Their compositions were inspired by the 1831 autobiography (the only known surviving American slavery narrative written in Arabic) of Omar Ibn Said, a scholar living in West Africa who was captured and forced aboard a ship bound for Charleston, South Carolina. Giddens, founding member of the Carolina Chocolate Drops, wrote the libretto based on Said’s autobiography and recorded self-accompanied demos that Abels (Get Out, Us, Nope) then scored. The opera features a multicultural array of musical styles including Islamic, bluegrass, spirituals and Americana. Omar was co-produced by Spoleto Festival USA, Carolina Performing Arts at the University of North Carolina at Chapel Hill, and Detroit Opera. Contact Ray Costa at rcosta@costacomm.com.

OUT TAKE

Sandro Morales-Santoro Composer

Web: sandromorales.com

Contact: kate.twilley@impact24pr.com

Most Recent: Kold x Windy, Restaurants at the Edge of the World

event will feature networking opportunities, educational panels, live musical performances and one-on-one mentoring sessions for aspiring music supervisors. Learn more at gmsmediaconference.com.

PROPS

Composer Christopher Lennertz was named a BMI Icon this year at the 39th Annual BMI Film, TV and Visual Media Awards. The Grammywinning (Street Signs) and two-time Emmynominated (The Boys, Supernatural) composer received BMI’s highest honor for his significant contributions to music and body of work across film, television and gaming, joining the likes of Terence Blanchard, Alexandre Desplat, James Newton Howard, Alan Silvestri, Brian Tyler, John Williams and others among the list of BMI Icons. Lennertz is also known for serving on the board of Education Through Music-Los Angeles and Mr. Holland’s Opus Foundation, as well as Hands Together Haiti. He also launched the Symphony of Hope project, a collaboration of more than 25 leading film and TV composers and dozens of award-winning musicians and vocalists dedicated to rallying the film music community to support Haiti following the 2010 earthquake. Contact Ray Costa at rcosta@ costacomm.com.

The 40th Annual ASCAP Pop Music Awards once again recognized songwriters and publishers of the most performed songs of the past year based on data from radio and streaming services. “Stay,” the chart-topping hit performed by The Kid LAROI and ASCAP member Justin Bieber, who co-wrote the song, won ASCAP Pop Music Song of the Year. Radio airplay and streams for hit songs including “Big Energy” (Latto), “Need to Know” (Doja Cat) and “Super Freaky Girl” (Nicki Minaj) earned producer Dr. Luke the honor of ASCAP Pop Music Songwriter of the Year.

Sony Music Publishing received ASCAP Pop Music Publisher of the Year for the eighth time, for a year that included songs such as “Break My Soul” (Beyoncé), “Hrs and Hrs” (Muni Long), “One Right Now” (Post Malone and The Weeknd), “Numb Little Bug” (Em Beihold), “23” (Sam Hunt) and more. Contact Kelly MacGaunn at kelly@bobbimarcuspr. com for more information.

JESSICA PACE is a music journalist-turnednews-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Sandro Morales-Santoro is an awardwinning composer as well as a part of the executive committee of the Composers Diversity Collective to help connect composers of color with opportunities to advance their careers. He recently worked on WeTV’s Kold x Windy, pulling inspiration from hip-hop and drill music, and National Geographic/Disney+’s Restaurants at the Edge of The World, his second collaboration with co-composer David Benjamin Steinberg and director Jeremy Simmons. His musical background includes popular and folk influences from his native Venezuela, an education in classical music, as well as interests in jazz and electronic music. “When I started as a composer in L.A., I was afraid of bringing too much of my cultural background into my music,” he says. “There have been a few times when I was interviewing for a composing job, and they said, ‘So all you can write is Latin music?’ I wanted to prove I could do music that wasn’t necessarily representative of where I come from, and when you start out, you’re trying to just imitate what the greats are doing. With time, I’ve learned to accept and embrace who I am, not care so much and try to bring those elements into my music.”

Morales-Santoro says he loves the challenge of working on a variety of di erent projects, from animated film to documentaries. “The work is unexpected. I constantly need to evolve my sound, learn new instruments, new sound libraries. Having to face that and figuring out how to define a project’s concept through music, work with the director I love those challenges.”

Morales-Santoro advises aspiring composers to remember the old adage: “It’s a marathon, not a sprint. In the beginning, I always felt in a rush, worried about things happening fast enough, but you have to take it one step at a time,” he says. “You have to network, you have to work on your craft, and then you have to work on your voice, which is what sets you apart from the rest and makes people interested in hiring you over someone else.”

DENINZON JOINS KANSAS

Violinist-guitarist Joe Deninzon has joined rock band Kansas, replacing the departing David Ragsdale. Deninzon has been hailed as “The Jimi Hendrix of the Violin,” because of his innovative style on the Viper seven-string electric violin. Joe is the lead singer and violinist for the prog-rock band, Stratospheerius, and is currently on the Kansas 50th Anniversary Tour Another Fork in the Road.

KEITH GETS LUCK E

Singer, songwriter, and country legend Toby Keith has acquired Luck E Strike, a bait and tackle brand name ingrained with top tier anglers as well as weekend recreationalists. "I know a bunch of pro anglers and they're all telling me if I can get them the stuff, they'll fish with it," Keith says.

KYLIE MORGAN AT TORTUGA FEST

Each year Tortuga Music Festival at Fort Lauderdale Beach, FL raises funds and promotes awareness, supporting marine conservation and research, raising almost $ 4  million for the cause to date. Along with the headliners Eric Church, Shania Twain, Kenny Chesney and Wiz Khalifa, up-and-coming artists performed, including Kylie Morgan, pictured.

BACKLINE TAKE.CARE WELLNESS KITS

The music industry’s mental health and wellness resource Backline and not-forprofit Conscious Alliance continue their joint initiative to support touring musicians and crew members. Take.Care Wellness Kits provide wellness products and mental health resources designed specifically for life on the road.

IMPOSSIBLE SITUATION JAM

Every Sunday the VFW hosts The Impossible Situation Jam, an outdoor open mic jam in Granada Hills, CA. Run by band leader and bassist, Harel Simon, all styles of music are welcomed. Producer-songwriter Guy Marshall and drummer Lenny Bent recently dropped by to jam with the band.

GOBLYNNE (NÉ MOLLY KIRSCHENBAUM)

L.A. indie musician and touring bassist for Claud, Goblynne (they/ them) has recently dropped the single “Where This Goes.” The night of the release, they celebrated with a performance at Zebulon in Los Angeles.

STEWART AND SALVATORE

Candace Stewart of East West Studios and Paula Salvatore of Universal Music Group recently hosted a panel discussion at CRAS’ Gilbert, AZ campus on the state of the industry and to inspire students who are about to graduate and start their careers. “My advice to the students is to listen to their teachers and learn not only the technical skills required in order to become a successful audio engineer but to also pay attention to the social skills required.”

Tidbits From Our Tattered Past

In Music Connection’s cover story on DEVO, who’d just moved from Warner to indie label Enigma, bandmember Gerald V. Casale gave his take on the music biz: “If you sell a lot of records, everyone thinks you’re great. But they’ll say it’s your fault when sales slack off. It’s just the way society works. A rich eccentric is an eccentric; a poor eccentric is a pervert.” Elsewhere in the issue you’ll find concert reviews of The Ramones, AC/DC.

2003–Peaches–#6

This issue’s cover story artist did not waste words when stating her career objective. “I’m not trying to be like a guy,” Peaches explained. “I just want to prove that all this energy doesn’t have to come from a guy, and a girl doesn’t have to look like some fake Barbie girl to rock out.” Elsewhere in the issue we profile producer Dusty Wakeman (Dwight Yoakam, Meat Puppets) and singer-songwriter Rachael Yamagata.

1988 –The Devo–# 16

he story behind how the spotlight fell on Milky Chance is as unique as the duo’s music itself. First meeting at school in Kassel, Germany, the pair got along like Pilsner and schnitzel. Clemens Rehbein (vocals, guitars) and Philipp Dausch (percussion, bass) soon became members of jazz quintet Flown Tones. After that outfit called it quits, Rehbein and Dausch decided their artistic chemistry merited further exploration.

Just for fun, the two began recording songs independently. They eventually uploaded their creations onto YouTube and SoundCloud, where the unknown players developed an instant and unexpected following. This development was particularly surprising considering the act’s left-ofcenter creative perspective. Incorporating elements of disparate genres such as electronica, folk, and reggae into their sound, Milky Chance’s concoctions are as confounding as they are catchy and effervescent. Their video for first single “Stolen Dance” subsequently earned millions of views and garnered accolades from the press. The song topped the charts throughout Europe during 2013.

Fast forward to today. The unlikely stars continue to rack up listens on Spotify. Their fame stretches around the globe, from the European Union to Mexico, Australia and beyond. By way of expanding their sound, Rehbein and Dausch added Antonio Greger and Sebastian Schmidt to the mix. Happily, these new additions are also friends from the same school where they met.

Milky Chance just released a fourth album, Living In a Haze. Featuring guest appearances by Canadian vocalist Charlotte Cardin and Malian musician Fatoumata Diawara, the disc is brimming with idiosyncratic lyrics over gently burbling beats that are both strange and oddly familiar. Every track works its way slowly into your subconscious. Like a lightning bolt from out of nowhere, there comes the sudden realization you’re hooked.

Lead singer Rehbein opened up with Music Connection at the start of the band’s most ambitious tour ever. The moment was also shortly before the new disc dropped, infusing the chat with undeniable electricity. Throughout the conversation, Rehbein’s amiable personality shone through, and his candid demeanor shed light on exactly what it means to spearhead a musical phenomenon the entire globe is clamoring over.

Music Connection: Congratulations on the release of your new album. You must be excited for people to hear it. Does

it ever get less thrilling? What’s different about releasing an album this time around?

Clemens Rehbein: We know the situation, because it is our fourth album. But we still have the thrill. It’s always exciting to share new music with people. Every album means a lot to us and so does this one. It’s always lovely to see the fans’ reactions to new music. That always makes us really happy and grateful.

MC: Were you surprised by the positive reaction you got early in your career, especially from the press?

Rehbein: During that time, a lot of things happened. It was only years later that we realized what really happened and what all that means. In the early years, we were overwhelmed from time to time. It’s easier in retrospect to understand what happened to us, you know?

MC: It’s got to take a bit of adjusting.

Rehbein: Yeah, definitely. It was kind of crazy, because in the beginning we didn’t have any vision or ideas of being a band. We were just recording these songs for fun. It got big very quick, so we had to grow with it. But right now, we feel like we are in a good state. Over the years, we went our path and found our identity as a band.

MC: As Germans, why did you decide to sing in English?

Rehbein: That wasn’t even a decision, actually. I think mainly it was because 95% of the music we listened to was English. When you listen to English music and songs, you learn what people say, how you can say things in songs and all that. It’s the same with language. If you’re surrounded by Spanish, you’ll probably learn to speak Spanish.

But also, I felt like it’s easier to write in English. It sounds way better. German is a tough language to write lyrics, even poetry. It sounds harsh sometimes. English is way more soft. It’s probably one of the most used languages in music. That was just the way to do it for us. It felt natural somehow.

MC: English lyrics are probably more marketable than German lyrics.

Rehbein: Of course. It makes it way easier.

MC: When you write, do you start with lyrics or beats? And how do you bring them together?

CLEMENS REHBEIN

Rehbein: It can change from song to song, but mainly we start with the music. Then, the lyrics come right with it. Most of the time when we meet in the studio, we either have an idea of something, whether it’s a chord progression, a rhythm, a melody or something like that. And then we start jamming a bit. When we’re trying to find melodies and all that, we start mumbling. Not actual words, but then there’s words coming. And within that process, you maybe find one line or sentence and go from there. Then it all happens at the same time. Sometimes, we build a beat. We play with the guitar while singing some fancy words and the lyrics come out. With one song on the new album, “Golden,” Philipp had a lyric, so we started with that. But then also we went from there and started with the music right away.

MC: When you’re writing, do you think about synchronization possibilities? Can you write a song to get placed in a movie or a commercial?

Rehbein: I don’t think so. We never have anything in mind except the music itself. We’re driven by being in the moment. We work intuitively, so whatever comes out, whatever feels right, is what we go for. We never go into the studio and say, “Maybe we should write a song about this and it should

to get an idea of it. But also nowadays, I feel like genres are not as clear and strong as back in the day. Boundaries are really fading, in a positive way. I love that.

It is like a mixture between analog and digital music. That’s what we always say. It’s influenced by many genres, like folk music, singer-songwriter and reggae music, music that you don’t program. But we’re also deeply influenced by electronic music and all that. And we’re always trying to merge that together somehow. We love that, moving between analog and digital.

It’s also something that we’re coming from, because the internet came up when we were 10 or something. We were born in more of an analog century and then moved into the new digital age. And we feel at home with both of these. I think you can hear that in our music.

MC: Yeah, genres should be mixed. How did the pandemic affect the band? It didn’t seem to slow you down any. You recorded plenty during that time.

Rehbein: For us, it actually was good somehow. Talking from a privileged position, we didn’t have any financial struggles or anything like that. That is very lucky. And we kind of took a break that we probably wouldn’t have taken. Creatively, it was good for us, because we had time to calm down and go to the studio daily. We really dived

can change society in ways we don’t even know about yet or that we cannot imagine right now. I think there are going to be potentially so many jobs replaced by AI. It feels like there will be such a big step in that technology that we, as human beings, really have to roll with it. Everybody’s trying out what AI can do. To me, it is frightening and also mind-blowing. It will open a lot of discussions on many levels, social and ethical. What do you think about it?

MC: I think it has a place in creativity. Art that’s created by AI is just as legitimate as art created by humans. But it’s going to create confusion to where nobody knows what’s real anymore.

Rehbein: It’s a dangerous thing. If you look back in history, people have always used inventions in the wrong way. And I think you can use AI as a weapon on many levels. That frightens me. It’s more about how people deal with it, not the technology itself. Because you could do great things with it, really use it as a tool to fix things. But this is not how the world is, unfortunately. There will be people misusing it, probably.

MC: Tell us about your Milky Change initiative. How are you working to create less of a carbon footprint?

Rehbein: It’s not only about reducing our

sound like that.” We just see what takes us.

MC: Your music has all kinds of influences. One that people often mention is reggae. Do you agree that’s part of your musical DNA?

Rehbein: That’s definitely one part of our DNA. We love to listen to reggae music. Right now, I’m listening to lots of roots reggae, like in the last few weeks. Not more than other genres, I would say. We just love music in general. We listen to so many different kinds of music and love getting inspired by it. I think that’s what music is about. We never felt like going in just one direction. There is so much out there, and you want to let it in and do something with that. And I think that’s beautiful. There are so many genres coming from different countries. It connects us in a good way. So, we’re influenced by many different styles. But also reggae.

MC: What would you classify your music as?

Rehbein: We would probably never put it anywhere. Genres help to describe a little bit,

into the creative process and creating music. Without having any schedule or touring plans felt freeing for us. That was helpful, to be creative and try new things. It brought us to where we are now.

MC: What about virtual reality? Are you interested in using that? Are there other ways you want to use technology to enhance the Milky Chance experience?

Rehbein: That’s an interesting question. I’m not that into VR. Our music is influenced by studio technology. But besides that, we are very analog dudes. We love doing things with our hands, like craftsmanship. Of course, we do socials and stuff like that, but we’re not very much into [technology].

MC: Have you been following what’s going on with AI? Do you worry about that?

Rehbein: We’ve discussed that a lot within the band. We’ve had several discussions about AI technology and how it will or

footprint, which is hard to do on tour. That is something we had to learn. First, it’s about putting the topic on the agenda and having a dialogue with other people working in the environmental area. For us, it’s just using our platform to inform about the issues. And of course, we’re trying to make steps, but we also limit it in a way, especially when we’re talking about going on tour. But we’re trying to do better and do things differently. It’s all about making progress.

MC: You’ve got someone spearheading your strategy for being environmentally conscious.

Rehbein: Yeah, it was the end of 2019 when we hired a new member on our team. Since then, she’s been our sustainability manager. In the beginning, it was a lot of analyzing. Like, if we want to reduce our footprint, first we have to know how it works. If we look at one show, what is creating the footprint? The fan travel, our travel, the power supply

of the venue... So that was interesting. It was really digging deep into numbers and all of that. And learning from that, trying to adjust where we can.

It’s not easy, especially when you’re touring internationally. There’s no other way to travel than by plane. And there’s no sustainable way of flying. You can buy carbon offsets. That’s a little step, but of course it doesn’t make the carbon footprint better.

MC: What can artists do to make themselves more environmentally conscious?

Rehbein: The most important thing is to speak about it. That’s also something we do. Every artist has its tour rider and we created our green rider. It says no plastic back stage, local organic catering, all that. Also, reaching out to the venues. If they supply electricity, where is it from? Is it a sustainable source, green electricity and all that? Venues probably will not change that fast, but if more and more artists demand it kindly, the whole touring industry will start thinking about it.

We feel like we just joined a community, because we’re not pioneers. There are artists that have been around for 20 years being environmental activists, using their reach and platforms to talk about it. And I think the more we artists do that, we put more and more attention to it. There’s less time [than ever before] to make big steps and we need politics to do that, otherwise it will take forever. So, the most important thing is to speak about it, build a big discussion and amplify.

MC: How do you stay fit on the road? What’s your strategy for staying healthy?

Rehbein: Trying to eat healthy is important. Take a walk outside. Do sports or yoga. Take care of your body, which also is important for your mental health. We’re lucky, because we all know each other from high school. We’re close friends. So, if someone’s not feeling good, we can talk about it. Whatever it is, we talk about it. We have a safe space for us and help each other.

Also, we’ve known our crew for years, so it really is like a big family. It’s very intimate and we’re all close. We know each other well. We’re in this together. We’re like a community and help each other out if things are not easy. I think that also is a big part of it.

MC: Are there times when you get on each other’s nerves during a long tour? How do you work that out?

Rehbein: Not dramatically. If someone needs some space, we all feel that. You can always take a walk or do stuff on your own. I think that’s the way to do it. We never fight or anything. We get along well.

MC: What’s your advice to younger musicians?

• Milky Chance’s song “Down by the River,” off their debut record Sadnecessary, was featured on the soundtrack to the video game FIFA 15.

• Festivals the group has rocked include Lollapalooza, Coachella and Reading & Leeds.

• Young the Giant is opening for them on their current tour, which features stops at Red Rocks Amphitheater in Colorado and Pier 17 in New York City.

• Artists they cite as influences include Ray Charles, The Police, Sublime, Burna Boy, Bob Marley and Red Hot Chili Peppers guitarist John Frusciante.

• Awards the group has won include Best Single from 1Live Krone in 2013, Best Album from the European Border Breakers Awards in 2015, and Best National Pop Group from Echo Music Prize in 2018. •

Rehbein: We don’t like giving advice because, though we’re all aiming at the same target, there are individual ways to get there. Sometimes, this feels right for this person. And that is the right thing to do for this person. But for the other person, maybe, it is totally the opposite. There’s not only one way. For example, being successful. What is success? For some people, success means something different than for others.

