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12 Sept 2026Distribution

TIFF 2026: Film Distributors Seek the Next ‘Obsession’ After Box Office Success

From Festival Acquisition to Global Box Office Success

According to TheWrap’s September 9 report, Focus Features acquired Obsession for $16 million following its TIFF premiere. The film subsequently earned more than $500 million worldwide, intensifying buyers’ interest in discovering another independent theatrical breakthrough.

Its performance has become a reference point for distributors evaluating films with the potential to reach audiences beyond the festival circuit.

What Film Distributors Are Looking For

Executives interviewed by TheWrap highlighted distinctive filmmaking, a clearly identifiable audience and a compelling reason for a cinema release.

Black Bear’s acquisitions team emphasised original projects with theatrical potential, while other industry representatives pointed to interest in films that connect with Gen Z audiences.

Buyers nevertheless cautioned that Obsession’s performance is exceptional—not a typical outcome for festival acquisitions.

Toronto Expands Its Industry Role

This year also marks the inaugural TIFF: The Market, running September 10–16, 2026. The event brings together professionals across film, series and screen innovation, connecting creative development with commercial opportunities.

Screen Australia lists the event as an international gathering supporting the screen sector’s creative and business ambitions.

Why It Matters for Film Distribution

The distribution takeaway is that originality must be paired with a credible release strategy. An attractive acquisition needs more than comparisons with a recent hit: it requires a defined audience, realistic expectations across individual territories and marketing costs proportionate to its commercial potential.

For independent producers, this makes audience positioning an important part of the sales pitch. A project should communicate not only its story, but also who is likely to watch it and why a theatrical release makes sense.

For distributors, the challenge is to recognise distinctive films while maintaining disciplined acquisition decisions. A breakout success can reveal opportunities, but it should not replace a film-by-film assessment of demand, costs and release potential.

Distribution

Sep 12, 2026

TIFF 2026: Film Distributors Seek the Next ‘Obsession’ After Box Office Success

Film buyers at the 2026 Toronto International Film Festival are prioritising original stories with strong appeal to younger audiences, following the theatrical success of independent horror film Obsession. From Festival Acquisition to Global Box Office Success According to TheWrap’s September 9 report, Focus Features acquired Obsession for $16 million following its TIFF premiere. The film subsequently earned more than $500 million worldwide, intensifying buyers’ interest in discovering another independent theatrical breakthrough. Its performance has become a reference point for distributors evaluating films with the potential to reach audiences beyond the festival circuit. What Film Distributors Are Looking For Executives interviewed by TheWrap highlighted distinctive filmmaking, a clearly identifiable audience and a compelling reason for a cinema release. Black Bear’s acquisitions team emphasised original projects with theatrical potential, while other industry representatives pointed to interest in films that connect with Gen Z audiences. Buyers nevertheless cautioned that Obsession’s performance is exceptional—not a typical outcome for festival acquisitions. Toronto Expands Its Industry Role This year also marks the inaugural TIFF: The Market, running September 10–16, 2026. The event brings together professionals across film, series and screen innovation, connecting creative development with commercial opportunities. Screen Australia lists the event as an international gathering supporting the screen sector’s creative and business ambitions. Why It Matters for Film Distribution The distribution takeaway is that originality must be paired with a credible release strategy. An attractive acquisition needs more than comparisons with a recent hit: it requires a defined audience, realistic expectations across individual territories and marketing costs proportionate to its commercial potential. For independent producers, this makes audience positioning an important part of the sales pitch. A project should communicate not only its story, but also who is likely to watch it and why a theatrical release makes sense. For distributors, the challenge is to recognise distinctive films while maintaining disciplined acquisition decisions. A breakout success can reveal opportunities, but it should not replace a film-by-film assessment of demand, costs and release potential.

