Expertise:

I’ve spent my career in the trenches with independent artists, helping them build sustainable careers from the ground up. At Rhymesayers, we operate as full-stack partners to our artists — managing everything from IP rights management in masters/publishing/NIL, touring and live events, D2C e-commerce, and strategic business management and development. Where I bring the most focused expertise — and what I believe is most critical in today’s landscape — is in leveraging technology to build scalable infrastructures that allows artists to truly own their fan relationships. In a time where discovery is fragmented, platform visibility is rented, and data is locked behind walled gardens, we’ve built systems that create direct, lasting value for artists and labels alike. My work with Rhymesayers, the MF DOOM Estate, and Vinyl Me, Please, reflects that commitment — and it’s experience I want to bring to this board.

Priority Issues:

1. AI & IP Protection: The use of AI in music creation and exploitation is moving faster than the laws can keep up. We need unified strategies that protect our artists’ rights and ensure they’re compensated and credited in this new frontier.

2. Equitable Access: It’s getting harder for new artists to break through without massive investment. We should be building infrastructure and partnerships that support true independence — not just replicating major label pipelines at a smaller scale.

3. Direct to Fan Innovation: We need scalable, flexible solutions that allow labels and artists to build resilient fan ecosystems outside of DSPs and social platforms. It’s not just a revenue opportunity — it’s a survival strategy.

   Focus Issue: 

If elected, I want to work alongside rights holders to build real, functional solutions to these problems. Whether that’s shared direct fan infrastructure, policy advocacy on AI and IP, or pressure on platforms to increase transparency and equity, my goal is to help shift power back where it belongs: to independent creators and the labels that support them.

Why is being a part of the independent music/A2IM community important to you?

I’m here because I believe in this community. I’ve spent my career trying to create sustainable paths for artists to do what they love without compromise. That’s what A2IM stands for and that’s what this board should fight for. I want to be a voice in the process to make sure we’re not just reacting to change, but shaping the future of independent music together.

Biography:

I’m a strategic executive with 15 years of experience in tech startups and the music industry, focused on helping build sustainable careers with artist partners. As the COO of Rhymesayers, I oversee a business umbrella that includes artist management for Atmosphere, Aesop Rock, and the MF DOOM estate, as well as an e-commerce D2C operation, live events and touring, publishing and NIL rights management, and a 30-year catalog. Previously, I served as Head of Operations at Vinyl Me, Please, where I helped scale the vinyl subscription business into the world’s second-largest vinyl distributor prior to leaving in 2018. I’m currently based in Los Angeles.

Expertise:

I believe that my most significant contributions to the A2IM Board might be as follows:

1. Providing continuity and historical perspective, given my prior years of service to A2IM
2. Acting as a liaison to other industry trade associations, especially given my presence on the RIAA and IFPI boards
3. Assisting with and contributing to advocacy efforts, as I strive to maintain a strong awareness of political and legislative developments
4. Offering high level perspectives and direction on widespread industry issues, given our involvement with numerous independent labels
5. Providing financial advice and oversight, having served on the A2IM Finance Committee for many years

Priority Issues:

Three key issues that I would like to address are as follows:
1. Digital manipulation and dilution (fraudulent activity, “fake” artists, AI created tracks, enormous quantities of new track uploads, etc.)
2. Fair and balanced treatment for independent rights
3. Legislative and legal issues that impact the overall music ecosystem

Focus Issue: 

Why is being a part of the independent music/A2IM community important to you?

I firmly believe that the independent music sector is a vital part of the overall music ecosystem. Given that it is comprised of an incredibly large and diverse group of smaller businesses, we need a strong trade organization to bring the community together, gain consensus, and amplify our collective voice. A strong A2IM serves the entire community and helps all of us by protecting and promoting what we all do – which is to bring an amazing diversity of great music to the world. It’s been an honor to serve A2IM in the achievement of its goals in the past, and I would be even more honored to continue to do this in the future.

Biography:

Expertise:

I’m a creative thinker, an active collaborator and good at creative ideation and team building, as well as finding solutions to problems . With my 35+ years experience in many different facets of the music industry it gives me a unique perspective on different ways to problem solve all while being mindful to protect the integrity of the artist and their music.

Priority Issues:

 1. Finding and reaching new audiences for our music.

2. Broadening our networks to help each other achieve more together and be a support system to the next wave of music professionals.