So, giving advice is hard. But for us, it has always been important to trust our intuition, especially when we make music. The music that we do has to feel good. It has to feel right. It has to be the music that we want to do. We have to feel comfortable with it. Music has been our passion and still is. Creating and making music gives us a good

feeling and we always try to keep in that space. Of course, there are people on the outside having opinions and all that. Critics and hearing other people’s opinions can be helpful sometimes. But also trust yourself.

MC: What’s it like trying to break an American audience?

Rehbein: It just happened to us. We were never like, “We want to tour in the U.S. one day.” It was more like, at the end of 2014, we got so much attention that came to us and we just took the opportunity.

Contact Rachel Jacobs - Shore Fire Media, rjacobs@shorefire.com; James RainisShore Fire Media, jrainis@shorefire.com; Milkychance.net

The Manager’s Playbook: Essential Roles and Realistic Paths For Musicians

BY BOBBY BORG

As musicians, we all ponder the role of personal managers, those guiding lights who can shape our journey. They navigate us toward our artistic vision while deftly handling the nitty-gritty of the music business. Picture them as our champions, hyping us to the right business contacts, unveiling hidden opportunities, securing sponsorships, and orchestrating epic tours. They’re the backbone that ensures everyone involved is pulling their weight and more. But here’s the thing: personal managers don’t grow on trees; they’re a hard-earned privilege. Truth is, until we’ve made some headway on our own, those seasoned managers with clout may not bat an eye in our direction. If we sit around waiting to be rescued without making our own strides, well, our musical journey might just veer into the abyss. That’s why it’s crucial to grasp the diverse management options available to us musicians. From the DIY approach to linking up with established professional management, there’s a path for everyone. But before we dig into those essential routes, let’s quickly walk through the myriad roles a personal music manager can undertake. So, hang tight and read on, fellow musicians, as we embark on this enlightening voyage together.

Excerpted from the book Business Basics for Musicians, 2nd Edition © 2023 By Bobby Borg

PART 1: THE ROLE OF A PERSONAL MANAGER IN YOUR CAREER

By strict definition, a personal manager advises and counsels artists in all aspects of the new music business. This may include artist development, project management, touring, contracts and income streams, and so much more.

A. Artist Development

The manager may assist with the development of an artist’s career via the following activities:

• Encouraging You to Get Your Brand Together: Inspiring you to polish up your brand—from your artist name and logo, to what you wear and say in public, to the charities and other organizations and brands with whom you associate.

• Assisting with Your Sound and Songs: Inspiring you to polish up your compositions and musical sound. If needed, the manager may even help set you up with songwriting consultants, cowriters, and producers, and help you find complete songs to record and perform.

• Helping You to Improve Live Performances and Merch: Inspiring you to perfect the quality of your live performances (set list flow, presence, etc.) and merchandising designs (T-shirts, hats, stickers, etc.). And finally . . .

• Helping You Build—and Monitor— Your Fan Base: Encouraging you to strengthen your connections with fans, including improving your social media content strategies on sites like Instagram and TikTok (or other), finding ways to get fans’ assistance with promotion and spreading the word-of-mouth, and ultimately getting fans to engage with you more personally through monetized crowdfunding platforms and Patreon. Additionally, your manager will help you to monitor fans through the use of various analytical tools and artificial intelligence to gain insights and make smarter decisions.

B. Contracts and New Income Streams

Your manager may also help initiate various business deals by doing the following:

• Setting Up Meetings and Seeking Out Future Opportunities: Setting up meetings with potential co-writers,

publishers, merchandisers, sponsors, and record companies, and seeking out immersive opportunities in the metaverse, digital asset stores and NFT marketplaces, and—when you’re a huge star—catalog sales via top music investors.

• Researching the Right Deals: Researching which companies and representatives are best suited to your talents and musical style, based not only on a company’s past signings or successes, but also on its financial stability, management capabilities and understanding of your vision.

• Recommending You Find Legal Counsel: Providing recommendations for legal counsel to help shop your music to various companies and review important contract terms that are relevant to the new—and ever-changing—music industry. And finally . . .

• Working Collaboratively with Your Attorney: Communicating with your attorney about important contract deal points, but knowing when to step aside and let the attorney do their job.

C. Project Management

When, and if, you sign a recording agreement, your manager may also assist by doing this:

• Getting Everyone at the Label Excited About Your Career: Lighting the fire under the label’s ass and trying to make sure that you will be a top priority.

• Monitoring Pre-Release and Post-Release Activities: Providing marketing ideas regarding the branding, price, place, promotion and measuring of your records, and fighting tactfully for what is best for your career. And finally . . .

• Meeting with Departments: Meeting with the various departments at the record label, (new media, licensing, press, sales, marketing and radio promotion), and to make sure that everyone is talking and working in concert to further your professional career.

D. Hybrid Services: Merch, Publishing, and More

As if the above tasks were not enough, some management companies operating under newer business models may even assist your career by doing the following:

• Providing Label Services: Handling all matters concerning the funding, recording, manufacturing,

distributing, promoting and monitoring of a record, in addition to all other management services. Said another way, the management company is a label, or the label is a management company—however you see it.

• Providing Publishing Services: Seeking creative uses of your songs in film, TV, games, and podcasts, issuing licenses to music users for the use of your songs, and collecting all income generated by these uses. And finally . . .

• Providing Merchandising Services: Helping design and manufacture e ective merch that sells, helping the group sell merch on the road and via retail outlets, and seeking sublicenses to expand the product line. And finally….

• Providing Digital Marketing and Advertising Services: Acting as a digital marketing service in influencer marketing campaigns, advertising campaigns, email marketing brand sponsorships, and general social media management.

HYBRID EXAMPLES

Silverback Management, Crush Management, Nettwerk, Roc Nation, Attom Factory and Red Light Management are just a few examples of these hybrid manager services mentioned above. There are many more.

E. Live Engagements and Touring

Moving on to another role, a personal manager may also assist with the following:

• Securing a Talent Agent: Helping you to find a licensed talent agent who specifically works on procuring live performances. Your manager will work together with this agent to determine which tours are best for you, to make sure that you’re getting the best o ers from concert promoters, and even to help direct your performances from city to city.

• Working with Your Business Manager: Helping you find a business manager who specializes in the music business, and working together with him or her to ensure that your tours are properly budgeted. Hotel accommodations, transportation, stage crews, and other expenses will be closely examined in an e ort to minimize expenses and ensure that you turn a profit (or at least cover expenses). And finally . . .

• Hiring a Tour Manager: Hiring a “tour manager” who is responsible for

TURNING BAD INTO GOOD: POST MALONE AND IGGY AZALEA

Dre London, Post Malone’s manager, highlights another role of personal managers—turning bad into good.

London discovered that Malone’s upcoming album had been leaked online. This could have been a major setback for the album’s release and promotion, potentially a ecting its sales and reception.

However, instead of letting the leak derail their plans, London and team decided to turn it into a marketing opportunity. They created a scavenger hunt on Twitter, where they released di erent snippets of the leaked songs and hid clues for fans to find the full tracks.

This not only generated excitement and engagement among Post Malone’s fanbase, but also helped increase the album’s visibility and anticipation. When the album, Hollywood’s Bleeding: The Director’s Cut, was o icially released, it debuted at number one on the Billboard 200 chart and became one of the best-selling albums of the year. Totally fire!

In another example of turning bad into good, T.I., Iggy Azalea’s manager at the time, helped Azalea avoid a major PR disaster and instead turned it into a positive experience.

Iggy Azalea was set to perform at the Pittsburgh Pride festival, which was a highly anticipated event for the LGBTQ+ community. However, a Twitter user resurfaced old tweets from Azalea containing homophobic and racist remarks, which caused a backlash and calls for her to be removed from the lineup.

T.I. could have suggested Azalea issue an apology and let the situation play out. Instead, he came up with a creative solution. T.I. suggested that Azalea use the opportunity to educate herself on LGBTQ+ issues and work closely with the community to make amends.

Azalea agreed and as a result was eventually welcomed back by the LGBTQ+ community. Make no mistake, folks, turning bad into good is a major role of the manager.•

keeping a watchful eye on all business matters from city to city, night after night. This could mean checking you in to hotels, “advancing” the shows (making sure that each venue has the proper accommodations in place for you), “settling” money with promoters at the end of each night, babysitting, and bailing you out of jail—seriously!

F. Physical and Mental Health Issues

Finally, once an artist is successful, a great manager can assist the artist in the following ways:

• Monitoring Physical and Mental Health: Looking out for the artist’s health and well-being, and knowing when to say no to that extra morning radio show, public appearance, podcast interview, or leg of the tour.

• Checking in with the Artist: Checking in with the artist and simply asking him or her, “How are you doing?” Said another way, the manager checks the goose that is hatching the golden eggs, rather than just focusing on the golden eggs. This is important. Artists are known to break down when they’re pushed too hard. Elvis Presley is one classic example. Destiny’s Child, Britney Spears and Justin Bieber are more recent examples.

PART 2: Management Options

Now that you understand what a manager does, we can discuss the various management options available to you. The most common choices, depending on how far along you are in your career, are selfmanagement, start-up management, and established professional management.

A. Self-Management (DIY or DIE)

In the early stages of your career, good management must always begin with the artist. Unless one of your relatives happens to be a record label or publishing company president, no one is going to help you until you first help yourself!

As your self-manager, consider the selfassessment checklist below to determine whether or not you are doing all the right things.

• Have you given serious thought to your long-term career vision?

• Have you written a large repertoire of songs or even cowritten with professionals?

• Have you professionally recorded, mixed, mastered, and packaged your music?

• Have you developed a consistent and unique brand (name, logo, look, attitude)?

• Have you learned to properly release your music in streaming and physical formats?

• Have you mastered your marketing game both online and o line, as well?

• Have you developed creative methods of connecting/engaging with your fans?

• Have you amassed respectful analytics (streams, social numbers, reviews)?

• Have you developed a kick-ass live show and amassed a respectful local draw?

• Have you attempted to hit the road playing colleges, festivals, other events?

• Have you created a line of merch (T-shirts, hats, etc.) and generated decent sales?

• Have you aligned with any product sponsors and formed symbiotic relationships?

• Have you pitched your music in synch (film, TV, games) and secured placements?

• Have you attended industry conferences (NAMM, SXSW) and built a network?

• Have you subscribed to the trades/ podcasts and got a grip on the new music biz?

• Have you made an e ort to keep up with emerging trends (NFTs, Web 3, AI)?

• Have you found methods to pay bills, set goals, and manage your time like a pro?

Musicians often believe that the solution to their problems is finding someone to whisk them up from rehearsal room to superstardom. An experienced manager can make good things happen fast, but he or she is not a solution for your laziness. This is the digital age, where doing it yourself is far easier than ever before. Bottom line: you must generate some action on your own—and prove that you don’t need any help— in order to give managers a valid reason to want to work with you.

B. Start-Up Management

After you’ve reached a point in your career when you’ve done all the things mentioned in the list above, and you just can’t go any further without a helping hand, then perhaps you’re ready for a start-up manager. This might

include one of the following:

• A Friend: A close friend who’s willing to make phone calls and help promote shows without getting paid for the first few months or years. In fact, he may not even be called a “manager” at all, working with the understanding that as soon as your career progresses, he will be replaced by an established professional manager and o ered some other position with the band.

• A Retired Musician: An experienced musician who wants to “right all the wrongs” she encountered in her professional career, and has got all the passion and drive needed to set you on course.

• A Businessperson: An educated businessperson who’s always dreamed of being in the entertainment business and has the desire to live those dreams through you.

• A Club Owner: A club owner in your hometown who sees hundreds of bands perform each year. This individual has a good idea of what works and what doesn’t and is willing to o er you an objective point of view and career guidance. And finally . . .

• An Intern: An intern or junior assistant of a professional manager by day who’s looking to cut his teeth on managing his own artist on his downtime at night. He’s got the advantage of having his boss’ ear for guidance and observing how a professional o ice is run all day.

While start-up managers may not be the most experienced folks, don’t underestimate their value. They can be some of the most loyal and hardworking people around, and they’ll stick with you through the tough times. And who knows, they may even grow into being legends. Look at Andrew Oldham. He started out with the Rolling Stones when he was just 17, and he became one of the most successful managers of all time. Johnny Wright started managing New Kids on The Block at just 18, and he also went on to manage Jonas Brothers and Justin Timberlake. Impressive!

C. Established Professional Management

Finally, if you’re able to create serious momentum in your career (get millions of streams, start generating some income, and/or attract labels and publishers), then established professional managers will be more interested in working with you. You might be referred to these folks via your record label, or they might seek you out. Let’s look at mid-level and big-league managers.

Mid-Level Managers

Mid-level managers are those who have a

great deal of experience in the industry but have not quite broken a band into superstardom. Maybe they have one client on their roster who was able to amass several million Spotify streams and social media followers on Instagram, YouTube, and TikTok (or other), but they still don’t have that bonified superstar artist yet—and that’s what they’re shooting for! They are typically well liked in the industry and have a big enough network to open some doors for you.

However, the problem with mid-level managers is that they are not as powerful as big-league managers, and therefore it may take them longer to get things done.

Big-League Managers

Big-league managers (like Irving Azo , Scooter Braun and Coran Capshaw) have been around for years and have lots of Grammy-winning superstars on their rosters. The relationships they’ve formed, the respect they’ve earned, and the favors they can trade give them the power to make things happen with just a few phone calls.

However, the problem is that you could easily get lost in the sauce. This means that you get overshadowed by their more profitable clients. I was with a group that had one of the most successful rock management companies in the word (one that handles Metallica), and we never even did one date with the band or really much of anything at all. We soon left the management.

BIG PLAYERS

While there are many big-league managers in the music industry, here is a short list of my faves. Irving Azo (Christina Aguilera), Scooter Braun (Justin Bieber), Coran Capshaw (Dave Matthews Band), Guy Oseary (Madonna), Larry Rudolph (Britney Spears), John Janick (Fall Out Boy), Kevin Liles (Trey Songz), Tyran “Ty Ty” Smith (JAY-Z), Brian Teefey (Selena Gomez), Troy Carter (Meghan Trainor) and many more. •

QUALITIES OF THE MANAGER

There are dozens of experienced, professional, established managers out there, any one of whom is capable of doing the job. The important thing is picking the one who really wants to work with you.

Don’t just pick a manager who has the biggest stars on his or her roster, takes you out to the most expensive restaurant, or makes the biggest promises.

Above all, your manager must possess a genuine enthusiasm for your music, an understanding of your vision, and a commitment to going the long haul. Of course, they must also come highly recommended from people you respect, and they must be trustworthy.

Be sure to read the biographies of some of the most interesting managers of all time and make note of some of the other character traits that you admire. One I’d like to recommend is the story of the Rolling Stones manager titled Stoned: Andrew Loog Oldham. Oldham understood branding and how to create the Stones’ “bad boy” image; he was an innovative thinker and helped the Stones retain ownership in their masters; and he knew how to form the right alliances for the band (he connected them with the Beatles).

Another manager you might want to read up on is Scooter Braun. Scooter was a strong believer in social media (long before it was the industry norm), and had a knack for spotting hidden talent online, notably Justin Bieber. He also knew how to form the right alliances for Bieber by hooking him up with Usher, who was very instrumental in furthering Bieber’s career.

So, what traits are important to you? Be sure to give this some thought. •

BOBBY BORG is a music industry professor at USC, author, and YouTuber at youtube.com/ bobbyborg. He is the author of Music Marketing for the DIY Musician, Business Basics For Musicians, and Introduction to Music Publishing He is the co-author (with Britt Hastey) of Personal Finance for Musicians

Mixing for Podcasting on the

Mackie HR 824 MK 2 Nearfield Monitors

Mixing and podcasting mixing have similarities, but require attention on different areas of your mix. Such variables include which frequencies you will need to pay attention to when mixing your vocal tracks. This means you likely will also need to pay more attention to correctly applying equalization and compression on your vocal tracks than if you are mixing a typical pop song.

When recording or streaming live, you should have a target level in mind for how hot your tracks will be. Each person or instrument should have their own track, and it is important to name your tracks in a way that makes sense to you. The goal is to have your gain levels correctly set up when you start recording, and to avoid as much as possible making minimal

eliminate “tinny” or thin sounding vocal tracks and, in general, add warmth. Just remember when applying equalization to your tracks “a little goes a long way” and overdoing it can result in harsh sounding vocal tracks. When you are working with phone-in callers, use of a high or low pass filter can be an effective tool to help dial out unwanted background noise.

The same principle applies to compression and reverb. While it may be tempting to boost compression on your tracks to make them “louder in the mix,” too much compression can result in tracks that sound artificial or “squashed.” Applying too much reverb can make the difference between tracks that are “sweetened” versus completely washed out.

When mixing your content for podcasting

low frequencies and an integrated wave guide, which provides for good off-axis response. The Mackie HR 824 MK 2 has XLR, RCA and quarter inch inputs. On the back of the HR 824 MK 2 are controls to adjust input sensitivity, acoustic space, low and high frequency boost and cut as well as selectable on-off and standby modes. The front power button of the HR 824 MK II also functions as an overload indicator. The HR 824MK II Mackie has a passive radiator on the rear of each speaker for enhancing bass frequencies. The Mackie HR 824 MK II is designed to be placed horizontally.

As with all studio monitors, the correct placement of your monitors is an important factor to consider when setting up your studio. Plan to have your monitors placed

changes from the content after you captured it.

Once you have captured your session content, the next step is to organize your audio clips and then decide how much additional sweetening, i.e., additional equalization, compression or reverb your tracks will require. If you are streaming live onto OBS or a similar platform, you will have to take these factors into account before you start your livestream or broadcast.

For example, boosting the low frequencies in your vocal mix can help you to get your radio announcer voice on. Moving up the frequency spectrum, enhancing the upper mid-range can help dial in warmth and help you to tame harsh vocals. Keep in mind that nasalsounding vocals can be fixed by adjusting high frequencies, which is where your ears are most sensitive to hear what your talent is saying. In general, carefully adjusting the equalization on your recorded or streaming content can help

there are many situations where it will be to your advantage to monitor your content through nearfield monitors, as opposed to headphones.

Mackie’s HR 824 MK2 are high resolution, two-way bi-amplified studio monitors. They are designed to deliver broad stereo imaging and flat, ultra-linear frequency response, which makes them a great choice for mixing vocal intensive content as would be found in a typical podcast. The Mackie HR 824 MK 2’s translates audio well to a variety of acoustic spaces, which is one of the reasons why even though they have been on the market for several years now, they remain a popular choice with musicians, content creators and producers.

The Mackie HR 824 MK 2’s utilizes a twoway crossover and has a total of 250 watts, 150 watts for the bass frequencies, 100 watts for high frequencies. Mackie’s HR 824 MK 2 makes use of a passive radiator for enhancing

away from walls and placed symmetrically in a triangle at your mixing position. Your monitors should be placed high enough on speaker stands so that the tweeters are firing at ear level. It’s recommended to put your monitors on top of isolation pads to help improve efficiency and to decouple them from whatever surface they are sitting on.

When mixing for podcasting you will likely be utilizing a combination of live and studio tracking and mixing techniques. There is much more to covering the basics of tracking and mixing audio for podcasting or general music production than can be discussed here. Just keep in mind to trust your ears and to mix preferably at a moderate or even low volume.

