Save The Music, formerly VH1 Save the Music, the nationwide nonprofit supporting music education in over 285 school districts, has launched a new chapter after separating from Paramount Global and becoming a fully independent entity.

Save The Music will continue to focus on its mission of ensuring every student in every school has the opportunity to make music, by supplying schools with instruments and technology, offering teacher training and support, and funding and bringing together community-based music organizations.

As part of the transition, Save The Music has introduced a $10 million endowment fund, with nearly $4 million already raised. This endowment will secure the organization’s long-term sustainability and continued support for music education, helping future generations of students access the transformative power of making music. Although the formal partnership with Paramount is concluding, the relationship will persist, as the company has committed an initial six-figure donation to the fund.

This milestone signifies the completion of a process that started in 2019 when the organization rebranded, dropping the VH1 name as part of a strategy to lessen reliance on a single funding source and adopt a more diversified approach to financial support. Over the past five years, Save The Music has attracted a diverse group of funders, with 95% of the budget in 2024 coming from community-based foundations, individual donations, and contributions from the music industry.

Notable funders include major labels, talent agencies, Live Nation, AEG Presents, Amazon, TikTok and Meta. In 2021, Save The Music was awarded a $2 million grant, the largest in the organization’s history, from philanthropist MacKenzie Scott.

“Going independent is a huge step forward for us – and the culmination of a five-year effort from our team, partners, and boards,” says Executive Director Henry Donahue. “In every school I visit – from the Bronx to Miami, Philadelphia to Los Angeles, Detroit to Columbus, Memphis to New Orleans – I find that the music room is a special place. The students are excited to be there, and they are creative, thoughtful, and optimistic in a way that should give us all hope for the future.”

Save The Music has also bolstered its artist partnerships, guided by internal leadership and the Save The Music Advisory Board. Mmembers of the board include Eric Wong (President of East West Records & Head of Global A&R at Warner Recorded Music), Caroline Abs (Head of Marketing for Sony Latin-Iberia Region), Jonathan Azu (Founder & CEO of Culture Collective), and Gurj Bassi (Head of Music Marketing & Partnerships at SiriusXM), among others.

Recent Artist Ambassador campaigns have been spearheaded by Ed Sheeran, Becky G and Jelly Roll. Save The Music has also partnered with Breland, Brittney Spencer, Young The Giant, Tank (of Tank and The Bangas), Durand Bernarr, Lawrence (the band), Chelsea Cutler, Rainbow Kitten Surprise and Infinity Song.

To celebrate the new chapter, Save The Music has brought together a lineup of artists for an exclusive giveaway campaign on the Propeller platform. Now through the end of February, fans can bid on over a dozen one-of-a-kind auction prizes from artists like Sabrina Carpenter, The War and Treaty, Denzel Curry, GHOST, Common x Pete Rock, Patti LaBelle, Blake Shelton and more. Proceeds from the auction will go directly toward funding the creation of new music programs nationwide, as Save The Music enters its next era as an independent organization. The auction items can be viewed here.

Since its founding, Save The Music has invested over $75 million in more than 2,800 school music programs. In just the last five years it has doubled the number of schools it reaches, funding more than 600 new programs in cities like New York, Newark, Atlanta, Miami, Los Angeles, New Orleans, Nashville and Columbus; along with major regional initiatives in West Virginia and the Mississippi Delta.

Jason Scott has signed a publishing deal with Big Yellow Dog Music.

Scott, a native of Oklahoma City, is the lead vocalist, guitarist and songwriter for Leo33 band Jason Scott & The High Heat. Their 2022 debut album Castle Rock received acclaim from NPR, BBC Radio and others. Scott’s music connects deeply with listeners through his storytelling and his mix of heartland rock and southern soul. The band’s live shows at festivals such as Stagecoach and Born & Raised Festival have further cemented their reputation.

“We’re so excited to work with Jason Scott,” shares Carla Wallace, Co-Owner and CEO of Big Yellow Dog Music. “His music is a perfect fit for our brand, and we love his musical authenticity.”

“From the moment I met the Big Yellow Dog team, I knew they were passionate about the music I was making,” recalls Scott. “I’m so proud to partner with such an elite team to help further the creative vision of my music and songs.”