Music

Sep 12, 2026

Non-English Tours Reach 30% as Musicians Challenge AI-Licensing Payments

Global touring is becoming more multilingual, but the growth of artificial intelligence is creating new disputes over who shares in music-industry revenue. Live Nation says non-English-speaking artists now account for 30% of its 50 largest tours—up from only 8% before the pandemic. Meanwhile, the American Federation of Musicians is pursuing a lawsuit alleging that Universal Music, Warner Records and Atlantic Recording licensed recordings featuring union musicians for commercial AI use without providing the required payment or notice. Together, these developments highlight two important changes: regional-language artists have greater international touring potential, and music contracts must clearly explain how AI income will be shared. Key Developments at a Glance Development Reported information Why it matters Growth of non-English tours Non-English-speaking acts represent 30% of Live Nation’s 50 largest tours International demand is no longer limited to English-language artists Arena infrastructure 47 of 75 leading international touring markets reportedly lack sufficient modern arena infrastructure Venue availability could determine where the live-music business grows AFM lawsuit The union alleges musicians were not paid or notified when recordings were licensed for AI use AI licensing income may not automatically reach performers Current legal status The labels have requested dismissal, and the court has not issued a final ruling The allegations remain disputed How Much Have Non-English Tours Grown? Non-English-speaking artists now represent approximately 30% of Live Nation’s 50 largest tours, according to the company’s chief financial officer, Joe Berchtold. Before the COVID-19 pandemic, the figure was approximately 8%. This means the reported share has grown by almost four times. Berchtold presented the figures during the Goldman Sachs Communacopia and Technology Conference on September 9, 2026. The statistics were subsequently reported by Digital Music News. The data reflects the international growth of genres and music cultures including: K-pop Latin and reggaeton Regional Mexican music Afrobeats Country music outside the United States Other regional and local-language genres These are company-reported figures rather than an independently audited analysis of the entire concert industry. Why Are Non-English Artists Attracting Larger Audiences? Streaming services and social platforms allow artists to develop audiences outside their home countries without first becoming successful in English-language markets. An artist may now have concentrated groups of listeners across several cities. Individually, these audiences may appear small, but together they can support international concerts or regional tour dates. Diaspora communities are particularly important. A regional-language artist may have strong demand in cities such as London, Berlin, Stockholm, Toronto, Los Angeles or Sydney, even without significant mainstream radio exposure. For Kurdish artists and labels, the lesson is that language does not automatically prevent international touring. However, streaming popularity alone is not enough. Successful expansion also requires: Reliable fan-location data Suitable local promoters Realistic venue selection Strong diaspora marketing Local ticket-pricing knowledge Visa and travel planning Coordinated release and touring campaigns Why Does Live Nation Want More International Arenas? Live Nation estimates that 47 of the 75 largest international touring markets lack sufficient modern arena infrastructure. Cities mentioned in the discussion included Istanbul, Rome, Frankfurt, Seoul, Tokyo, Manila, São Paulo, Rio de Janeiro and Lima. The company considers new arena development across Europe, Asia and Latin America a major source of future growth. Modern arenas can attract larger international productions because they offer suitable capacity, staging systems, audience facilities and technical infrastructure. A lack of suitable venues can make a city difficult or expensive to include on a tour, even when audience demand exists. However, expansion by global promoters can also increase concentration in the live-music market. Local promoters, independent venues and regional festivals may face stronger competition for artists, dates and sponsorship. What Is the AFM’s AI-Licensing Lawsuit About? The American Federation of Musicians has filed an opposition to attempts by Universal Music Group, Warner Records and Atlantic Recording Corporation to dismiss its lawsuit. The union alleges that recordings featuring performances by its members were supplied for commercial use by AI music companies without the required payment or notice. The dispute is connected to licensing arrangements involving AI platforms Suno and Udio. Warner reached settlements with both companies, while Universal reached an agreement with Udio. The AFM claims its represented musicians did not share in relevant settlement or licensing proceeds. These allegations are explained in the detailed report from Music Business Worldwide. The court has not ruled that the record companies breached their agreements. What Is the “New Use” Provision? The case centres on Article 21(a) of the Sound Recording Labor Agreement between the union and participating record companies. The provision addresses the use of an existing recording for a purpose not otherwise covered by the agreement. The AFM argues that supplying recordings to commercial AI systems qualifies as a new use and should trigger payment and notification obligations. Universal has argued that the provision does not establish an independent payment rate. According to that interpretation, payment would depend on a separate AFM agreement covering the new type of use—and no specific agreement currently establishes a rate for AI. The union responds that its interpretation is sufficiently plausible for the case to proceed and that the agreement’s notice requirement can exist independently of a specific AI rate. Why Could This Case Affect the Wider Music Industry? AI licensing agreements can generate money for companies that control master recordings, publishing rights or other catalogue assets. However, ownership or control of those rights does not necessarily resolve contractual obligations to performers. A recording can involve several parties: The master owner The featured artist Session musicians Producers Songwriters Music publishers Unions or collecting organisations Each party may have different contractual rights. If AI use is not clearly addressed, income can reach one participant without automatically being shared with the others. The AFM case could influence future negotiations over: AI-training licences Settlement proceeds Artist and performer consent Payment calculations Notice requirements Synthetic and derivative outputs Auditing and reporting rights The withdrawal of previously granted permission What Should Artists, Labels and Producers Do? Music agreements should define AI rights before a catalogue is licensed or uploaded to a generative system. Important questions include: Can the recording or composition be used to train an AI model? Who has authority to approve that use? Is permission opt-in or automatic? Can an artist withdraw permission later? How will compensation be calculated? Will performers and session musicians receive a share? Does the licence cover training only, or also generated outputs? What reporting and auditing information must be provided? Can an artist’s voice, name or identity be simulated? How will AI income appear in royalty statements? Labels should also preserve complete performer credits, session records, contracts and rights metadata. Without accurate documentation, it becomes more difficult to identify everyone entitled to payment. What Do These Developments Mean for Regional Artists? The touring figures create a positive opportunity: regional identity and local language can become international advantages when an artist develops a loyal, measurable audience. The AI dispute provides a warning: commercial growth does not guarantee that every creator or performer will share fairly in the resulting income. Regional artists and independent labels should therefore combine international ambition with careful rights management. Audience data can reveal where to tour, while accurate contracts and metadata can protect the income generated by recordings. Frequently Asked Questions Are 30% of all global tours now non-English? No. The figure applies specifically to Live Nation’s 50 largest tours, according to the company’s CFO. What was the reported percentage before the pandemic? Approximately 8% of Live Nation’s top 50 tours involved non-English-speaking artists before the pandemic. Which regions does Live Nation consider important for arena development? The company highlighted opportunities across Europe, Asia and Latin America. Has the AFM won its lawsuit? No. The case is still developing, and the court has not issued a final decision on the union’s allegations. Is Sony Music involved in this AFM case? No. Sony Music is not a defendant in this particular lawsuit. Do musicians automatically receive part of an AI licensing agreement? Not necessarily. Payment depends on ownership, collective agreements and individual contracts. AI rights and revenue allocation should be stated explicitly. Conclusion The global music economy is expanding beyond traditional English-language markets, creating new touring opportunities for artists with strong regional and diaspora audiences. At the same time, the AFM lawsuit demonstrates that new AI revenue can create disputes when agreements do not clearly define consent, payment and reporting. The next phase of music-industry growth will therefore depend on two things: better international infrastructure for live performance and stronger contractual protection for everyone whose work contributes to recorded music.

Marketing

Sep 12, 2026

AI Is No Longer Just a Marketing Tool; In 2026, Nearly 12% of U.S. Ad Spend Is Being Managed Through Automated Systems and AI

The advertising market is undergoing a major transformation. Artificial intelligence is no longer being used only to write content, create images, or analyze data. It is gradually taking on a larger role in decisions related to campaign management and the allocation of advertising budgets. In its latest forecast for 2026, IAB raised its projection for U.S. advertising spending growth from 9.5% to 12.3%. At the same time, Madison & Wall estimates that nearly 12% of U.S. ad spending in 2026 will be managed through automated campaigns and AI systems. In comparison, that figure was only 2% in 2023, meaning the share has increased roughly sixfold in just three years. But what does this actually mean? In the traditional advertising model, marketers made a large share of campaign decisions themselves: Who should see the ad? How much should be spent on each audience segment? Where should the ad appear? And how should the budget be allocated? Now, that model is changing. Systems such as Google Performance Max, AI Max, and Meta Advantage+ can automate many of these decisions. Marketers define the objectives, set the budget, and provide the necessary data. AI systems can then determine who should see the ads, where they should appear, and how the budget should be allocated to achieve the best possible results. This trend is not limited to Google and Meta. Platforms such as TikTok, Reddit, and Pinterest have also introduced different forms of automated advertising campaigns. According to Tinuiti data, Performance Max has accounted for around 60% to 70% of ad spending among its retail clients since the end of 2025. And the forecasts suggest this is only the beginning. Madison & Wall predicts that by 2030, AI-directed advertising spending could reach approximately $158 billion, representing nearly 27% of the total U.S. advertising market. This shift could also redefine the role of the marketer. Instead of spending most of their time adjusting bids, selecting audiences, and manually allocating budgets, marketers may increasingly focus on strategy, setting the right objectives, providing high-quality data, developing strong creative work, and overseeing the decisions made by AI systems. But this does not mean marketers are becoming unnecessary. Quite the opposite. As AI takes control of a larger share of campaign decisions, a more important question emerges: Who monitors the decisions made by AI? AI can manage budgets based on the data and objectives it receives, but humans still need to determine what the real objective is, whether the data is reliable, and whether the results generated by the system actually create value for the business. So, the major transformation is no longer that AI has entered marketing. That stage has already passed. The real shift is that AI is moving from being a tool that assists marketers to becoming a system that makes some of the decisions about how advertising budgets are spent. For marketers, the question is no longer, “Should we use AI or not?” The new question is: When AI begins deciding where and how advertising budgets are spent, what role will humans play in managing advertising?

