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Utopia Music Looking for ‘Fresh Start’ With Proper Rebrand

LONDON — Utopia Music is planning to rebrand as Proper Group AG, named after its core physical music distribution business, to reflect changes to the Swiss-based firm’s “strategic direction,” the company said Thursday (March 28). The proposed name change, which needs to be approved by shareholders, comes almost two months after co-founder and former head Mattias Hjelmstedt exited Utopia Music following a shake-up of its executive ranks. “As Utopia has evolved under new leadership, we recognize the need to align our brand with our new strategy and as a result, new market positioning,” said Michael Stebler, who was appointed CEO in January, in a statement sent to Billboard. “Our previous brand identity doesn’t accurately reflect who we are today and where we aim to go in the future,” said the chief executive – a former managing director of Investment Advisors Zug AG, which operated on behalf of Utopia’s majority shareholder group. Like Utopia Music, Investment Advisors Zug AG is headquartered in the scenic Swiss town of Zug, located close to Zurich. Trending on Billboard Utopia Music acquired Proper Music Group, the United Kingdom’s biggest independent physical music distributor, which provides distribution services for nearly 6,000 indie labels and service companies, for an undisclosed sum in January 2022. Eight months later, the company bought up the assets of U.K.-based Cinram Novum — which provides warehouse, fulfillment and distribution services to music labels and home entertainment companies, including Universal Music Group, Sony Music Entertainment and [PIAS] — and renamed it Utopia Distribution Services (UDS).   Both acquisitions took place during a period of intense hyper-growth between 2020 and 2022 when Utopia rapidly acquired 15 companies spanning music tech, finance, publishing, marketing and distribution. A well-documented downsizing followed, encompassing multiple rounds of job cuts, company divestments and ongoing legal actions, eventually leading to the appointment of a new CEO and executive team at the start of the year. Changing the company’s name to Proper Group “represents a fresh start,” said Stebler, “and reflects the changes to our strategic direction, where distribution sits at the core of the commercial value chain.” Under the new arrangement, Billboard understands that Utopia/Proper Group will be divided into four main departments: Proper Distribution, Proper Payments, Proper Processing and Proper Music Data. Together, the company says, they will provide clients with a “comprehensive suite of tech services” — including cross-platform analytics and royalty tracking, processing and payments — all built around the firm’s music distribution business, which has long generated the bulk of its revenue. “By leveraging the Proper brand,” the company will “benefit from the positive and strong brand equity Proper has in the music industry,” said Stebler.  The company’s executive team remains unchanged with Stebler supported by deputy CEOs Alain Couttolenc and Drew Hill, a long-serving veteran of the U.K. physical music industry, who doubles as Utopia/Proper Group’s chief of distribution. Hill’s responsibilities include overseeing the U.K.’s biggest distribution warehouse for physical music and home entertainment — a 25,000-square meter facility in the town of Bicester with handling capacity of up to 250,000 units per day — which Utopia opened last year as part of a £100 million ($125 million) long-term deal with international logistics company DP World. More recently, Utopia successfully secured around half of a Series C funding round (understood to total more than 15 million euros)  with a second tranche of C-round funding underway. The funds will be used to drive commercial growth, enhance product development and strengthen the company’s balance sheet, Stebler told Billboard in January. Shareholders will get to vote on the proposed name change when Utopia holds its Annual General Meeting at the start of May.

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Beyoncé’s ‘Cowboy Carter’: All 27 Tracks Ranked

03/29/2024 Park your Lexus, throw your keys up and dig into Billboard's preliminary ranking and review of Beyoncé's eighth solo studio album. 03/29/2024

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Blusher Are Hard to Catch With ‘Accelerator’: Stream It Now