Mackie’s HR 824 MK 2 are available now for MAP $799.99 (for each speaker).

For more information and useful instructional videos check out mackie.com

Applying too much reverb can make the difference between tracks that are “sweetened” versus completely washed out.

Messiah Guitars Eddie Boostdrive Signature Overdrive Pedal

Los Angeles-based Messiah Guitars offers handmade guitars, tube amplifiers, and pedals. The Eddie Boostdrive pedal represents more than a year of collaboration between Messiah Guitar’s Tom Hejda and Nashville-based professional guitarist Eddie Haddad.

The Eddie Boostdrive signature Overdrive pedal is a true bypass, dual mode overdrive pedal. The pedal contains two separate effects; a MOSFET booster and an overdrive circuit with two soft-clipped voicings selectable via a mode toggle switch. The first voicing utilizes a pair of silicon diode clipping for a traditional, smooth overdrive. The second position uses LED clipping for a more open, amp-like tone. A tight switch on the side serves as a highpass filter eliminating some of the bottom end from the input signal to help you cut through the mix even further.

The MOSFET boost circuit is placed before the drive circuit, and its control could not be simple—it is operated by a single knob that produces tones from transparent chime to a loaded overdriven tweed amp. You can use the boost circuit as a standalone effect to liven your tone, or in conjunction with the overdrive circuit. Engaging both foot switches at the same time can send the pedal to heavy distortion, even fuzz-like, territory.

The foot switches are clearly illuminated via LED rings to let you know when each of the effects is on. The drive switch ring will change illumination color according to which mode is selected. A pair of optocouplers in the switching section isolates the LED lights to minimize the unwanted switch pop.

The pedal’s design utilizes an internal charge pump, giving you 18 volts while still being pow-

Eddie Haddad’s extensive real-world experience, both live and in the studio, and all the features built into it are ones that many professional guitar players would want in their toolbox.

“I wanted to have ultimate control over the drive section with an interactive EQ. I made sure that we included 18v for more headroom, a powerful, independently operated booster, and a tight switch to help me shape my tone as much as possible. And this drive has it all,” says Haddad. The drive effortlessly dials in a tone suitable for nearly any style. “It was a challenge, but we did not rush the pedal release until it was perfect. In addition to Eddie’s design choices, I have included two distinct voicings to really open up the tonal palette,” says Hejda.

The sounds generated by the Eddie Boostdrive are highly usable. And the combination of the available settings, 3-band EQ, and the tight switch, provides for an almost unlimited range of tones on tap. As a bonus, the internally supplied 18 volts generate extra-clean headroom that comes in handy, especially when running direct into an amp modeler or profiler.

ered by a standard, center-negative 9VDC pedal supply. Using a power supply with a higher voltage will damage the internal circuitry.

The Eddie Boostdrive signature Overdrive is a premium effect pedal made of top-shelf parts that check all the boxes of what an overdrive + boost pedal should be. The pedal is the result of

The Eddie Boostdrive signature Overdrive is available for ordering on the Messiah Guitars website for $279.00. As these are true boutique pedals built one at a time in small batches, delivery timelines can vary.

For more information, check out Messiah Guitars’ website at messiahguitars.com

“I wanted to have ultimate control over the drive section with an interactive EQ. I made sure that we included 18V for more headroom, a powerful, independently operated booster, and a tight switch to help me shape my tone as much as possible. And this drive has it all.”

– Eddie Haddad, guitarist

Eric Larsen / Outer Marker Records

Outer Marker Records launched in 2023 with the aim of servicing artists overlooked by other labels for any number of reasons: market forces, a label’s business direction or just good-old-fashioned risk aversion. Dedicated to artists and audio excellence, the label was formed by gearmakers George and Geoff Hazelrigg partnered with Doug Fearn. All three have backgrounds in audio, engineering and the industry in general. Moreover, they all nurture a love of music recorded under the best possible conditions. Music Connection shares some insights in our Q&A with Eric Larsen, an industry vet who aided in the initial kickoff and ongoing operation of the label.

Music Connection: When was Outer Marker started?

Eric Larsen/Outer Marker

Records: May of 2023.

It’s a very boutique label that’s dedicated to artist development and delivering content at the absolute highest quality possible.

MC: Whose idea was it and how did it come to be where it is now?

Larsen: The label was founded by Doug Fearn of D. W. Fearn together with George and Geoff Hazelrigg of Hazelrigg Industries. The three have built extremely high-end tube gear for recording studios for some years. They all come from studio backgrounds and we wanted to be sure that we had an outlet where we could create an entire [music] ecosystem.

MC: How do you identify artists to sign?

Larsen: Initially we worked with artists we knew. The first on our roster was the Hazelrigg Brothers, a fantastic jazz trio. They had a recording they’d done some time ago and we felt that it would be the ideal debut for this label. It’s a complete song-by-song jazz interpretation of the Police’s Synchronicity titled Synchronicity: An Interpretation of the album by the Police. Other artists we plan to work with include an accomplished solo pianist and a two-piece punk band, which will be a live album. Basically, anything that we think is cool, amazing and deserves to be heard will land on this label.

MC: Other than the type of artists that Outer Marker chooses, in what ways is it different from major labels?

Larsen: Fundamentally, it harkens back to the way things were decades ago: we make the re-

cords in our studio with gear that we build. One of the things we’re looking to do is ensure that we control the quality of the product, that the productions are exactly the way we want them and that records go out at their utmost highest quality, either as DSD [Direct Stream Digital] downloads, CDs or audiophile-grade vinyl.

MC: Why are your artists overlooked by other labels?

Larsen: The major labels aren’t looking for a two-piece punk band right now. And I don’t know if the world is clamoring specifically for a phenomenal classical pianist to be burning up TikTok. These groups all deserve a place in the market but they’re outside of the larger categories put together by the majors.

ence than you’ll get with some PCM [pulsecode modulation] recordings.

MC: Since the label is so audio-conscious, do you select from a small pool of recording engineers?

Larsen: We are very picky. These records are produced and engineered by George, Geoff and Doug. Right now one-hundred percent of the productions happen in-house. We may recruit outside producers and/or engineers at a later point.

MC: Do you issue physical records or will there simply be digital releases?

Larsen: We release in a number of formats and it depends on the record and the artist. Some will come out only as a DSD download, some will come out as DSD with the ability to stream and others will come out on CD or vinyl.

MC: How do you distribute vinyl and CD releases?

Larsen: Through the Outer Marker site as well as other channels that we’re exploring. We work with the folks at Studio 4: Phil Nicolo and Obie O’Brien’s studio in Pennsylvania. We’re collaborating on a new mastering process using D. W. Fearn products. We’ll also master for vinyl that they’ll press at their plant.

MC: What’s the label’s revenue split with artists? Is it more favorable than major label splits?

MC: In what ways does the label emphasize audio?

Larsen: Our commitment to audio excellence began way back when Doug Fearn started D. W. Fearn. He was building a studio, bought some gear and realized that it didn’t sound good to his ear. So he took advantage of his background in electronics and designed his all-tube preamp. George and Geoff Hazelrigg did the same thing. They were unimpressed by gear that they could buy until they heard D. W. Fearn’s stuff. They started Hazelrigg Industries based on some Fearn designs and repackaged them to make the products more affordable or flexible. With that in mind, we felt that the modern recording techniques brought about albums that were fun to listen to but didn’t feel good. A lot of that comes down to our belief that DSD will provide a better listening experi-

Larsen: We try to ensure that our artists get a fair shake. For example, the Hazelrigg Brothers record will come out on vinyl. Those costs need to be paid up front but then the profits will be split 50-50. There are no advances or dollars that change hands. We also don’t have long-term contracts with artists. It’s album-by-album.

MC: What do you see as the future for labels, both indie and major?

Larsen: A lot more records are coming out as complete works and not simply an endless array of singles. I like the idea of artists making things that are more far-reaching in scope and that there are more independent [labels] popping up that allow artists to do what they do as opposed to what the market insists they do to sell records. Major labels have changed and evolved since their inception so I never try to predict what they’ll do. They’ll keep doing what makes them successful in their business.

Contact outermarkerrecords.com

Belinda Carlisle

Kismet

RAF/BMG

Producer: Mati Gavriel

In her first pop release since the ‘90s, Belinda Carlisle’s Kismet has all the trappings of her beloved hits, highlighting her trademark vibrato, catchy hooks, and lyrics navigating the journey in and out of love. Lead track

“Big Big Love” delivers a fun, upbeat bop, with “If U Go” bringing a heavier driving pop feel. Melancholy love song, “Deeper Into You” adds easy-listening and synthesized melodies, while “I Couldn’t Do That To Me” brings a lullaby feel. Final track “Sanity” adds an upbeat poke at the stress of the world. – Andrea Beenham

Dr. Soundgood Featuring Doug Legacy

Lagniappe

Some Pun’kins Music/Downtown-Dash Go

Producers: Doug Legacy and Randy Ray Mitchell Legacy is one of those cats who’s always been where the action is. He’s worked with Paul McCartney, Todd Rundgren, Brian Wilson, Rod Stewart, Oingo Boingo, Bonnie Raitt, et al. With a robust voice and a multi-instrumentalist approach, he puts his considerable piano and accordion skills to good use on this New Orleans-flavored pop and funk fest. Cuts like the title track, “Right Now Man” and “Saturday’s Child” are upbeat and bring strong backing vocals and horn-driven heat. – Eric Harabadian

Moneybagg Yo Hard to Love

Roc Nation

Producers: Various

5

Hard to Love is really hard to like. This is Moneybagg Yo’s fifth studio album, and things continue to sound redundant. It’s like listening to the Migos, and/or any other rapper that the Migos have influenced, all over again. With Hard to Love, Moneybagg focuses on his pain; whether it stems from heartbreak, struggling with love, issues with loyalty, criticism made about him and coping with tragedy. Though his beat selection is solid, this project is thematically dark and uninspiring. Moneybagg continues to stay in his lane as just another trap/drill, Southern rapper. – Adam

Seyum

Ghost of Vroom

Ghost of Vroom 3

Mod Y Vi Records

Producer: Mario Caldato Jr.

Wake up, people of earth! This side project from Soul Coughing’s Mike Doughty demands your attention. The sideways trio, which also includes bassist Andrew “Scrap” Livingston and drummer Madden Klass, is equal parts trip-hop and spiky aural excursion. On this third outing, they once again prove that pure sonic disruption is still possible. Best described as beat-centric enlightenment disguised as an LSD-soaked party, recordings like this are what keep life worth living. – Andy Kaufmann

Blur

The Ballad of Darren

Parlophone

Producer: James Ford

It’s been a banner year for singer Damon Albarn, whose latest Gorillaz album earned high marks. That act provides an intriguing contrast to the Britpop art rock of his other band, Blur. On this recording, “St. Charles Square” offers a joyous, satisfying fuzz. “Barbaric” grabs listeners with bouncy effervescence. “The Everglades” is like a morose shared dream. Aficionados will doubtless come away grinning, although newcomers may have difficulty relating to most of these tracks. – Andy Kaufmann

Govt. Mule Peace…Like a River Fantasy Records

Producers: Warren Haynes and John Paterno

The trend in pop music toward multiple collabs with artists or producers is, perhaps, a tad overdone these days. But, when you’re a band like Govt. Mule, the term “collab” takes on new meaning. Billy Gibbons, Billy Bob Thornton, Celisse, Ivan Neville and Ruthie Foster play key roles, pushing the limits of blues-based rock with elements of poetry, drama and substance. Warren Haynes’ vocals and guitar work are stunning, while the band’s inventive arrangements keep one engaged and on their toes. – Eric Harabadian

Fishbone

Fishbone

Bottles to the Ground

Producer: Fat Mike

Many moons after their last recording, Fishbone push “reset” with NOFX’s Fat Mike at the production helm. This EP marks a new era for the act, but also a return to the past; it’s their first with keyboardist Christopher Dowd since ‘94. “All We Have Is Now” is a reggae-doused mediation on living in the moment. “I Don’t Care” delivers a powerful punk rock jolt, while “Estranged Fruit” explores the band’s socially conscious leanings. The thrill of their reappearance is dampened only by the swift 16-minute runtime. - Andy Kaufmann

Trabants

Lockdown

International Fuzz Society

Producer: Eric Penna

Instrumental aces Trabants generally favor surf and twang, but here they come out swingin’ with their tribute to the blues. These soundtrack (and live performance) veterans dish out 10 original rock-solid workouts, spanning styles from Stevie Ray Vaughan shuffles to organ-and-bongos garage to acoustic delta. Los Straitjackets member Pete Curry adds to a few tracks, as well. “Tears in Rain” has an especially cool “bending” figure, and “Mudlark” would make Ry Cooder proud. The Trabants are ready to score your TV special! – David Arnson

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

St. James Way

Contact: rac@crlr.net

Web: newpants.com

Seeking: Film/TV Placement

Style: Contemporary Christian

James Becker spearheads St. James Way, whose new album features songs that are, by turns, acoustic, calming, gentle and inspiring. These songs are fully arranged to uplift the listener’s spirit with a gust of emotion. Those qualities make Becker’s recordings ideal for the Contemporary Christian market. “Call Out My Name” and “Will You Be My Friend” epitomize this artist’s ability to convey a genuine glow of heartfelt sincerity, whether as a giver of aid and comfort (“I will come to you.”) or as a receiver (“Isn’t love wonderful when you’re around?”). In the song “Without You,” a tribute to a friend, Becker shows what he and his high tenor voice can do with a full band (strings, horns, drums, electric guitar).

Cascade Riot

Contact: cascaderiotbooking@gmail.com

Web: linktr.ee/cascaderiot

Seeking: Label, Film/TV, Booking

Style: Punk, Pop-Punk, Rock

Tight, terse and tuneful Detroit trio Cascade Riot contribute to the rejuvenation of punk/pop-punk with their recent EP, led by “I Didn’t Come This Far for Nothing.” The song gallops right out of the gate at top speed with a clean, crisp, Green Day-like sound, each player digging in deep, including singer-guitarist Ryan Failla and especially drummer Al Brady, whose snare-less tom-tom attack proves inexhaustible. That’s especially true on “Valentines Day,” where his roll/beat achieves an incredibly precise velocity. (Luckily, the tune is just 1:18!) He’s a total dynamo. The 2:43 song “This Isn’t Hollywood” stands out with its unexpected reggae-like break. These guys play short, fast and loud.

Justine and the Unclean

Contact: justinecovault@gmail.com

Web: justinentheunclean.bandcamp.com

Seeking: Film/TV Placement

Style: Rock

Based in Boston, Justine and the Unclean are a solid enough band, with catchy material that leans heavily toward the middle of the rock music road. Sound quality varies from track to track, mainly having to do with Justine’s vocals, which are too often muffled, as on the track “The Signal Light.” Also, despite efficient performances from each musician in the band, the final track ultimately lacks excitement, it’s too contained—stone-cold as opposed to red-hot. We’re also not entirely taken by Justine’s voice, with its nasally, sometimes whiney/grating tones. Her vocals are mixed best on “Drug Seeking Behavior,” which features a nice guitar solo. A cowbell sets the pace for “Vengeance” which rides a catchy melody.

Amanda Stewart

Contact: lcollins@milestonepublicity.com

Web: amandastewartmusic.com

Seeking: Booking, Management

Style: Americana

We’re hooked from the first moment of this artist’s highlevel recordings. Establishing a tranquil, ambient drone, her tender, gentle voice enters and carries us away on “Lonesome Mountain” in which she likens herself to that symbol, both inside and out. It’s a fascinating metaphor, and as she expands on that theme, the music deftly builds from a lone piano to strings, percussion, mandolin, banjo, and background voices. “Drugs,” where she duets with a growly male singer, is a great pairing, complemented by perfect tones from each instrument, all of which gel effectively. It is on “Window” that Stewart’s voice really blossoms, showing her vocal power, conveying the tune’s bold, catchy chorus. Impressive.

James Takeratu

Contact: jamestakeratu@gmail.com

Web: takeratu.xyz/ghostCircles

Seeking: Label Style: Pop/Indie/Electronic/Rock

Fans of the band 100 Gecs will likely warm to the electro energy of James Takeratu’s Ghost Circles. The song “grandfather Clock” is a pop-ish tune with lots of electronic textures; in fact, it is oceanic and overbearing throughout most of this track, overshadowing Takeratu’s vocal, which is pretty at times, but mostly muffled. Soon, though, the listener gets acclimated to hearing the artist’s voice as just another element in the hyper-pop mix, as in the dance/techno track “LIar Liar,” whose sonics are again overly dense. It is with the song “human” that Takeratu gets it all right, delivering a song with clear, crisp and balanced sonics, palm-muted guitar, and a poignant message voiced by a chorus of roboticized humans.

Vibez the Great

Contact: vibezmesiaxcii@gmail.com

Web: Spotify

Seeking: Film/TV, Label, Distribution

Style: Alternative Hip-Hop

Alternative hip-hop artist VIBEZ THE GREAT honors his African roots while recounting his upbringing in Boston on his JOURNEY TO THE XROADS album. With a fast flow and raspy voice (a la Kendrick, Anderson Paak.), VIBEZ keeps positive in his message on track “DREAM,” which intersperses the always-relevant speech by Martin Luther King. Combining soul/jazz instrumentals with MLK “samples” is not new (see: Common, Living Colour), but VIBEZ does the source material justice. At around 2 minutes, “FLY” is subdued with piano and a beautiful organ for texture. The hi-hat comes in, but the song is restrained to allow for “thinking room.” “POWER” is the quietist, with murky spoken-word storytelling, and a rhymthic repetition of “Don’t you fall…” as a refrain.

Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 7 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

Corey Morris

Contact: youngstarcrazy@gmail.com

Web: analbumbycoreymorris.com

Seeking: Sync Placements

Style: Hip-Hop

Sincerely, Star, the latest full-length from rapper Corey Morris, boasts an impressive guest feature from Rick Ross on second track “Ours.” A minor bait-and-switch, as Ross does nothing more than ad-libs, suggesting Morris hired a Cameo and mixed The Boss in the background of the song. A worthwhile investment, since Morris holds his own with fast multi-metered flow and great rhymes. Album opener “A Stars Intro” is an overture, with jump-cuts and changing motifs. There are at least 3 or 4 different songs in one, before settling on a slow soul-plus-808 machine and reverbed vocals. The most single-ready track is “Sincerely,” piano and plucked electric bass-led, with aggressive declarations: “Can’t fuck with me. I mean that sincerely.”

Brian McCalla

Contact: booking@sabre-music.com

Web: Spotify

Seeking: Booking

Style: Trance

Trance artist Brian McCalla offers solid, formulaic instrumentals that, while delivering nothing new, are nevertheless effective, especially if utilized to accompany dynamic visuals. A relentless beat propels “Springs Eternal,” which is soon accompanied by a grave, foreboding synth undertow. And unexpectedly, the mood deftly shifts to something brighter, more optimistic, lifting the darkness. The track offers no major drops, just transitions. A similar formula, but with a mid-tempo energy, fuels the bass-driven “Retrofit,” which attains a nice cruising speed before adding moods of optimism and enthusiasm. It is with “Tensor” that McCalla breaks his mold and offers up some harsh, jarring, sci-fi static.

