Luke Laird Signs Publishing Deal With Sony/ATV Music Publishing, Creative Nation

Front row (L-R): Hannah Williams, Sony/ATV Nashville Creative Manager; Josh Van Valkenburg, Sony/ATV Nashville SVP, Creative; Luke Laird; Troy Tomlinson, Sony/ATV Nashville President/CEO. Back row (L-R): Terry Wakefield, Sony/ATV Nashville SVP, Creative; Dustin Kovacic, Dickinson Wright PLLC; Tom Luteran, Sony/ATV Nashville VP, Creative; Austen Adams, Dickinson Wright PLLC; Stephen Denninger, Sony/ATV Nashville A&R Coordinator; Dane Schmidt, Sony/ATV Nashville Director, Creative

Grammy award-winning songwriter and producer Luke Laird has signed a worldwide publishing agreement with Sony/ATV Music Publishing and Creative Nation.

As a songwriter, Laird has had 46 radio singles – 23 of which were Billboard No. 1 hits and four of which were in the Billboard top five. His #1 hits include: “Fast” and “I See You” (Luke Bryan); “Head Over Boots” (Jon Pardi); “T-Shirt” (Thomas Rhett); “Gonna” and “Hillbilly Bone” (Blake Shelton); “Talladega,” “Give Me Back My Hometown,” and “Drink In My Hand” (Eric Church); “American Kids” (Kenny Chesney); “Sunshine & Whiskey” (Frankie Ballard); “One of Those Nights” (Tim McGraw); “Downtown” (Lady Antebellum); “Somebody’s Heartbreak” (Hunter Hayes); “Beat This Summer” (Brad Paisley); “Pontoon” (Little Big Town); “You” (Chris Young); “A Little Bit Stronger” (Sara Evans); “Take A Back Road” (Rodney Atkins); and “Temporary Home,” “Undo It,” “So Small,” and “Last Name” (Carrie Underwood).

The Country Music Association has recognized Laird on six occasions with the coveted Triple Play Award, signifying three No. 1 singles within a 12-month period. Laird co-produced the album Same Trailer Different Park by Kacey Musgraves, which received both Grammy and ACM awards for Album of the Year. He has also received two of BMI’s most respected honors: Songwriter of the Year and Song of the Year, and Academy of Country Music’s Songwriter of the Year.

Sony/ATV Nashville President/CEO Troy Tomlinson said: “It’s a rare occasion when a publisher is able to secure both the hit-driven catalog and the futures of a writer the quality of Luke Laird. We are grateful that he is entrusting his body of work with us and look forward to continuing success.”

Laird said, “I’m looking forward to working with Troy, Josh Van Valkenburg and the entire Sony/ATV team. They have a great history of working with songwriters who are heroes of mine and they will be the perfect complement to my team at Creative Nation.”

Copyright Royalty Board Increases Mechanical Rates For Songwriters

On Saturday (Jan. 27), the Copyright Royalty Board released its ruling on mechanical rates for songwriters for 2018-2022. The court decided in favor of an increase in the overall percentage of revenue paid to songwriters, from 10.5 percent to 15.1 percent over the next five years, marking the largest increase in the Copyright Royalty Board’s history.

The decision stems from a trial that took place from March through June 2017 with the National Music Publishers Association and the Nashville Songwriters Association International, representing interests of music publishers and songwriters against Amazon, Apple, Google, Pandora and Spotify.

Additionally, the CRB removed the Total Content Cost (TCC) cap, giving publishers the benefit of a true percentage of what labels are able to negotiate in the free market resulting in significantly higher royalties for songwriters. The CRB also increased the TCC rate resulting in the most balance between record label and publishing rates in the history of mechanical licensing. In addition, the CRB granted a late fee which will dramatically alter the licensing practices of digital music companies.