3. Figuring out new ways to monetize our music

Why is being a part of the independent music/A2IM community important to you?

I’ve been working in the independent music industry for many years successfully and feel its important to both share and help others in the biz where I can and also learn from others also in this independent community more now then ever.

Biography:

I’ve been President of Mascot Records & Mascot Label Group North America for the past 12+ years based in NYC. I’ve built a dedicated team of professionals and had year over year exponential growth. We’ve had grammy noms and also several Top 10 Active Rock Singles. I’m responsible for signing most of the Rock & Metal repertoire to the label. Some of our artists include: 10 Years Afterlife, Black Stone Cherry, Beth Hart, Conquer Divide, Calva Louise, Cedric Burnside, Crobot, Dinosaur Pile-Up, Dragged Under, Earthside, Fozzy (Ex US), P.O.D., Kenny Wayne Shepherd, The Cold Stares, Steve Vai, Vola, Volbeat catalogue and others.

Prior to Mascot I was SVP A&R @ Roadrunner Records for 15 years and discovered & signed Airbourne, Nickelback, Black Stone Cherry, Theory of a Deadman, Madina Lake, Thornley, and many others. Prior to Roadrunner, I was the Showcase Manager at CMJ Music Marathon for 2 years and before that I owned and ran STRETCH MANAGEMENT, where I was personal manager for Alice Donut, Ultra Bide and Drunken Boat.

Expertise:

Digital Media, Sales, and recording company operations. I can contribute and speak into many aspects of the music industry with over 32 years experience.

Priority Issues:

1. Indies bullied by majors
2. Independents for equal representation
3. Getting compensated equal to majors

Focus Issue:

How do independents compete in an ever changing business where the majors get bigger and control more.

Why is being a part of the independent music/A2IM community important to you?

it’s important to represent artists in a way that they can compete and be fairly compensated like major labels artists.

Biography:

Benson Curb’s involvement in the music industry began in 1993 when the California native accepted an offer from Mike Curb, to work for Curb Records. Curb started out as an assistant in sales and marketing and by 1995 moved into the position of Director of National Sales for the Curb Group, and by 1997 assumed the position of Vice President of Sales for Curb Records. He has served on the CMTA, and Cystic Fibrosis boards 2002, 2005 respectively, and has been a CMA and ACM member since 1997. He is previously served on the ACM board and his charity work includes help with The Cystic Fibrosis Foundation, Vanderbilt children’s hospital, Back Field in Motion, American Heart Association and Habitat for Humanity.

Curb has over 25 years of label experience in sales and marketing and has been instrumental in the success and development of many Curb artists, including Tim McGraw, LeAnn Rimes, Jo Dee Messina, Rodney Atkins, Natalie Grant, Steve Holy, Selah, Hank Williams, Jr, and Lee Brice. He was also fundamental in the leading of Mike Curb to LeAnn Rimes and Nicol Sponberg (formerly of Selah).Born in California, Curb attended the University of California at Santa Barbara where he spent four years on the Division I tennis team (he was nationally ranked by the NCAA in 1991), while earning a degree in Sociology. He and his wife, Jacquie, reside in Franklin, Tennessee and are the proud parents of two children, Jackson (15) and Anabel (10). His hobbies are fishing, golf, and tennis.

Expertise:

The process of pre-production, recording and marketing an album has changed drastically in many ways but in certain ways many things are the same and I have a good understanding of these aspects. I also have one foot in the world of Latin music and another in the world of global roots. I think that I can bring a lot to the table in terms of accessing both of these music communities, both professional and consumer. And of course I have the unique experience of being a woman record producer and label owner.

Priority Issues:

1. How can we restore revenue-producing forms to the distribution of recorded music?
2. How can we obtain funding for production and marketing apart from sales of recorded music?
3. How can we bridge the gap between generations?

Focus Issue

I’ve been saying for awhile that we are back in the age of patronage because music can no longer pay for itself under the current streaming model. This means grants, crowd-funding, friends and family, corporate sponsorship, etc. It’s a lot of work to depend on synch deals, march and other non-consistent revenue models. I think we need to address more consistent forms. I don’t think that the streaming model will significantly change, I think it’s too entrenched and the major players don’t want to give up their share to support content-creators. We need to explore more deeply other ways to monetize productions and marketing such as becoming non-profits and obtaining grants.