Micheal Fordays

Contact: michealfordays@gmail.com

Web: michealfordays.bandcamp.com

Seeking: Review, Listeners

Style: Alternative Rock

Singer-guitarist Micheal Fordays has a guitar-driven, post-punk style that consistently yields songs such as “Slowly Now,” in which we hear echoes of R.E.M. here and there, with poetic lyrics punctuated by a shrieking electric guitar and colored with strong organ flourishes. “Broken Wings” opens with a percussion blast and generates a hi-energy pace, a gleeful cowbell banging away as he sings “Nothing above me. I’ve been touched by love.” Our favorite is “High Point Now,” a blues-rocker full of multiple guitars, organ grooves. and counter-melodies as Fordays sings his best vocal (“You better love yourself now!”), delivering plenty of falsetto moments. All in all, we feel these recordings could benefit from better mixes.

Säm Wilder

Contact: info@spinmoverecords.com

Web: samwilder.co

Seeking: Film/TV, Booking

Style: Alternative Pop

Säm Wilder has a singing voice that’s no one-trick pony. He shows off his falsetto skills on “Overtime,” accompanied by a funky walking bass riff as he delivers a disgruntled message: “I don’t need another middleman...” The song is catchy as a cold, though maybe a bit too repetitive. Wilder then responds to a female singer on “Bring It Home” and even raps a reply to her once or twice. The addition of organ on this song’s arrangement is a nice touch. Our favorite song of the batch is the bouncy retro ballad “What’s Wrong With Me,” which delivers a great chorus (a dead ringer for Queen, really) with harmonies that are drop-dead gorgeous. Clearly, this artist is multifaceted.

The Scooches

Contact: nickrussoguitartrio@gmail.com

Web: Soundcloud

Seeking: Review

Style: Folk, Singer-Songwriter

From Queens, NY, the Scooches’ new album is titled Lift You Up, and that is the overall thrust of these adeptly performed songs: clean, crisp, positive-minded, family friendly. The band delivers a heavy message with “Stop This Climate Change,” which is conveyed in plain English, giving it a theatrical vibe that’s maybe a bit overdone. Nevertheless, the song’s melodic and florid electric guitar solo is impressive, as are the finale’s world-music elements. “Lift” is a jazzy reggae-infused number that features a female lead vocalist occasionally joined by a scatting/growling Jamaican male. “I Broke The Egg” is a downhome, bluegrass number, complete with a banjo and a fun fiddle excursion.

Ducky Neptune

Contact: natalie@ladysavagemanagement.com

Web: duckyneptune.com

Seeking: Booking Agent, Label

Style: Psychedelic Surf-Soul / Indie Rock

Such an unusually pleasing voice. We’re talking about singer-guitarist Josh Blanco, who as frontman for Ducky Neptune brings a distinctive presence to the mic that gels perfectly with this excellent jazzy soft-rock band, one that is filled out by saxophone and trumpet. In fact, there’s a trumpet solo in the song “Charlie,” and calling it modernday yacht-rock wouldn’t be far from the mark. Warm organ tones and deep drum sounds add rich textures to “Mary,” along with a voice chorale that takes the listener aboard “a rocket ship on an overnight flight tonight.” On perhaps the band’s best-produced tune, “Jamesy Boy,” Ducky Neptune really show off their soft, sophisticated touch. This band is a standout.

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

LIVE REVIEWS

The Resident Los Angeles, CA

Web: ismaymusic.com

Contact: ismayband@gmail.com

Players: Avery Hellman, vocals, guitar; Andy Fahlander Hellman, mandolin, guitar

Material: Ismay is the music project of Avery Hellman, accompanied by Andy Fahlander, performing Americana/Pop music in the likes of Joan Baez, Judy Collins and Peter, Paul and Mary. Ismay is a little different, though. The music is a lot darker and it tap into that hidden, shadier side of the human psyche. Even though a lot of the songs are pretty and melodic, some of the lyrics give off an eerily familiar feel as the words rolled off Avery Hellman’s lips. The music, itself, also gives off a dark vibe with digital delay and chorus settings set to 11 and above.

Musicianship: Andy and Avery play well off each other. The vocals are strong and come through with vigor and conviction, and the music helps the story of the lyrics move along nicely. Avery holds down the rhythm exceptionally well and Andy lays down the guitar parts needed to create a unique, disconcerting feeling that adds an extra layer of intensity to the music.

Performance: A great audio mix by The Resident crew gave Ismay a great start to

ISMAY

the evening. A superb speaker system, fancy lighting and pro gear insured a smooth performance that the audience loved and took to heart. Avery is a great frontwoman who kept the audience in the loop with questions and stories about how the tunes came about. She kept them interested and wanting more.

Summary: A great outing for Ismay as this stint at The Resident DTLA came to a close. Cool tunes and melodies encapsulated lovely stories in the lyrics as the songs came alive

LYRA STAR

Molly Malone’s Los Angeles, CA

Web: lyra-star.com

Contact: lyrastarmusic@gmail.com

Players: Lisa Bianco, guitar; Tosha Jones, drums; Lyra Star, vocals

Material: Lyra Star is a modern pop music artist likened to Miley Cyrus, Selena Gomez, Ariana Grande and Maroon 5. The tunes

can be dark, but they can also hit a certain amiability that caresses the ears into submission. Sometimes strong rock & roll. Sometimes a subtle ballad. Sometimes in between, but always dark, straightforward and heartfelt.

Musicianship: The musicianship was very good. Jones held everything together with perfect beats that kept the audience grooving

and some even hit home. Songs like “Bubble Wrap” and “A Song in Praise of Sonoma Mountain” keep you interested with nice melodies and catchy lyrics. “The Lonely Stallion” and “I Called You Up,” both radioworthy, beautiful tunes that capture your attention from the start, keep you hooked and wanting more. If you want more, check out Songs of Sonoma Mountain, which was released in 2020. The upcoming, new release, titled Stranger in the Barn, is already out at all your local outlets. – Pierce Brochetti

to the tunes. Bianco held down the rhythm despite not having a bass player to complete the rhythm section. First thought that came to mind was, “No bass player and they sound exceptionally good. How much better if they had a bass player?” The vocals were pretty flawless. There wasn’t anything fancy going on vocally, but the tunes were well written and performed.

Performance: There was a burlesque show right before the band and that might have taken away from the music, but who doesn’t like boobies bouncing to the likes of "The Mooche" by Duke Ellington? Star has a superwoman rapport with her fan base. She talked to them like they were her next-door neighbors who came over for coffee and a danish, and they returned the favor by grooving to, and acknowledging, her tunes.

Summary: Fresh off a new EP release, Lyra Star did not disappoint at this CD release party, and a party it was. Four bands, artists, super-hot burlesque show that had everyone on their heels. (FYI, Star was one of the artists with one of the most amazing contortion acts anyone has ever seen) and, of course, there was Star, herself, singing her tunes to a grand reception from the audience. If you want deep and honest lyrics that touch the soul, reach out for a copy of Star’s EP Scars. Groove to the sounds of “Scars,” “Rise” and “Silence,” and if you get a chance to see Star live, you might get a chance to hear her perform the Radiohead cover of “True Love Waits,” don’t miss it!

- Pierce Brochetti

PIERCE BROCHETTI

PIERCE BROCHETTI

CANNING

StageIt Chicago, IL

Contact: connect@canningmusic.net

Web: canningmusic.net

Players: Fritz Armstrong, bass, vocals; Tom Miller, drums; Ricky Canning, guitar, vocals

Material: Guitarist Ricky Canning’s name obviously inspired the handle for this modernistic, psychedelic outfit. As such, he’s clearly the group’s mastermind and ultimate decider. Despite this, the contributions from the trio’s remaining two-thirds carry equal heft.

The Hotel Café Hollywood, CA

Contact: Gary Taylor, gary@cmw.net

Web: rebeccasichon.com

Players: Rebecca Sichon, vocals, guitar, piano

Material: Packing out the second stage room at the Hotel Café in Hollywood on a Tuesday night, Rebecca Sichon delivered a fabulous showcase of vocal artistry. With her incredible vocal runs and catchy, melodious hooks, the Vancouver-based artist held the crowd captive with her vocals and seamless guitar and keyboard playing. While the set was a short one, her powerful delivery and presence were undeniably impactful.

Musicianship: Opening number and new release, “Lil Bit of Gasoline,” featured Sichon singing with easy-feeling, catchy vocals as she shared her spicy, honest storytelling and accompanied herself on guitar with fun, syncopated rhythms. Continuing with streaming hit love song, “Together,” she brought along some Adele vibes and vocal inflections, adding gentle vibrato lines and whispered lyrics to create palpable intrigue. Her guitar and keyboard skills were solid and confident, both balancing out her vocals very well.

Performance: Raunchy, torchlight vibrato number, “Stay,” delivered knockout vocal runs and growling accents, and she built restless anticipatory tension with vulnerable lyrics, including “put your emotions on my body.” Sichon rounded out the closing song with a gorgeous vocalizing outro. Between her great use of dynamics to build intrigue

Citing a wide range of influences that includes Phish, Aphex Twin, Black Sabbath, Allman Brothers, Frank Zappa, Tool and Cream, their sound is akin to heavy metal merged with today’s jam band scene set in the ‘60s.

Musicianship: Canning’s members possess considerable style. Watching them plunk away on their instruments remains a pleasure. Neon notes glow with ingenuity and wild abandon. Unfortunately, the group’s songwriting doesn’t rise to the same level as their playing abilities. It’s unlikely that

audiences ever leave their shows singing a chorus, even if each and every attendee did, in fact, dance furiously during the set. Also, Ricky Canning’s vocals don’t offer enough heft to serve a meaningful emotional punch.

Performance: Canning excels when performing in front of a crowd. It’s challenging to translate that same electricity over the internet, yet the group did an admirable job compensating for the limits of the medium. Patterned lights swirled across the walls throughout the gig. Miller’s drums were illuminated with shifting colors. Best of all, multiple camera angles allowed viewers a clear perspective on all aspects of their playing. Though they took time to mention social media channels and merch availability, little else was said. They clearly prefer cutting to the chase and jamming out.

Summary: When it comes to virtual shows, presentation is key. In this regard, Canning has a major leg up over its competition. That being said, flash only goes so far. What truly counts is the music. While the band delivers a high-voltage flavor worthy of Mount Olympus, Canning’s material lacks stickiness. Still, the group appears eager to sharpen its voice. They perform online every few weeks and continually release songs on various platforms. In time, their efforts might unearth a unique sonic feel that captures the ears of a forwardthinking tribe. – Andy

Kaufmann

REBECCA SICHON

and emphasize aspects of her lyrical storylines, and a powerful command of her voice, Sichon demands—and receives— attention in any room.

Summary: As an enchanting vocalist with a bubbly, warm disposition, Sichon is seriously talented and very comfortable on the stage, bringing a naturally engaging attitude to

her performance. Her genuine gratitude and conversational crowd interaction between songs leaves audience members feeling as though they have connected with a new friend. Do not be fooled, however; gentle demeanor and genuine fan appreciation aside, Rebecca Sichon’s chops present a feisty powerhouse of impressive sound. Definitely one to watch. – Andrea Beenham

ANDY KAUFMANN

ANNEKE STANLEY

LIVE REVIEWS

Livestream New York, NY

Contact: beatrice@empktpr.com

Web: regrettingalmosteverything.com

Players: Danny Ursetti, music & arrangements; Lauren Taslitz, book & lyrics; Beth Leavel, singer; Jeff Blumenkrantz, singer; Paul Staroba, musical director

Material: The launch of an original musical is nothing short of daunting, a journey comprised of many steps from creation to actual staging. Once the creative process is completed, there is usually a reading of the work and/or performance of the songs where potential investors and other production people are invited. In the case of Regretting Almost Everything, the creators have not only recorded all the songs from the show, but put them on various music platforms as well as getting press coverage.

Regretting Almost Everything, a two-person musical comedy, explores the relationship ups and downs of Anne and Clay, empty nesters, as they experience their new station in life. Without the distractions of caring for children they are faced with the stark reality of each other. This performance showcases four of the show’s songs which occur at the 25-year juncture in their marriage. “Behind The Wheel” finds the couple engaging in a mundane, everyday activity that quickly erodes into an exercise in finger-pointing. Clay sings: I buckle up/I close my eyes/I should have skipped the

REGRETTING ALMOST EVERYTHING

curly fries/when she’s behind the wheel…and Anne replies: Sixty-five is only a suggestion… and Clay says: But not in the city! In ”No, I don’t (yes, I do),” Anne flirts with the idea of having an affair, but is saddled with ambivalence: I want to be distracted/I want to be consumed and hopelessly attracted/till I’m worse than useless and I don’t care/ I want to have an affair. But after exploring that notion she adds: But I want to want my old life/that’s why it won’t happen.

Musicianship: Leavel, a Tony-winning actress and singer, has a voice that not only musically puts the song over, but conveys the lyric content with absolute conviction. Blumenkrantz follows suit, and as a composer and lyricist

TIM BERNARDES

Barnsdall Gallery Theatre Los Angeles, CA

Contact: Greg Jakubik - Shorefire Media, gjakubik@shorefire.com

Web: timbernardes.com

Players: Tim Bernardes, vocals, guitar, piano

Material: Sharing songs from his latest album, Mil Coisas Invisíveis, São Paulo singersongwriter and Latin Grammy nominee Tim Bernardes played to a packed room for over 90

minutes for his debut Los Angeles performance. Opening with trademark songs “Nascer, Viver, Morrer” and “Fases,” and continuing on with selections from his new album, along with requests from audience members, Bernardes brought a peaceful, gentle, open demeanor and a mischievous, wry sense of humor that enraptured all in attendance.

Musicianship: Bernardes’ ethereal playing and fantastic vocal range were enhanced by colorful

himself, underscores the importance of moving the story forward.

Performance: As seasoned stage actors and singers, they bring this married couple to life in just four songs. Though this is not a staged production of the work, the goal is to let the story unfold as much as possible in this setting. By the conclusion of the performance, this audience can walk away with a clear understanding of the work.

Summary: The success of the show will depend on multiple factors; however, with its solid writing, a universal message, and the right luck, it stands an excellent chance.

– Ellen Woloshin

phrasing and haunting melody lines. Between a fabulous use of dynamics, percussive vocal runs and gorgeous lyrical delivery, alongside an impeccable command of each instrument played, his set hit on notes of country, folk and Brazilian pop. His vocals are other-worldly, with a stunning falsetto mastery that teases the title of “Brazilian Freddie Mercury.” Moving from country-flavored ballads to heavy upbeat rhythms with strum slap accents, Bernardes also sprinkled in warm, comforting lower-range vocals to his set to bring contrast to his powerful falsetto passages.

Performance: With a fabulous pairing of guitar, vocal accents and style, the overall effect was absolutely stunning. The room was mesmerized and pin-drop silent for the entirety of the show, trance-led along Bernardes’ sonic Latin journey. Completely at ease on stage, donning bright red socks and interjecting quirky anecdotes between songs, Bernardes’ delivery felt simultaneously invitational and vulnerable, and all in the room were kept palpably awestruck.

Summary: Sharing deeply soothing, welldeveloped vocals and powerful, artistic phrasing, Bernardes presents a breathtaking display of musicality. Self-described as ‘metaphysical pop,’ his new album release (Mil Coisas Invisiveis) translates to ‘1,000 invisible things,’ which aptly describes the inexplicable unfolding of energy in Bernardes’ music and performance. A perfect show for the educated music enthusiast: absolutely stunning. –

Andrea Beenham

MARK SHILOWICH

LEWIS BEENHAM

WILDER WOODS

The Roxy Theater West Hollywood, CA

Web: iamwilderwood.com

Contact: kayla@alleyesmedia.com

Players: Bear Rinehart, vocals, Guitar; Tyler Burkum, guitar; Steve Goold, drums; Ty Bailie, keys; April Rucker, background vocals; LaVonta Green, bass; Julian Dente, guitar

Material: Wilder Woods, hailing from South Carolina, is rock & roll meets Americana meets country and sprinkled with RnB. The tunes are

The Regent Theatre Los Angeles, CA

Contact: Sara Yazdani, sara@biz3.net

Web: sampathegreat.com

Players: Sampa The Great, vocals; Mwanje, backing vocals; Charity Shaw, backing vocals; Laz Zulu, keyboard; Sammy Masta, guitar; Kasonde Sunkutu, drums

Material: Sharing selections from her latest album As Above, So Below, along with a handful of tracks from 2019’s The Return, Sampa The Great played to a jubilant room in downtown Los Angeles’ Regent Theatre. Performing for over an hour, Sampa’s set moved between light drumming to full-on dancehall sway and touched on hip-hop, neo-soul, zamrock, amapiano and South African rap stylings. From psychedelic lights, guttural rap flow, and intense vibes in the show opener and fabulous rhythmic pulse and drumming of “Bona,” to the empowering anthems shared throughout the set, Sampa and her band delivered a vibrant energy that engaged the room.

Musicianship: The band was very tight, with a syncopated afrobeat sound and great flow (especially on “IDGAF” and “Never Forget”), and “Lane” brought heavy theatrics and some surprise rapping from the drummer. “Never Forget” brought more intense, guttural, lowrange vocals, tribal drumming and strong backing vocals, with an overall cinematic sound. “Lo Rain” shifted to a ballad between Sampa, guitarist Sammy Masta, and backing

very well written and played even better as very strong hints of country overtake the songs in a storytelling kind of way. Wilder Woods also has a diverse set. They take the audience on a rollercoaster ride with a groovy, groovin’ tune one minute, and then a hard-hitting rock tune the next and then a death-drop dip with a superb ballad or two.

Musicianship: The musicianship is good. Rinehart was a bit hoarse as the show started, but it cleared up about half way through

as his vocals did their thing for the rest of the evening. Burkum and Dente took turns churning out tasty solos and Bailie added some delicious rhythms and fills on the keys; not to mention some good solos of his own. Goold was solid on the drums as the beat was spot-on and on time, every time. Together with Green, Goold made up a very good rhythm section that had the Roxy audience grooving.

Performance: Rinehart is a natural frontman as he teased the audience and had them clapping and dancing throughout the show. The Roxy crew was on point as they made Wilder Woods sound exceptionally good with a great mix and look even better with the great lighting and effects. Which brings me to the point of background vocals. It can make or break a song and Rucker made every note count. Exceptional BG vocals.

Summary: Super-strong lyrics, such as “Lately I’ve been terrified of a place I don’t know,” made the country music part of Wilder Woods come alive. “You come to my town, and call us loose and immoral,” and “I’m left with very few to care about, except the ones I hold dear,” all lyrics you can sink your teeth into. Something real. Something everyone goes through in life at one point or another. Top it off with good music to round off the tunes and you have a good act for an entertaining evening of bumping and toetapping. Check out Wilder Woods’ latest effort, Fever/Sky, at all outlets. – Pierce

Brochetti

SAMPA THE GREAT

vocalists Mwanje and Charity Shaw. Mwanje provided unbelievable surprise vocal prowess and the crowd clapped along enthusiastically.

Performance: “Black Girl Magik” brought a great harmonized flow and empowering message, with a solid R&B underpinning, and 2019’s “Freedom” continued with a heavy R&B feeling intro, and tasty vocal harmony pauses. “Mwana” was very danceable and “Tilibobo” brought more of an African sway, with the crowd singing along intensely. As the first Zambian artist to play Coachella, Glastonbury, the Sydney Opera House, and recently performing on Jimmy Kimmel with Angélique

Kidjo, momentum has been building for some time. Attendees were very invested.