NMPA President & CEO David Israelite stated, “We are thrilled the CRB raised rates for songwriters by 43.8% – the biggest rate increase granted in CRB history. Crucially, the decision also allows songwriters to benefit from deals done by record labels in the free market. The ratio of what labels are paid by the services versus what publishers are paid has significantly improved, resulting in the most favorable balance in the history of the industry. While an effective ratio of 3.82 to 1 is still not a fair split that we might achieve in a free market, it is the best songwriters have ever had under the compulsory license. The court also decided in our favor regarding a late fee which will force digital music services to pay songwriters faster or be subject to a significant penalty. The bottom line is this is the best mechanical rate scenario for songwriters in U.S. history which is critically important as interactive streaming continues to dominate the market.

“The decision represents two years of advocacy regarding how unfairly songwriters are treated under current law and how crucial their contributions are to streaming services. We thank the songwriters who shared their stories with the court and helped illustrate how badly these rate increases are needed. While the court did not grant songwriters a per-stream rate, the increases in overall rates and favorable terms are a huge win for music creators.”

Nashville Songwriters Association International (NSAI) Executive Director Bart Herbison said, “Songwriters desperately need and deserve the rate increases resulting from the Copyright Royalty Board (CRB) trial. The CRB was a long and difficult process but songwriters and music publishers together presented a powerful case for higher streaming royalty rates. The Nashville Songwriters Association International (NSAI) thanks our songwriter witnesses Steve Bogard, Lee Thomas Miller and Liz Rose whose testimony was compelling.”

Sony/ATV Music Publishing CEO Martin Bandier said, “As the leading music publisher, we believe that overall this is a very positive ruling by the CRB as it will deliver an unprecedented topline rate increase for songwriters and publishers over the next five years. While we are disappointed not to get the per-stream rate that we wanted, the planned rate increases go a long way to fairly compensate our songwriters for the essential contribution they make to streaming’s success story.”

Rough Trade Publishing Opens Nashville Office

Lynn Gann

New York-based Rough Trade Publishing has announced the opening of their new Nashville offices, to be headed by Nashville publishing veteran Lynn Gann. Rough Trade Publishing began business in 2007 as House of Hassle Publishing, and was founded by partners Lyle Hysen, Gandhar Savur and Ken Weinstein.

The group purchased the London-based Rough Trade Publishing catalog in early 2016, and merged the two companies. In addition to the new Nashville and Manhattan home office, Rough Trade Publishing maintains offices in London and Los Angeles, with 19 employees. Worldwide, RTP has agreements with approximately 400 artists and writers, covering many musical genres from country to rock, Americana, punk and more. RTP affiliated acts include The War On Drugs, Grizzly Bear, Future Islands, Superchunk and White Reaper.

Gann will also continue to operate his LGME! Companies. He has represented RTP in Nashville since 2012, and says of the Rough Trade Publishing expansion: “The Rough Trade Publishing team is growing in a very deliberate way into Nashville, and I’m honored to lead this effort.”

RTP President Lyle Hysen says: “Opening the RTP office on Music Row is very exciting for us as we grow our bands and catalog into one of the most vital music cities in the world.”

The Nashville office is located at 1027 17th Ave. S., on Music Row.

Music Modernization Act Introduced In Senate

Pictured: Songwriter Roger Cook, NSAI Executive Director Bart Herbison and TN Senator Lamar Alexander discuss music issues outside the U.S. Senate chamber.

The Music Modernization Act will be introduced Wednesday (Jan. 24) in the United States Senate, following the House version of the bill that was filed in December.

Senators Orrin Hatch (R-UT), Lamar Alexander (R-TN), Christopher Coons (D-DE), Bob Corker (R-TN), Dick Durbin (D-IL), and  Sheldon Whitehouse (D-RI) joined in introducing the Senate version of the bi-partisan legislation.

The Senate bill mirrors the House bill introduced by Congressmen Doug Collins (R-GA) and Hakeem Jeffries (D-NY) which reforms Section 115 of the U.S. Copyright Act to create a single licensing entity that administers the mechanical reproduction rights for all digital uses of musical compositions. On the performance rights side, the bill also replaces the current rate court system with the random assignment of judges used in most federal court cases, and allows the rate courts to review all relevant market evidence into the valuation of how songwriters are compensated by digital services.