Casting

Sep 10, 2026

Casting News: Michael Kelly Joins Landman, Sylvia Hoeks Boards Disavowed, and Netflix Opens New Casting

Casting News: Michael Kelly Joins Landman, Sylvia Hoeks Boards Disavowed, and Netflix Opens New Casting Several important casting updates have arrived this week, including a new series regular for Paramount+’s Landman, another major addition to Apple TV’s upcoming thriller Disavowed, and an open casting opportunity for Netflix’s newest dating series. Michael Kelly Joins Landman Season 3 Emmy-nominated actor Michael Kelly has officially joined Season 3 of Paramount+’s Landman as a series regular. Kelly will play William Crockett, the head of what Paramount describes as the world’s largest oil management firm. The character is presented as a powerful and highly successful figure in the oil industry. Kelly is known for House of Cards, Lioness, The Penguin and Jack Ryan. He joins a cast that includes Billy Bob Thornton, Demi Moore, Andy Garcia and Sam Elliott. Why it matters for casting Adding Michael Kelly as a series regular introduces another major character into the expanding world of Landman. It also shows how successful television series continue to strengthen their ensemble casts as they move into later seasons. Source: Paramount Press Express Read the official Paramount announcement Sylvia Hoeks Joins Apple TV’s Disavowed Dutch actress Sylvia Hoeks has joined Apple TV’s upcoming action-thriller series Disavowed as a series regular. Hoeks, known for Blade Runner 2049 and Apple TV’s See, joins James Marsden and Norman Reedus in the growing cast. Details about Hoeks’ character are currently being kept secret. The series follows Brad Griffin, played by Marsden, a CIA case officer who is suddenly fired while hunting an assassin responsible for killing his colleague. Griffin later decides to pursue the assassin himself and go after a $15 million federal bounty. Why it matters for casting Hoeks becoming a series regular is another major addition to the project. With Marsden, Reedus and Hoeks now attached, Disavowed is building a strong international ensemble for Apple TV. Source: Deadline / Yahoo Entertainment Read the casting report Netflix Opens Casting for New Dating Series Love at First Sight Netflix has announced a new reality dating series called Love at First Sight — and casting applications are now open. The show will bring a group of singles face-to-face and explore whether an immediate connection between two people can develop into a lasting relationship. Netflix is currently inviting people interested in taking part in the dating experiment to apply for the series. The project is executive produced by Jen O’Connell and Rebecca Quinn and comes from Velvet Hammer Media. Why it matters for casting Unlike traditional film or television casting announcements, this is an active casting opportunity. It gives new participants the chance to apply directly for a major Netflix unscripted production. Actors and talent should always check the official eligibility requirements and application terms before submitting personal information. Source: Netflix Tudum Official Netflix casting announcement and application information Casting Highlights Michael Kelly → Joins Landman Season 3 as William Crockett. Sylvia Hoeks → Joins Disavowed as a series regular alongside James Marsden and Norman Reedus. Netflix → Opens applications for participants in its new dating series Love at First Sight. Why These Stories Matter These three stories show different sides of today’s casting industry: established actors joining major productions, international performers entering new streaming projects, and open casting opportunities allowing new people to enter television.

‘Supergirl’ Moves to HBO Max After Theatrical and Home Entertainment Release

Distribution

Sep 10, 2026

‘Supergirl’ Moves to HBO Max After Theatrical and Home Entertainment Release

DC Studios’ Superhero Film Moves From Cinemas and Digital Home Entertainment Into Global Subscription Streaming DC Studios’ Supergirl is entering the next stage of its release cycle, making its global streaming debut exclusively on HBO Max on September 10, 2026. The move follows a multi-stage distribution strategy that began with the film’s international theatrical rollout on June 24, followed by its North American cinema release on June 26 through Warner Bros. Pictures. The film later became available digitally on July 28, before its 4K Ultra HD, Blu-ray and DVD release on September 8. Just two days later, Warner Bros. Discovery is opening the film’s subscription-streaming window through HBO Max. From Theaters to HBO Max The release provides a clear example of how a major studio film can move through several distribution windows rather than going directly from cinemas to streaming. For Supergirl, the sequence has been: Theatrical release → Digital purchase and rental → 4K/Blu-ray/DVD → HBO Max streaming Each stage gives Warner Bros. Discovery another opportunity to reach a different section of the audience while extending the commercial life of the title. Warner Bros. Uses Multiple Distribution Channels Warner Bros. Pictures handled the film’s theatrical distribution worldwide, beginning internationally on June 24 and across North America on June 26. The subsequent digital and physical releases moved the film into transactional home entertainment, where viewers could buy or rent the title independently of a subscription. Now, the HBO Max debut introduces Supergirl to the studio’s subscription-streaming audience. Warner Bros. Discovery has officially described September 10 as the film’s global streaming debut. A Major DC Studios Release Directed by Craig Gillespie from a screenplay by Ana Nogueira, Supergirl stars Milly Alcock as Kara Zor-El/Supergirl. The cast also includes Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet and Jason Momoa. DC Studios heads Peter Safran and James Gunn produced the film. The movie forms part of the expanding DC Studios film universe and was positioned as one of Warner Bros.’ major theatrical releases of summer 2026. Why the Distribution Window Matters For distributors, Supergirl demonstrates how a major studio can maximize one title across several formats. The theatrical window establishes the film as a cinema event. Digital purchase and rental create an additional transactional revenue stage. Physical formats target collectors and home-entertainment audiences. Subscription streaming then expands access to a much larger platform audience. Rather than these channels competing with one another, they can be structured as different stages of the same distribution strategy. What It Means for Art City Distribution For Art City Distribution, Supergirl provides a useful real-world example of modern windowed film distribution. A film’s commercial journey does not finish when it leaves cinemas. Rights holders can continue distributing the same title through digital ownership, physical media and subscription platforms, with each window serving different audiences and business objectives. The September 10 HBO Max premiere therefore represents more than another streaming release — it marks the latest stage in a carefully structured distribution cycle for one of DC Studios’ largest 2026 titles.

Music

Sep 10, 2026

EU Music Revenue Reaches €6 Billion as Indian Artists’ Spotify Royalties Rise 29%