Why is being a part of the independent music/A2IM community important to you?

it’s a community and a tribe. It’s important for us to share our experiences and our knowledge. Rather than regard each other as competition we should regard our fellow companies as a way to expand our reach and support each other.

Biography:

Originally an artist who morphed into a producer and label owner, I’m an experienced music professional, having experienced just about every side of the music business. I’m one of a handful of experienced, Grammy-nominated women record producers and owner of Ashé Records. I began my career as a teenage cast member of HAIR and continued as an RCA-signed singer/songwriter, eventually evolving into a producer for other artists, including Odetta, Eddie Palmieri, Yomo Toro and many more. I’ve worked as a producer for both major and independent labels and I’m gratified that Sony has recently reissued my early albums. Ashé is a boutique producer’s signature label, releasing music from Cuba, Mexico, Africa, Venezuela, Puerto Rico and more. I’m grateful that my work has taken me all over the world and created relationships with artists from many cultures. Our mission is to release music that is uplifted and contains qualities that unify us in our shared humanity.

Expertise:

I bring a unique combination of artist, label, music business and technology experience that A2IM can leverage to grow the success of member labels and organizations, which will also eventually benefit artists. I am someone who has been on every side of the industry and this diverse expertise can be shared with various member companies.

As a touring / recording member of George Clinton & Parliament Funkadelic (and still working with the group today in 2025), I understand the importance of independence to maintain career longevity. I am a professional operations lead for independent labels, making sure they have their representation in terms of metadata on major DSPs, as I developed the marketplace for music metadata at Gracenote / Nielsen. Every day I work with music technology tools as an independent record label manager (our tool kit at Soul Clap includes utilizing Infinite Catalog, InFlyte App, RightsHUB, EMPIRE distro) and I can help other independent labels determine the right set of technologies to operationalize and optimize their business.

On a daily basis, I work with the label’s artist signings to make sure they can fully collect their royalties, whether those be from master recordings, mechanicals, neighboring and performing rights. My greatest joy is artist education and advocacy, with the goal of helping musicians navigate the complexity of maximizing the results of their artistic efforts.

Priority Issues:

1. Optimizing Publishing – I would like to see the works registration process streamlined, and global works search be available across PROs and not gatekeeped by association membership, and more options for independent labels to be able to collect fully across CMOs / neighboring rights organizations without having to jump through hoops or becoming members of three dozen companies across multiple territories.

2. Improve Merchandising of Independent Music at DSPs – making it easier for independent labels to get access to the same merchandising tools that UMG, WMG, and Sony have at major DSPs (Spotify, Amazon, Apple, YouTube) – this includes allowing independent labels to have their own profiles on DSPs, having independent artists to have rich artist profiles that match those of major / top selling artists on those services with imagery, artist playlists, video etc, and full artist credits and rich metadata and imagery – today so many independents are shut out of such rich merchandising options

3. Improve diversity and inclusion in independent music – Because of my work with legacy artists such as Mtume, Nona Hendryx, George Clinton, Fonda Rae, Dolette McDonald, I understand how important it is for Black and female artists to be credited for their work that is heavily used in modern independent music. I am a facilitator between legacy artists in soul, funk and disco and I have proven myself as a bridge builder between musical generations.

   Focus Issue: 

I believe issue #2 is one of the most pressing issues that A2IM members face and I would use my network and connections to open conversations about the features that independent record label members (such as our label) would like to have at the major DSPs and of course A2IM’s existing relationships. I have wrote extensively for Cherie Hu’s “Water & Music” about these tools also known as “For Artists” (which also apply to labels) that are offered, but that do not seem to match the access that the major labels have to properly merchandise their music at the music streaming services. I plan to develop a “independent label access to DSPs requirements document” and get buy in from A2IM members on it, with the ultimate goal to create an industry standard on how independent labels can access the full merchandising options DSPs offer. This is just one area I’m passionate about and that is key to the success of our label. The area of optimizing publishing for independent rights holders is another area I want to create a program around.

Why is being a part of the independent music/A2IM community important to you?

First, I share that I have so much love for working with A2IM. As a technology provider, I first started working with A2IM in 2012 while at official.fm, offering member companies a music promotion platform, which was utilized to share music for Libera Awards nominees that year. At official.fm, I worked under Amaechi Uzoigwe, who was the Founding Chairman of A2IM, so I understand the history and passion of the organization. I later joined Acquia, a web hosting platform, where we became a technology partner member where we enjoyed working with Jen Masset.