Blusher puts the pedal to the metal with “Accelerator,” the Australian pop-trio’s latest single. Produced by Donny Bravo (Disclosure), the club-ready electro-pop track is the product of an inspired and highly-caffeinated morning, the singers still buzzing from a late, late night watching a Tove Lo and Associanu DJ set. Bravo captures the “chaotic vibes” and energy that spilled out during the sessions, recounts the Melbourne trio. “’Accelerator’ feels like a late night highway chase – when you embrace the chaos of not knowing where you’re going and jump head first into a feeling,” the Aussie artists tell Billboard via email. “We have never been more excited about a song.” Explore Explore See latest videos, charts and news See latest videos, charts and news Blusher (Miranda Ward, Lauren Coutts and Jade Ingvarson-Favretto) formed in 2021, and got tongues wagging the following year with the independently-released “Softly Spoken,” which enjoyed support from national youth network triple j and its Unearthed sister station (triple j premiered “Accelerator” this week). They produce and write together, share vocals on many of their songs and swap instruments during their choreographed live performances, which have included showcases at the Bigsound conference in Brisbane and the inaugural SXSW Sydney. In 2023, Atlantic Records signed the pop group to its roster. Trending on Billboard Currently, Blusher is on the road with Dadi Freyr playing their first U.S. shows. “It’s been the perfect opportunity to test out ‘Accelerator’ on a live audience, and we have been blown away by the crowds’ reaction,” Blusher tells Billboard. “When we pull out sci-fi sunglasses and synchronized dance moves they are always down to match our chaotic energy on stage.” They’re getting around in a small band van, which has the cute nickname Vangelina Jolie. “Now we have met so many lovely new fans at the shows who really feel like they will be fans for life. It means the world to us that America has embraced us with open arms on our first tour here,” Blusher gush. “It’s just the beginning and we can’t wait to play a lot more U.S. shows in the future.” Blusher was nominated for best new artist at the 2024 Rolling Stone Australia Awards, presented this week at Sydney’s The Ivy. Stream “Accelerator” below. [embedded content]

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Ariana Grande Extends Chart Reign In Australia With ‘Eternal Sunshine’

Ariana Grande holds at No. 1 in Australia with Eternal Sunshine and, again, narrowly misses the chart double. As Eternal Sunshine (via Universal) enters a third week atop the ARIA Albums Chart, Ariana’s album cut “We Can’t Be Friends (Wait For Your Love)” enters a second week at No. 2 on the national singles tally. Coming in at No. 2 on the album list is Future and Metro Boomin’s We Don’t Trust You (Universal/Sony), their first collaborative collection. It’s Future’s 10th title on the albums chart, including a No. 1 with 2022’s I Never Liked You. Metro Boomin landed at No. 4 in 2020 with Savage Mode II, a collaboration with 21 Savage, and solo LP Heroes & Villains peaked at No. 5 in 2022. Three tracks from We Don’t Trust You appear on the ARIA Singles Chart, led by “Like That” at No .8. Explore See latest videos, charts and news See latest videos, charts and news Closing out the top three on the ARIA Albums Chart, published Friday, March 29, is Olivia Rodrigo’s sophomore LP Guts (Geffen/Universal), which benefits from the release of the Spilled edition, which includes one new track and four songs that were previously only available on wax. One of those new releases “Obsessed,” arrives at No. 16 on the singles chart, for her 16th top 20 appearance, ARIA reports. Three of those have climbed the chart mountain: “Drivers Licence,” “Good 4 U” and “Vampire.” Following its release in September 2023, Guts debuted at No. 1 in in Australia and logged two weeks at the summit. Trending on Billboard Meanwhile, Australian pop duo the Veronicas bag a top 10 debut with Gothic Summer (Virgin Music Australia/Universal). Produced by Goldfinger’s John Feldmann and featuring a cast of top-flight collaborators, including Travis Barker, Gothic Summer is new at No. 6. The Brisbane sisters (Jessica and Lisa Origliasso) have cracked the top 10 with all six of their studio albums, the first three of which peaked No. 2: The Secret Life Of… (2005), Hook Me Up (2007) and The Veronicas (2014). Over on the ARIA Singles Chart, also published Friday, Benson Boone bags a fourth week at No. 1 with “Beautiful Things,” atop an unchanged top three. Finally, Irish singer and songwriter Hozier returns to the top 10 with “Too Sweet” (Columbia/Sony), new at No. 10. That’s his first solo top 40 hit since 2015, when “Someone New” peaked at No. 24. His career best in these parts came with his 2013’s “Take Me To Church,” which sailed to No. 2.