Summary: With heavy rhythmic sound and lots of body movement and use of the stage, Sampa The Great encourages (and inspires) her audience to move to the beat, clap and sing along, and she emits a confident energy that fuels her audience with powerful, engaging messages of strength and resilience. She and her band deliver strong, danceable anthems conveyed in a moody and atmospheric, African-flavored sound. A deliciously unique and heavily kinesthetic listening experience. – Andrea Beenham

PIERCE BROCHETTI

LEWIS BEENHAM

Directory of Managers and Booking Agents

Updated for 2023, MC’s exclusive, national list of professionals will help connect you to those who can handle your career interests and arrange live bookings. (For MC’s lists of Music Attorneys, Recording Studios and much more, please visit musicconnection.com/industry-contacts.)

MANAGERS

5B ARTIST MANAGEMENT

220 36th St., Ste. B442 Brooklyn, NY 11232

310-450-2555

Email: info@5bam.com

Web: 5bam.com

Styles: Metal, Rock, Alt.

*No unsolicited material

Additional location:

12021 W. Je erson Blvd. Culver City, CA 90066

310-450-7132

AAM

270 Lafayette St., Ste 605 New York, NY 10012 212-924-2929

Email: info@aaminc.com

Web: aaminc.com

Contact: Matthew Clayman

Styles: Alt., Rock, Pop, Indie

Clients: Call for roster

*No unsolicited material, represents producers only

Additional locations:

5979 W. 3rd St., Ste. 204 Los Angeles, CA 90036

310-271-9350

1600 17th Ave., S. Nashville, TN 37212

615-742-1234

ARSLANIAN & ASSOCIATES

5419 Hollywood Blvd Suite C717

Hollywood, CA 90027

323-465-0533

Email: oscar@discoverhollywood.com

Web: arslanianassociates.com/who.html

Contact: Oscar Arslanian

Clients: Fabian, Chris Montez, Little Peggy March, Kathy Young, Johnny Tillotson, Dennis Tufano, Brian Hyland

Styles: Classic Rock

Services: personal managemen

*No unsolicited material

ELLEN AZORIN, MANAGER, PEDRO

GIRAUDO TANGO QUARTET

157 W. 79th St., Ste. 4A New York, NY 10024

212-724-2400

Email: ellenazorin@gmail.com

Web: pedrogiraudo.com

Styles: Performance Argentine Tango

Client: Pedro Giraudo Tango Quartet

THE BABBLE BOUTIQUE

Email: Azalee@Azalee.Maslow.com

Web: azaleemaslow.com/the-babble-

boutique Contact: Azalee Maslow

Styles: All

Services: Social and digital media consulting and management agency. We specialize in converting your followers into paying fans.

*No unsolicited material

BACKER ENTERTAINMENT LLC

87 Plymouth Ave. Yonkers, NY 10710

914-779-6087

Email: info@backerentertainment.com

Web: backerentertainment.com

Contact: David Backer

BACKSTAGE ENTERTAINMENT

Nashville, TN 37220

615-323-2200

Email: sta @backstageentertainment.net

Web: backstageentertainment.net

Contact: Paul Loggins, John Stevens, Laurent Stoeckli

Styles: All

Services: full-service radio promotion, publicity and PR, radio programming/

consulting, personal management, entertainment consulting/marketing

*Accepts unsolicited material

BBA MANAGEMENT & BOOKING

12400 Hwy. 71 W., Ste. 350-177

Austin, TX 78738 512-477-7777

Email: info@bbabooking.com

Web: bbabooking.com, facebook.com/ bbabooking

Contact: Laura Mordecai

Styles: rock, jazz

Clients: Stephanie Urbina Jones & the Honky Tonk Mariachi, Beto and the Fairlanes, Robin Mordecai, John Mills Times Ten, Matt Wilson Band, Javier Chaparro & Salud, Butch Miles Jazz Empress

Services: specializes in placing musicians for recording sessions and back up for touring acts, must read sheet music

*No unsolicited material

BEAR CREEK PRODUCER MANAGEMENT

6313 Maltby Rd. Woodinville, WA 98072

425-481-4100 Fax 425-486-2718

Email: ryanhadlock@hotmail.com

Web: bearcreekstudio.com

Contact: Manny Hadlock

Styles: intelligent rock, indie rock, rock nervous, folk, renaissance, rock, jazz

Clients: Gordon Raphael, Ryan Hadlock, Holy Ghost Revival, Sony Records, Sub Pop, Vertigo, Warner, Transgressive

*No unsolicited material

BEDLAM MUSIC MANAGEMENT

864 Eastern Ave. Toronto, ON M4L 1A3

416-585-7885

Email: info@bedlammusicmgt.com

Web: bedlammusicmgt.com

Clients: The Sheepdogs, Moors, JuD, City and Colour, Monster Truck

BIG HASSLE MANAGEMENT

157 Chambers St. New York, NY 10007

212-619-1360

Web: bighassle.com/publicity

Styles: alt., indie, rock, pop

Clients: A Girl Called Eddy, Adult Books, AFI, Alexandra Savior, Alice Phoebe Lou, Alt-3, Chole Tang, Chrissie Hynde, Charlie Burg, etc. (see website for entire list)

*Accepts unsolicited material

Additional Location:

3685 Motor Ave., Ste 240 Los Angeles, CA 90034 424-603-4655

BIG NOISE

11 S. Angell St., Ste. 336 Providence, RI 02906

401-274-4770

Email: al@bignoisenow.com

Web: bignoisenow.com

Contact: Al Gomes

Styles: pop, rock, R&B, metal, jazz, acoustic, blues, punk, techno

Clients: Christina Aguilera, Katharine McPhee, Alice Cooper, Little Anthony and the Imperials, Jay Geils, Jim Brickman, Melba Moore

*Accepts unsolicited material--please call or email first.

BITCHIN ENTERTAINMENT

1750 Collard Valley Rd. Cedartown, GA 30125 678-901-0162

Email: ty@bitchinentertainment.com

Web: bitchinentertainment.com

Styles: rock, pop, hip-hop, Americana, s/s, country, R&B, jazz, punk, metal, rap, folk

Clients: Blackhawk, Blue Oyster Cult, Charlie Allen, Gary Campbell, Kansas, Judas Priest, Nickel Creek, Steve Miller Band

*Accepts unsolicited material

BLACK DOT MANAGEMENT

6820 La Tijera Blvd., Ste. 117

Los Angeles, CA 90045

310-568-9091 Fax 323-777-8169

Email: info@blkdot.com

Web: blkdot.com

Contact: Raymond A. Shields, Pat Shields

Clients: producers, engineers, marketing, production

Styles: R&B, jazz, urban adult contemporary

Services: personal management, marketing

*No unsolicited material

BRICK WALL MANAGEMENT

39 W. 32nd St., Ste. 1403

New York, NY 10001

212-501-0748

Email: bwmgmt@brickwallmgmt.com

Web: brickwallmgmt.com

Contact: Michael Solomon, Rishon

Blumberg

Styles: pop, rock, country, singer-songwriter

Clients: Adam Landry, Cherry Poppin

Daddies, The Clarks, Eddie Berman, Jarett Bellucci, Marshall Altman, Michael Counts, Vanessa Carlton, William Fitzsimmons, 10x Management

*No unsolicited material

BRILLIANT PRODUCTIONS

Decatur, GA 30030

404-312-6237

Email: Nancy@brilliant-productions.com

Web: brilliant-productions.com

Contact: Nancy Lewis-Pegel

Styles: roots, rock, jam, Americana, blues

Clients: Webb Wilder, Geo Achison, Yonrico Scott, Randall Bramblett, Peter Karp, Glenn Phillips/Cindy Wilson of B-52’s Services: A boutique agency that gives personal attention to musicians

*No unsolicited material

BULLETPROOF ARTIST

MANAGEMENT & BOOKING

241 Main St. Easthampton, MA 01027

413-527-9393

Email: patty@bulletproofartists.com

Web: bulletproofartists.com

Contact: Patty Romano

Styles: folk, pop, rock, country

Clients: Dar Williams, The Nields, Susan Werner, Cry, Cry, Cry

*No unsolicited material

BURGESS WORLD CO.

P.O. Box 646 Mayo, MD 21106

410-798-7798

Email: info@burgessworldco.com

Web: burgessworldco.com

Contact: Richard James Burgess

Styles: rock, alt., singer-songwriter, blues, jazz

Clients: Jimmie’s Chicken Shack, Ace Elijah, the Electrofied Blues Band

*No unsolicited material

BUSYBOY PRODUCTIONS

77 13th Ave. NE, Ste. 112 Minneapolis, MN 651-230-4362, 818-561-6000

Email: info@busyboyproductions.com

Web: busyboyproductions.com

Contact: Ella Reid

Styles: rock, pop, country, alt.

Clients: Michelle Ella Reid, Lorenzo, Lizzy Borden, White Lion, Gin Blossoms, Anita Baker

*Accepts unsolicited material

CANTALOUPE MUSIC PRODUCTIONS

ELLEN AZORIN, PRESIDENT/AGENT

157 W. 79th St., Ste. 4A New York, NY 10024

212-724-2400

Email: ellenazorin@gmail.com

Web: facebook.com/

CantaloupeMusicProductions

Styles: Brazilian, Argentine tango, various Latin-American, jazz Clients: see website

CASE ENTERTAINMENT GROUP, INC.

119 N. Wahsatch Ave. Colorado Springs, CO 80903

719-632-0227 Fax 719-634-2274

Email: rac@crlr.net

Web: newpants.com, oldpants.com

Contact: Robert Case

Clients: Silence, Lisa Bigwood, C. Lee Clarke, Kathy Watson, Todd Harris, Sherwen Greenwood, Chad Steele, James Becker, Stephanie Aramburo, Rocky Shaw, John Ellis

Styles: pop, rock, country

Services: personal management, record promotion

*No unsolicited material

CELEBRITY ENTERPRISES

Tijeras, New Mexico

800-700-3898, 505-286-8209

Email: sales@ent123.com

Web: ent123.com

Styles: Variety

Clients: the Pink Flamingos, the 3 Painters, Art Explosion, ARTRAGEOUS!

*No unsolicited material

CENTRAL ARTISTS 1023 N. Hollywood Way. #102 Burbank, CA 91505 818-557-8284

Email: submissions@centralartists.com

Email: centralartists.com/index.html

Styles: Personal management, artists branding, personal consultation, music production

*Accepts unsolicited material

CHANEY GIG AFFAIRS (CGA MANAGEMENT)

Buena Park, CA 90620

714-610-9046

Email: ChaneyGigA airs@gmail.com

Web: chaneygiga airs.com

Style: R&B Soul, Jazz, Tribute Artist, Poets Services: Gig, Artist, and Event Management. As well as, Project (Event manager, Websites and EPKs), Task and Business Management.

CLC ARTIST MANAGEMENT

Burbank, CA

Email: clclifecoach@gmail.com

Styles: Personal management, artist branding, personal consultation, music production

*Accepts unsolicited material

COAST TO COAST MUSIC/MUSICBIZ

MENTORS

Artist Development, Music Biz Education & Touring

Encino, CA

818-376-1380 (please email us first)

Email: MusicBizMentors@gmail.com

Web: MusicBizMentors.com

Clients: Harold Payne, Gravity 180, Anna Beatriz, Darious Lux

Styles: All

Services: Management, Promotions and Booking expert

*Email for permission to send your materials

COLLIN ARTISTS

Pasadena, CA, CA 91104

323-556-1046

Email: collinartists@gmail.com

Web: collinartists.com

Contact: Barbara Collin, Robert Sax, Goh Kurosawa

Clients: see website for roster

Styles: jazz, blues, world, Latin, R&B, doo wop/classics and beyond Services: Management, promotion, consulting, booking, workshops

*No unsolicited material

COLUMBIA ARTIST MANAGEMENT, LLC

1180 Avenue of the Americas – 8th Floor New York, NY 10036

212-841-9564

Email: jcesbron@camimusic.com

Web: camimusic.com

Contact: Jean-Jacques Cesbron

Styles: instrumental, classical, jazz, world, celtic, vocalists Services: one of the world’s largest classical music management firms

COUNTDOWN ENTERTAINMENT

252 7th Ave. New York, NY 10001

212-645-3068

Email: james@countdownentertainment.com

Web: countdownentertainment.com, facebook.com/CountdownEntertainment

Styles: urban, hip-hop, pop, rock, country, alt., dance, club, DJ

*Accepts unsolicited material, see site for submission details

CRANBERRY MANAGEMENT

Contact: CEO Je ery David

Email: Jd@cranberrymanagement.com

Instagram.com/cranberrymusicgroup

Artist Roster: Echosmith, Jackie Miclau of Mt. Joy, Papaya Noon, The Hiz, Gabriella Rose, Lexie Alley, Mike Gunz of the Gunz Show

CRUSH MANAGEMENT

60 11th St., 7th Fl. New York, NY 10003

212-334-4446

Email: info@crushmusic.com

Web: crushmusic.com

Styles: rock, pop, indie, hip-hop, s/s, punk

Clients: See website for roster

*No unsolicited material

DAWN ELDER MANAGEMENT

303 Loma Alta Dr., Ste. 31 Santa Barbara, CA 93109 (global) 805-963-2415, 805-637-1178

Email: deworldmusic@aol.com

Web: demgmt.com

Contact: Dawn Elder

Styles: world, rock, pop, jazz, roots, traditional, classical, international, CentralSouth Asian underground, Middle Eastern, North African, Mediterranean

Clients: Souad Massi, Mayssa Karraa, Simon Shaheen and Arab Orchestra, Simon Shaheen and Near Eastern Ensemble, Simon Shaheen and Qantara, Bassam Saba, Kadim Al Sahir, Cheb, Sabbah and 1002 Nights and many more.

Services: specializing in Middle Eastern, Central and South Asian, North African, West African and Mediterranean

*No unsolicited material

DCA PRODUCTIONS

675A 9th Ave., #252 New York, NY 10036

800-659-2063, 212-245-2063

Email: info@dcaproductions.com

Web: dcaproductions.com

Contact: Daniel C. Abrahamsen

Styles: pop, folk, rock

Clients: Andjam Band, Backbeat A Tribute, Alison Fraser, Fiesta, Rockspolsion, Lisa Bouchelle, Vladimir & Nadia Zaitsev, Acrobats of Cirquetacular

Services: variety performers, comedians, musical performers, theater productions and producing live events

*Accepts unsolicited material

DEEP SOUTH ENTERTAINMENT

P.O. Box 17737 Raleigh, NC 27619

919-844-1515 , 615-953-4800

Email: hello@deepsouthentertainment.com

Web: deepsouthentertainment.com

Styles: pop, rock, alt., country, AC, Christian

Clients: Marcy Playground, Vienna Teng, Tres Chicas, Parmalee, I Was Totally

Destroying It, Michael Sweet, LanCo, Katie

Garfield

*Accepts unsolicited material.

**Please NO CALLS

DIRECT MANAGEMENT GROUP

8332 Melrose Ave., Top Fl. Los Angeles, CA 90069

310-854-3535

Email: info@directmanagement.com

Web: directmanagement.com

Clients: K.D. Lang, Katy Perry, Au/Ra, Steve Perry

Styles: All

Services: Personal management

*No unsolicited material

EMCEE ARTIST MANAGEMENT

Phone: 212-925-6458

Web: emceeartist.com

Styles: Singer/songwriter, Americana, Jazz

Clients: Natalie Merchant,ÊMedeski

Martin & Wood, The Wood Brothers, Nels Cline, John Medeski, Oliver Wood, Jenny Scheinman

*No solicited material

ENTERTAINMENT SERVICES INT’L

1819 South Harland Circle

Lakewood, CO 80232

303-727-1111, 612-810-9000

Email: randy@esientertainment.com

Web: esientertainment.com

Contact: Randy Erwin

Styles: Rock, Classic Rock

Clients: The Guess Who, The Ozark Mountain Daredevils, Ray Cardwell & Tennessee Moon, Powder Mill, Rare Earth, The Creek Rocks feat. Mark Bilyeu & Cindy Woolf, Carl Dixon (solo or w/Coney Hatch), Larry Raspberry & The Highsteppers, The Gentrys, Brewer & Shipley, Thundherstruck

ERIC NORWITZ ARTIST MANAGEMENT

3333 W. 2nd St., Ste. 52-214 Los Angeles, CA 90004-6118 213-389-3477

Email: enorwitz@pacbell.net

Contact: Eric Norwitz

Styles: alt., dance, pop, R&B, rock

Services: management & legal

*Accepts unsolicited material

FIRE TOWER ENTERTAINMENT

Located in Culver City, CA

Web: firetowerent.com

Email: artists@firetowerent.com

Contact: Evan Gri ith/Ruth Nichols

Styles: Pop, Indie, Singer Songwriter

Clients: Kiran + Nivi, Wesley Stromberg, Michael Blum, Sophie Ann.

Full roster on website

Services: Artist Management, A&R consulting, Music Production

*Accepts unsolicited material

FIRST ACCESS ENTERTAINMENT 6725 Sunset Blvd. Ste. 420 Los Angeles, CA 90028 323 454 1162

Email: contact@faegrp.com

Web: faegrp.com

Published: see web

How to Submit: no unsolicited material

FIRST ARTISTS MANAGEMENT

4764 Park Granada, Ste. 110 Calabasas, CA 91302 818-377-7750

Email: info@firstartistsmgmt.com

Web: firstartistsmanagement.com

Styles: film, singer-songwriter

Clients: film composers, music supervisors, music editors

*No unsolicited material

FRESH FLAVA ENTERTAINMENT

2705 12th St. N.E. Washington, DC 20018

202-832-7979

Email: freshflava1@aol.com, freshflava17@gmail.com

Web: freshflava.com

Contact: Emanuel Maurice ‘Moe’ Yeoman

Styles: hip-hop, R&B, jazz, gospel, rock

Clients: Elliot Lavine, Tabbo, DJ Sir Jamm, Stedman Graham, Nathaniel “Nate” Peavy, Stephanie Jordan, Ski Johnson, NexXzit, TABBO, WHOP-N-EM’s and KayWOLF

*Accepts unsolicited material

GALE ENTERTAINMENT 244 Fifth Avenue Suite 2265 New York, NY 10001 646-387-5867

Email: info@gale-entertainment.com

Styles: all

Services: Personal Management, Entertainment Consulting

*Accepts unsolicited material. Email first.