My membership continued later at Gracenote, and in that role, I spoke at Indie Week 2019 about the importance of music metadata. As a music fan and DJ, I rely so heavily on independent record labels, who are the most expert curators, to deliver me the freshest and best quality new music. It would be such a pleasure to serve these labels and advocate for them within the larger industry. As a label manger myself, I rely on the community of independent record labels both in the US and abroad, to learn best practices in terms of A&R, marketing, distribution, publishing, accounting, fan engagement and commerce.

Without that community, I have no resources to grow our label’s success and to grow as a label manager practitioner, so I that is why this community is so important to me and the label. I also appreciate the time that Richard Burgess has taken with me personally to help grow my career and also improve the situation of our label, Soul Clap Records, even before we joined as a member label earlier this year. I am so appreciative of A2IM and the entire team over the years.

Biography:

Chuck Fishman leads label management at Soul Clap Records, an artist-curated, independent dance music label led by the electronic music duo Soul Clap. He represents the voice of independent dance record labels through his work on the Executive Board of the Association for Electronic Music (AFEM). Chuck is a tireless artist advocate and shares his knowledge from his experiences leading his own music group FSQ, managing emerging artists and legacy artists (Estates of Mtume, Michael Jackson and Charlie Parker). His expertise also includes music technology with past roles at Gracenote / Nielsen, official.fm and Cisco. Chuck today continues to work with George Clinton & Parliament Funkadelic – the funk legends who kicked off his career 30 years ago.

Expertise:

I believe my greatest area of expertise is my ability to negotiate, bring fresh/ innovative ideas that are not industry norms and ability to listen.

Priority Issues:

1. Continue the unification and promotion of unification of the independent players/ independent labels in the industry, to actively unite to pursue changes that will help the growth of the industry and compensation for the independent labels.
2. Grow A2IM’s presence in the Latin Music space.
3. Increase education for indie labels so they stop giving into to simple tricks used by these major companies to break apart the independent labels.

Focus Issue: 

Continue to find tools using AI that help educate labels, increase possibilities of monetization and increase promotion.

Why is being a part of the independent music/A2IM community important to you?

I believe I have a lot of experience, relationships and enthusiasm to contribute to this industry and independent music community.

Biography:

Entrepreneur, visionary, and WK Records Co-Founder/Co-Owner, Oscar Guitian Jr. has rapidly ascended as one of Latin music’s foremost influencers. With a dynamic career trajectory, the 35-year-old established NVO Music—an independent label/distribution hub—while pursuing Law School, a testament to his multifaceted talents. While in law school, NVO Music maintained its Top 10 label status under InGrooves, showcasing Guitian’s adept management skills and industry acumen.

In mid-2020, Guitian co-founded WKR alongside industry heavyweight Walter Kolm, propelling the label into the limelight as one of the premier independent labels. Boasting an enviable roster featuring Latin-urban sensation Alex Rose, nurtured by Guitian under NVO Music, Grammy-nominated producer Foreign Teck, emerging Argentine trap artist Seven Kayne, and a cadre of rising talents, WKR continues to redefine Latin music’s landscape.

In under two years since its inception, Guitian, in collaboration with La Base, propelled WKR to unprecedented heights, culminating in 2021 with the #1 Global TikTok song in Spanish, “Fiel” by Los Legendarios, Wisin & Jhay Cortez, amassing over 4 billion streams. This achievement solidified WKR’s status as a Top 10 Latin Label on Billboard Magazine’s coveted charts, accompanied by a remarkable 3 Diamond, 27 Platinum, and 30 Gold Records certified by RIAA.
Under Guitian’s stewardship, WKR dominated digital platforms with six singles on Spotify’s Global Top Songs chart, two songs ranking among the Top 20 most streamed on Triller in 2021, and eight tracks in Spain’s Top 100 songs of the year. Notably, the label garnered two finalist nominations at the 2021 Billboard Latin Music Awards, attesting to its industry impact. Recognized for his outstanding contributions, Guitian was honored in Billboard’s prestigious 40 under 40 list in 2022.

Undeterred by success, he embarked on a new venture in 2023, founding Serving Sounds SL, a record label/management company headquartered in Spain. Focused on cultivating local Spanish talent into global phenomena, the label swiftly made its mark with a top 5 single in the country and a globally viral hit on Spotify for five consecutive weeks, affirming Guitian’s enduring commitment to shaping the future of Latin music.