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AEG Presents’ Jay Marciano to Receive City of Hope 2024 Spirit of Life Award

AEG Presents chairman and CEO Jay Marciano will be honored with the City of Hope’s 2024 Spirit of Life Award, the cancer research and treatment organization has announced. Explore See latest videos, charts and news See latest videos, charts and news “It’s deeply meaningful to be honored for this recognition,” says Marciano, a regular entry in Billboard’s Power 100 list. “Our industry’s work contributes to bringing the brightest minds in the world to make breakthrough medical discoveries — discoveries that give back the gift of time to people.” The award is the charitable organization’s most prestigious honor and is presented those industry leaders who have made notable contributions to their community and profession. Trending on Billboard Previous recipients from the music industry include Lyor Cohen, Shelli and Irving Azoff, Edgar Bronfman Jr., Coran Capshaw, Eddy Cue, Clive Davis, Sir Lucian Grainge, Sylvia Rhone and more. “I am honored to join this admirable group of Spirit of Life recipients,” Marciano adds, “and look forward to continuing the tradition of leaning on music, film and the arts to raise awareness of and funding for City of Hope’s important work against cancer, diabetes and other life-threatening diseases.” City of Hope’s Music, Film and Entertainment Industry fundraising group will present Marciano with the award during a gala dinner this fall in Los Angeles. A leader in the live entertainment business, Marciano began presenting shows in his 20s, before taking on senior leadership roles at Universal Concerts, AEG Europe and Madison Square Garden Entertainment, then returning to the AEG fold in 2011. With Marciano at the helm, AEG Presents has promoted tours from many of the music industry’s biggest artists, including stadium juggernauts Elton John, the Rolling Stones, Taylor Swift and Ed Sheeran, and overseen a festival portfolio upwards of 30 brands from Coachella Valley Music and Arts Festival to Stagecoach, Electric Forest, British Summertime Hyde Park and more. Marciano has also overseen the company’s global growth with the opening of several international offices and an expansion into Australia, Singapore, Japan and France. In its 50-plus-year history, City of Hope’s MFEI group has raised over $150 million for good causes, specifically cancer research. Marciano has a reputation “as an industry leader who is eager to accelerate City of Hope’s mission and focus on making breakthrough discoveries that move us closer to putting an end to cancer,” said Kristin Bertell, chief philanthropy officer at City of Hope. “We look forward to partnering with him and the larger music community to develop new cures, save patient lives and ensure that everyone has an equal opportunity to secure their highest level of health.” The announcement launches City of Hope’s year-long fundraising initiatives that include the Taste of Hope in NYC in April, Future Hope Poker Tournament and Songs of Hope. To contribute or learn more visit jaymarcianospiritoflife.com and cityofhope.org.

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Jumbo Returns to U.S. Stage After 10-Year Hiatus: ‘It’s a Great Reason to Celebrate’