Europe and India are demonstrating two different routes to music-industry growth. Recorded-music revenue in the European Union increased 5.1% to €6 billion in 2025. Meanwhile, Spotify reports that royalties generated by Indian artists rose 29%, supported by regional-language music and growing international demand. Together, the figures show how subscription growth, localisation and international music discovery are expanding the global recorded-music economy. The Key Figures Market Key result Why it matters European Union €6 billion in recorded-music revenue Europe still has significant room to increase paid subscriptions Indian artists on Spotify 29% annual royalty growth Regional-language music is attracting audiences inside and outside India EU streaming Approximately 66% of revenue Streaming remains Europe’s main recorded-music format Indian music exports Over 40% of royalties came from outside India Local-language music can generate international revenue How Much Revenue Did the EU Recorded-Music Market Generate? Recorded-music revenue in the European Union reached €6 billion in 2025, representing annual growth of 5.1%. The EU accounted for 21.3% of worldwide recorded-music revenue, while nine of the world’s 20 largest recorded-music markets were located within the bloc. Streaming remained the largest source of income, generating approximately 66% of European recorded-music revenue. According to the IFPI Music in the EU 2026 report, the market added approximately €293 million in revenue during 2025. Why Does Europe Still Have Streaming Growth Potential? Only 27% of the EU population subscribes to a paid music-streaming service. That compares with 54% in the United States and 47% in the United Kingdom. This suggests that Europe remains a developing subscription market despite already generating billions of euros in recorded-music revenue. However, Europe should not be treated as one homogeneous market. Languages, pricing, streaming platforms, media habits and music preferences vary significantly between countries. Artists and labels entering Europe should consider: Country-specific release campaigns Local and regional playlist pitching Translated artist biographies and lyrics Accurate multilingual metadata Pricing-sensitive marketing Diaspora audience targeting Local media and creator partnerships IFPI also called for stronger enforcement of existing rights and meaningful transparency around artificial intelligence. Clear ownership and contributor information will become increasingly important as AI-generated and AI-assisted music enter commercial platforms. How Quickly Are Spotify Royalties for Indian Artists Growing? Spotify reports that royalties generated by Indian artists increased 29% year over year in 2025. Indian artists attracted nearly 335 billion streams, representing more than 20 billion hours of listening. The number of artists generating more than INR 10 million annually increased 21%, while the number exceeding INR 50 million doubled compared with 2023. These figures come from Spotify’s India Loud & Clear report. Importantly, “royalties generated” does not necessarily mean money paid directly to an individual artist. Streaming services normally pay labels, distributors, publishers and other rightsholders, which then compensate artists and songwriters according to their agreements. How Important Are International Listeners? More than 40% of the royalties generated by Indian artists on Spotify came from listeners outside India. This indicates that Indian music is no longer limited to its domestic market or diaspora audiences. Streaming recommendations, social platforms and international playlists are allowing releases to travel across languages and borders. Spotify also reported that listeners played an Indian artist they had never previously heard approximately 12.8 billion times during 2025. Independent music is contributing to this growth. Eleven of the 15 most-exported Indian songs on Spotify’s 2025 Global Impact List came directly from artists rather than film soundtracks. Which Indian Languages Recorded the Strongest Growth? Royalty growth extended beyond Hindi and established Bollywood releases. Spotify reported the following annual increases in royalties generated by regional-language music: Telugu: more than 120% Marathi: nearly 50% Bengali: nearly 40% Malayalam: more than 30% Hindi: nearly 30% Tamil: 20% Haryanvi streams also increased almost sevenfold between February 2023 and February 2026. Regional reporting from Music Plus India further highlights how independent and regional artists are finding audiences across domestic and international markets. What Do These Developments Mean for Artists and Labels? The European and Indian results reveal several shared lessons. 1. Regional languages can generate international revenue Artists do not necessarily need to replace their language or cultural identity to reach global audiences. Indian regional-language growth demonstrates that local music can travel when it is discoverable and professionally distributed. 2. Metadata must support international discovery Artist names, song titles, contributor credits and lyrics should be available in the original language and reliable transliterations. Inconsistent spelling can divide streams between profiles and make catalogue discovery more difficult. 3. International marketing should be market-specific Europe contains many separate music markets. A campaign that works in Germany may not produce the same results in France, Sweden or Italy. Artists should use audience data to identify countries where their music is already gaining attention. 4. Rights administration determines who receives the money Growth in streams does not automatically guarantee accurate payment. Recordings, compositions, performers and publishers must be correctly registered and connected to the appropriate rightsholders. 5. Diaspora audiences can become a starting point For Kurdish and other regional-language artists, diaspora communities can provide the first audience base in Europe. Strong engagement within those communities can later support wider playlist discovery, media coverage and live-performance opportunities. Frequently Asked Questions How large was the EU recorded-music market in 2025? EU recorded-music revenue reached €6 billion, increasing 5.1% from the previous year. What percentage of European music revenue came from streaming? Streaming generated approximately 66% of European recorded-music revenue. Why does the EU still have growth potential? Paid-streaming penetration was only 27%, considerably below the United States and United Kingdom. How much did royalties generated by Indian artists increase? Spotify reports that they increased 29% year over year in 2025. Did Spotify pay these royalties directly to artists? Not necessarily. Spotify normally pays the appropriate rightsholders, such as labels, distributors and publishers. Individual artists are then compensated according to their contracts. How much Indian artist royalty income came from international listeners? More than 40% of royalties generated by Indian artists on Spotify came from listeners outside India. Conclusion Europe’s €6 billion recorded-music market and India’s 29% increase in Spotify royalties show that global music growth is becoming more diverse. Europe offers room for further paid-subscription growth, while India demonstrates the export potential of independent and regional-language music. For Kurdish artists and labels, the opportunity is clear: preserve cultural identity, maintain accurate multilingual metadata, register every right correctly and build campaigns around the countries where audience demand already exists.

The European Union Wants to Restrict Social Media Access for Children Under 13; a Move That Could Change Advertising and Targeting Rules

Marketing

Sep 10, 2026

The European Union Wants to Restrict Social Media Access for Children Under 13; a Move That Could Change Advertising and Targeting Rules

The European Union is working on a new initiative aimed at restricting children’s access to social media. According to a Financial Times report published on September 10, 2026, European Commission President Ursula von der Leyen is preparing to propose new age restrictions for digital platforms. Under the proposed plan, children under the age of 13 could be prevented from using social media, while access for older teenagers could be regulated gradually based on age. If implemented, the plan could lead to significant changes in how platforms such as Facebook and Instagram operate, particularly when it comes to age verification and protecting younger users. The main reason behind the initiative is growing concern about the impact of social media on children, especially potentially addictive design features, weaknesses in age-verification systems, and the possible effects of these platforms on children’s mental health. In July 2026, the European Commission preliminarily found that certain features of Facebook and Instagram, including infinite scrolling, autoplay videos, and continuous notifications, could increase the risk of addictive use. But the issue is not simply about how many hours children spend on social media. In April 2026, the European Commission also preliminarily found that Meta’s measures to prevent children under 13 from using Facebook and Instagram were insufficient. According to the Commission, children may be able to bypass age restrictions simply by entering a false date of birth when creating an account. But why does this matter to marketers? Under the European Union’s Digital Services Act, targeted advertising to minors is already prohibited when the targeting is based on profiling using their personal data. If new age restrictions are introduced, platforms could face even greater pressure to strengthen their age-verification systems. That could change how brands reach younger audiences and directly affect audience targeting and digital advertising strategies. For major platforms such as Facebook and Instagram, this would not be a minor regulatory adjustment. If access is restricted for a significant number of younger users, both platforms and brands may need to rethink how they communicate with the next generation in a legal and ethical way. The issue is also far from simple within the European Union itself. Some countries, including France and Greece, support stronger restrictions, while other European countries have raised questions about how effectively such measures could be implemented in practice. It is therefore important to emphasize that this is still a proposal, not a final law. But if the European Union continues in this direction, the changes could have a significant impact on the future of social media and digital marketing. For marketers, the key question is: If platforms are required to impose tighter restrictions on children and teenagers, how will brands reach younger generations in the future without crossing legal and ethical boundaries?