This new system ensures that songwriters are paid when digital music services use their music, improves transparency, provides for better royalty rates, and gives songwriters increased involvement in how mechanical rights are licensed. It includes the benefits of the previously introduced Songwriter Equity Act which addresses two significant inequities under current copyright law that prevent songwriters and music publishers from receiving compensation that reflects the fair market value of their work.

Representatives from several music industry organizations have praised the bill.

“Songwriters will finally get a market-based mechanical rate standard, which should result in more equitable royalties from interactive streaming companies,” said Nashville Songwriters Association International (NSAI) President Steve Bogard. “Until now, we have been tied to outdated rate standards Congress first adopted for player piano rolls back in 1909. In addition, American songwriters will, for the first time, by law, receive at least half of all unclaimed digital mechanical royalties. I want to extend my deepest thanks to all of our introducing Senate sponsors. The Music
Modernization Act represents the most significant copyright reform in a generation.”

“This bill puts music publishers and songwriters in control of the digital mechanical licensing process and brings a marketplace rate standard that should lead to higher streaming royalties,” said NSAI Executive Director Bart Herbison. “And for the first time in history songwriters will receive more than half of unclaimed digital mechanical funds. When you consider the streaming services have agreed to pay associated costs, the MMA is the most beneficial legislation for songwriters in the digital era.”

NMPA President & CEO David Israelite said, “The MMA is the best hope for songwriters to achieve fair royalties and payments in the digital age. We are grateful to Senators Hatch, Alexander, Whitehouse, Corker, Durbin, Coons, Isakson and Jones for their attention to the struggles of music creators and for introducing the MMA, which we hope continues to gain momentum in the Senate.”

BMI President & CEO Mike O’Neill said, “The Music Modernization Act is an important step forward in protecting the rights of the American songwriter, and we thank Senators Hatch, Alexander, Whitehouse, Corker, Durbin, Coons, Isakson and Jones for their support of this important legislation. While we believe there is still more to do to protect the value of the performance right, we are encouraged by the inclusion of two important provisions that go a long way towards ensuring that songwriters and composers receive fair compensation for their creative work; the wheel assignment for rate court judges and the repeal of 114 (i) application to digital services. While we know this bill is not yet final, it represents an unprecedented cross-industry effort to introduce comprehensive music reform, and we look forward to working with all of the interested parties to further support this much needed legislation.”
 
ASCAP CEO Elizabeth Matthews said, “We thank Senators Hatch, Alexander, Whitehouse, Corker, Durbin, Coons, Isakson and Jones for ensuring that the Music Modernization Act addresses some of the most critical issues facing America’s songwriting community, including rate court reforms.”

UMPG Signs Josh Hoge

Pictured (Back Row, L-R): Shannan Hatch, Sr. VP, Creative Services, SESAC; Ron Stuve, VP, A&R/Special Projects, UMPG; Kent Earls, Exec. VP/GM, UMPG; Kent Marcus, Marcus & Colvin, LLP; Cyndi Forman, VP, Creative, UMPG; Travis Gordon, Sr. Creative Director, UMPG. (Front Row, L-R): Josh Hoge and Missy Roberts, Sr. Creative Director, UMPG.

Universal Music Publishing Group (UMPG) has signed Nashville songwriter Josh Hoge to a global publishing deal.

A Franklin, Tennessee native, Hoge has co-penned hit songs including “Think of You” and “I’m Comin’ Over” for Chris Young, as well as six songs on the artist’s latest LP, including title track and lead single “Losing Sleep.” Hoge also co-wrote Kane Brown’s certified gold song “Used to Love You Sober” and charted single “Thunder in the Rain.” In 2016, Hoge was named SESAC Songwriter of the year.

“We have closely followed Josh’s career over the last decade and jumped at the chance to bring him into the UMPG family. He is an incredibly talented melodic singer-songwriter with an innate gift for focusing on the artist’s vision in co-writing sessions. We’re honored to work with him and excited to further his career as a songwriter,” said Kent Earls, EVP and GM of UMPG Nashville.

“When a company like Universal Music Publishing has a philosophy that is ‘Songwriters First,’ what writer wouldn’t want to be a part of that? As a leading publisher in this business, they still have that small family feel which I love most,” said Hoge. “The passion Kent Earls and his entire staff showed in getting me to join was like no other I’d seen in my 10 years of doing this. It was a no brainer for me to sign with this awesome new team!”

