Industry News Courtesy Of Hypbot                   

Bandsintown Brings Concert Listings To Apple Watch 

bandsintown apple watchApple Watch mania is in full swing and like app based companies, the smarter ones in music tech are jumping on the bandwagon with apps for the Apple wearable. Today Bandsintown joined Pandora, iHeartRadio, Shazam, TuneIn and a handful of other music related Apple Watch apps.

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Bandsintown ha become on of the first first music apps to implement the Apple Watch iOS SDK with WatchKit, which allows developers to build bite-size notifications into a customizable user interface that syncs with their iPhone.

bandsintown Apple Watch

When users install Bandsintown on their iPhone, their ‘Just Announced’ show notifications will automatically be pushed to their always-on Apple Watch where they can take action right from their wrist. Concert-goers can indicate if they’re “Going” , “Interested” to RSVP or “Dismiss”.

Bandsintown Apple Watch users can also glance at their wrist to see the most popular show happening tonight near the users’ location. This notification will change each day highlighting the hottest local show. There's also a list of the most popular concerts of the day in the users’ city. 

Last year, Bandsintown launched an Android Wear app.

How To Create A Facebook Event Invite People Will Actually RSVP 'Yes' To 

EmptyhouseGetting the word out about your upcoming show has never been easier thanks to social media... right? Standing out from the crowd of event invites and promotions is tough, but not impossible.

                                                                                   

Guest Post by Hugh McIntyre on Sonicbids Blog

While sites like Facebook certainly have provided plenty of bands with smaller fanbases and limited resources with a new way to share show dates, they've also given the everyday person one more thing to check, and frankly, people already have too many messages coming at them from every direction and on every platform possible. 

Here are four tips to make your event invite as attractive as possible in the hopes that it'll convince more people to attend your show.

1. Post a reminder

This is one thing that people so often overlook, and it could completely change your head count at your show or event. Whenever you want large numbers of people to do something, it's very important to step outside of what you know, what you like, and how you think, and to put yourself in the shoes of others. Even if you're in the spotlight at a concert, it doesn't mean it's all about you.

Posting a reminder on your Facebook event page is incredibly important, as everybody has too much going on these days, and it's easy for an engagement to slip, especially if it was already something that a person was only half-considering going to. It isn't difficult to get your close friends and core fans out to shows, but what about those who might only attend if they happen to have the time, the money, and they know about the upcoming concert? They're who you're really trying to prod into purchasing tickets.

Gently reminding people that the show is coming up or that tickets are almost sold out isn't obnoxious as long as you only do it once or twice, and you keep things short and sweet.

2. Include all relevant information for planning purposes

This may sound pretty obvious, but we've all run into invites that are missing some crucial piece of information, whether we realize it from the beginning or when it's too late. I've personally seen this quite a bit coming from bands and promoters, which is a shame, as it likely deters some fans from checking out a show. Make an extensive checklist, and go through it every time you make a Facebook event, as there are plenty of items you might not think of each and every time.

Facebook-inc-news-feedDetails like location, beginning and ending times, and your fellow bands are all pretty much a given (though I've seen all three of these missing from events in the past), but what about everything else? Is there parking at the venue? Is the show 21+? Is there a happy hour? Do they have a policy about people bringing in bags or wearing baseball hats? These details are the ones that people rarely think to share (or even ask about), but if fans buy tickets and then drive all the way to your show only to become too frustrated looking for parking to actually attend, they'll remember that next time.

Also, make sure you include everything someone would need to know to attend when you send the invite out. If you don't have some bit of info (set time, parking situation, etc.), try to hold off on inviting your fans until later if you can. There are going to be plenty of people who only look at the event once, and if something is missing, they may not see your update, and this could affect turnout.

3. Provide a real description

Facebook provides you with plenty of room to describe your event, so take advantage of it! You should utilize this area to share all relevant details about your show, the venue, and the other bands on the bill. Talk a bit about how the tour is going or share a funny tidbit about the first time you met the guitarist of the band opening for you. This makes the event personable and helps separate it from the hundreds of other invites people get. While your description should be full of much-needed stats and details, have some fun with it, too!

4. Add images

While Facebook doesn't let you play around with fonts or colors, you can make your show event invite stand out even further by adding an image to it. You could take the traditional route and use an image of your band – which isn't necessarily a bad idea – or you can go a little crazy and find another image that accurately represents your band. Maybe you all love a certain internet meme or television show, or maybe there's an inside joke with your fans that you could incorporate. Try not to make it too far out there, but anything eye-catching is going to be helpful here. 