Expertise:

My greatest area of expertise lies at the intersection of music, social impact, and independent artist advocacy. As a seasoned independent singer-songwriter and founder of Natalie Jean Music, I’ve built a career rooted not just in creative excellence but in intentional storytelling that addresses critical social issues—ranging from gender equality and mental health to human rights and empowerment.

I understand firsthand what it means to be an artist navigating the music industry without the support of major-label infrastructure. I’ve managed every aspect of my career—from production and distribution to branding and audience engagement—while staying aligned with a mission-driven purpose. This experience has given me a unique perspective on the needs, challenges, and opportunities facing independent artists today.

I also bring significant experience in mentoring emerging artists, especially women and creatives from underrepresented communities. I help them understand how to build a sustainable music career that’s both financially viable and rooted in authenticity. My guidance spans everything from songwriting and self-promotion to emotional resilience and business literacy.

On the A2IM Board, I can contribute meaningfully to conversations around:

Ethical use of technology and AI in music

Fair compensation and streaming reform

Mental health awareness and community support

Creating inclusive pathways for marginalized voices

Developing educational resources for DIY artists

I believe deeply in artist-first leadership, and I am committed to bringing my insights, lived experience, and unwavering passion to help shape an industry that works for all independent creators—not just a few. My goal is to bridge the gap between art and advocacy, and to help A2IM continue to be a force for justice, innovation, and empowerment in the music world.

Priority Issues:

1.Independent artists continue to face inequitable streaming revenue models that undervalue their creative contributions.

2.The rapid integration of AI in music production threatens artistic authenticity and lacks clear ethical and legal boundaries.

3.There is a critical need for accessible mental health resources and community support tailored specifically for independent musicians.

Focus Issue: 

If elected to the A2IM Board, my top priority would be to advocate for equitable compensation structures and sustainable opportunities for independent artists, particularly in the evolving digital and streaming landscape. Independent creators are the backbone of innovation in music, yet many still struggle to receive fair pay for their work. I believe A2IM can continue to lead the charge in lobbying for transparency in royalty distributions, reforming outdated revenue models, and creating stronger alliances with DSPs to ensure artist-first outcomes.

In addition, I am deeply committed to addressing the impact of artificial intelligence on the integrity and rights of artists. While AI offers exciting creative tools, it also poses ethical challenges related to consent, originality, and ownership. I will advocate for clearer protections and education around AI in music to ensure that independent artists can both benefit from the technology and safeguard their identities and creative labor.

Lastly, I want to help build a stronger support system around mental health and community wellness in the independent sector. As an artist myself, I understand the emotional and financial toll of navigating this industry alone. I’d like to work with A2IM to expand wellness programming, mentorship opportunities, and peer-to-peer networks that empower artists not only to succeed professionally but to thrive personally.

These priorities are rooted in my lived experience and lifelong mission: to uplift, protect, and empower independent artists so they can create freely, fearlessly, and with purpose.

Why is being a part of the independent music/A2IM community important to you?

Being a part of the independent music and A2IM community is deeply personal and profoundly meaningful to me. As an independent artist, I’ve walked the path of building a music career without the backing of a major label—learning how to wear multiple hats, from creative to executive, while staying true to my values. That journey has taught me the power of independence, but also the importance of community, advocacy, and shared knowledge. A2IM represents the best of what independent music stands for: innovation, authenticity, equity, and the collective strength of artists and labels committed to forging their own path.

The independent music space is where true transformation happens. It is where voices that might otherwise go unheard find a platform, where genre lines blur, and where music is used not just for entertainment, but for empowerment and change. Through my company, Natalie Jean Music, I’ve committed my career to creating music with purpose—songs that speak to social justice, mental health, empowerment, and the lived experiences of people who deserve to be seen and heard. I’ve witnessed firsthand how the independent sector allows space for that kind of vulnerable, powerful storytelling—and it’s something worth protecting and growing.

A2IM’s mission to amplify, protect, and support independent voices aligns perfectly with my personal and professional values. The resources, advocacy, and sense of belonging that A2IM offers have had a tangible impact on my journey. Whether it’s fighting for fairer streaming royalties, helping artists navigate the implications of AI, or creating networking and educational opportunities that actually meet the needs of real artists, A2IM shows up in ways that matter. I want to be part of that impact—not just as a beneficiary, but as a contributor and champion for others.