The band dropped their High Country Heat EP late last year, with the single “If We Make It To The Mornin’” now rising on the Americana charts. They’re currently on tour with Blackberry Smoke and will also be performing at festivals like Extra Innings, Jackalope Jamboree and more throughout the year.

Jason Scott & The High Heat are represented by Mark Noel at Triple 8 Management, with booking handled by Jonathan Levine, Lenore Kinder and Tommy Alexander at Wasserman Music.

The National Music Publishers’ Association (NMPA) has launched a takedown campaign against Spotify for allegedly hosting unlicensed music in podcasts. Over 2,500 instances of infringement have been identified, with more to follow, according to the organization.

This move follows a May 2023 cease-and-desist letter NMPA sent to Spotify regarding the issue.

NMPA President & CEO David Israelite says, “Spotify has thousands of unlicensed songs in its podcasts, which it has done nothing to remedy. This takedown action comes as no surprise, we have warned of this issue for some time.

“Podcasts are a growing source of revenue for songwriters and publishers, and it is essential that podcasts provide lawfully produced entertainment. This is not hard to do, and Spotify knows, and has known, how to fix this problem for their users. We hope podcast hosts will stand up for their fellow creators and demand that Spotify do better.

“Spotify will stop at nothing to undervalue songwriters on behalf of its bottom line. Look no further than its recent bundling scheme and its ill-conceived appeal of songwriters’ rate increase in CRB III. We will not stop until the platform fixes its podcast problem, and all other areas where songwriters are not earning what they deserve.”

“The Nashville Songwriter Association International (NSAI) applauds The National Music Publisher Association’s (NMPA) take down action against Spotify for unlicensed music contained in podcasts on their platform,” shares Bart Herbison, NSAI Executive Director. “The giant streaming service’s continuing disregard to properly compensate songwriters and composers is again evident in their failure to license these songs. Spotify was warned of this situation nearly a year ago, yet failed to remedy it. To suggest that this action is in response to the recent decision in the MLC lawsuit dismisses the fact that they are illegally using music copyrights.”

The takedown program includes 19 NMPA member publishers including ABKCO, Anthem Entertainment, Big Machine Music, BMG, Concord Music Publishing, Downtown Music Publishing, Hipgnosis Songs Group, Kobalt, Mayimba Music, peermusic, Primary Wave Music, Reservoir, The Royalty Network, Inc., Sony Music Publishing, Spirit Music Group, Ultra Music Publishing, Universal Music Publishing Group, Warner Chappell Music and Wixen Music Publishing.

A Spotify Spokesperson shared the following statement with MusicRow, “This is a weak reaction to the judge dismissing the MLC’s lawsuit. Last summer, the NMPA claimed that there were unlicensed works in podcasts on Spotify. The fact that the NMPA waited months, despite multiple written requests by Spotify for details, which they never bothered to answer, to report these episodes only further emphasizes that this is a press stunt. Platforms like Spotify, which are home to millions of pieces of UGC content, regularly receive takedown requests, and, as always, we will act promptly and, where appropriate, remove the episodes in question.”

Spotify confirmed it had since received the list of URLs from the NMPA and is investigating the takedown requests; the initial hundred or so include shows from The New York Times, Slate and iHeart.

Capitol Records artist Christian Hayes made his Grand Ole Opry debut on Saturday night (Feb. 1.)

Hayes took the hallowed stage donning a Schott leather jacket designed by Dixon and Jack embroidered with artwork inspired by his debut EP, Last I Love You and inscripted with his nickname “The Lullaby Kid,” and performed two songs: “Home Sweet Home” and “LILY.”

“LILY” (an acronym for “Last I Love You”) struck a chord with listeners and became a viral hit, with global streams past the six million mark. Last I Love You fuses Americana and folk while bouncing between campfire ballads, cinematic soundscapes and rowdy barn-burners. A veteran of the US Navy Reserve, Hayes began applying the discipline of his military training to his work as a songwriter, amassing more than 900 original songs by his mid-twenties. Five of those songs appear on Last I Love You.