GARVAN MEDIA MANAGEMENT & MARKETING

P.O. Box 737

Sandpoint, ID 83864

208-265-1718

Email: steve@garvanmanagement.com

Web: facebook.com/stephen.b.garvan

Contact: Stephen Bond Garvan (formerly of NYC, Colorado, New England, MMF-US Board, Founding Council AMA, IMMF Global Director of Folk/Roots/Americana, FAR-West Board/ BOTW Head, former Swallow Hill Board Chair)

Styles: rock, s/s, roots, country, Americana

Clients: Chris Daniels and the Kings, Ryan Shupe & the Rubberband, Mark Oblinger, Walt Wilkins, Chuck McDermott, Jodi Siegel, Ti any Gassett, Tom Roznowski, Michael Kelsh

HARDKNOCKLIFE ENTERTAINMENT

Email: info@hardknocklifeent.com

Web: hardknocklifeent.com

Contact: Ayana Cobb

Styles: pop, rap, hip-hop, acoustic, r&b, Services: Management

*No phone calls

HEADLINE TALENT AGENCY

27-01 Queens Plaza N FL 13 Long Island City, NY 11101

212-257-6110

Email: Erica@headlinetalent.net

Styles: Actors for theatre, film and TV

Contact: Erica Bines, Owner

HOFFMAN ENTERTAINMENT

21301 S. Tamimi Trl Estero, FL. 33928 323-464-2000

Info: info@iloveho man.com

Web: iloveho man.com

IMC ENTERTAINMENT GROUP, INC.

19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326

818-700-9655

Email: sr@imcentertainment.com

Web: imcentertainment.com

Contact: Sylvester Rivers

Clients: Paul Riser

Styles: pop, R&B

Services: full service

*No unsolicited material

IN DE GOOT ENTERTAINMENT

119 W. 23rd St., Ste. 609 New York, NY 10011

212-924-7775 Fax 212-924-3242

Web: indegoot.com

Contact: Michael Iurato

Styles: rock, pop

Clients: Audiodamni, Bel Heir, Black Stone Cherry, Chevelle, Highly Suspect, Halestrom, In This Moment, Kyng, Neon Trees, Robert Fenn, Story of the Year, Theory Of A Deadman

*Accepts unsolicited material—Attn: Michael Iurato

Additional locations:

900 South St., Ste. 101 Nashville, TN 37203

10 Greenland St., 4th Fl.

Camden, London, NW1 0ND England +44 77 84110102

INDIE MUSIC CONSULTING GROUP

Indie Artist & Label Publicity, Marketing & Consulting

888-242-9331

Web: indiemusicconsultant.com

“Voting Member the Recording Academy”

INTERNATIONAL CREATIVE MANAGEMENT (ICM)

10250 Constellation Blvd. Los Angeles, CA 90067 310-550-4000 Web: icmpartners.com

Contact: Carol Goll

Styles: dance, classical, jazz, folk, world, contemporary, R&B, hip-hop *No unsolicited material

Additional locations:

65 E. 55th St. New York, NY 10022

212-556-5600

1500 K Street NW Washington, DC 20006 202-919-2100

16 Great Chapel St. London, W1F 8th Floor +044 0208 004 5315

IN TOUCH ENTERTAINMENT

309 W 55th St New York 10019

212-235-7015

Email: info@intouchent.com Web: intouchent.com

Contact: Charles Carlini

Styles: All Styles

Clients: Irene Cara, Michael Carvin, David Chesky, Suzanne Ciani, Elisha Abas, Equie Castrillo, Larry Coryell, Mamma Freedom, George Garzone, Eumir Deodato, Keith Emerson, Kenia, Craig Handy, Paulette McWilliams, Captain Beyond *Accepts unsolicited material. See website for instructions.

INVASION GROUP

333 E. 75th Street #4A

New York, NY 10021

212-414-0505 Fax 212-414-0525

Contact: Steven Saporta

Email: info@invasiongroup.com, steven@invasiongroup.com

Web: invasiongroup.com

Styles: rock, world, folk, singer-songwriter

Clients: Ani DeFranco, David Bieber Archives, Donny McCaslin, Elizabeth Moen, Everett Bradley, Future Generations, Gail Ann Dorsey, Grace and The Victory Riders, Gracie and Rachel, Jai Uttal, Ken Butler, Raye Zaragoza, Ronnie Spector, Seth Glier, Sylvie Simmons

*Accepts unsolicited material

Additional locations:

P.O. Box 27687 Los Angeles, CA 90027

Email: jana@invasiongroup.com

Contact: Jana Fisher

83 Morse St. Floor 2 Norwood, MA 02062

JAMPOL ARTIST MANAGEMENT 8033 W. Sunset Blvd., Suite 3250 West Hollywood, CA 90046 310-654-1900

Email: assistant@jamincla.com

Web: wemanagelegends.com

Contact: Je Jampol

Clients: The Estates of the following: the Doors, Janis Joplin, Peter Tosh, Jim Morrison, Ramones, Michael Jackson, Rick James, Johnny Ramone, Henry Mancini

*Does not accept unsolicited material

JAY ANTHONY’S NEXT LEVEL BOOKING & ENTERTAINMENT AGENCY, LLC USA

702-861-5075

Email: Jayanthony@ nextlevelbookingandentertainment.com

Web: nextlevelbookingandentertainment.com

Contact: Jay Anthony

Style: ALL

KAHN POWER PICTURES

433 N. Camden Dr., Ste. 600 Beverly Hills, CA 90210

310-550-0770

Email: Artists4Film@gmail.com

Web: artists4film.com

Styles: Film/TV scores, composer/ performer/director representation

Clients: Eva Babic, Nancy Bishop, Stewart Copeland, Robert Domheim, J.P. Dutilleux, Claudio Faeh, Jiri Madi, Eric Neveux, J. Peter Robinson, Peter Golub

*No unsolicited material

KARI ESTRIN MANAGEMENT & CONSULTING

P.O. Box 60232

Nashville, TN 37206

615-262-0883

Email: kari@kariestrin.com

Web: kariestrin.com

Contact: Kari Estrin

Styles: folk, Americana, AAA, roots

Clients: David Llewellyn, Janis Ian, Tony Rice, Bluegrass/Newgrass legend, Suzanne Vega, Kanda Bonga Man, Papa Wemba, Kevin Brown, 3 Mustaphas 3

*Accepts unsolicited material

KBH ENTERTAINMENT GROUP Los Angeles, CA 818-786-5994

Web: kbhentertainment.com

Contact: Brent Harvey

Styles/Specialties: All styles, entertainment consulting, publicity, music placement/ licensing and live event production

*No unsolicited material

KBM 310-228-8172

Contact: Brent Harris

Clients: Tony! Toni! Tone’!, Sounds of Blackness

*No unsolicited material

KRAFT ENGEL MANAGEMENT

15233 Ventura Blvd, #200 Sherman Oaks, CA. 91403 818-380-1918

Email: info@kraft-engel.com

Web: kraft-engel.com

Contact: Richard Kraft

Styles: Film Composers

*No unsolicited material

Directory of Managers and Booking Agents

KUPER PERSONAL MANAGEMENT/ RECOVERY RECORDINGS

515 Bomar St. Houston, TX 77006

713-520-5791

Email: info@recoveryrecordings.com

Web: recoveryrecordings.com

Contact: Koop Kuper

Styles: folk, roots rock, Americana

Clients: the Very Girls, David Rodriguez

*Accepts unsolicited material

LAKE TRANSFER ARTIST & TOUR MANAGEMENT

Studio City, CA

818-508-7158

Web: laketransfermgmt.com/about

Contact: Steven B. Cohen, Mgr.

Clients: Candyboy, Friends of Distinction, Evelyn Champagne King, Rose Royce, DJ

Asi Vidal

LAKES COMMUNICATION SERVICES

Los Angeles, CA 90045

323-251-2358

Email: lakescommunications@gmail.com

Contact: Je ery Lakes

Clients: Mark Drummond, Lakes The Voice

Styles: R&B, HipHop, Smooth Jazz, Urban

Contemporary Services: artist management, marketing, business development

LEN WEISMAN PERSONAL MANAGEMENT

357 S. Fairfax Ave., Ste. 430 Los Angeles, CA 90036

323-653-0693, 323-653-7670

Email: persmanmnt@aol.com

Web: persmanmnt.com/Services.html

Contact: Len Weisman

Styles: R&B, soul, blues, gospel, rap, soul, pop

Clients: Jewel With Love, Chosen Gospel

Recovery Singers, Winds Of Fate, Rapture 7, Chosen Gospel Singers, L’Nee, Sister Maxine West, TooMiraqulas (rapper), Winds of Fate

*Accepts unsolicited material

LEONARD BUSINESS MANAGEMENT

5777 W. Century Blvd, Suite 1600 Los Angeles, CA 90045

310-458-8860

Email: info@lbmgt.com

Web: leonardbusinessmanagement.com

Contact: Jerry Leonard

Clients: Call for roster

Styles: All

Services: Business management only

*No unsolicited material

LIPPMAN ENTERTAINMENT

Beverly Hills, CA 90210

310-775-5228, 805-686-1163

Email: music@lippmanent.com

Web: lippmanent.com

Contact: Michael Lippman, Nick Lippman

Clients: producers, artists, songwriters

Styles: All

Services: Full-service

*No unsolicited material

LOGGINS PROMOTION

310-325-2800

Email: sta @logginspromotion.com

Web: logginspromotion.com, facebook.com/logginspromotion

Contact: Paul Loggins

Services: Represents both major and independent artists. All genres.

MAINE ROAD MANAGEMENT

P.O. Box 1412

Woodstock, NY 12498

212-979-9004

Email: mailbox@maineroadmanagement.com

Web: maineroadmanagement.com

Contact: David Whitehead

Styles: rock, singer-songwriter, pop

Clients: Lloyd Cole, Mimi Goese, HELMET, Joe Henry, Joe Jackson, Hugh Laurie, Keeley Forsyth.

*No unsolicited material

MAJOR BOB MUSIC

Nashville, TN 37212

615-329-4150

Web: majorbob.com, facebook.com/majorbobmusic

Contact: Bob Doyle

Styles: Country, Pop

Clients: Garth Brooks, JP Williams, John & Jacob, Alysa Vanderheym, Josh London

*No unsolicited material

MANAGEMENT ARK

116 Village Blvd., Ste. 200 Princeton, NJ 08540

609-734-7403, Vernon H. Hammond III

301-859-4050, Edward C. Arrendell, II

Email: ed@managementark.com

Web: managementark.com

Contact: Vernon Hammond III, Edward C. Arrendell, II

Styles: jazz

Clients: Wynton Marsalis, Herlin Riley, Cecile McLorin Salvant

*No unsolicited material

MASCIOLI ENTERTAINMENT CORPORATION

319 Dillon Cir. Orlando, FL 32822 407-701-9342

Email: Mascioli319@gmail.com

Web: masciolientertainment.com

Contact: Paul A. Mascoli

Styles: country, jazz, R&B, orchestras, swing, tropical, rock

Clients: See website for roster

*Accepts unsolicited material

MCGHEE ENTERTAINMENT

21 Music Sq. W. Nashville, TN 37203 615-327-3255

Email: info@mcgheela.com

Web: mcgheela.com

Clients: Kiss, Paul Stanley, Ted Nugent, Down, Caleb Johnson

THE MGMT COMPANY

6906 Hollywood Blvd., 2nd Fl. Hollywood, CA 90028 323-946-7700

Email: inquiries@themgmtcompany.com

Web: themgmtcompany.com

Contact: Marc Pollack

MICHAEL HAUSMAN ARTIST

MANAGEMENT

17A Stuyvesant Oval

New York, NY 10009 212-505-1943

Email: info@michaelhausman.com

Web: michaelhausman.com

Contact: Michael Hausman

Styles: rock, pop, singer-songwriter

Clients: Aimee Mann, Suzanne Vega, the Both

*No unsolicited material

MIKE’S ARTIST MANAGEMENT

Funzalo Records

P.O. Box 571567

Tarzana, CA 91357

Email: dan@mikesartistmanagement.com

Web: funzalorecords.com

Contact: Mike Lembo

Styles: rock, pop, Americana

Clients: Tony Furtado, Mostly Bears, Luca, Brian Lopez

*No unsolicited material

MIKE GORMLEY

L.A. Personal Development (LAPD)

Email: Glebe99@yahoo.com

Web: lapersdev.com/history

MILLION DOLLAR ARTISTS

12 Lake Forest Court West St. Charles, MO 63301 636-925-1703, 888-521-8146

Email: maxmillion1@earthlink.net

Web: americaneaglerecordings.com

Contact: Dr. Charles “Max” E. Million

Styles: All Styles

*Accepts unsolicited material. See website for instructions.

MOKSHA MUSIC MANAGEMENT

Hollywood

1247 North Crescent Heights Blvd. Suite D West Hollywood, CA. USA. 90046 323-842-4434

Email: info@MokshaEntertainment.com

Web: Moksha Entertainment.com, BobbyLeigh.com

Contact: Bobby Leigh

Clients: Stony Sugarskull, DieAna, Karuna, WaWa Baby, Lindsey Loon, Diana Meyer, Dr. Monike Demmler

Styles: Rock, Pop, Punk Rock, Psychedelic

Punk Services: Personal Management, Artist Development, Tour Management, Social

Media Management

Bobby Leigh is an active member of the PGA (Producers Guild of America),) FIND (Film Independent), CAA (Creative Actors Alliance), NALIP (National Association of Latino Independent Producers), IP (Independent Producers), IFF (International Film Finance,) IDA (International Documentary Association and Filmmaker’s Alliance.

*Accepts unsolicited material in U.S. o ice

MORRIS HIGHAM MANAGEMENT, LLC

2001 Blair Blvd. Nashville, TN 37212 615-321-5025

Web: morrishigham.com

Styles: Country Clients: Kenny Chesney, Brandon Lay, MamaDear, Old Dominion, Ryan Gri in *No unsolicited material

MSH MANAGEMENT

Studio City, CA 503-332-3229

Email: mshmgmt@yahoo.com

Web: mshmgmt.wix.com/musicmanagement

Contact: Marney Hansen

Clients: Silver Lining, Nocturnal Drifters, Nancy Luca Services: personal management

*No unsolicited material

MTS MANGEMENT GROUP

227 Gill Road Apollo, PA. 15613 412-445-5282

Email: michael@mtsmanagementgroup.com

Web: mtsmanagementgroup.com

MUSIC & ART MANAGEMENT

Asheville, NC 28801

828-225-5658

Web: musicandart.net

Contact: Steve Cohen

Styles: Jazz, Electronic, Experimental, Multimedia Clients: Theo Bleckmann, Carl Hancock

Rux, David Wilcox, Vijay Iyer

*Does not accept unsolicited material

MYRIAD ARTISTS

P.O. Box 550 Carrboro, NC 27510 919-967-8655

Email: trish@tg2artists.com

Web: myriadartists.com

Contact: Trish Galfano

Styles: folk, bluegrass, jazz, Americana Clients: A.J.Croce, Mike Marshall, Leahy, Sugar and the Mint, Seamus Egan, *No unsolicited material

NETTWERK PRODUCER MANAGEMENT

3900 W. Alameda Ave., Ste. 850 Burbank, CA 91505 747-241-8619

Email: info@nettwerk.com

Web: nettwerk.com

*No unsolicited material

Additional locations:

Head O ice: 1675 West 2nd Ave 2nd Floor Vancouver, BC V6J 1H3 604-654-2929

263 S. 4th St. P.O.Box 110649 Brooklyn, NY 11211 212-760-1540

15 Adeline Place, Ground Fl London, WC1B 3AJ 011-44-207-456-9500

Neuer Kamp 32 20357 Hamburg, Germany

49-40-431-846-50

NEW HEIGHTS ENTERTAINMENT

Calabasas, CA 91372

323-802-1650

Email: Info@newheightsent.com

Web: newheightsent.com

Contact: Alan Melina

Styles: All Styles

Clients: See Website

*No unsolicited material

ONCE 11 ENTERTAINMENT

310-906-9800

Email: javier@once11ent.com

Web: once11ent.com

Contact: Javier Willis

Styles: all types of Latin and world music

Clients: Espinoza Paz, Vazquez Sounds, Annette Moreno, Sergio Arau, Agina Alvarez, Jerry Demara

Consulting and Personal Management

*Call before sending material.

PERFORMINGBIZ.COM

10 Chestnut Ct. Palmyra, VA 22963

Email: jg@performingbiz.com

Web: performingbiz.com

Contact: Jeri Goldstein

Styles: All Styles/Coaching and Consulting

*Accepts Unsolicited material

PERSISTENT MANAGEMENT

P.O. Box 88456 Los Angeles, CA 90009

Email: pm@persistentmanagement.com

Web: persistentmanagement.com

Contact: Eric Knight

Styles: All

Clients: Disciples of Babylon—Eric Knight, Blake Nix, Keith Shaw

Services: Personal Management

*We Do Not Accept Unsolicited material, email links only, see website for info

PETER KIMMEL’S MUSIC CATALOG

P.O. Box 55252

Sherman Oaks, CA 91413-0252

818-980-1039 Cell/Text 818-903-6518

Email: peter.kimmel@sbcglobal.net

Web: linkedin.com/in/peterkimmel

Contact: Peter Kimmel

Styles: All

Services: Music Sync Licensing Publishing. *Call for approval before sending material

PINNACLE MANAGEMENT

MARKETING & PROMOTION

785 Quintana Road #174 Morro Bay, CA 93442

Email: pinnaclemanagement212@gmail. com

Contact: Debbie Rosen

Styles: Top 40/Hot AC, AC & Rock

Services: Promotion & Management

PLATINUM STAR MANAGEMENT

9663 Santa Monica Blvd. #320 Dept MC Beverly Hills, CA 90210

Email: jen@platinumstarmgmt.com

Web: platinumstarmgmt.com

Contact: Jennifer Yeko

Clients: Specializing in film/TV placement, radio promotion, music publicity and managing pop/rock/singer-songwriters

*Accepts unsolicited material

PRIMARY WAVE MUSIC

116 E. 16th St. #9 New York, NY 10003

212-661-6990

Contact: Steven Greener

Email: sgreener@primarywave.com

Web: Primarywave.com

Clients: Cee Lo Green, Fantasia, Melissa Etheridge, Brandy, Cypress Hill, Eric Benet, Toots & The Maytals.

Additional location: 10850 Wilshire Blvd, Suite #600 Los Angeles, CA 90024 424-239-1200

Q PRIME MANAGEMENT New York, London, Nashville 212-302-9790

Email: newyork@qprime.com (NY), nashville@qprime.com (Nashville), london@qprime.com (London) Web: qprime.com

Styles: rock, Pop

Clients: Bear Hands, Silversun Pickups, Red Hot Chili Peppers, Eric Church, Brothers Osborne

*No unsolicited material

RAINMAKER ARTISTS

1000 Westbank Dr. Suite 5B Austin, TX 78746

512-229-7799, 214-744-0290

Email: paul@rainmakerartists.com

Web: rainmakerartists.com

Contact: Paul Nugent

Styles: rock, pop

Clients: Blue October, Bowling For Soup, IAMDYNAMITE, Danny Malone

*Accepts unsolicited material

RAM TALENT GROUP

Fort Lee, NJ 07024 201-363-1461 Ext. 201

Email: ruben@ rubenrodriguezentertainment.net

Web: RAMTalentGroup.com

Contact: Ruben Rodriguez

Styles: urban, gospel, urban AC, Latin music

RED LIGHT MANAGEMENT

5800 Bristol Pwky, Suite 400 Culver City, CA 90230

310-273-2266

Email: info@redlightmanagement.com

Web: redlightmanagement.com

Styles: All styles

Clients: Phish, Luke Bryan, Alabama Shakes, Lady Antebellum and many more.