Joining this community isn’t just about career growth for me—it’s about standing shoulder to shoulder with artists, labels, and industry leaders who believe in a future where music is ethical, diverse, and artist-led. It’s about helping shape an industry that uplifts everyone, not just a few. It’s about giving back to a space that has given me the freedom to create on my own terms—and ensuring that freedom exists for the next generation of artists.

Biography:

I’m Natalie Jean, an award-winning independent singer-songwriter and the founder of Natalie Jean Music, a socially conscious music brand dedicated to creating songs that inspire change, spark conversation, and uplift communities. As a multi-genre artist with over a decade of experience in the music industry, I’ve committed my platform to addressing real-world issues—such as women’s rights, mental health, racial and gender equality, and social justice—through the universal language of music.

My work has been recognized by respected industry bodies including the Global Music Awards, Great American Songwriting Contest, and Indie Channel Music Awards, with accolades spanning across pop, country, folk, jazz, and more. What drives me, however, is not just artistic recognition, but the impact—using music to bring healing and awareness while advocating for those whose voices are too often unheard.

As the leader of Natalie Jean Music, I’ve independently managed the business side of my career—navigating distribution, licensing, marketing, and sync placements. These experiences have given me a deep understanding of the unique challenges faced by independent artists, especially those from underrepresented backgrounds. I’ve also mentored emerging musicians, offering guidance on songwriting, career development, and purpose-driven branding.

I’m especially passionate about the future of the industry and the need for ethical innovation. The rise of AI, streaming inequities, and mental health challenges demand artist-first policies and proactive leadership. I strongly believe in the importance of artist representation in decision-making spaces, and I see A2IM as a vital force in protecting and promoting the rights of independent creators.

Expertise:

My greatest area of expertise is finding solutions to problems. With my background at major labels, artist management, and running an independent label, I have become well versed across nearly every aspect of the music industry. I’ve seen firsthand the challenges independents face, and I’m passionate about using my problem-solving skills to help level the playing field with the majors. My experience and relationships are suited to compliment those of the current board members.

After a year on the advisory board, my hopes are to have another opportunity to help indie artists and labels. My experience and relationships can help A2IM achieve its mission to advocate for policies that support our indie community.

Priority Issues:

1. Prevent the devaluation of music
2. Protect the indie sector from the effects of major consolidation
3. Prevent the fracturing of the indie community

Focus Issue: 

Devaluation of Music:
-Prevent reduced Royalty Rates:
-Eliminate or find fair alternatives to minimum Payment Thresholds:
-Fight for Fair Compensation

Major Consolidation
-Mitigate unfair advantages for majors over market power imbalance:
-Find ways to create new options to decrease indies dependency on major-label controlled distributors.

Fracturing of the Indie Community:
-Find ways to restrict DSPs from undermining collective bargaining power and fragment the
-Independent sector to force indies into unfavorable direct deals with DSPs:
-Find ways to help prevent fragmentation from weakening the ability of indie labels and artists to collectively advocate for fairer industry practices.

Why is being a part of the independent music/A2IM community important to you?

Independents are critical to the music industry’s diversity and innovation. My career has spanned majors, management, and running an indie label, and I’ve seen how the current paradigm favors the majors as the independents are compromised. A2IM’s mission aligns with my own and I would maximize the opportunity of being a board member to help solve problems and amplify voices that deserve a louder platform.

Indie labels are up against consolidation, opaque revenue models, and policies that favor major label interests. A2IM’s advocacy gives independents a unified voice to push back, and I want to contribute my experience, relationships, and problem-solving abilities to help fight that fight.

Biography:

Steve Kline is President and COO of Better Noise Music, a leading global independent rock and alternative label. Kline began his career in the promotion department at Atlantic Records before holding senior roles at Geffen, Columbia, and J/Arista Records. In 2003, he joined Allen Kovac’s 10th Street Entertainment, working with artists such as Steven Tyler, Blondie, Buckcherry, Everclear, and Hanson. Kline was instrumental in launching the Eleven Seven Label Group (now Better Noise Music) in 2006, expanding it into a multinational operation.

In his current role, Kline oversees North American operations and global label functions, managing teams in streaming, digital, radio, touring, and analytics. He collaborates with CEO Dan Waite on overarching label strategy and directs integrated marketing campaigns for artists like Five Finger Death Punch, Yellowcard, Dirty Heads, Sabaton, Nothing More and The HU. His responsibilities expand into multimedia content, such as executive producing Netflix’s The Dirt. Under Kline’s leadership, Better Noise Music has become a powerhouse in rock, with a key focus on artist development.