Need more help actually getting people to come to your shows? Check out this article!

Hugh McIntyre is a freelance pop music journalist in NYC by way of Boston. He has written forBillboardThe Hollywood Reporter, and MTV, as well as various magazines and blogs around the world. He is also the founder and editor-in-chief of the blog Pop! Bang! Boom! which is dedicated to the genre of pop in all of its glory.

7 Tips For A Successful PledgeMusic Campaign 

Tab_widthBarney has seen the PledgeMusic experience from all sides. Not only is he a valuable part of the PledgeMusic team, but he’s also a member of UK reggae rockers Sonic Boom Six. This means he’s uniquely suited to provide this helpful list of tips for a successful PledgeMusic campaign.

                                                                                   

Guest Post from Pledge Music News

PledgeMusic sees hundreds of direct-to-fan campaigns a year on the platform, many of them from internationally renowned artists like Erasure, Bring Me The Horizon and Smashing Pumpkins. But there are also just as many emerging, unsigned and smaller bands coming in and smashing their targets by running well-planned and engaging campaigns. Having run campaigns from both sides of the desk – as a band and as a campaign manager – here are my seven tips to ensure that your project is a success.

PLAN YOUR CAMPAIGN

The most important period of a campaign comes before you press ‘launch’ on the project. Meticulous preparation is essential. Make sure that your numbers add up, that you have enough time to deliver your material, and all the possibilities are considered, including artwork, mastering and whatever else may come into play for your project. Remember to account for the production costs of your merchandise in the final figures. Ensure your profile has the images, links and music that you want to represent you and your exclusives.

The PledgeMusic staff will help you through every step of this process but ultimately, they can only work with what you provide them with. This is a partnership and, with proper planning, this platform is the greatest way to engage your fans you could imagine.

MAKE YOUR PITCH VIDEO A PRIORITY

Your video pitch is your first update and your chance to get the message out about your campaign. It’s the first port of call for visitors to your profile and will stay there for the whole project, so it’s worth getting right. Using programs like iMovie, it’s easier than ever to knock together a professionally captioned and edited video. An interview with you in a studio is the standard pitch –- and can really work -- but it’s also worth thinking outside of the box.

My band, Sonic Boom Six, chose to do a new, original acoustic song about our campaign and then we remixed it and offered that as a PledgeMusic-exclusive free download. Exit International did a hilarious video involving, exercise, sexual pandas and nudity. Land of the Giants did an outdoor pitch involving cucumbers, kidnapping, rolling hills and nudity. You’d certainly be forgiven for thinking nudity is the common denominator for PledgeMusic success, but I can assure you that the key is anything that’s going to get shared on social networks, which will push your campaign beyond your immediate fans and as far as it can go.

 

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Exit International. Quality purveyors of exercise, sexual pandas and nudity. 

ALWAYS KEEP YOUR PLEDGERS UPDATED

This may seem obvious, but I’ve seen acts begin their campaigns with enthusiastic updates and then slow down as the campaign progresses, especially as they got towards, or past, their targets. This is a bad idea because a campaign doesn’t have to stop once you’ve reached your target. In fact, many campaigns thrive afterwards, as some fans choose to watch from afar and like to have confirmation that the release is a certainty to jump in.

It’s later in the campaign that the updates really come in handy. As more of the Pledgers engage with, and discuss, the latest update in your campaign on social media, the more the fans on the outside of PledgeMusic AccessPass begin to want in to see the updates that they’ve missed. It’s only by building the library of updates across the whole campaign that you can make the currency of your updates a vital part of the fan experience.

THE PERSONAL TOUCH WORKS

It’s a part of the culture of a PledgeMusic campaign that the artist and the fans are united in the creative journey, so don’t be afraid of climbing off the stage and addressing fans personally. Fans will join a campaign if they get closer proximity to an artist, and you see the best results when you approach communicating with your Pledgers with a positive honesty rather than Rock ‘n’ Roll aloofness.

Being a relatively new concept, it’s only natural that some artists feel uncomfortable with the idea of direct-to-fan pre-order campaigns, so they may attempt to distance themselves from the projects. This is a bad idea. The most enthusiastic engagement from Pledgers -- the lifeblood of the campaigns -- comes when artists communicate personally with the people who are supporting them at the grassroots of their art.