Casting

Sep 9, 2026

Casting News: Major Ensemble Expansions, Franchise Returns and Prestige Voice Casting

Three new casting developments highlight different approaches shaping film production today: an international ensemble expanding around FKA Twigs in Josephine Baker, Netflix reuniting the original Inbetweeners cast, and The Turning Door placing a newcomer at the centre of an all-star voice ensemble. Aunjanue Ellis-Taylor Joins FKA Twigs in Josephine Baker Production has begun on Maïmouna Doucouré’s Josephine Baker, with filming taking place in France and Bulgaria. FKA Twigs stars as Josephine Baker, while Aunjanue Ellis-Taylor is among the newly announced additions to the cast. Giuseppe Maggio, Grégory Montel, Benjamin Millepied, Féodor Atkine, Alex Lutz and Harmony Riley have also joined the production. Filming is scheduled from September 7 to November 13 across locations including Paris, the Dordogne and Sofia. Doucouré writes and directs, with Studiocanal and Bien Ou Bien Productions producing. Studiocanal is also handling worldwide sales. Why it matters for casting: The project is building an international ensemble around its central performer, combining American, British and European talent. For a biographical film about a globally recognised historical figure, that approach can help create a cast that reflects the international scope of Baker’s life and career. Source: Screen International Read the Screen International report Original The Inbetweeners Cast Reunites for Third Film Netflix has officially started production in the UK on The Inbetweeners 3, reuniting the four original leads. Simon Bird returns as Will McKenzie, James Buckley as Jay Cartwright, Blake Harrison as Neil Sutherland and Joe Thomas as Simon Cooper. Original creators Damon Beesley and Iain Morris are also returning to write and direct the film. The new feature continues the Channel 4 comedy, which ran from 2008 to 2010 and was followed by films in 2011 and 2014. Why it matters for casting: This is a strong example of continuity casting. Rather than introducing new actors as established characters, the production is bringing back its complete central ensemble after more than a decade. Their existing chemistry and audience recognition are central to the identity of the franchise. Sources: Netflix / Screen International Netflix official announcement Screen International report Javier Bardem, Marion Cotillard and Vanessa Redgrave Join The Turning Door Javier Bardem, Marion Cotillard and Vanessa Redgrave have joined the voice cast of animated family fantasy The Turning Door. Swedish musician Anna von Hausswolff and newcomer Pippa Kelly have also joined, with Kelly voicing the young central character, Ariadlyn. They join an already high-profile ensemble featuring Alicia Vikander, Jamie Dornan, Jodie Turner-Smith, Bill Nighy and Gillian Anderson. The film is written and directed by Nicholas Ashe Bateman and is currently in production. Why it matters for casting: One of the most interesting choices is placing newcomer Pippa Kelly at the centre of the story while surrounding her with internationally recognised performers. This kind of casting can give a new performer a major opportunity while the established supporting cast provides recognition and international market appeal. Sources: Screen International / Mister Smith Entertainment Screen International report Official The Turning Door page Why these casting stories matter Together, the three projects demonstrate very different casting strategies. Josephine Baker is expanding an internationally focused ensemble around its lead. The Inbetweeners 3 relies on the continuity and chemistry of an established cast. The Turning Door takes the opposite approach at its centre, giving a newcomer a leading role while surrounding her with major international names. For actors and casting professionals, these examples show that major productions are not built around one casting model. Franchise familiarity, international ensemble building and emerging-talent discovery can all play important roles depending on the needs of the project.

Believe–Suno AI Licensing Partnership and Reliant–ADA Distribution Deal Explained

Music

Sep 9, 2026

Believe–Suno AI Licensing Partnership and Reliant–ADA Distribution Deal Explained