After a decade-long absence, Jumbo, a cornerstone of Latin alternative rock, are making their return to the U.S. stage, joining forces with genre peers División Minúscula. Their much-anticipated comeback follows years of setbacks due to a “critical error” that led to visa complications, preventing them from touring stateside despite the release of three albums brimming with tour-worthy material. Explore Explore See latest videos, charts and news See latest videos, charts and news Now, armed with renewed vigor and passion, the Mexican rock band — consisting of frontman Clemente Castillo, guitarist Jorge “Flip” Tamez, bassist Carlos Castro, drummer Alberto Ramos, and producer Iñigo Rizo — are ready to captivate audiences once again as they crisscross the United States, hitting major cities from coast to coast. Promoted by Live Nation, the tour kicks off in Chicago on April 17, followed by a show in New York City the next day. The tour route includes stops in Salt Lake City, San Francisco, Los Angeles, Dallas, and culminates in Houston, Texas on August 14. Celebrating 25 years since the release of their debut album, Restaurant, in 1999, Jumbo’s significance extends beyond mere longevity. This album not only marked a milestone in the band’s career but also played a pivotal role in shaping the Mexican music scene of its time, particularly the musical boom known as La Avanzada Regia scene of that era in Monterrey. Trending on Billboard “The grand merit of that generation was to be able to break [barriers] and show that in a city where there was no music scene suddenly thundered and became so big,” Flip (real name Jorge Tamez Chapa) tells Billboard Español. “Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued being original, and I think that created a very rich movement. Thirty years later it is beginning to be romanticized a lot. I feel very proud to be from that generation”. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno “División Minúscula and Jumbo are two bands with different backgrounds but equally important in the alternative rock genre. They belong to an era that defined many fans on both sides of the border,” adds Manuel Moran, vp of Latin touring at Live Nation. “We are proud to be part of this great celebration and we are very grateful for the trust they have placed in us to surprise their fans in the United States with a comeback tour and an unexpected collaboration like this one.” Jumbo’s latest release, Manual De Viaje A Un Lugar Lejano (En Directo), earned them a Latin Grammy nomination for best pop/rock album in 2019, further solidifying their status as stalwarts of the Latin alternative rock scene. In this interview, Flip delves into the band’s journey, from the highs of success to the challenges they’ve faced along the way, shedding light on their experiences and aspirations for the future. And yes, he explains why they could not enter the U.S. for over a decade. What does it mean for you to take the stage again in the United States, and how did the opportunity to collaborate with División Minúscula for this tour come up? We are very happy to tour the United States and celebrate 25 years of our career. We had an issue, a very serious mistake we made that kept us away from the United States for more than ten years. During the first albums Restaurant (1999), D.D. y Ponle Play (2001), and Teleparque (2003), we had great tours over there. We were building a market early in our career. Saúl Hernández from Jaguares invited us to be openers along with Julieta Venegas and La Gusana Ciega. I remember they were incredible tours, and suddenly there’s this break. Many years went by — and fortunately we managed to overcome this — and now we have the opportunity to share the stage with División Minúscula. Although they are from Matamoros, most of them have been living here in Monterrey for many years. They are very good friends. It’s the first time we do a tour as such and we are very happy; I think it’s going to be very fun. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno As you celebrate these 25 years, what do you consider has been the key to staying together as a band? It’s very difficult. The other day I read a report by Sting that said, “I don’t think any grown man can be in a band.” He said it had to do with this youth gang dynamic that gets a little lost as you get older. And you notice that the relationship does change — you change as a person, you are no longer that youth [from before] — but I think we are still united by the desire to make music. Jumbo is a band that from day one, we set out to make songs that would go beyond the barrier of time. We were never very attached to any fashion — although when we came out, we sounded like what was going on in the early 2000s. In our journey, we have seen many things come and go. We’ve had to change formats, first digital, then streaming. Many things have happened to us that I think the love of making music has brought us back into alignment. Fortunately, we have never fought or disrespected each other, but we have an admiration for each of the members. And although at times we do have different artistic goals and visions, it always ends up falling in the same place. Many of us in the band are producers of other projects, we have other activities, but all related to music. As long as there are people who lend us their ears, there is no reason to stop. The 25 years was a number that hit us like a motherf–ker. It’s a great reason to celebrate. Being one of the pioneers of La Avanzada Regia movement in Monterrey, how do you see the impact of this movement on today’s music, and what do you think has been your most significant contribution to this legacy? I always say that I’m very proud to be from that generation. I grew up playing in many bands, and it didn’t cross my mind to dedicate myself professionally to this, or to be signed by a record label or go on tour. And suddenly the scene was big enough, the Monterrey scene. There were like 10 to 15 bands playing in four or five places, and the rest was the audience. This is before the internet — I mean, we took our flyers to the show and handed them out to perform the following week. La Avanzada, we were very united as bands; there was the same hunger to go out and dream, to take this to the next level. Monterrey, being the industrial capital of the country, had a very rigid scheme of opportunities. You had to study, work in one of the big companies, and make your life. It was very difficult to dream of a profession outside those schemes. The great merit of that generation was to be able to break [barriers] and demonstrate that in a city where there was no professional music scene it could become so big, and in a few years permeate the Latin market so strongly. [embedded content] When Control Machete came out, it a huge boom that the rest of Latin America turned to see what was happening in Monterrey. They were looking for a hip-hop movement, but they found something very different. Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued very much being original, not looking like anybody else and I think that created a very rich movement. Thirty years later this scene is beginning to be romanticized a lot. What’s next after the tour? Any final thoughts? One goal that we had for many years was to get back to the United States in some way. I think the next thing after this tour is to get into the studio. There are no concrete plans yet. I’ll tell you the anecdote so that there is no mystery; I think it’s something that new [foreign] bands learn from. We made the very serious mistake of going to a show with a tourist visa. The work visa has a shorter amount of time. It happens to [foreign] bands that the work visa has a short period of time. Suddenly there is an isolated show, and even though we had an arrangement with the promoter that could be for promotion, we got too close to the line and fell into a problem. So, it doesn’t matter if you’re going to play a free show, it doesn’t matter if you’re going to tour very casually. Playing in the U.S. is work, and that cost us to stay away for many years. If it’s any moral for bands, don’t make that mistake. We learned the hard way and fortunately we are back. We are really excited. We had a hard time having three albums and not being able to tour there. So we bring all that accumulated energy and we are sure you will notice it in the shows. Check out Jumbo and División Minúscula’s full tour dates below, second slide:

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