USE CREATIVE EXCLUSIVES AND REACT TO DEMAND

Think long and hard about the personal, creative exclusives that you can provide, because these are the ones that really make the difference to the bottom line. An item like ‘your name in the credits’ will cost you nothing stock-wise, but get a hundred of them in your liner notes and they’re a great asset for your project, providing they’re reasonably priced.

 

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Offering guest vocals from your singer is an engaging, and outside the box, idea.

There are no hard and fast rules for what a person will or won’t pay for a creative exclusive like a cover version or a personalised song, but you’ll need to be adaptable. Once the campaign is launched, be ready to listen to the feedback of your audience on comments and social media and don’t be abashed about getting in touch with the staff at PledgeMusic to react to, and adjust, the pricing and exclusives in your project.

You’ve got the greatest market research of all – your fans – at your fingertips so use this resource and keep abreast of what does and doesn’t work for your unique fan base.

DON’T BE AFRAID OF GIVING AWAY DEMO TRACKS

With the ever-changing face of the music industry, and ongoing debate about downloading and streaming, fear of the dreaded studio ‘leak’ persists, so artists can be wary about the idea of having demos bouncing about the web. However, as artists, instead of worrying about our music getting out there, we’d do better served shift the goalposts of our expectations and use sites like PledgeMusic to engage our audience with demos, remixes and outtakes.

If anyone’s enough of a fan to listen to a demo, they’re also going to be enough of a fan to want to contribute to your projects, and you can always set to stream rather than download if that’s your preference. Don’t worry about little things like having tracks playing in the background during your updates -- in fact, use them to whet the Pledger’s appetites. Your fans will feel privileged to hear your works in progress. Think of it as getting them excited for the album they’ve already pre-ordered rather than satiated for one they won’t.

RELAX, BELIEVE IN YOUR MUSIC AND ENJOY THE CAMPAIGN

I know, from experience and from talking to artists that a PledgeMusic campaign can be a daunting proposition. Putting together a host of exclusives, crunching the numbers and figuring out the calendar and schedule are tricky propositions for most artists, with a lot of responsibility assumed. But when I speak to artists after a campaign, without fail, they say that if they’d have known how well it was going to have worked from the start, they’d have concentrated on enjoying the process rather than worrying about the outcome.

Remember that nine out of ten of our sign-ups achieve their intended target, so if you’ve set a sensible target – which PledgeMusic campaign managers will help you with – and followed the advice above to the letter, chances are you and your awesome music will smash your targets, utilise the platform to its fullest and get the most out of your next release.

Music Advertising Moves Outdoors In LA and NYC 

Your-Ad-HereLately, we have been conversing a lot about online advertising and its ever changing digital trends, so today’s topic is on outdoor advertising – What works and what are the most cost-effective outdoor advertising strategies in the Los Angeles and New York urban markets.

                                                                              

Guest Post by Kim Pham and Jasmine Nguyen on Dash Two Blog

In short:

For LA, snipe posters, 8-sheet posters and benches are the most effective methods.  Reasons being that LA residents and commuters have longer commute time in their cars and on public transportations.  For NY, snipes and dioramas are highly recommended due to the longer times residents spend in public transit and walking.  The listed methods are our personal recommendations based on cost-effectiveness and budgeting, however attached is a deck of our full outdoor advertising services along with picture examples:

Outdoor-options

Our Recommendations: (To view our full deck, go here: http://flyt.it/OutdoorDeck) 

·         Snipe posters, 8-sheet posters, and benches for LA market

·         Snipe posters and Dioramas for NY market

1.    Snipe posters (NY & LA):

Snipe posters are street advertisements that are posted along the streets in pairs of 2-6 posters.  These posters are considered aggressive, unorthodox, youthful, and take form of guerilla marketing. The aim is to obtain maximum exposure while avoiding the fixed, commercial look of regular billboards.

2.    Eight-sheet posters (LA):

These eight-sheet posters are able to take place on smaller structures in high traffic areas.  They are typically located on primary and secondary traffic zones to optimize on vehicular traffic and pedestrians.  Designed to be mass produced and posted in multiple locations, they can flood the market all at once and increase your branding exposure in short turnover time.

3.    Benches (LA) 

Public benches are a great advertising medium because of its cost-effectiveness.  In addition, there is the opportunity to target benches demographically – reaching the right people in the right places. Geo-targeting can be very valuable to campaigns that want to reach certain groups within the local community. Moreover, public benches have the ability to grab attention of a variety of people on the go and at all hours of the day.