Two new agreements demonstrate how music distribution is expanding beyond delivering recordings to streaming platforms. Believe and Suno have announced a global partnership connecting licensed generative AI products with Believe and TuneCore’s distribution infrastructure. Meanwhile, Reliant Music has partnered with Warner-owned ADA Benelux to combine independent A&R with international distribution and label services. Together, the agreements show how distributors are becoming more involved in AI licensing, artist development, marketing and international growth. The Two Deals at a Glance Partnership Confirmed arrangement Important limitation Believe and Suno Participating artists and labels can opt in to new licensed AI products Existing Suno models are not covered Reliant Music and ADA Benelux ADA provides international distribution and label infrastructure Financial terms were not disclosed What Is the Believe and Suno Partnership? Believe and Suno have announced a global strategic partnership covering participating music from Believe and TuneCore artists and labels. Under the agreement, eligible rightsholders will be able to choose whether their music can be included in new licensed products developed by the companies. Participation is described as opt-in. This means an artist or label’s repertoire should not automatically become part of the programme without consent. Believe says participating rightsholders will receive compensation and rights protection. They will also benefit from Suno’s planned training safeguards, transparency tools and download restrictions. The agreement was announced in Believe’s official press release. Will Believe and TuneCore Distribute Suno Music? Tracks created by artists using Suno’s forthcoming industry-partner model will become eligible for distribution through Believe and TuneCore. This does not mean every recording created with Suno can now be distributed through those services. The partnership applies to Suno’s new industry-partner models. Recordings created through the company’s existing models are not covered by the announced agreement. This distinction is important because Believe began restricting music produced through unlicensed generative-AI platforms in April 2026. Suno’s existing products were included within that policy. The new agreement represents a change for future licensed models, rather than approval of every previous Suno product. Music Business Worldwide How Will Participating Artists Be Paid? Believe and Suno say consenting artists and labels will be compensated, but they have not publicly disclosed the detailed payment formula. Important unanswered questions include: How compensation will be calculated Whether payment will relate to training, outputs or both How individual recordings will be attributed Whether artists can withdraw their permission How frequently rightsholders will receive reports Whether rightsholders will receive auditing rights How generated outputs will be owned and licensed Whether performers, songwriters and publishers will be treated separately The opt-in structure is significant, but the value of the arrangement will depend on the terms offered to individual artists, labels and other rightsholders. Why Does the Believe–Suno Deal Matter? The partnership creates a direct connection between generative-AI music creation and conventional music distribution. Until now, much of the AI-music debate has focused on whether models were trained with permission. This agreement attempts to establish a commercial pathway based on consent, compensation and distribution. If the model works as announced, an artist could potentially: Authorise specific music for a licensed AI product. Receive compensation for participating. Use Suno’s new creative tools. Distribute eligible outputs through Believe or TuneCore. Reach streaming audiences through an established release system. However, participation should not be treated as a simple technical setting. Artists and labels must understand which rights they are licensing and how their music may be used. What Is the Reliant Music and ADA Benelux Partnership? Reliant Music has entered a strategic partnership with ADA Benelux, Warner Music Group’s independent distribution and label-services operation in the region. The agreement combines Reliant’s work in A&R and artist development with ADA’s international distribution and label infrastructure. Reliant is headquartered in Vancouver and also operates in Toronto, Amsterdam and Berlin. Its work focuses heavily on dance and electronic music, connecting North American pop production with European dance A&R. The partnership will support selected records from early creative development through international release and audience growth. Financial terms were not disclosed. Music Business Worldwide What Will Each Company Contribute? Reliant will continue to focus on: Finding and developing songs Connecting artists, producers and songwriters Providing creative A&R Developing dance and electronic releases Building strategies around individual recordings ADA Benelux will contribute: International music distribution Label-services infrastructure Release support Market access International development capabilities Reliant says the arrangement allows it to preserve its focused independent approach while expanding successful records internationally. Why Does the Reliant–ADA Deal Matter? Modern music distribution is becoming a broader service business. A distributor may now become involved before a recording is completed and continue supporting it after release. Services can include A&R, metadata management, marketing, audience analysis, international strategy and catalogue development. This can provide independent labels with infrastructure that would otherwise be expensive to build internally. However, labels should compare the services offered with the rights, revenue share and control requested under the agreement. Important questions include: Who owns the master recordings? How long does the agreement last? Which territories are covered? Which marketing services are guaranteed? Are campaign costs recoupable? Can the label move its catalogue later? How often are royalties reported? What data can the label access? Which services are included and which cost extra? Global distribution can create opportunities, but the contract determines how much control and long-term value the independent company retains. What Connects These Two Partnerships? Both deals expand the role of music distributors. In the Believe–Suno partnership, distribution is being connected to licensed AI creation. In the Reliant–ADA agreement, distribution is being combined with A&R, artist development and international marketing. The common model is: Creative development → rights management → distribution → marketing → international growth This means artists and labels should evaluate a distribution partner based on more than the number of platforms it can deliver music to. What Should Independent Artists and Labels Do? 1. Confirm whether participation is voluntary AI-related agreements should clearly explain whether participation is opt-in and which recordings or rights are included. 2. Separate different music rights Master rights, composition rights, performer rights, voice rights and name-and-likeness rights may belong to different people. 3. Ask how compensation is calculated A promise of compensation is not enough. Rightsholders should understand the payment formula, reporting schedule and audit process. 4. Compare services with the rights requested Distribution, marketing and artist development can be valuable, but labels must understand the fees, revenue share, contract term and catalogue restrictions. 5. Preserve accurate metadata Complete songwriter, producer, performer, ownership and recording information will become increasingly important for AI licensing and international royalty reporting. Frequently Asked Questions Is the Believe–Suno agreement automatic for all artists? No. Believe describes participation in the new licensed products as opt-in. Does the agreement cover Suno’s existing AI models? No. The announcement applies to Suno’s forthcoming industry-partner models. Can music made with the new Suno model be distributed? Eligible tracks created through the new industry-partner model can be distributed through Believe and TuneCore. Has the artist-payment formula been published? No. The companies have promised compensation but have not disclosed the detailed calculation method. Is Reliant Music owned by Warner Music Group? No. Reliant Music is an independent company partnering with Warner-owned ADA Benelux. What does ADA Benelux provide? ADA provides international distribution and label-services infrastructure, while Reliant focuses on A&R, song development and artist growth. Were the financial terms of the Reliant–ADA agreement disclosed? No. The commercial terms remain private. Conclusion The Believe–Suno and Reliant–ADA agreements show that music distribution is becoming part of a much wider commercial system. Distribution companies are connecting releases with AI licensing, creative development, marketing and global expansion. These services can create valuable opportunities, but artists and labels must understand what they are authorising and what they receive in return. The strongest partnerships will be those that combine international reach with clear consent, transparent compensation, reliable reporting and meaningful protection of creator rights.

ChatGPT Wants to Combine the Strengths of Google and Meta in One Advertising Platform; OpenAI Is Preparing for a New Phase of ChatGPT Ads

Marketing

Sep 9, 2026

ChatGPT Wants to Combine the Strengths of Google and Meta in One Advertising Platform; OpenAI Is Preparing for a New Phase of ChatGPT Ads

OpenAI has an ambitious vision for the future of advertising on ChatGPT: building a platform that combines Google’s strength in understanding customer intent with Meta’s ability to understand users’ interests and context. Sarah Friar, CFO of OpenAI, said at the Goldman Sachs conference in San Francisco that the idea behind ChatGPT Ads could be described simply as if Google and Meta came together to build a single advertising platform. Google’s strength in advertising comes largely from understanding intent. When someone searches for something, their purpose is often clear. For example, a person searching for “the best phone to buy” may already be considering a purchase. Meta, on the other hand, has built enormous advertising capabilities through Facebook and Instagram, allowing it to understand users’ interests, behavior, and context. OpenAI wants ChatGPT to bring these two strengths together. From the context of a current conversation, ChatGPT can understand what a user is looking for and where they may be in the decision-making process. In some regions and depending on user settings, other signals from the ChatGPT experience may also be used to make ads more relevant. For example, imagine someone asking ChatGPT about the differences between two cameras. They compare prices and specifications and eventually ask, “Which one is better for me?” At that point, this is no longer just a search. The conversation itself may indicate that the person is getting close to making a purchase decision. For marketers, that moment can be extremely valuable. This comes as ChatGPT Ads is growing rapidly. On August 31, 2026, OpenAI announced that its advertising business had reached a $1 billion annualized revenue run rate in less than 200 days, with tens of thousands of advertisers using the platform. Importantly, the $1 billion figure does not mean OpenAI has already collected $1 billion in advertising revenue. It means that if the current level of revenue continued at the same pace, it would amount to roughly $1 billion on an annualized basis. OpenAI also sees today’s advertising experience as only an early stage. Friar indicated that the company is working on more advanced advertising formats designed specifically for an AI environment. The goal is not simply to copy Google or social-media ads and place them inside ChatGPT, but to develop formats suited to the conversational nature of AI. OpenAI has already introduced Ads Manager, CPC advertising, conversion measurement, and tools for optimizing campaign outcomes. Over time, the company plans to provide advertisers with more formats, targeting capabilities, and campaign tools. There is also an important distinction: ads are not supposed to influence ChatGPT’s answers. According to OpenAI, advertisements are kept separate from ChatGPT responses and are clearly identified as sponsored content. The company also says it does not share users’ conversations with advertisers or sell their personal data to them. For marketers, this raises a much bigger question: If Google is where people go to search, and Meta is where people discover content and products, could ChatGPT become a third major environment, where consumers talk through their needs, compare options, and ultimately make purchasing decisions? It is still too early to say that ChatGPT has reached the scale of Google or Meta in advertising. But the direction is becoming clearer: OpenAI is not simply adding ads to ChatGPT; it is gradually building the foundations of a full advertising platform.