*Accepts unsolicited material

Additional locations:

Virginia New York

Nashville

London

Atlanta

Seattle

Charlottesville

REGIME MANAGEMENT

Agoura Hills, CA

Email: info@regimeinc.com

Web: regime72.com

Clients: The REGIME client base ranges from Athletes, Artists, Musicians & Producers - From Hip Hop to Latin Jazz to Funk & Reggae. From legendary Gra iti Artist Risk, Hip Hop pioneers Everlast, House Of Pain, DJ Muggs & Dilated Peoples to Poncho Sanchez, Lettuce, Lucky Chops, Common Kings, Amigo The Devil - & many, many more.

RIGHTTRACK MANAGEMENT

(Chaser Music Group- Ascap, Bmi, Universal music)

(Artist direction, Record Production, and Music Publishing)

Contact: Founder; A.Rosenthal aka Chase Williams. (805)200-9772

Email: ar.cw.917@gmail.com

Styles: All Genres, specifically Rock,

Contemporary and Alternative.

Clients: (past & present) Jean luc Ponty, Jack Mack and the Heart Attack, Dave Mason, Spencer Davis, Freddie Hubbard, Malcolm Bruce. and others.

Look for Righttracks new and revised sites on Instagram, Facebook, Twitter and more.

RON RAINEY MANAGEMENT, INC.

8500 Wilshire Blvd., Ste. 525 Beverly Hills, CA 90211 310-277-4050

Email: ryan@ronrainey.com

Web: ronrainey.com

Contact: Ryan Jones

Clients: John Kay and Steppenwolf, ANGEL

Services: management

Styles: rock, classic rock, hard rock, stoner rock, metal

*We can accept unsolicited material

RPM MUSIC PRODUCTIONS

420 W. 14th St., Ste. 6NW New York, NY 10014 212-246-8126

Email: info@rpm-productions.com

Contact: Danny Bennett

Styles: rock, pop, jazz

Clients: Tony Bennett

*No unsolicited material

RPS RECORDING AND ENTERTAINMENT GROUP

4212 E. Los Angeles Ave. Simi Valley, CA 93063

805-551-2342

Email: rps.entertainment.group@gmail.com

Contact: Gary Bright

Styles: Various genres along with Gospel and Christian

*No unsolicited material please

RUSSELL CARTER ARTIST MANAGEMENT

567 Ralph McGill Blvd. Atlanta, GA 30312

404-377-9900

Email: info@rcam.com

Contact: Russell Carter

Styles: singer-songwriter, alt., Americana, pop, rock

Clients: Indigo Girls, Matthew Sweet, Susanna Ho , Shawn Mullins, Chely Wright, the Shadowboxers, Sarah Lee Guthrie, Abe Partridge

SAM Silva Artist Management

722 Seward St. Los Angeles, CA 90038

323-856-8222

Email: info@sammusicbiz.com

Web: sammusicbiz.com

Contact: John Silva

Clients: Foo Fighters, Band of Horses, Ryan Adams, Jimmy Eat World, Beastie Boys,

Beck, Sonic Youth, Queens Of The Stone Age

Styles: alt., rock

*No unsolicited material

SEMAPHORE MGMT AND CONSULTING

748 E. 9th St. New York, NY 10009 773-733-1838

Email: info@semaphoremgmt.com

Web: semaphoremgmt.com

Contact: Taylor Brode, Lauren Davis

Styles: alternative - electronic, experimental, punk, rap, club

Services: General Management, Project

Based Short Term Consultancy

Clients: Debby Friday, Kamixlo, Provoker, Katie Gately, Meth Math, Evanora:Unlimited

SHERROD ARTIST MANAGEMENT

Music Entertainment Manager/A&R

252-241-6362

Contact: Sean Sherrod

Email: infosherrodartistmanagement@ mail.com

Web: sherrodartistmanagement.com

SKH MUSIC 540 President St. Brooklyn, NY 11215

Email: skaras@skhmusic.com, khagan@skhmusic.com

Web: skhmusic.com

Contact: Steve Karas, Keith Hagan

Clients: The Afghan Whigs, Arthur Buck, Joseph Arthur, Davina and the Vagabonds, Greg Dulli, Robert Finley, The Gutter Twins, Jonny Lang, Lily & Madeleine, The Magpie Salute, Squirrel Nut Zippers, TOTO, The Twilight Singers

SOUNDTRACK MUSIC ASSOCIATES

1601 N. Sepulveda Blvd. #579 Manhattan Beach, CA. 90266

310-260-1023

Email: info@soundtrk.com

Web: soundtrk.com

Contact: John Tempereau, Isabel Pappani, Koyo Sonae

Styles: All Styles, Underscores

Clients: Composers: see website for roster

*No unsolicited material

SOUNDTRACK MUSIC ASSOCIATES

4133 Redwood Ave., Ste. 3030 Los Angeles, CA 90066 310-260-1023

Email: info@soundtrk.com

Web: soundtrk.com

Contact: John Tempereau

Styles: All Styles

Clients: Composers: Cli Martinez, Rod Abernethey, Evan Lurie, (see roster on site)

*No unsolicited material

SO WHAT MEDIA & MANAGEMENT

890 W. End Ave., Ste. 1-A New York, NY 10025 212-877-9631

Email: sowhatasst@me.com

Contact: Lisa Barbaris

Styles: rock, pop

Clients: Cyndi Lauper, Billy Porter, Amanda Shires, Liv Warfield

*No unsolicited material accepted

SPARKS ENTERTAINMENT, LLC

420 W. Huron St., Ste. 110 Chicago, IL 60654

844-566-3799

Email: spark@djdjones.com

Web: sparkentertainmentgroup.com

Styles: ALL, hip-hop, R&B, country, rock, acting, modeling

Clients: Gary, Lyrix

Services: Talent Management, Career, Development, Booking, Promoting

SPINNING PLATES MGMT

49 Music Square West #503 Nashville, TN 37203

615-482-6995

Email: kirt@spinningplatesmgmt.com

Web: spinningplatesmgmt.com

Contact: Kirt Webster

Styles: country, rock, tributes, corporate branding Services: specializes in legendary musicians, corporate branding, and lifestyle marketing

*No unsolicited material

STARKRAVIN’ MANAGEMENT

McLane & Wong

11135 Weddington St., Ste. 424 North Hollywood, CA 91601

818-587-6801 Fax 818-587-6802

Email: bcmclane@aol.com

Web: benmclane.com

Contact: Ben McLane, Esq.

Styles: pop, rock, alt.

Services: Personal management, legal

*Accepts unsolicited material

STEVEN SCHARF ENTERTAINMENT

126 E. 38th St. New York, NY 10016

212-779-7977

Web: stevenscharf.com

Contact: Steven Scharf

Styles: rock, alt., singer-songwriter, hiphop, world, producers, film & TV composers Clients: Mackenzie, The Kickback, Leah Siegel, Liquid, Mike-E

*No unsolicited material

STEVE STEWART MANAGEMENT

12400 Ventura Blvd., #900

Studio City, CA 91604

Email: stevestewart@stevestewart.com

Web: stevestewart.com

Contact: Steve Stewart

Styles: alt., rock, pop producers, film & TV composers

*No unsolicited material

STIEFEL ENTERTAINMENT

21731 Ventura Blvd, #300 Woodland Hills, CA 91364 310-275-3377

Contact: Arnold Stiefel

Clients: Rod Stewart

Styles: rock, pop

Services: personal management

*No unsolicited material

SUNCOAST MUSIC MANAGEMENT

212 Otter Ridge Dr Brandenburg, Ky 40108

888-727-1698, 727-237-7971, (Ohio) 330-730-1615

Email: suncoastbooking@aol.com

Web: suncoastentertainment.biz

Contact: Al Spohn

Styles: rock, classic rock, metal, variety

Clients: Nightrain International (Guns n Roses Tribute), Hells/Bells (AC/DC Tribute), Battery (Metallica), Madmans Diary (Ozzy), Kiss Army (Kiss), LedSmith (Led Zeppelin & Aerosmith)

*Accepts unsolicited material

SURFDOG/DAVE KAPLAN MANAGEMENT

1126 S. Coast Hwy. 101 Encinitas, CA 92024

760-944-8800

Email: lauren@surfdog.com

Web: surfdog.com

Contact: Lauren Fricke

Style: Rock / Reggae / Soul / Americana

Clients: Brian Setzer, Stray Cats, Dave Stewart, Sublime

TAC MUSIC MANAGEMENT

9971 E. Ida Pl. Greenwood Village, CO 80111

720-431-2604

Email: tracey@tacmusicmanagement.com

Web: tacmusicmanagement.com

Contact: Tracey Chirhart

Styles: blues, southern rock, hard rock, country, bluegrass

Clients: see website

Services: personal & business management, promotion, marketing

*Accepts unsolicited material

TAKEOUT MANAGEMENT, INC

785 Quintana Road #174

Morro Bay, CA 93442

805-382-2200

Email: howie@howiewood.com

Web: howiewood.com

Contact: Howard Rosen

Styles: CHR/Top 40, AC, Hot AC, AAA, Alternative Specialty, Mainstream Rock, Modern AC, Country, College for artists of all label sizes including independent. Services: Personal management, shop for distribution and record deals. Production and remix with major producers.

TED KURLAND ASSOCIATES

173 Brighton Ave. Boston, MA 02134

617-254-0007 Fax 617-782-3577

Email: agents@tedkurland.com

Web: tedkurland.com

Contact: Ted Kurland

Styles: jazz, blues, vocals

Clients: Pat Metheny, Wynton Marsalis, Bill Charlap, John Pizzarelli, Lisa Fischer, Bobby McFerrin, Bobby Rush, Chris Botti, Sonny Rollns, Taylor Rae and more

*No unsolicited material

TENTH STREET ENTERTAINMENT

1115 Broadway, 12th Floor New York, NY 10010 212-334-3160

Email: info@10thst.com

Web: 10thst.com

Clients: Motley Crue, Nikki Sixx, Sixx:AM, Papa Roach, Blondie, Oh No After Midtown, Bad Wolves, Bailey Zimmerman, Bleeker, Dorothy, Fire From the Gods, Five Finger Death Punch, Hollywood Undead, Ice Nine Kills, In Flames, Saul, Solence Styles: All

Services: personal management

*No unsolicited material

Additional location:

113 North San Vicente Blvd. 2nd Floor, Suite 241 Beverly Hills, CA 90211 310-385-4700

THAT’S ENTERTAINMENT

INTERNATIONAL, INC. (T.E.I.)

3820 E. La Palma Ave. Anaheim, CA 92807

714-693-9300

Email: jmcentee@teientertainment.com

Web: teientertainment.com

Contact: John McEntee

Styles: All

Services: Entertainment broker for corporate/concert events, personal management

*No unsolicited material

THREEE

Erik Eger Entertainment, Inc. 918 N. Western Ave., Ste. A Los Angeles, CA 90029 213-381-5100 Fax 213-381-5115

Email: info@threee.com

Web: threee.com

Contact: Erik Eger

Styles: All styles

Clients: Dan Carey, Stuart Matthewman, John Hill, Johnny McDaid, Jordan Palmer, Mark Rankin, Stint, Jordan Palmer, Daniel Ledinsky, Blanda

*We do not accept unsolicited material

TKO ARTIST MANAGEMENT

Nashville, TN

615-383-5017

Web: facebook.com/TKOArtistMgmt

Contact: T.K. Kimbrell

Styles: Country

Clients: The Bacon Brothers, Toby Keith, Ashley Campbell, Colt Ford, Krystal Keith, *No unsolicited material

TOM CALLAHAN & ASSOCIATES

Boulder, CO

310-418-1384

Email: tc@tomcallahan.com

Web: tomcallahan.com

Contact: Tom Callahan

Services: full-service consulting company, including record promotion, legal services, Internet marketing, web design, retail promotion and publicity.

*No unsolicited material

VARRASSO MANAGEMENT

103 Main St. Copperopolis, CA 95228

510-792-8910

Email: richard@varrasso.com

Web: varrasso.com

Contact: Richard Varrasso

Styles: rock, covers, country

*Accepts unsolicited material

VECTOR MANAGEMENT

P.O. Box 120479

Nashville, TN 37212

615-269-6600

Email: info@vectormgmt.com

Web: vectormgmt.com

Contact: Ken Levitan

Styles: country, pop, singer-songwriter

*No unsolicited material

Additional locations: 430 W. 15th Street New York, NY 10011

VELVET HAMMER MANAGEMENT

9014 Melrose Ave., W. Hollywood, CA 90069 310-657-6161

Email: info@velvethammer.net

Web: velvethammer.net

Clients: System of a Down, Alice in Chains, the Deftones, Code of Orange, Night Riots

Directory of Managers and Booking Agents

Specialties: All

*Accepts unsolicited material

WANTED MANAGEMENT

Email: wantedgregg@gmail.com

Web: facebook.com/WantedMgmt

Styles: rock, blues, pop, punk, soul Services: personal management

Clients: Jane Lee Hooker, Echo Del Tusker

*No unsolicited material

WHIPLASH PR & MANAGEMENT

398 Columbus Ave

PMB #183 Boston, MA 02116

781-545-1301

Email: rockergirl363@aol.com

Web: whiplashprandmanagement.com

Clients: Venus Theory, The Ormewoods, The Lumineers, see website for roster

WOLFSON ENTERTAINMENT, INC.

805-494-9600

Email: info@wolfsonent.com

Contact: Jonathan Wolfson, Dillon Barbosa, Sammy Wolfson, Tom Burger

Web: wolfsonent.com

Styles: All

Clients: Daryl Hall and John Oates, Loverboy, Huey Lewis & The News, Live

From Daryl’s House, The Tubes, Down North Services: Personal management. Also o ers full-service social media and media relations for clients.

BOOKING AGENTS

25 LIVE

25 Music Sq. W. Nashville, TN 37203

615-777-2227

Email: david@25ent.com

Web: 25ccm.com

Contact: David Breen

Styles: Christian

*No unsolicited material

ACA MUSIC & ENTERTAINMENT

705 Larry Ct. Waukesha, WI 53186

800-279-7909, 262-790-0060

Fax: 262-790-9149

Web: acaentertainment.com

Contact: Louie Higgins

Styles: variety, bluegrass, bands, lounge acts, nostalgia, DJ’s, club, festival bands, ceremony, dinner hour, cocktail

Services: Represents nightclub and acts for private functions, not currently seeking new clients

*Accepts unsolicited material

AGENCY FOR THE PERFORMING

ARTS (APA)

10585 Santa Monica Blvd Los Angeles, CA 90025

310-888-4200

Web: apa-agency.com

Styles: All

*Call before submitting material

Additional locations:

3 Columbus Circle 23rd Floor New York, NY 10019

212-205-4320

150 Fourth Ave. North, PH Nashville, TN 37203

615-297-0100

3060 Peachtree Rd. NW, Ste. 1480 Atlanta, GA 30305

404-254-5876

129 John Street Toronto, Ontario, Canada M5V2E2

416-646-7373

53 Palace Gardens Terrace Suite 2 London, W8 4SB UK +44-20-3871-0520

AMW GROUP

8605 Santa Monica Blvd. West Hollywood, CA 90069

323-455-2881

Web: amworldgroup.com

Styles: All Styles Clients: info upon request

*No unsolicited material

Additional locations: New York City

228 Park Ave., S.

New York, NY 10003 212-461-4796

382 NE 191st Street Miami, FL. 33179

ARTIST REPRESENTATION & MANAGEMENT

1257 Arcade St. St. Paul, MN 55106 651-483-8754

Email: molly@armentertainment.com

Web: armentertainment.com

Contact: John Domagall

Styles: specializes in ‘80s-early ‘90s rock, country, blues, metal Clients: info upon request

*No unsolicited material

BBA MANAGEMENT & BOOKING Austin, TX 512-477-7777

Email: info@bbabooking.com

Web: bbabooking.com

Styles: jazz, Latin, rock, classical singersongwriter

*No unsolicited material

BIG BEAT 1515 University Dr., Ste. 102 Coral Springs, FL 33071 954-755-7759

Email: talent@bigbeatproductions.com

Web: bigbeatproductions.com

Contact: Richard Lloyd

Styles: all styles

Clients: info upon request

*Accepts unsolicited material

BOOKING ENTERTAINMENT

Two Park Avenue, 20th Floor New York, NY 10016

1-800-4ENTERTAINMENT, 800-436-8378 212-645-0555

Email: agents@bookingentertainment.com

Web: bookingentertainment.com

Contact: Steve Einzig

Styles: rock, pop, jazz, adult contemporary, pop, R&B

Clients: info on website.

*No unsolicited material

CANTALOUPE MUSIC PRODUCTIONS

157 W. 79th St., Ste. 4A

New York, NY 10024 212-724-2400

Email: ellenazorin@gmail.com

Web: cantaloupeproductions.com

Contact: Ellen Azorin, President

Clients: see website

Styles: Booking agent specializing in Brazilian, Argentine, Cuban and other Latin music, as well as other world music and top level jazz ensembles.

*Does not accept unsolicited material

CELEBRITY TALENT AGENCY INC.

111 E. 14th St., Ste. 249 New York, NY 10003

212-539-6039, 201-837-9000

Email: markg@celebritytalentagency.com

Web: celebritytalentagency.com

Contact: Mark Green

Styles: jazz, R&B, hip-hop, comedians, gospel

Clients: info upon request

*No unsolicited material

BRUCE COLFIN LAW, PC

99 Lexington Ave., Suite 5032 New York, NY 10006 212-691-5630, 516-830-1951

Email: thefirm@thefirm.com

Web: thefirm.com

Contact: Bruce E. Colfin

Styles: rock, blues, world, reggae

Clients: Dark Star Orchestra, Mick Taylor, Sly and Robbie, Marty Balin, Freddie McGregor, Niney the Observer, Bernard Purdie

*Accepts unsolicited material

Submit material with a S.A.S.E. and proper postage for return

CLOSED SESSIONS LIVE 516-449-1931

Email: matthew.classens@gmail.com

Web: closedsessions.live

We do all genre concerts.

Past Acts include: Juice wrld, Kaytranada, Sublime, Dark Star Orchestra, Cam’Ron, Lil Peep, Snakehips, Jai Wolf, MGMT, and more.

COLLIN ARTISTS

Pasadena, CA 91104

323-556-1046

Email: collinartists@gmail.com

Web: collinartists.com

Contact: Barbara Collin, Robert Sax, Goh

Kurosawa

Styles: jazz, blues, world, Latin, R&B, doo wop/classics and beyond

Clients: Mary Stallings, Jeri Brown, Kevin Mahogany, Andy Bey, Alan Paul, Latin Jazz Masters, Bobbi Humphrey, Kathy Kosins

Services: management, promotion, consulting, booking, workshops

*No unsolicited material

CONCERTED EFFORTS, INC.

