A good place to get started is our Beginner’s Guide to Threads for Musicians.

The Twitter/X competitor launched in July 2023, reached 150 million users in April 2024, then 175 million in July before adding 50 million more active users in July alone. By comparison, Twitter/X had more than 600 million monthly users in May, according to owner Elon Musk, but that number seems to be declining.

After a mixed launch, Threads tools for creators are improving.

“Since launch, we’ve been consistently evolving Threads to address the biggest pain points people face, working to get you relevant posts in real-time and empower you to share your best content,” Meta said in a blog post.

What’s new

• new Threads web features include analytics (“insights)
• multiple drafts
• scheduling functions to make it easier to plan content and connect with new and existing audiences

Insight and Drafts are already rolling out, and scheduling is in the testing phase. All features will be available first on the Threads web platform.

Bruce Houghton is the Founder and Editor of Hypebot, a Senior Advisor at Bandsintown, President of the Skyline Artists Agency, and a Berklee College Of Music professor.

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According to the official release, “By merging these divisions, blending the business and recreating the formula, ROC Nation Distribution will sign up any artist at any time to allow creatives to avail themselves of technology, music business expertise, and freedom. ROC Nation Distribution is a hybrid offering a unique blend of services. Artists who partner with ROC Nation Distribution are independent, retain ownership of their masters, and maintain creative control of their art. Artists also receive data analytics from a proprietary dashboard and have the ability to opt into various services across the company. We will sign all artists in all genres around the world.”

The release adds, “Roc Nation was founded with an independent spirit and an artist-first mentality. The formation of ROC Nation Distribution is a natural transition in the music space. The mission is to support and empower independent artists while providing them the tools and services to distribute their music. All artists signed to Roc Nation Label will join and benefit from the new ROC Nation Distribution structure.”

Equity Distribution, established in 2019 under the leadership of president Krystian Santini, has worked with independent artists who wish to retain ownership of their masters. The platform offers a range of services, including in-house marketing and publishing administration. Notable collaborations include work with artists like Mach-Hommy and Tinashe and bringing Jay-Z’s 1996 debut album Reasonable Doubt to streaming services in 2019.

Billboard reports that as part of the merger, Shari Bryant has stepped down as co-president of Roc Nation’s record label.

Bryant shared her farewell on Instagram, reflecting on her journey with Roc Nation. “From where it started (sitting in my cubicle @ Rocafella Records), to ending my 5-year tenure as Co-President of RocNation Label. It’s bittersweet, but as I often say, you have to Do It Scared. Onward and upward, and as always…More To Come,” she wrote.

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Based in Montreal, Canada, Melko Ross will spearhead Outback Presents’ Canadian operations and drive the company’s international business development and expansion strategy. Her extensive experience and strategic vision will be instrumental as Outback Presents continues to grow its global footprint.

“Everyone at Outback Presents is excited to have Christine join the team,” says Outback Presents Co-CEO Michael Smardak. “Her extensive achievements and experience in comedy will be invaluable to our global growth. We are very proud to have her join us.”

“I am very excited to work with Mike Smardak, Brian Dorfman and the entire team at Outback,” adds Melko Ross. “They have built an amazing roster of successful touring talent and have done a fabulous job at establishing themselves as the largest independent promoter in North America. Together, we will strive to elevate Outback to the global stage. We cherish similar values in ensuring a great audience and artist experience, and I can’t wait to get started!”

Melko Ross has over 35 years of experience producing and promoting thousands of comedy and music shows. For the past 23 years, she has been an integral part of the Just For Laughs Group, where she has worn many hats and left an indelible mark on the comedy landscape.

At Just For Laughs, Melko Ross was instrumental in running the renowned Montreal Festival, launching the Toronto Festival and creating the company’s highly successful Touring division. She’s worked with comedy giants like Jerry Seinfeld, Trevor Noah, Tom Segura, Hannah Gadsby, Bill Burr, Iliza Shlesinger, Sebastian Maniscalco, Rick Mercer, Jimmy Carr, John Cleese and Eric Idle, as well as unique events such as “The Simpsons: In the Flesh” (starring Matt Groening and the Simpsons cast) and “Ryan Reynolds, Maximum Effort, A Funny Conversation.”