‘Moana’ Moves From Theaters to Premium Digital as Disney Expands Home Entertainment Release

Distribution

Sep 9, 2026

‘Moana’ Moves From Theaters to Premium Digital as Disney Expands Home Entertainment Release

Disney’s Live-Action Hit Arrives on Digital Platforms Before Expanding to 4K, Blu-ray and DVD in October Disney’s live-action Moana has entered the next stage of its release cycle, becoming available on premium digital platforms from September 8, 2026, including Amazon Prime Video, Apple TV and Fandango. The film will then expand into physical home entertainment with 4K Ultra HD Blu-ray, Blu-ray and DVD releases on October 6. The move follows the film’s theatrical launch on July 10, 2026, creating a roughly two-month period between its cinema debut and premium home release. From Theatrical Release to Premium Digital Rather than moving immediately from cinemas to subscription streaming, Disney is first placing Moana into a transactional digital window, where audiences pay separately to purchase or rent the film. This allows the studio to create another commercial stage after theatrical exhibition while continuing to monetize audiences who want earlier access at home. The September 8 digital launch is followed by another distribution stage on October 6, when the film becomes available through 4K Ultra HD, Blu-ray and DVD. Physical Media Remains Part of Disney’s Strategy Disney is also supporting the release with a limited-edition 4K UHD SteelBook, alongside standard Blu-ray and DVD editions. The home-entertainment package includes additional content such as a sing-along version, behind-the-scenes material, production features and interviews with the filmmakers and cast. For distributors, premium physical editions remain useful because they serve audiences that want ownership, higher-quality formats and collectible products rather than subscription access alone. Disney Expands the Franchise Across Multiple Products Disney is also using the home release to strengthen the wider Moana catalogue. A three-film collection containing the live-action Moana, the original animated Moana and Moana 2 is being offered digitally from September 8, with a DVD collection following on October 6. This is an important catalogue-distribution strategy: a new release creates an opportunity to generate additional value from older titles in the same franchise. A Major Title in Disney’s 2026 Slate The live-action film stars Catherine Lagaʻaia as Moana and Dwayne Johnson as Maui, and is directed by Thomas Kail. Disney released the film theatrically in the U.S. on July 10. Disney has described Moana as part of its strong 2026 summer slate, alongside titles including Toy Story 5, with the studio surpassing $4 billion at the global box office during the year. What It Means for Film Distribution From a distribution perspective, Moana demonstrates how major studio films continue to move through several commercial windows rather than transitioning directly from cinemas to streaming. The current strategy can be viewed as: Theatrical → Premium Digital → Physical Home Entertainment → Subscription Streaming Each stage targets a different consumer behavior and provides another opportunity to generate revenue from the same title. Disney has not yet announced an official Disney+ streaming date, so the September digital release should be treated as a separate transactional window rather than the film’s subscription-streaming debut. Why It Matters for Art City Distribution For Art City Distribution, the release provides a clear example of window management in modern film distribution. A successful theatrical release does not end when a film leaves cinemas. Distributors can continue building value through premium digital rentals and purchases, physical editions, franchise bundles and eventually subscription platforms. The Moana rollout demonstrates how controlling the timing of each window can extend a film’s commercial life while allowing different audiences to access the title in different ways.

Casting

Sep 8, 2026

Casting News Roundup: Harry Potter, Netflix’s The Shooter and SNL UK Announce Major Cast Updates

The international casting landscape continues to move quickly, with major new announcements from HBO, Netflix and Sky. From the next generation of Harry Potter characters to a high-profile Korean action series and a new face joining Saturday Night Live UK, here are three important casting developments to watch. HBO’s Harry Potter Casts Dobby, Tom Riddle and a New Ginny Weasley HBO has revealed three significant additions to the second season of its upcoming Harry Potter television adaptation. Lenny Rush has been cast as Dobby, while Billy Barratt will portray the young Tom Riddle, the Hogwarts student who eventually becomes Lord Voldemort. Bonnie Hill will take over the role of Ginny Weasley beginning with Season 2. Gracie Cochrane will still appear as Ginny during the first season but will not continue in the role after leaving future seasons because of what was described as “unforeseen circumstances.” The second season is expected to adapt J.K. Rowling's second novel, Harry Potter and the Chamber of Secrets, introducing several characters who become increasingly important to Harry's story. Why it matters for casting The announcement is particularly interesting because it combines new character casting with a major recasting decision. Long-running franchises require casting teams to think beyond a single season, considering an actor's suitability for a character who may develop across several years of production. It also demonstrates how even major franchises sometimes need to adjust casting plans as production develops. Source: TheWrap – Harry Potter casting announcement Netflix Builds Powerful Korean Ensemble for Action Series The Shooter Netflix has confirmed production of its upcoming Korean action-noir series ** The Shooter **, with Lee Jung-eun and Kim Moo-yul leading a large ensemble cast. They will be joined by Huh Joon-ho, Choi Sung-eun, Bae Na-ra, Seo Hyun-woo and Moon Jong-won. The series is directed by Lee Kwon, known for A Shop for Killers. Lee Jung-eun plays Jeong Suk-ja, a woman in her seventies who has lived an ordinary life until an incident involving the grandson she raised pushes her toward revenge. She eventually finds herself confronting the powerful criminal organisation connected to the Chunghwa Group. Kim Moo-yul plays Seo Yeon-woo, who becomes connected to Suk-ja's revenge journey. Why it matters for casting Rather than relying on a single star, The Shooter is being built around an ensemble of established and emerging Korean performers. The casting also puts a woman in her seventies at the centre of an action-noir story, expanding the type of characters traditionally selected to lead action-focused productions. The project is another example of Korean productions being developed from the beginning for both domestic and international streaming audiences. Official Source: Netflix – The Shooter production and casting announcement Additional Source: South China Morning Post – Korean drama casting roundup Freddie Meredith Joins Saturday Night Live UK Season 2 British actor and comedian Freddie Meredith has officially joined the cast of ** Saturday Night Live UK ** for its second season. Meredith comes from a mixed performance background encompassing drama school, professional theatre, stand-up comedy and online sketch comedy. His Edinburgh Fringe debut, Need a Light?, also received a Best Newcomer Award nomination. He joins returning cast members including Hammed Animashaun, Ayoade Bamgboye, Larry Dean, Celeste Dring, George Fouracres, Ania Magliano, Annabel Marlow, Al Nash, Jack Shep, Emma Sidi and Paddy Young. Season 2 launches on 12 September 2026 on Sky and NOW, with additional episodes planned for early 2027. Why it matters for casting Meredith's path into SNL UK reflects an increasingly important trend in contemporary casting: performers are no longer discovered through television and film credits alone. Theatre experience, stand-up, live performance and short-form digital sketches can all become part of an actor or comedian's professional portfolio. For emerging performers, it is another reminder that developing skills across several platforms can create opportunities in larger television productions. Official Source: Sky – Freddie Meredith joins SNL UK Season 2 What These Casting Decisions Tell Us These three announcements show three different sides of today's casting industry. Harry Potter demonstrates the complexity of building and maintaining a cast for a long-term global franchise. The Shooter highlights the growing international reach of Korean ensemble casting and unconventional action leads. SNL UK shows that theatre, stand-up and digital content can all provide pathways into major television productions. For actors, the message is clear: there is no single route into professional casting anymore.