Expertise:

Finance and spreadsheet modeling. My strategic focus over the past 2 years has been centered around developing long term decay models to benchmark our financial goals and give us long tail KPIs to develop project budgets around. As a close second, I am deeply invested in our professional development, operational efficiencies, and overall management of human resources. Lastly, my experience in every facet of label work is a strength I consistently rely on. Working every component of a business not only gives you invaluable knowledge, but it also equips me with empathy and genuine understanding of the day to day challenges my team faces.

Priority Issues:

1. Rapidly evolving media landscape which is shifting the business model of many independent music companies everyday, creating scenarios where businesses have to spend as much time adapting as they spend operating the core business. In short, data overloads. The importance of data is very high, but there is so much that it is hard to ingest and manage, and it is rapidly evolving everyday, making it extremely difficult to stay current with market trends and actionable processes.
2. Over-reliance on counterparties such as Spotify, leading to an imbalance of dependence and high concentration risk for revenue.
3. The 800 pound publicly traded gorillas of SPOT, SONY, UMG and WMG. In this tech wave we could see a competitive moat inserted that could nearly box out all independent music companies that are not in strong positions.

Focus Issue: 

I think the biggest threat we are facing is that the predominant market share of music consumption (SPOT), along with the predominant market share of assets is controlled by publicly traded companies (UMG, SONY, WMG). If technology and data driven processes are going to be significant competitive advantages (for these publics), and the major players in the space are being motivated by stock prices and EPS, then the reality is that independent music companies are facing real threat of extinction as we ride the wave of the current tech boom with AI at the forefront.

Why is being a part of the independent music/A2IM community important to you?

My passion is providing a space for authentic art and culture to not only survive but to thrive. I hope that being a part of the A2IM board will afford me the opportunity to help galvanize indies in our competitive struggle against majors, while at the same time paving way to the necessary development (embracing tech) of the next generation of professionals (which is why I am passionate about the mentor program).

Biography:

I’m the Chief Operating Officer of Kemado Group Inc., a New York-based media company with ownership stakes in two independent record labels, a music publishing arm, and a recording studio. I’ve spent my entire professional career at Kemado, beginning as an unpaid intern packing webstore orders and steadily growing with the company—first managing the warehouse, then overseeing production, general management, and ultimately stepping into my current executive role.

In my position as COO, I oversee day-to-day operations across all divisions, including release planning, finance, rights management, and long-term strategy. My work is deeply rooted in operational efficiency and cross-functional leadership, with a focus on building sustainable systems that empower creative teams to thrive. I’m especially passionate about bridging the gap between art and infrastructure, and helping our labels, studio, and publishing businesses scale with intention.

I’m also a committed member of the independent music community and have proudly participated in A2IM’s mentorship program for several years, supporting the growth and development of the next generation of music professionals and executives. As someone who began at the ground level of the business, I know firsthand the value of mentorship, hands-on learning, and a strong support network.

It’s an exciting time for independent music, and I’m proud to play a part in shaping its future.

Expertise:

Intellectual Property Law. My background as a practicing intellectual property attorney equips me to translate dense copyright statutes, licensing frameworks, and emerging AI case law into actionable strategy for A2IM. On the board, I would help independent labels navigate the Music Modernization Act, optimize metadata to unlock unclaimed royalties, and structure deals that protect long‑term rights without stifling innovation. I can also shape A2IM’s policy responses, ensuring our advocacy before Congress, the Copyright Office, and international regulators is both legally sound and commercially astute while designing practical education initiatives that raise IP literacy across the indie community.

Priority Issues:

1. Artificial intelligence licensing.
2. Platform monopolistic trends, including bundling.
3. Copyright enforcement.

Focus Issue: 

If I had to pick one for priority, it would be developing business models around the training and use of artificial intelligence where our music is involved.

Why is being a part of the independent music/A2IM community important to you?

Music, at its core, is about community—the shared energy between creators, fans, and the people who champion their work—and for the past 20 years I’ve found that spirit most vibrantly alive within the independent sector and A2IM. Being part of this community matters to me because it celebrates artistic freedom, rewards entrepreneurial grit, and turns collaboration into a force multiplier: when one indie label wins, we all win.