Melko Ross’s influence extends beyond North America. She has produced and developed international festivals in Sydney, Bermuda, Mexico, London, Austin, and Chicago, often collaborating with major industry players.

Before joining Just For Laughs, Melko Ross honed her skills as the lead talent buyer for Donald K. Donald/Universal Concerts/House of Blues Concerts, booking numerous music shows and managing tours for high-profile artists like The Backstreet Boys and Leonard Cohen.

A native of Lansing, Illinois, and a graduate of Illinois Wesleyan University, Melko Ross began her career with Paulette Wolf Events & Entertainment in Chicago. Her diverse experience, including managing corporate hospitality for prestigious events like the Kentucky Derby, laid the foundation for her remarkable career in entertainment.

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Recent Sphere highlights include:

• Dead & Co. completed a successful 30-show residency in early August, while the Eagles residency begins in September and is slated for 20 shows after multiple extensions due to demand
• Afterlife presents Anyma ‘The End Of Genesys’ will be the first electronic dance music performance at the venue with 6 shows starting in late December
• The Sphere Experience featuring Postcard from Earth generated over one million dollars in average daily ticket sales on the days it ran during the fiscal fourth quarter
• In June, Sphere hosted its first corporate keynote event with Hewlett Packard Enterprise, as well as the NHL Draft, which was the first live television event broadcast from Sphere
• In September, Sphere will host UFC 306, the first live sports event at the venue.

During the fiscal 2024 fourth quarter, MSG Networks concluded full regular season coverage of its five NBA and NHL professional sports teams, followed by extensive programming around the New York Knicks, Rangers and Islanders postseason runs. This included telecasts of first-round playoff games, along with additional, comprehensive pre/post-game coverage of the Knicks, Rangers and Islanders playoff series across its linear and digital platforms.

For fiscal 2024, the Company reported revenues of $1,026.9 million, an increase of $453.1 million as compared to the prior year. In addition, the Company had an operating loss of $341.2 million, an increase of $68.2 million, and adjusted operating income of $80.7 million, an improvement of $203.3 million, both as compared to the prior year.

For the fiscal 2024 fourth quarter, the Company reported revenues of $273.4 million, an increase of $144.3 million as compared to the prior-year quarter. In addition, the Company reported an operating loss of $71.4 million, an increase of $1.0 million, and adjusted operating income of $25.7 million, an improvement of $85.5 million, both as compared to the prior-year quarter.

Executive Chairman and CEO James L. Dolan said, “Fiscal 2024 marked the opening of Sphere in Las Vegas and a new chapter for our Company. Sphere has already welcomed millions of guests, world-renowned artists and numerous global brands. We are confident that we are on the right path to execute our vision for this next-generation medium.”

Sphere
For the fiscal 2024 fourth quarter, the Sphere segment reported revenues of $151.2 million, an increase of $150.5 million, as compared to the prior-year quarter. Revenues related to The Sphere Experience were $74.5 million across 208 performances during the quarter.  Event-related revenues were $58.4 million, which reflected revenues from concerts, as well as a multi-day corporate takeover and marquee sporting event held at Sphere in Las Vegas during the quarter. In addition, revenues from sponsorship, signage, Exosphere advertising and suite license fees were $15.9 million, primarily reflecting advertising campaigns on the venue’s Exosphere and, to a lesser extent, suite license fee revenues.

For the fiscal 2024 fourth quarter, the Sphere segment had direct operating expenses of $67.9 million, compared to $1.1 million in the prior year quarter. This primarily included $22.2 million of event-related expenses and $22.1 million of expenses associated with The Sphere Experience during the quarter. In addition, direct operating expenses included $16.8 million of venue operating costs, as well as $2.1 million in expenses associated with sponsorship, signage, Exosphere advertising and suite license fee revenues.