Hoge’s musical career began as an R&B solo artist and pop songwriter working with artists such as Backstreet Boys and Jesse McCartney. He was part of a duo, Jukebox Mafia, and toured with Miranda Lambert.

Concord Music Group Appoints New Leadership Team

Concord Music has appointed a new leadership team that will be headed by Jake Wisely, Chief Publishing Executive of Concord, who has relocated to the company’s new Nashville office. Also joining the team are Bill Gaden, who will lead Concord Music’s domestic publishing as its President/North America, John Minch, who will oversee Concord Music’s international publishing interests as its President/Europe, and Kent Hoskins, who has been appointed Concord Music’s Chief Financial Officer for all publishing operations.

“Jake is one of the founding members of Bicycle Music and has been a key factor in the growth of Concord Music,” said Concord Music CEO Scott Pascucci. “He will continue to steer our publishing business in unique and successful directions in the years to come.”

“As principals of Concord Music’s publishing executive committee, Bill, John, and Kent have proven themselves invaluable partners in the melding of a spectacular roster and catalog, along with the systems, infrastructure, and best practices of the Bicycle and Imagem businesses,” said Wisely. “Their wealth of knowledge, experience, and resources, along with that of our entire staff, cements Concord’s future as a dynamic, world class music publisher.”

Wisely spent the past decade running The Bicycle Music Company, which merged with Concord Music Group in 2015. He joined Bicycle Music after previous stints at ASCAP, Universal Music Publishing, and EMI Music Publishing. A current NMPA Board member, Wisely will report to Concord Music’s CEO, Scott Pascucci.

Prior to joining Concord, Gaden held senior positions at BMG Records, BBC Worldwide, Simon & Schuster, and Golden Books. He joined The Rodgers & Hammerstein Organization in 2005, and in 2015, six years after its acquisition by Imagem, became CEO of Imagem USA. He will work from Concord Music’s New York office and will report to Jake Wisely.

Based in London, Minch has managed Boosey & Hawkes since 2001. Subsequent to the sale of Boosey & Hawkes to Imagem in 2008, Minch took on the role of Chief Executive of Imagem UK. He will report to Jake Wisely as well.

A New Zealander by birth, Hoskins is based in London and is a Chartered Accountant with PricewaterhouseCoopers. After working as a Finance Manager with the BBC, he joined Boosey & Hawkes as Group Financial Controller in 2001. When Boosey & Hawkes was sold to Imagem in 2008, he was made Imagem UK CFO and in 2015 was promoted to Global Head of Finance. Hoskins will report to Concord Music’s overall Chief Financial Officer, Bob Valentine.

Concord Music’s publishing business already consisted of the catalogs of Bicycle Music and Razor & Tie before they acquired Imagem Music Group in 2017 – a landmark purchase that tripled the company’s publishing portfolio from 130,000 to 380,000 copyrights. The result is a newly consolidated publishing group which is comprised of The Rodgers & Hammerstein Organization, Boosey & Hawkes, The Bicycle Music Company, Imagem Music, and Razor & Tie Publishing.

 

Universal Music Publishing And Disney Music Publishing Expand Global Administration Relationship

Universal Music Publishing Group and Disney Music Publishing announced a new agreement today that expands the territories in which UMPG will administer DMP’s catalogs which includes the United Kingdom, Ireland, Europe, Israel, and countries in Africa and the Caribbean.

Effective Jan. 1, 2018, the agreement significantly builds upon the companies’ existing global relationship, since  UMPG currently administers DMP’s publishing catalogs in South East Asia, and many territories in Latin America, Africa, the Middle East and the Caribbean.

“We are thrilled to expand our relationship with UMPG into Europe and beyond. Their creativity and entrepreneurial spirit make for the perfect match for Disney Music Publishing,” said Ken Bunt, President, DMG. 