5.    Dioramas (NY):

Dioramas are considered transit advertisements.  They take place in subways, station platforms, airports, etc.  Dioramas work well in urban areas because of its ability to reach business professionals, the general public, and commuters in a captive setting.  Dioramas are highly effective in high public commuter areas such as downtown centers.

 

Sony Music Defeats "Iron Man" Composer's Lawsuit (For Now) 

Screen Shot 2015-02-25 at 2.23.10 PMA New York Federal Courts' recent decision concerning a "work for hire" determination could prove controversial. The Court's ruling involved "Iron Man", a rapper from the Wu-Tang Clan and a music composer working in television back in the 1960s.
 
                                                                                                              
 
Guest Post by Wallace Collins on Entertainment Industry Law Issues

Federal Court Judge Naomi Buchwald granted summary judgment to defendant Sony Music over plaintiff' Jack Urbont's claims the artist "Ghostface Killah" sampled the "Iron Man Theme" on two tracks of the rapper's second album, "Supreme Clientele.". In ruling in Sony's favor, the Judge examined how Marvel's Stan Lee had set up Urbont to create music for a certain the 1960s television show. She determined that Urbont contributed his materials as a "work made for hire," meaning that Marvel really owns the work and Urbont had no standing to claim an illegal sample. Sony is the beneficiary of this determination, but the opinion steps on controversial territory and might set off a flurry of amicus briefs should Urbont take the matter to a higher authority.

According to The Hollywood Reporter and Billboard, in the 1960s and 1970s, the House of Marvel operated in a loose collaborative working group environment known as the "Marvel Method." In part because of a lack of documentation around the time, there's been many subsequent fights over intellectual property rights. For instance, Marvel fought for years with "Ghost Rider"creator Gary Friedrich and they battled Jack Kirby when the comic book legend attempted to terminate a copyright grant. In those disputes, the issue of whether the artists had created their works as "made for hire" was closely examined, and in the Kirby case, judges applied what is known as the "instance and expense" test, or what happens when the "employer induces the creation of the work and has the right to direct and supervise the manner in which the work is carried out."

Last September, Marvel settled with Kirby just days before the U.S. Supreme Court was scheduled to discuss whether to grant a review. The high court sent out signals that it was indeed interested in picking up this case, and when that happened, there was a flurry of amicus briefs from intellectual property scholars and Hollywood labor guilds arguing a "critically important case" where Judges overseeing the Kirby dispute had applied the wrong standard when looking at commissioned works.

Judge Buchwald's decision over the "Iron Man Theme" raises the prospect of reviving this debate -- although there are wrinkles here that could arguably make it even moreimportant. In coming to her conclusion, the judge addresses Urbont's situation back in the '60s. Urbont, whose later musical work includes That 70's ShowOprah, 20/20 and The View, wasn't familiar back then with Marvel superheroes before getting in touch with Lee by a mutual friend. The composer wished to create songs for Marvel Super Heroes, and after reviewing comic books, he absorbed the nature of the characters and composed a theme and presented it to Lee's approval. After the songs were accepted, he received $3,000, which he used to record the music including the "Iron Man Theme."
There was no written agreement at the time, and Urbont didn't initially get royalties, but he was issued a certificate of registration. In the 1990s, he sued Marvel for unauthorized use of the theme and came to a settlement agreement, which referred to Urbont as the "owner" and Marvel as the "licensee."

1384834243000-sony-logoSony wasn't a party to Marvel's relationship with Urbont, and yet the judge allows the music company to challenge ownership anyway. As Urbont's lawyer put it in a motion brief, "It is outrageous for Sony to claim that the Works are works for hire, when the supposed employer does not itself claim that the Works are works for hire."

Nevertheless, the judge gives Sony standing to argue that "Iron Man Theme" is a work for hire, and once she does, Buchwald applies the same "instance and expense" test that became the focus of an attempted Supreme Court review in the Kirby case. She liberally quotes the 2nd Circuit's language in Kirby in guiding her analysis.

Eventually, she concludes that "the Iron Man Composition was created at Marvel’s instance because it was developed to Marvel’s specifications and for Marvel’s approval. As in the Kirby case, Urbont’s compositions 'were hardly self-directed projects in which he hoped Marvel, as one of several potential publishers, might have an interest...'" She writes that Marvel retained a right to direct Urbont's work and that the composition "was created at Marvel’s expense because Urbont was paid the fixed sum of $3,000 for his work."

