Universal Music Group’s 11-person executive committee was paid a total of $128.4 million in short-term employee benefits -- most likely salaries and bonuses – in 2020, according to financial information released by the music group’s parent company Vivendi. When post-employee benefits and share-based payouts are added, that total jumps to $132 million -- almost double the $62.2 million paid to the executive team in 2018.
According to the UMG website, the executive team consists of UMG chairman/CEO Lucian Grainge; executive vp Michele Anthony; chairman/CEO of Central Europe and Deutsche Grammophon, Frank Briegmann; executive vp and general counsel Jeffrey Harleston; executive vp and chief people and inclusion officer Eric Hutcherson; United Kingdom and Ireland chairman/CEO David Joseph; executive vp marketing Andrew Kronfeld; executive vp/CFO Boyd Muir; executive vp digital strategy Michael Nash; executive vp/chief administrative officer Will Tanous; and Universal Music Publishing Group (UMPG) chairman/CEO Jody Gerson.
The financial data drop, which Vivendi likely released in preparation for UMG’s expected to become publicly traded in late-September, does not specify how that $128.4 million was divvied up among the 11 executives. Were it distributed equally (it’s not), it would amount to an $11.7 million 2020 payday for each executive -- not enough to buy happiness, perhaps, but sufficient to purchase a yacht that would float pretty close.
Financial observers note that executive team compensation expected to look even richer once UMG goes public, as the company will probably have its own management incentive stock plan. But as things stand now, UMG's executive team likely received higher salaries due because they don’t have such a management incentive stock plan. In order to attract and maintain top talent, UMG has to compete with the Warner Music Group, which does have a management incentive stock plan that will someday deliver hundreds of millions of dollars to its upper management team. Also, the salary structure for the executive management board probably reflects the value that the team has created down through the years through its management of UMG: In 2013 Softbank offered to buy UMG from Vivendi for $8.5 billion; currently, UMG is valued at about $40 million.
UMG’s total personnel costs in 2020, including the executive management team, were $1.42 billion of which $1.2 billion went to salaries – 17.6% of the companies $8.04 billion in revenue.
Last year, Universal carried on average 8,800 employees, up from 8,400 in 2019 and 7,900 in 2019. If the executive team’s compensation is excluded from overall salaries and total benefit compensation, that works out to an average salary of $121,000 and an average benefits package -- which also includes social security and other employee costs -- of $147,000. But, again, this is still skewed somewhat higher by salaries and bonuses paid to label chairman like Republic’s Monte Lipman and Interscope’s John Janick, which are generally not disclosed. (The foreign currency translations used in this story are based on the annual average exchange rates experienced by Vivendi and quoted in the company’s annual financial results for the year of 2020 -- 1 euro to $1.13; and 2018 -- 1 euro to $1.187.)
UMG declined to comment . --Ed Christman
Joni Chats With Clive At Grammy Gala
When part two of Clive Davis’ invitation-only virtual Pre-Grammy Gala takes place on May 15 -- the day before the awards ceremony was originally scheduled to take place -- the festivities will include a prerecorded interview with Joni Mitchell that was conducted by the master of ceremonies. A source in Davis’ camp says that during the conversation, Mitchell, 77, cites Édith Piaf and her early exposure to Black artists as influences on her jazz-influenced style of songwriting. While growing up in Alberta, Canada, she tells Davis, “There was a sideshow when the fair came to town called Harlem in Havana. We were all forbidden by our parents as kids to be seen even standing there watching because it was Black burlesque,” she recalls. “But they played a really sexy version of [Jimmy Forrest’s] ‘Night Train’ and that piece of music really affected my writing,” she explains.
When Davis asks for Mitchell’s reaction to the multitude of artists who have been influenced by her work and covered her songs, Mitchell, who has given few interviews since recovering from a 2015 aneurysm that affected her speech and ability to walk, says that she was told repeatedly over the course of her career, “Nobody is ever going to cover your songs. They are too personal.”
Other artist conversations slated for the gala include Queen’s Brian May and Roger Taylor, Elton John, Paul Simon, H.E.R., DaBaby, Carlos Santana, Rob Thomas, Dave Grohl, Dionne Warwick, Slash and Donovan. --Frank DiGiacomo
DragonForce have officially introduced Alissa White-Gluz as the band’s newest vocalist, revealing that the former Arch Enemy singer will now perform alongside longtime frontman Marc Hudson as the group moves into a new era.
Her debut performances with the band are happening soon, with White-Gluz set to appear at Florida’s Welcome To Rockville this weekend before joining DragonForce again at Ohio’s Sonic Temple the following week.
The upcoming concerts are part of the celebration marking 20 years since the release of Inhuman Rampage, the 2005 record that pushed DragonForce into worldwide metal success.
The group also revealed that this new version of the band has already started creating new music, hinting at an exciting new direction for the future.
Founding guitarist Herman Li described White-Gluz joining the band as an important new chapter for DragonForce.
He explained: “Alissa joining the band is an expansion of everything we’ve done up to this point."
Li also shared that even after two decades together, the band still feels inspired to keep evolving.
He said: “Together we will honour what made Inhuman Rampage matter, while showing people exactly where we’re going next… She doesn’t just sing, she makes all aspects of our music better. And she sounds incredible live!”
White-Gluz opened up about how excited she is to take on the new role, saying the collaboration already feels creatively rewarding and refreshing.
She said: “I am beyond excited to be bringing such iconic music to life with these amazingly skilled musicians.
“It feels great to showcase all the colours of my voice… in technically challenging, deeply energising, highly addictive songs.”
She also spoke about the continued support from fans over the years and how much it motivates her moving forward.
She said: “I want to keep pushing my boundaries and delivering exceptional music and live experiences to the fans that I cherish so much.”
The news follows a major transition period for White-Gluz, who officially exited Arch Enemy in November before releasing her debut solo single The Room Where She Died later that same day.
White-Gluz spent 12 years as part of the Swedish melodic death metal outfit.
The band's social media statement regarding her exit read: “Arch Enemy have parted ways with singer Alissa White-Gluz. We’re thankful for the time and music we’ve shared and wish her all the best. Wherever there is an ending, there is also a beginning. See you in 2026.”
White-Gluz wrote in her own statement: "After 12 years in Arch Enemy, we have parted ways. I am forever thankful to the thousands of amazing fans I have met along the way. Thank you, Beastligns! I can’t wait to share what I have been working on with you all (some big surprises in store). Stay tuned for big news in 2026 and see you very soon."
White-Gluz’s position in Arch Enemy was later filled by One Human musician Lauren Hart.