The relationships I’ve built here remind me daily that independence does not mean isolation;it means choosing to lift one another up. Serving alongside fellow independents keeps me grounded in why I entered the business in the first place: to help artists be heard on their terms and to ensure the value they create flows back into the creative ecosystem we all love.

Biography:

I launched GoDigital.com in 2006 to seize the opportunities created by the convergence of media and technology. What began as a single idea has grown into a multi‑national conglomerate that now weaves content, community, and commerce together across the passion points of music, entertainment, and sports. Today our portfolio includes Cinq Music, Sound Royalties, NGL mitú, and YogaWorks, among other brands.

My career in music and entertainment has allowed me to collaborate with artists such as Janet Jackson, T.I., Master P, Jason Derulo, Pitbull, PSY, and Daddy Yankee. I have produced dozens of major music videos—earning honors like “Video of the Year” at both the Gospel Music Awards and MTV Latin Video Music Awards, as well as “Best Directorial Debut” at the MVPA Awards. Most recently, I co‑produced the video for Janet Jackson and Daddy Yankee’s “Made for Now.”

Service and leadership are integral to my work. I currently—or have previously—served on the following boards and committees:
– American Association of Independent Music (A2IM) – trade group for U.S. independent labels
– Association of Volleyball Professionals (AVP) – founding member, Executive Advisory Board
– City of Hope Hospital: Music, Film & Entertainment Board – helping raise more than $140 million for cancer research
– MERLIN – global collective‑bargaining organization for independent labels (≈15 % of worldwide recorded‑music market)
– OTT.x (formerly the Entertainment Merchants Association) – representing the U.S. home entertainment industry with a focus on OTT ecosystems
– RD.x – joint venture among IFPI, WIN, and PPL to build a global repertoire database for music‑licensing collectives
– Stanford Disruptive Technologies Council – collaborating with global technology leaders to commercialize research from Stanford’s 400 centers of excellence
– The Recording Academy – Government Advocacy Committee
– USC Business Cinematic‑Arts Program Advisory Board – guiding curriculum and career development
– World Independent Network (WIN) – advocating for the global independent recorded‑music community

My professional foundation includes a license to practice law, a Juris Doctor from Pepperdine University, and a business degree with an emphasis in Cinema‑Television from the University of Southern California’s Marshall School of Business Honors Program.

These experiences—entrepreneurial, creative, and civic—shape my ongoing mission: to empower artists and audiences alike by connecting culture with technology on a truly global scale.

Expertise:

From my early days at Razor & Tie until my current role as COO of Concord, I have been fortunate to represent the independent community through A2IM, SoundExchange, Win, and more over the last twenty five years. My greatest expertise comes from my experience. I have been through booms and busts. I have seen the impact of technology on our community for good and bad. I have lived with the impact of financial markets on our business. Most importantly, I have worked with great and impactful music created throughout the last 25 years.
I have key relationships that allow for trust and speedy communication throughout the global music community and within all sectors of the music business. My main business expertise is in digital distribution deals, revenue optimization and business management.

Priority Issues:

1. The avalanche of music in the music ecosystem and the downstream impact to independents along with related issues like streaming fraud.
2. Creating a collaborative and effective advocacy operations that works globally.
3. Ensuring that AI laws protect copyright.

Focus Issue: 

We need to ensure that our partners help prioritize human created music and ensure that the discovery engines allow for the best music to rise to the top. We need to work with each other and other trade associations to ensure that everyone is treated equally and given a chance. We also need to be pragmatic and results oriented.

Why is being a part of the independent music/A2IM community important to you?

I wouldn’t be where I am without the relationships that I have made working with a2im and its members. My personal and professional life have been immeasurably impacted by working in this community. I believe that my service to A2IM will help all independent record labels have better outcomes. I am eternally grateful for the opportunities that this community has presented me and will tirelessly work to ensure that everyone is able to rise as high as their ability can take them.

Biography:

I am Concord’s Chief Operating Officer. (“COO”) 

I have been at Concord since 2015, starting as Chief Revenue Officer, and becoming COO in 2021. Prior to Concord I  worked as President of KIDZ BOP and Razor & Tie, both of which were acquired by Concord.  

As COO, I work across Concord’s four business areas (Music Publishing, Recorded Music, Theatricals, and Originals) to provide strategic guidance and maximize revenues and efficiencies across the Company.