This decision could prompt an appellate review -- a motion for reconsideration might be the first step --on the same grounds as the Kirby case, but there's something of further interest here too. As Urbont's briefs to the judge stress, Sony is not the employer and there's no cited cases where "a third party infringer seek[s] a finding that a particular work is a work made for hire when there is no dispute between the supposed contractor and author." Another difference between Urbont and Kirby?
"In Kirby, plaintiff could offer no testimony regarding the understanding of the parties because the plaintiff was deceased," Urbont's lawyers wrote. "In this case, Urbont is able to testify and has testified to a contemporaneous understanding with the producers of the television series that he owned the Works."

In other words, Urbont at least wants the treatment that Friedrich got when the 2nd Circuit vacated a summary judgment ruling and ruled there were triable issues. Judge Buchwald doesn't seem to think it matters what Marvel and Urbont called the working relationship, or how the settlement agreement referred to Urbont as the "owner." She says that a settlement doesn't really mean that Marvel conceded that Urbont was the owner, and further "case law within the copyright infringement context affirms that a licensing or settlement agreement should not supplant a court’s independent determination of copyright ownership." So, as a result of Judge Buchwald's ruling, Marvel seems to be the owner of the "Iron Man Theme" - and didn't even ask for it.

Wallace Collins is an entertainment and intellectual property lawyer based in New York with more than 30 years of experience. He was a recording artist for Epic Records before receiving his law degree from Fordham Law School. Tel: (212) 661-3656;  www.wallacecollins.com 
 
 

The 3 Step No B.S. Guide To Marketing Your Music 

UnknownMarketing is not the same as it once was. Times are changing in the digital world. Check out this article to figure out how to navigate those uncertain waters.  

                                                                                              

There was once a time where digital marketing was simple. You posted a few pictures on Facebook. You replied to followers on twitter. You posted videos on YouTube. Things are a lot more complex. Social media sites now make complicated algorithms so that you don't even see all of the hard work marketers put into those crafted posts, tweets and videos. Thankfully, William Tait gives a detailed guide on how to market your brand and shares practical action steps you can take to achieve better results.

Marketing to the abyss is a difficult. The key to marketing digitally involves connecting with people in the real world. Find a seed group of fans and use them to be the base of sharing things across digital platforms. Check out William Tait's article on MusicThinkTank and comment below on what you think of his suggestions. Have you tried them? Have they worked? We want to know what you think! 

"For example, prior to the explosion of PSY’s Gangam Style, celebrities were approached by Scooter Braun to help promote it. They uploaded videos of them doing that funny dance and that shit exploded. The celebrities were enamored by the craftsmanship of PSY. Focus on your material by being objective. Can what I put out stand the test of time? Would this be enjoyed by people 100 years from now? "

[Continue Reading]

 

Grooveshark Universal Music Fines Could Top $736 Million, Judge Rules 

groovesharkGrooveshark has always seemed to have nine lives. Despite multiple lawsuits, app takedowns and a whole lot of bad press, Grooveshark has continued to deliver free streaming music to a significant user base.  Their luck may have finally run out.

In the lawsuit of UMG v. Escape Media, Grooveshark's parent company, the judge has set the range of statutory damages. On Monday, the jury will be instructed that the maximum statutory Groovesharkdamage is $150,000 per infringed work rather than the usual $30,000 because the infringements were willful.

Minimum Due From Grooveshark & Founders: $3.7 Million

With 4907 tracks ruled infringing, the minimum total damages that can be awarded is $3,680,250 and the maximum is $736,050,000, according to the judge.

"Escape was directly liable for the infringing uploads of its employees, because the record included uncontroverted evidence that defendants instructed their employees to upload copyright protected music onto Grooveshark,"  the judge wrote in his decision. "The court also found that defendants Tarantino and Greenberg-the co-founders of Grooveshark-were jointly and severally liable for Escape's infringement, and were also liable for direct infringement based on their own infringing uploads."

Read the full ruling via Recording Industry vs The People.

Paul McCartney, Adele Top UK Richest Musicians Lists 

mccartneyPaul McCartney has topped the Sunday Times richest musicians in the UK and Ireland list after adding an estimated $30 million to his net worth from last year.  Adele topped the list of UK musicians under 30.