P.O. Box 440326

Somerville, MA 02144

617-969-0810 Fax 617-209-1300

Email: concerted@concertede orts.com

Web: concertede orts.com

Contact: Paul Kahn

Styles: blues, soul, jazz, gospel, zydeco, Cajun, folk, singer-songwriter, rock, world

Clients: info upon request

*No unsolicited material

CREATIVE ARTISTS AGENCY

2000 Ave. of the Stars

Los Angeles, CA 90067 424-288-2000 Fax 424-288-2900

Web: caatouring.com

Styles: All

*No unsolicited material - No phone calls

Additional locations:

10250 Constellation Blvd. Los Angeles, CA 90067

405 Lexington Ave., 19th Fl. New York, NY 10174 212-277-9000

65 E. 55th Street New York, NY 10022

401 Commerce St., Penthouse Nashville, TN 37219 615-383-8787

6075 Poplar Ave, Suite 410 Memphis, TN. 38119

1500 K Street NW Washington DC, 20005 771-444-5301

3560 Lenox Road, Suite 1525 Atlanta, GA 30326 404-816-2722

1688 Meridian Ave., Suite 340 Miami Beach, FL. 33139

444 N. Michigan Ave, Suite 3540 Chicago, IL. 60611 312-242-2700

CAA ICON 5075 S. Syracuse Street Suite 700 Denver, CO. 80237 303-557-3700

3652 South Third St., Suite 200 Jacksonville Beach, FL 32250 904-339-0435

London

12 Hammersmith Grove Hammersmith, London W6 7AP U.K.

Additional International o ices in Geneva, Munich, Stockholm, Singapore, Shanghai, Beijing

CUMBERLAND MUSIC COLLECTIVE

529 Snyder Ave

Nashville, TN 37209 615-627-2243

Email: lee@cmcartist.com

Web: cmcartists.com/artists

Styles: bluegrass, roots, folk, singersongwriter

Clients: info upon request

*No unsolicited material

EAST COAST ENTERTAINMENT

855-323-4386

Email: info@bookece.com

Web: bookece.com

Styles: rock, acoustic, classical, latin, jazz, pop, R&B, funk

*No unsolicited material

**See website for additional locations

ELECTRIC EVENTS CORPORATION

P.O. Box 280848

Lakewood, CO 80228

303-989-0001

Email: info2@electricevents.com

Web: electricevents.com

Contact: Michael A. Tolerico

Styles: pop cover bands only

Clients: info upon request

*No unsolicited material

ENTERTAINMENT SERVICES

INTERNATIONAL

1819 S. Harlan Cir.

Lakewood, CO 80232

303-727-1111

Email: randy@esientertainment.com

Web: esientertainment.com

Contact: Randy Erwin

Styles: mostly classic rock

Clients: info upon request

*No unsolicited material

ENTOURAGE TALENT ASSOCIATES

150 W. 28th St., Ste. 1503 New York, NY 10001 212-633-2600

Email: info@entouragetalent.com

Web: entouragetalent.com

Contact: Wayne Forte

Styles: rock, pop, singer-songwriter, jazz

Clients: info upon request

*No unsolicited material

FAT CITY ARTISTS

1906 Chet Atkins Pl., Ste. 502 Nashville, TN 37212 615-320-7678 Fax 615-321-5382

Web: fatcityartists.com

Styles: nostalgia, country, big band, bluegrass, blues, R&B, Cajun, world, folk, funk, gospel, jazz *No rap or opera

Clients: info upon request

*No unsolicited material

FLEMING ARTISTS, INC. PO Box 1568 Ann Arbor, MI 48104 734-995-9066

Email: jim@flemingartists.com

Web: flemingartists.com

Contact: Jim Fleming

Styles: rock, pop, singer-songwriter, contemporary roots rock, folk, bluegrass, improv comedy Clients: Je Daniels, Judy Collins, the Kruger Brothers, Shane Koyczan, Ariel Horowitz, Holly Near GIGSALAD 2733 E. Battlefield Rd. Box 105 Springfield, MO 65804 866-788-GIGS

Web: gigsalad.com

Contact: Mark Steiner, Steve Tetrault Services: A marketplace for booking bands, musicians, entertainers, speakers and services for parties, productions and events.

Additional locations: 225 S. Water St. Chandler’s Wharf Wilmington, NC 312 E. Olive St. Springfield, MO

GORFAINE-SCHWARTZ AGENCY 4111 W. Alameda Ave., Ste. 509 Burbank, CA 91505

818-260-8500

Web: gsamusic.com

Clients: see our website for client list

*No unsolicited material

GREAT AMERICAN TALENT

P.O. Box 2476

Hendersonville, TN 37077 615-368-7433, 615-957-3444

Email: info@eddyraven.com

Web: eddyraven.com

Styles: country, Cajun

Clients: info upon request

*No unsolicited material

HARMONY ARTISTS INC.

20501 Ventura Blvd, Suite 289 Woodland Hills, CA 91364 323-655-5007

Email: acrane-ross@harmonyartists.com

Web: harmonyartists.com

Contact: Adrienne Crane-Ross

Styles: tribute, nostalgia, R&B, Latin, blues, bluegrass, jazz, swing

*No unsolicited material

HELLO! BOOKING

P.O. Box 18717

Minneapolis, MN 55418

651-647-4464

Web: hellobooking.com

Contact: Eric Roberts

Styles: bluegrass, country, rock, folk, pop, jazz, indie, hip-hop, acoustic, rockabilly

Clients: info upon request

*Accepts unsolicited material

INA DITTKE & ASSOCIATES

770 NE 69th Street, Ste.7C Miami, FL 33138

305-762-4309

Email: ina@inadittke.com

Web: inadittke.com

Contact: Ina Dittke

Styles: jazz, Latin, world

Clients: info upon request

INDIE MUSIC CONSULTING GROUP

Indie Artist & Label Publicity, Marketing & Consulting

888-253-4464

Web: indiemusicconsultant.com

“Voting Member the Recording Academy”

IN TOUCH ENTERTAINMENT

309 West 55th Street New York, NY 10019

212-235-7015

Email: info@intouchent.com

Web: intouchent.com

Contact: Charles Carlini

Styles: All Styles

Clients: Irene Cara, Michael Carvin, David Chesky, Eumir Deodato, Michael Sembello, Ron Sunshine, Tito Rodriguez, jr., George Mraz, Airto Moreira, Kenia, Tony Middleton, Elisha Abas, Sarah Hayes, Guinga, Brian Auger, Mamma Freedom, Eddie Jobson

*Accepts unsolicited material - via SonicBids only

JAZZ HANDS FOR AUTISM

Web: jazzhandsforautism.org

A&R/Manager: George Earth

Booking Agent: Esbeth Heredia, Job

Placement Coordinator

Email: esbeth@jazzhandsforautism.org

Notes: JHFA works with neurodivergent artists who are developed and coached to prepare them going into the music industry.

JEFF ROBERTS & ASSOCIATES

174 Saundersville Rd., Ste. 702 Hendersonville, TN 37075

615-859-7040

Web: je roberts.com

Contact: Je Roberts

Clients: info upon request

*No unsolicited material

LIVE NATION

Beverly Hills, CA

800-653-8000

Web: livenation.com

Styles: All Styles

Services: producing, marketing and selling live concerts for artists

MARSJAZZ BOOKING AGENCY

1006 Ashby Pl. Charlottesville, VA 22901

434-979-6374

Email: reggie@marsjazz.com

Web: marsjazz.com

Contact: Reggie Marshall

Styles: jazz

Clients: info upon request

*No unsolicited material

MAURICE MONTOYA MUSIC AGENCY

Culver City, CA. 90232

305-763-8961, 212-229-9160

Email: Maurice@mmmusicagency.com

Web: mmmusicagency.com

Contact: Maurice Orlando Montoya

Styles: jazz, Afro-Cuban, Brazilian, contemporary/pop

Clients: info upon request

*No unsolicited material

M.O.B. AGENCY

6404 Wilshire Blvd., Ste. 505

Los Angeles, CA 90048

323-653-0427

Email: mitch@mobagency.com

Web: mobagency.com

Contact: Mitch Okmin

Styles: rock, alt.

Clients: info upon request

*No unsolicited material

MONQUI EVENTS

P.O. Box 5908

Portland, OR 97228

503-223-5960

Email: web@monqui.com

Web: monqui.com

Styles: alt., rock, indie rock, pop, country

*No unsolicited material

MUSIC CITY ARTISTS

7104 Peach Ct. Brentwood, TN 37027 615-915-2641

Email: cray@musiccityartists.com

Web: musiccityartists.com

Contact: Charles Ray, President/Agent

Styles: AC, country, oldies, musicals, tribute, comedy, music

Clients: info upon request

*No unsolicited material

MUSIC GROUP ENTERTAINMENT, LLC

Las Vegas, NV

Celebrity Booking Agency

300 Available Acts

404-822-4138, 877-472-4399

Email: Mya@musicgroupworldwide.com

Web: facebook.com/musicgroupworldwide

Contact: Mya Richardson

Styles: neo soul, R&B, pop, rock, country, jazz, alt, dance, reggae, calypso, dance hall, comedy actors

*No unsolicited material, not accepting hip-hop demos

MUSICIANS CONTACT

29684 Masters Dr. Murrieta, CA 92563 818-888-7879

Email: info@musicianscontact.com

Web: musicianscontact.com

Contact: Sterling Howard

Styles: All, originals or covers

Services: Established 40 years of referral services for musicians and employers

NIGHTSIDE ENTERTAINMENT

10 Crabapple Ln. Greenville, RI 02828 401-949-2004

Email: nightsideentertainment@gmail.com

Web: facebook.com/ nightsideentertainment

Contact: Al Salzillo

Styles: All Styles

Clients: info upon request

*No unsolicited material

PACIFIC TALENT P.O. Box 19145 Portland, OR 97280 503-228-3620

Email: andy@pacifictalent.com

Web: pacifictalent.com

Contact: Andy Gilbert Styles: jazz, blues, R&B, rock, funk, disco, everything

Clients: info upon request

*Accepts unsolicited material

PARADIGM TALENT AGENCY

700 N. San Vicente Blvd Suite G820 West Hollywood, CA 90069 310-288-8000

Email: info@amonly.com

Web: paradigmagency.com

Contact: Paul Morris

Styles: rock, hip-hop, electronica, industrial

Clients: info upon request

*No unsolicited material

Additional location: 810 Seventh Ave Suite 205 New York, NY 10019 212-897-6400

PARADISE ARTISTS

108 E. Matilija St. Ojai, CA 93023 805-646-8433

Web: paradiseartists.com

Contact: Howie Silverman

Styles: rock, pop, alt., legends

Clients: info upon request

*No unsolicited material

Additional location:

5 Penn Plaza. #2382

New York, NY 10001 646-378-2204

PROGRESSIVE GLOBAL AGENCY

P.O. Box 50294 Nashville, TN 37205 615-354-9100

Email: info@pgamusic.com

Web: pgamusic.com

Contact: Jennifer Fowler

Styles: rock, pop, world Clients: info upon request

*No unsolicited material

PYRAMID ENTERTAINMENT GROUP

377 Rector Pl., Ste. 21-A New York, NY 10280

212-242-7274

Email: smichaels@pyramid-ent.com

Web: pyramid-ent.com

Contact: Sal Michaels

Styles: urban, jazz, gospel, classic and contemporary R&B, funk, hip-hop Clients: info upon request

*No unsolicited material

RED ENTERTAINMENT AGENCY

481 8th Avenue, Suite 1143

New York, NY 100001

212-563-7575

Web: facebook.com/

RedEntertainmentAgencyGroup

Contact: Carlos Keyes

Styles: rock, funk, jazz, gospel, R&B, pop, Latin, hip-hop

Clients: Dionne Warwick, Village People, Elliott Yamin, Cameo, Jodeci, Steven Seagal, Gloria Gaynor, Ready For The World, Surface, Erasure’s Andy Bell, Tito Jackson, Bell Biv DeVoe, Case, Baha Men, Hi-Five, DMX, the Brides of Funkenstein, Dwele, Keith Sweat, Mario Winans, Tyrese, Meek Mill, Johnny Gill, Chic Feat. Nile Rodgers, Kathy Sledge, Slum Village, Twista, Jon B, Kenny Lattimore, CeCe Winans, Carl Thomas

*No unsolicited material

ROMEO TOURING, LLC

A Talent Agency

1300 Valley Trail

Whites Creek, TN 37189

615-254-8600

Email: lisaromeo@comcast.net

Contact: Lisa Romeo

Styles: country, rock, and industrial only

Clients: info upon request

*No unsolicited material

SELAK ENTERTAINMENT

466 Foothill Blvd., #184

La Canada, CA 91011

626-584-8110, 213-709-4909

Email: steve@selakentertainment.com

Web: selakentertainment.com

Contact: Steve Selak

Styles: tribute bands, blues, country, dance, disco, ethnic, hip-hop, party band, jazz, soul, solo, swing, pop, R&B, blues

*no unsolicited material

SELF GROUP, LLC, THE P.O. Box 14721

Portland, OR 97293

Email: info@selfgroup.org

Web: selfgroup.org

Contact: Krist Krueger

Styles: indie, rock, folk, acoustic, experimental, pop

Clients: info upon request

*No unsolicited material

SPARKS ENTERTAINMENT, LLC

P.O. Box 82510 Tampa, FL 33682

734-560-5040, 810-625-8630

Email: sparksentertainment78@gmail.com

Web: BSparksEnt.com

Contact: Gary

Styles: ALL, hip-hop, R&B, country, rock, acting, modeling

Services: Booking, Promoting, Talent Mgmt, Career Development, Networking

SPECTRUM TALENT AGENCY

212-268-0404

Email: marc@spectrumtalentagency.com

Web: spectrumtalentagency.com

Contact: Marc Katz

Styles: pop, R&B, dance, hip-hop, theatrical Clients: info upon request

*No unsolicited material

THIRD COAST TALENT

P.O. Box170

Chapmansboro, TN 37035

615-685-3331

Email: carrie@thirdcoasttalent.com

Web: thirdcoasttalent.com

Styles: Country Clients: see website for complete roster

*No unsolicited material

UNITED TALENT AGENCY 9336 Civic Center Dr.

Beverly Hills, CA 90210

310-273-6700

Web: unitedtalent.com

Clients: See site for a list

*No unsolicited material

Additional locations: New York, NY 888 7th Ave., Seventh FL. New York, NY 10106 212-659-2600

225 Polk Ave Suite 130 Nashville, TN. 37203 615-564-2580

Miami, FL 1101 Brickell Ave. South Tower, Fl. 8 Miami, FL 33131 786-574-5210

U.K. 361-373 City Rd. London, EC1V 1PQ United Kingdom

+44-207-278-3331

UNCLE BOOKING

5438 Winding Way Dr. Houston, TX 77091 510-917-1610

Email: erik@unclebooking.com

Web: unclebooking.com

Clients: Kevin Barnes, Bottomless Pit, CEX, Citay, the Coke Dares, Danielson, Deerhoof, Southeast Engine, Trans Am, *No unsolicited material

UNIVERSAL ATTRACTIONS AGENCY 15 W. 36th St., 8th Fl. New York, NY 10018

Web: universalattractions.com

Email: info@universalattractions.com

212-582-7575

Fax: 212-333-4508

Additional location:

21650 W. Oxnard St. Suite 1460 Woodland Hills, CA 91367

212-582-7575

Email: info@universalattractions.com

Web: universalattractions.com

Styles: All

Clients: info upon request

WALKER ENTERTAINMENT GROUP P.O. Box 7926

Houston, TX 77270

281-431-9393

Email: info@walkerentertainment.com

Web: walkerentertainmentgroup.com

Contact: Ernest Walker, President/CEO

*No unsolicited material

WILLIAM MORRIS AGENCY 9560 Wilshire Blvd.

Beverly Hills, CA 90210

310-285-9000

Web: wmeagency.com

Styles: All

*No unsolicited material

**No phone calls

Additional locations:

131 S. Rodeo Dr., 2nd Fl. Beverly Hills, CA 90212

1201 Demonbreun

Nashville, TN 37203

615-963-3000

11 Madison Ave. New York, NY 10010

212-586-5100

100 New Oxford St. London, WC1A 1HB

+44 (0) 20 8929 8400

Level 45, Level 25

19 Martin Place

Sydney, NSW 2000 + 61 (2) 8046 0300

YELLOW COUCH STUDIO / MANAGEMENT

131 Academy Avenue

Pittsburgh, PA 15228

Email: stevenfoxbury@gmail.com

Web: yellowcouchstudio.com

Contact: Steven Foxbury Styles: folk, singer-songwriter, Clients: Sean Rowe, Anna Tivel, Peter Mulvey, Je rey Martin, Laney Jones, Lowland Hum, Matthew Fowler, Terri Binion

*Accepts unsolicited material. MC

Landing a placement on TV, film or in ads can totally change your artist career. So, the stakes are high. Pitching your music to licensing agencies becomes a thrilling opportunity to showcase your talent and make a mark in the industry. But hey, it’s not just about the music—it’s also about how you handle yourself like a pro. In this article, we’ll spill the truth on the dos and don’ts of approaching music licensing agencies, so you can rock the game with style and professionalism.

The Do’s

1. Do Your Homework

Before sliding into those agency DMs, do some research like a boss. Dive into their vibe, check out their previous projects, and get to know their clients and artist roster. This way, you’ll understand what they’re all about and how your music can fit their needs. Show them you’re on the same wavelength, that you are cool to work with, and they’ll be more likely to give you a real listen.

2. Craft a Killer Pitch

When it’s time to give them all the deets about your music, make sure you’ve got a pitch that stands out like fire. Keep it short, sweet, and straight to the point. Show you’ve researched them thoroughly. Clearly explain why your music is a fit for their roster and drop in details about your genre, mood, and your story as a music maker. Be sure to

add personality and passion to your pitch, showing them that you’re an authentic artist.

3. Keep It Classy and Quick

When you get that agency’s attention, make sure you respond promptly and professionally. Be cool and collected in your communications, whether it’s via email or any other channel. Don’t leave them hanging— send those additional materials they ask for without delay. Remember, being reliable and respectful is key to building positive relationships in this game.

The Don’ts

1. Don’t Be Thirsty for Attention

We get it, you’re eager to make your mark, but don’t come off as desperate or pushy. It’s not about what they can do for you, it’s about how your music can support their needs. Bombarding them with constant messages and begging for their attention is a major turn-off. Instead, focus on honing your craft and let your music speak for itself. Patience and persistence will pay off in the long run.

2. Don’t Sleep on Clearances and Rights

Before you make any moves, make sure you’ve got all your legal ducks in a row. Respect copyright laws and make sure you have the rights and clearances for your music. If you’re collaborating with others, sort out ownership and permissions in advance. Have

signed split sheets in order. Agencies want to work with professionals, so be responsible and handle your rights like a pro.

3. Don’t Copy/Paste Your Approach

Successfully pitching your music to agencies can be a numbers game, but remember to keep it intentional. Always make sure to heavily tailor whatever pitch template you come up with to the specific agency you are pitching. It’s usually obvious when someone copy/pastes their message to you and it’s a real turn off to most people.

Closing Thoughts

Now that you’re armed with the inside scoop on how to pitch your music to licensing agencies, it’s time to slay the game. Remember to be knowledgeable, confident, and respectful in your interactions. Network like a pro, seek guidance from mentors you trust, and always strive to level up. The world of music licensing is yours for the taking, so go out there, be yourself, and let your music shine brightly. You’ve got this!

2Indie is a successful music business education company founded by the “dynamic duet” of Sonnet Simmons and John Clinebell. Discover innovative coaching programs for indie artists, songwriters and producers: 2Indie.com.