Fiscal 2024 fourth quarter selling, general and administrative expenses of $102.1 million increased $11.8 million, or 13%, as compared to the prior year quarter, primarily due to higher employee compensation and related benefits and, to a lesser extent, higher professional fees. The overall increase was partially offset by the absence of certain corporate expenses that were included in the results of the prior year’s fourth quarter for the pre-spin period (April 1, 2023, to April 20, 2023) but were not included in the results for the fiscal 2024 fourth quarter. While the Company did not incur these costs after the spin-off of MSG Entertainment, which occurred on April 20, 2023, and does not expect to incur these costs in future periods, they did not meet the criteria for inclusion in discontinued operations in the prior-year quarter. In addition, the overall increase was partially offset by other net cost decreases.

Fiscal 2024 fourth-quarter operating loss of $104.5 million increased by $9.3 million, as compared to the prior year quarter, primarily reflecting higher depreciation and amortization, direct operating expenses and, to a lesser extent, selling, general and administrative expenses (including merger and acquisition-related costs, net of insurance recoveries and share-based compensation expense), as well as impairment and other losses, net, partially offset by the increase in revenues. Adjusted operating loss of $5.5 million improved by $84.9 million, as compared to the prior year quarter, primarily reflecting the increase in revenues, partially offset by higher direct operating expenses.

MSG Networks
For the fiscal 2024 fourth quarter, the MSG Networks segment reported total revenues of $122.2 million, a decrease of $6.2 million, or 5%, as compared to the prior-year quarter.

Distribution revenue decreased $9.2 million, primarily due to a decrease in total subscribers of approximately 13%, partially offset by the impact of higher affiliation rates.

As a result of the launch of MSG+ in June 2023, distribution revenue now includes affiliation fee revenue earned from MSG Networks’ distributors for the right to carry the Company’s networks as well as revenue earned from subscriptions and single-game purchases on MSG+. In addition, total subscribers include affiliate subscribers as well as monthly and annual subscribers of MSG+.

Advertising revenue increased by $3.0 million, as compared to the prior year’s quarter, primarily due to higher average per-game advertising sales related to the regular season and postseason game telecasts on the linear networks and higher advertising revenue related to MSG+.

Fiscal 2024 fourth quarter direct operating expenses of $81.6 million increased $0.1 million as compared to the prior-year quarter. Other programming and production costs increased $0.3 million, as compared to the prior year quarter, primarily due to the impact of MSG+ in the current year quarter, partially offset by other net cost decreases. In addition, rights fees expenses decreased $0.3 million, as compared to the prior year quarter, primarily due to reductions resulting from fewer NBA and NHL games made available to MSG Networks for exclusive broadcast and other rights fee decreases, partially offset by the impact of annual contractual rate increases.

Fiscal 2024 fourth quarter selling, general and administrative expenses of $4.9 million decreased $14.4 million, or 74%, as compared to the prior-year quarter. This decrease was primarily due to lower professional fees of $8.5 million, mainly reflecting litigation-related insurance recoveries in the current year quarter and a decrease in litigation-related expenses, both associated with the merger of a subsidiary of the Company with MSG Networks Inc. In addition, employee compensation and related benefits (including share-based compensation) decreased by $4.8 million.

Fiscal 2024 fourth quarter operating income of $33.2 million increased $8.3 million, or 33%, as compared to the prior year quarter, primarily due to the decrease in selling, general and administrative expenses (including insurance recoveries, net of merger and acquisition-related costs), partially offset by the decrease in revenues. Adjusted operating income of $31.1 million increased $0.6 million, or 2%, as compared to the prior year quarter, primarily due to the decrease in selling, general and administrative expenses (excluding insurance recoveries, net of merger and acquisition-related costs), partially offset by the decrease in revenues.

Other Matters
As of June 30, 2024, MSG Networks had approximately $849.8 million of principal debt outstanding under its credit facilities, which mature on October 11, 2024. This debt is recourse only to MSG Networks. The Company had been in discussions with MSG Networks’ existing syndicate of lenders regarding a potential refinancing of these facilities. As of today’s date, MSG Networks has not been able to finalize a refinancing. Consequently, MSG Networks has decided to pursue refinancing through a work-out with its existing syndicate of lenders and has hired advisors to assist it with the process.