Music

Sep 8, 2026

Live Music Goes Local and Digital: AEG Expands in Germany as Spotify Captures East Africa

Two developments in Europe and East Africa show how live music is becoming both more local and more digital. AEG Presents has opened a dedicated operation in Germany to develop concerts and pursue new opportunities in the country. Meanwhile, Spotify has featured Kenyan artist Nyashinski in its first East African Offline/Online performance capture. Although the announcements involve different markets, they share one strategy: create locally relevant live experiences and build systems that can extend their value beyond a single event. The Developments at a Glance Development Confirmed information Why it matters AEG Presents Germany A new Berlin office led by senior promoter Sina Hall Local infrastructure can strengthen European touring and cross-market booking Spotify Offline/Online Nyashinski became the format’s first featured East African artist A private fan event can become lasting digital content with wider reach What Is AEG Presents Doing in Germany? AEG Presents has launched a dedicated German operation from a new office in Berlin. Sina Hall has joined the company as senior promoter and will initially focus on expanding the country music market in Germany. She will also pursue broader strategic opportunities across the German live-entertainment sector. Hall has approximately 25 years of industry experience. She previously worked at Trinity Concerts, Dirk Becker Entertainment and Semmel Concerts. In 2018, she founded Sound of Nashville, an initiative focused on developing country music and touring opportunities in Germany. She also worked with AEG Presents on the launch of the Country to Country Festival in Berlin in 2019. The new office will complement AEG’s partnership with German concert promoter MCT Agentur, established in 2024. MCT and founder Scumeck Sabottka will remain important partners for AEG’s concert-promotion activities in Germany. The expansion was reported by Access All Areas and IQ Magazine. Why Is AEG Opening a Local German Office? Germany is one of Europe’s most important live-entertainment markets. A dedicated office gives AEG greater access to local audience information, venues, artists, media partners and touring networks. The initial country-music focus is also significant. Country music has developed an increasingly international audience, creating opportunities for artists to tour beyond the genre’s traditional North American market. A permanent presence in Berlin could help AEG: Identify growing audience segments Develop tours specifically for German cities Build relationships with local venues and festivals Connect German events with wider European routes Support international artists entering the market Discover opportunities involving local performers For artists and managers, this demonstrates why regional partners remain important. Streaming data may reveal where listeners are located, but successful touring still requires local knowledge of venues, promotion, ticketing and audience behaviour. Could AEG’s Expansion Affect European Touring? A larger local presence may create more opportunities for artists whose audiences extend across several European markets. International promoters can connect individual concerts into regional touring routes, helping artists move between cities and countries more efficiently. This can be especially valuable for independent and culturally specific artists with strong diaspora audiences. However, expansion by major promoters may also increase concentration in the live-music business. Independent promoters and venues may face stronger competition for artists, dates and commercially attractive events. The long-term effect will depend on the tours, partnerships and artists developed through the new office. What Is Spotify’s East African Offline/Online Performance? Spotify has selected Kenyan artist Nyashinski for its first East African Offline/Online performance capture. The session was recorded during Spotify’s Greasy Tunes Nairobi activation in July 2026. More than 100 invited fans attended the intimate performance, where Nyashinski performed songs including “Dopamine,” “Grateful” and “Perfect Design.” The multi-camera production was directed by Tim Horwood of Mashoba Media and filmed from close range to reflect the audience’s perspective. Spotify later repackaged the physical event as recorded digital content, allowing the performance to reach people who did not attend the original fan experience. Details of the production were reported by Music In Africa. Spotify also documented the wider Greasy Tunes Nairobi programme. Why Does Spotify’s Nyashinski Performance Matter? The project shows how streaming platforms can use physical events to create longer-lasting digital assets. A live performance normally reaches the people inside a venue. When professionally recorded, it can also become: A complete online performance Short-form social-media clips Promotional material for future releases Content for artist and platform channels A tool for attracting new listeners Additional value for Premium subscribers For Nyashinski, the capture creates another way for audiences outside Kenya to experience his music and performance identity. For Spotify, it strengthens the connection between its digital platform and local music communities. It also gives the company original content that cannot be replicated by a standard playlist. Does Offline/Online Mean the Performance Was Offline-Only? No. The format begins with an in-person experience but transforms that event into content for online audiences. “Offline” refers to the physical performance and direct fan interaction. “Online” describes the recorded content and its ability to travel beyond the venue. This combination allows one event to produce value across multiple platforms and formats. What Connects the AEG and Spotify Strategies? Both developments demonstrate the importance of local presence. AEG is establishing infrastructure inside Germany instead of managing every opportunity from another market. Spotify created an experience based on Nairobi’s artists, audiences and cultural activity before distributing the resulting content more widely. The shared model is: Understand a local audience. Build an experience within that market. Work with regional artists and industry partners. Connect the project to an international network. Extend its value through touring or digital content. Technology can expand reach, but local relationships create the foundation. What Can Independent Artists and Labels Learn? 1. Build regional partnerships Artists entering a new market need promoters, venues, media contacts and marketing partners who understand local audiences. 2. Plan performance capture in advance A live event can generate more than ticket revenue. Artists should decide before the performance which full-length videos, vertical clips, photographs and promotional materials are required. 3. Clear the necessary rights Recorded performances may involve composition rights, master rights, performer consent, venue permission and agreements covering filming and online distribution. 4. Create reusable content One professionally captured performance can support a release campaign, social-media strategy, electronic press kit and future booking proposals. 5. Measure what happens afterwards Artists and platforms should monitor whether the content increases streams, followers, saves, ticket interest and engagement in new territories. Frequently Asked Questions Where is the new AEG Presents Germany office? The dedicated operation is based in Berlin. Who is leading AEG Presents Germany? Sina Hall has been appointed senior promoter and will lead the new operation’s initial activities. Will AEG Germany only promote country music? No. Country music is the initial focus, but Hall also has a broader mandate to explore strategic opportunities across the German market. Is MCT Agentur still working with AEG Presents? Yes. The new operation complements AEG’s existing partnership with MCT Agentur rather than replacing it. Who is the first East African artist featured in Spotify’s Offline/Online format? Kenyan artist Nyashinski is the first East African artist featured through the performance-capture initiative. When was the Nyashinski performance recorded? It was recorded during the Greasy Tunes Nairobi activation in July 2026. Why are recorded live performances valuable to artists? They can extend the life of an event, reach audiences in other markets and provide reusable content for promotion, fan engagement and future booking opportunities. Conclusion AEG Presents’ Berlin office and Spotify’s East African performance capture show two sides of the changing live-music economy. AEG is investing in permanent local infrastructure to develop concerts and touring opportunities. Spotify is transforming a locally produced fan experience into digital content with a longer life and wider reach. For artists, labels and promoters, the lesson is clear: global growth begins with local understanding, professional partnerships and content designed to travel beyond its original market.

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