“Disney is home to one of the most iconic catalogs in history, one that spans cultures, generations and genres,” said Jody Gerson, UMPG CEO and Global Chairman. “We are honored to expand our global collaboration with Disney and we look forward to developing outstanding creative opportunities that build on the company’s outstanding legacy.”

UMPG is a leading global music publisher with 44 offices in 37 countries, and DMP is an umbrella for the 34 individual publishing companies holding worldwide rights to the music catalogs controlled by The Walt Disney Company.

 

Big Deal Music Signs Forest Glen Whitehead

Pictured (back row): Dale Bobo, Greg Gallo, Whitney Whitehead, Nate Drake, Pete Robinson, Robert Filhart. Front row (L-R): Austin Adams, Forest Glen Whitehead, Kelly Bolton

Big Deal Music Group has signed songwriter and producer Forest Glen Whitehead to the roster. Whitehead, a Louisiana native, produced and co-wrote several songs on Kelsea Ballerini’s now Platinum, Grammy-nominated, debut album, The First Time, as well as her most recent sophomore album, Unapologetically.

To date, he has achieved No. 1 songs with Ballerini including “​Love Me Like You Mean It,” and “Peter Pan.” Whitehead is also a writer on her current and climbing Top 10 single, “Legends” co-written with Ballerini and Hillary Lindsey. Whitehead has also had songs recorded by Brantley Gilbert, Dylan Scott, and Jacob Davis, among others.

Troy Cartwright Joins Warner/Chappell Music

Pictured (L-R): Ben Vaughn (Warner/Chappell), Alison Junker (Warner/Chappell), Troy Cartwright, Jenni Tackett (Red Light Management), Will Overton (Warner/Chappell)

Warner/Chappell Music (WCM), the music publishing arm of Warner Music Group, has signed a worldwide publishing agreement with singer/songwriter Troy Cartwright.

“From the minute I started talking with Warner/Chappell, I knew it was home for me,” said Cartwright. “Alison, Will, Ben, and the rest of the team are all so supportive of my vision and what I want to accomplish as a songwriter and an artist.”

The Berklee-trained musician was the recipient of the 2014 Rising Star Texas Music Award. The following year, he put out a self-titled debut album, and in 2016, he released his latest EP, Don’t Fade.

Cartwright divides his time between songwriting and performing, having toured with Rob Baird, Stoney LaRue, Nitty Gritty Dirt Band, and others. These days, the Dallas native calls Nashville home.

Cartwright is managed by Shawn McSpadden and Jenni Tacket at Red Light Management and represented by Austin Neal at WME. His attorney is Chip Petree.

Sony/ATV Music Publishing Inks Licensing Deal With Facebook

Sony/ATV Music Publishing and Facebook have entered a multi-territory, multi-year licensing agreement that allows Sony/ATV songwriters to earn royalties from the use of their music on both Facebook and Instagram. The deal is the second major publisher to sign with Facebook and the first agreement made with the social media giant and Sony/ATV, which oversees a catalog of more than 3 million songs.

Under the agreement, users can upload and share videos on Facebook, Instagram, and Oculus that contain compositions licensed from Sony/ATV’s catalog, as well as personalize their music experiences with songs from the catalog.

Sony/ATV Chairman and CEO Martin Bandier said, “We are thrilled that in signing this agreement Facebook recognizes the value that music brings to their service and that our songwriters will now benefit from the use of their music on Facebook. We are looking forward to a long and prosperous relationship.”

Sony/ATV’s contemporary roster includes The Chainsmokers, Drake, Pink, Ed Sheeran, Sia, Sam Smith, Taylor Swift, Kanye West and Pharrell Williams, while it also represents the songs of legends such as The Beatles, Leonard Cohen, Bob Dylan, Michael Jackson, Carole King and Queen, the Jobete catalog of Motown songs and standards including “Over The Rainbow,” “Moon River” and “Singin’ In The Rain.”

Tamara Hrivnak, Head of Music Business Development and Partnerships, Facebook said: “We’re excited to work with the largest music publisher in the world to bring amazing songs which deepen connections between friends and fans. Sony/ATV is a true leader and an absolute champion of writers in the digital space, and we’re thrilled to work with them as they grab new opportunities by the horns across all of our platforms.”