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One of the report’s most significant consequences has been superstar Billie Eilish’s departure from Wasserman’s client roster. Eilish and her brother Finneas have signed with William Morris Endeavor (WME), a rival talent agency. WME had already been handling the pair’s film and TV bookings since January 2023. In a statement to Billboard, WME said they are “thrilled to build upon our work together as they continue to grow and expand in their multifaceted careers in film, TV and touring.”

Eilish, known for hits like “Happier Than Ever,” “Ocean Eyes,” “Bad Guy,” “Birds of a Feather,” and more, reportedly decided to leave after being included in the Daily Mail report, which labeled Wasserman a “serial cheater” and mentioned his role in managing careers like hers and Coldplay’s.

Sources close to Eilish revealed that she had limited interaction with Wasserman himself. Her primary agents were Tom Windish and later Sara Bollwinkel, both of whom initially worked with her at Paradigm Talent Agency before it was acquired by Wasserman’s company in 2021. Her team also included UK agent Mike Malak. Bollwinkel and Malak also repped Finneas for his solo career.

Eilish and her team were reportedly “horrified” by their association with the scandal, prompting the swift move to WME. “While grateful to their former live booking agents at Wasserman, Billie Eilish and Finneas O’Connell have opted to have film, TV, and music handled by the same agency, WME, moving forward,” a spokesperson for Eilish told Variety.

The fallout from the report has also raised concerns within the LA28 organization, a nonprofit responsible for organizing the Los Angeles Olympics. The report specifically mentioned Patricia Feau, a former assistant to NBCUniversal executive Ron Meyer, as one of the employees who allegedly had an affair with Wasserman. Feau, who now serves as Vice President of Host City Relations for LA28, denied the allegations to the Daily Mail. According to sources, Feau, who volunteered during LA’s Olympic bidding process, was later hired as a full-time staffer along with two other Wasserman employees after the city secured the Olympic bid. Their compensation was reportedly reviewed and approved by the LA28 Board of Directors. Per the Daily Mail, Feau earns $350,000 a year.

A spokesperson for LA28 confirmed that the organization would not be conducting an internal investigation into the allegations. Wasserman has not commented on the matter. Known for maintaining a low profile, Wasserman has recently been more visible, attending high-profile events like the Met Gala in May and hosting a lavish 50th birthday party at Santa Monica’s Barker Hangar.

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To coincide with the launch of the new subscription tier, UnitedMasters is launching an independent artist challenge. The challenge invites US-based artists using UnitedMasters to submit tracks for a chance to win a grand prize valued at $250,000. The comprehensive prize package includes an artist partner deal with A&R and marketing funds, a coveted performance slot at SELECTCON 2024 in New York, a full-scale artist development and marketing action plan, and access to UnitedMasters’ full-service music team for support. The winner will join UnitedMasters’ elite Partner roster, gaining valuable resources and exposure to help propel their music career to new heights.

The “Make Your Debut” Challenge invites US-based artists using UnitedMasters to submit tracks for a chance to win the grand prize and join UnitedMasters’ elite Partner roster.

To be considered for the challenge, artists must:

• Be based in the US
• Be a DEBUT+ or SELECT member
• Release a track via UM after June 1st, 2024
• Post on IG or TikTok with their sound
• Tag @unitedmasters and add the official challenge hashtag #debutcontest
• Complete the submission form on our challenge page

“Making it in music has never been more possible for independent artists, but it still requires the right partner. UnitedMasters presents the most compelling offering for independent artists in any genre at every stage of their careers,” said Steve Stoute, Founder and CEO. “With DEBUT+ and the Make Your Debut Challenge, we’re welcoming the next wave of independent artists into our ecosystem and empowering them with the technology, education, and growth opportunities to launch sustainable careers on their terms.”

The introduction of the DEBUT+ tier also builds on UnitedMasters’ reputation for cultivating breakout independent stars like FloyyMenor, Tobe Nwigwe, and Earthgang and supplying upcoming artists with the services and guidance they need to get their art on all major streaming platforms at the start of their artist journey.