Sunday Times List of Richest Musicians from Britain and Ireland

= means tied

1. Sir Paul McCartney & wife Nancy Shevell (£730m)
2. Lord Lloyd-Webber (£650m)
3. U2 (£431m)
4. Sir Elton John (£270m)
5. Sir Mick Jagger (£225m)
6. Keith Richards (£210m)
7. Michael Flatley (£195m)
8=. Ringo Starr (£180m)
8=. Sting (£180m)
10. Roger Waters (£160m)
11. Eric Clapton (£155m)
12=. Sir Tom Jones (£150m)
12=. Sir Tim Rice (£150m)
12=. Rod Stewart (£150m)
15=. David Bowie and Iman Abdulmajid (£135m)
15=. Robbie Williams (£135m)
17. Ozzy and Sharon Osbourne (£130m)
18=. Phil Collins (£110m)
18=. Brian May (£110m)
18=. Charlie Watts (£110m)
21=. George Michael (£105m)
21=. Roger Taylor (£105m)
23=. Jimmy Page (£100m)
23=. Robert Plant (£100m)
25=. Enya (£90m)
25=. David Gilmour (£90m)
27. John Deacon (£85m)
28. Noel and Liam Gallagher (£77m)
29. Nick Mason (£75m)
30=. Calvin Harris (£70m)
30=. Mark Knopfler (£70m)
30=. Pete Townshend (£70m)
33=. Gary Barlow (£65m)
33=. Engelbert Humperdinck (£65m)
35=. Barry Gibb (£60m)
35=. John Paul Jones (£60m)
37=. Kylie Minogue (£55m)
37=. Sir Cliff Richard (£55m)
39=. Guy Berryman (£52m)
39=. Jonny Buckland (£52m)
39=. Will Champion (£52m)
39=. Chris Martin (£52m)

Sunday Times Rich List of Musicians Under 30

1. Adele (£50m)
2=. Niall Horan (£25m)
2=. Zayn Malik (£25m)
2=. Liam Payne (£25m)
2=. Harry Styles (£25m)
2=. Louis Tomlinson (£25m)
7. Ed Sheeran (£20m)
8=. Ellie Goulding (£13m)
8=. Jessie J (£13m)
8=. Leona Lewis (£13m)
8=. Katie Melua (£13m)
8=. Marcus Mumford and Carey Mulligan (£13m)
8=. Alex Turner (£13m)
14=. Jamie Cook and Katie Downes (£12m)
14=. Sam Smith (£12m)
14=. Florence Welch (£12m)
17=. Matt Helders (£10m)
17=. Olly Murs (£10m)
17=. Nick O'Malley (£10m)
20. Marvin and Rochelle Humes (£9m)

 

Major Concert Competitor Global Live Launches, Announces Hires 

randy phiilipsConcert promotion giants Live Nation, SFX and AEG just got some new competition.  Global Live helmed by former AEG CEO Randy Phillips (pictured left) has big ambitions and deep pockets. 

Global Live, the new division of Ashley Tabor’s UK-based Global Entertainment, has formally launched.

Helmed by former AEG CEO Randy Phillips, Global Live is positioned as a ‘360’ company, offering services that include label, publishing, artist management, event promotion, branding, sponsorships and marketing.

global ent logo"Having built AEG Live from the ground up with some really gifted executives, I know what it takes to build a live entertainment company. Global is well positioned to do this again in the year 2015, and the industry is anxious for another professional, well resourced, financially stable live promotion company to enter the market. As a new company, whose only mandate is not to be constrained by legacy and to focus on presenting great talent on stages around the world, we are able to independently promote and/or work with partners on a project-by-project basis," Randy Phillips said in a press statement.

With their launch, the company announced the hiring of longtime Bon Jovi manager Paul Korzilius, who will serve as senior vice president of the company.

Billboard reported on Korzilius's long relationship with Phillips, noting that Phillips played a significant role in bringing Bon Jovi into the AEG Live fold, with AEG producing four major tours that have grossed almost a billion dollars.

Global Live is hitting the ground running with a stake in the Rolling Stones' upcoming July 4th show at the Indianapolis Motor Speedway on July 4th with Global Live co-promoting the event in conjunction with AEG Live, Randy Phillip's former firm.

Other hires include Sam Bush, who joins Global Live from AEG UK, where he served as Director of Live Music, overseeing festivals such as British Summer Time, as well as playing a significant role in the touring careers of artists such as Selena Gomez and The Vamps.

Ned Collett will advising Global Live in a consulting role. He previously served in senior executive roles at BASE Entertainment, FDR Management and Pure Management Group, as well as executive vice president of North American Venues for Live Nation.

Global Live's first tour will be the Vamps UK Arena tour, which they are co-promoting with AEG Live.

via CelebrityAccess

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