UnitedMasters continues to be the only platform that offers the right tools and an actual path for any artist with the drive, hustle, and talent to scale their careers as Texas rapper BigXThaPlug did, starting from 500 monthly listeners on Spotify to millions in streaming revenue per month and placements with the world’s biggest brands like the NFL and ESPN.

Beyond distribution, UnitedMasters offers the most comprehensive services for artists at every stage, directly helping grow fanbases and maximize earnings. DEBUT+ offers independent artists:

• Distribution to 50+ streaming platforms like Spotify, Apple Music, TikTok, Instagram, and more
• Unlimited music releases, going live in just five days
• Advanced streaming analytics and reporting
• Access to premium educational resources and personalized coaching powered by the expertise of UnitedMasters veteran music executives
• Powerful promotional tools like ArtistPages and MasterLinks
• The best app/mobile-first experience in distribution
• Quality support, fast pre-scheduled release options, and split payments with collaborators

With the introduction of this new tier, UnitedMasters makes this path even more accessible to emerging artists, empowering them to take control of their futures.

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According to TME, revenue fell slightly by 1.7% year-over-year to RMB7.16 billion (US$985 million), with results impacted by the poor performance of the company’s social entertainment operations.

At the same time, TME reported that net profit rose to RMB1.79 billion (US$247 million), representing a 33.1% year-over-year improvement over 2023.

Additionally, while overall monthly active users for TME’s music streaming services declined by 3.9% to 571 million during the quarter, the company’s tally of paying users rose by 17.7% during the period to 117 million.

As well, average revenue per user for TME’s online music offerings rose by 10.3% to 10.7 (RMB).

Despite the success of TME’s music streaming the company’s social entertainment segment weighed on 2Q results. According to TME, the company’s social entertainment and games segment shed 31.6% of its monthly active users during the second quarter while average revenue per user for the segment fell by 45.8% to 73.2 RMB.

Revenues from social entertainment services and others saw a sharp decrease, falling by 42.8% to RMB1.74 billion (US$239 million) from RMB3.04 billion year-over-year.

“We are pleased to report another quarter of robust results, driven by the strong performance of our online music services. With over 10 million net subscriber additions in the first half of 2024 and ARPPU expansion, we continue to break new grounds within China’s streaming landscape. We remain optimistic about the music industry’s long-term potential and are committed to sustainably achieving our mid- to long-term goals, at a healthy pace and with the right balance. This approach has been instrumental in the past as we effectively navigated across various development stages and changing external environments, and it will continue to fuel innovation and growth for the years to come,” stated TME Executive Chairman Cussion Pang.

“Our focus on user-centric innovation continued to pay off, as we have seen a steady increase in both online music subscribers and retention. This achievement is the result of further enriched membership benefits as well as unique streaming experiences delivered to a broader user base. We are delighted to see improved user loyalty on our platform, thanks to multi-faceted product and technological advancements that bring out increasingly engaging and entertaining music journey for each user,” added CEO Ross Liang.

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“I’m absolutely pumped; it’s gonna be a hell of a year! Wasserman has always felt like so much more than an agency,” shared Angie K. “They understand that we build communities and create safe spaces for our fans to come together and have a great time. It’s more than booking shows. It’s being intentional with where we go, who we serve and putting the fans first while having a blast doing it. There is no where I’d rather be and no one we would rather start this next chapter with than Nate Ritches and the team at Wasserman. See y’all on the road!”

“Angie’s diverse talent with broad appeal and potential excite us to see where her career will lead. We are honored and excited to be along for the ride, and thankful JR asked us if we wanted a seat at the Angie K table,” shared Ritches.

JR Schumann represents Angie K for management, Huskins-Harris for business management and Essential Broadcast Media for public relations.

Ritches continues, “Just as important as Angie’s artistry, she’s got a great team surrounding her vision and direction that only strengthened our decision to be in business together.”

The queer country artist first made her mark on Music City with a nod to her Latin roots when her first single, the bilingual “Real Talk,” catapulted her onto the country scene as a “Highway Find” on SiriusXM’s The Highway. The powerhouse vocalist just released a new track, “Death of Me.” It follows her recent release, “Red Dirt on Mars.”

Produced by acclaimed writer/producer and BMI Songwriter of the Year, Stephony Smith and co-written by Angie K, she explained the influence Smith had on her when it came to releasing “Death of Me” in a recent Holler Nashville Session sharing, “It’s a very vulnerable song, and I almost didn’t put in on the record, but I’m glad I did – just because of the stories I’ve heard of people relating to it.”

The 2023 CMT Next Women of Country artist has been in the studio working on her new music with Smith, who penned the smash hit “It’s Your Love” for Tim McGraw/Faith Hill and has received cuts from some of music’s biggest stars including The Chicks, Shania Twain, Barbara Streisand, Kenny Chesney, Terri Clark, Reba McEntire and more.

Angie K. was Born in El Salvador and raised in Georgia; her love for country music was nurtured from a young age. Her mother’s dedication, saving up to take her to the Grand Ole Opry, has come full circle as she prepares to make her Grand Ole Opry debut this Friday (August 16th), fulfilling a lifelong dream.

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This collaboration, led by Red Light’s managing partner and UK co-founder James Sandom and Starwood founder Robert Swerdlow, will see Starwood’s roster, including artists like Michael Kiwanuka, Wasia Project, and Stone, join the Red Light fold.

Robert Swerdlow shared his enthusiasm for the partnership, stating, “Right time, the right culture, the right global resources, but most of all, the right people. Team Starwood and Red Light is an incredible partnership. Our combined values and experience make for a brand-new force for good! We are thrilled to move into the next chapter with James, Coran and the team. We share exactly the same ambitions, and there is a real belief in our combined synergies.”

James Sandom emphasized the importance of this partnership, calling it “an exciting era for Red Light, both in the UK and globally.” He pointed out that Starwood’s philosophy closely aligns with Red Light’s values, and this collaboration is expected to strengthen both companies` positions in the industry.

Red Light founder Coran Capshaw also expressed his excitement about the partnership, praising Starwood’s track record in artist discovery and their blend of taste and ambition.

Red Light’s current client roster includes prominent names like Chris Stapleton, Odesza, Lionel Richie, and The Strokes.

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Goldsen said: “I joined the Warner Chappell A&R department over a decade ago, and it has given me so many opportunities to grow into this expanding role, all while staying true to writer and artist development. I’m very lucky and proud to work with the best writers and artists, and I look forward to continuing to build on the fantastic development we’ve seen recently. Thank you to Ryan [Press], Guy [Moot], and Carianne [Marshall] for their unwavering support and vision throughout the years.”

Press shared: “David has consistently proven his natural ability to discover and sign top talent. He has steadily built a star-studded roster and, in the past year alone, has brought in many of the artists and songwriters leading today’s charts. I’ve had the opportunity to work with him for over 15 years, and I’m proud of everything he’s accomplished on our team as an A&R executive and inspiring leader.”

Goldsen joined Warner Chappell in 2009 – and has spent more than a decade helping the company expand its efforts globally and sign and develop songwriters and artists worldwide. This past year, he signed a string of heavy hitters across the country, rock, and alternative spaces, including the Grammy-winning, record-breaking singer/songwriter Zach Bryan; breakout international sensation Teddy Swims; rock quintet The Red Clay Strays, who are having their biggest year yet thanks to their breakout single, “Wondering Why”; indie jazz star Laufey; and hard rock/metal band Sleep Token, one of the genre’s biggest new acts to emerge on the scene.

Golden also continues to work closely with Mitski, who he signed back in 2018 and had one of the biggest hits of 2023 and 2024 with “My Love Mine All Mine.” In addition, his roster features a mix of talent across multiple genres, including Vance Joy, Tones and I, Nathaniel Rateliff, Oliver Tree, and Cavetown. In 2022, Golden was named Vice President, Creative and Head of A&R, Australia for WCM and has spent the last two years leading the A&R strategy for Australia while continuing to support the publisher’s US, UK, and international roster.

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