Diversity in Sports Entertainment: A Game-Changer to Include All

Sports have always been a unifier, a place where talent trumps all else and the scoreboard tells the story. From the gridiron to the diamond, legends like Jim Brown and Jackie Robinson didn’t just excel; they shattered color barriers, proving that the field of play bows to skill, not skin color. Their legacy set the tone: if you’ve got the talent, you belong. Today, diversity in sports entertainment goes beyond the athletes. It’s about the fans, the vibes, and the culture we create in the stands, on the videoboard, and through the speakers.

Let’s start with the obvious: sports are the ultimate meritocracy. The field doesn’t care about your background.  If you can hit a fastball or break a tackle, you’re in. Jim Brown didn’t just dominate as a running back; he redefined what a football player could be, forcing the NFL to confront its own biases head-on. Jackie Robinson’s grace under pressure cracked open Major League Baseball, showing that talent transcends prejudice. Their victories weren’t just personal, they were cultural.  They paved the way for generations of athletes to compete on equal footing. Today, that principle holds firm: from Serena Williams to Shohei Ohtani, the game rewards those who bring it, no matter where they’re from or what they look like.

Over the past 20 years, I’ve watched sports leagues evolve into something even bigger: a celebration of inclusion for everyone, not just the players. Arenas and stadiums have become spaces where ALL fans feel seen, heard, and valued. Leagues have leaned into this hard, and it’s paying off. We have all seen specialty uniforms that include LBGTQ themes and inclusionary slogans. This gear isn’t just a marketing ploy, they are a nod to local cultures, histories, and communities, inviting fans from every walk of life to connect. Pride Nights, Cultural Heritage celebrations, and Women’s Empowerment events are proof that teams want to make sure ALL fans feel at home.

Entertainment during games has leveled up, too. At the turn of the 21st century, the stadium or broadcast voices used to all be male. Now, the press box, stadium talent, broadcast crew and stadium includes all voices. That’s important! In-game hosts hype up crowds with multilingual shoutouts, and dance cams catch kids and grandparents alike dancing and enjoying the music of today and yesterday. 

The sports stadium environment is not about catering to one group of people.  It’s about giving everyone something to shout about, some music to dance to, and a team to cheer for.  Sports are a microcosm for our community and should reflect our culture while including all to participate in its fandom.  I am proud to be a part of an industry that’s about creating a party where everyone is welcome.

If there’s one thing that ties this all together, it’s music. The soundtrack of a game can make or break the vibe, and leagues have gotten smarter about curating playlists that resonate with diverse crowds. Walk into any arena, and you’ll hear everything from Bad Bunny to Metallica, Drake to Carrie Underwood. It’s deliberate.  Music speaks when words don’t need to. I’ve seen crowds at hockey games lose it to EDM, baseball fans chant along to classic rock, and basketball arenas pulse with trap beats. Teams are tapping into local artists, too, amplifying voices that reflect their city’s soul. Take the Miami Heat blasting Cuban-influenced tracks or the Toronto Raptors repping Drake, music builds bridges and sets the tone for a league or franchise. Music unifies 20,000 strangers into one fandom, one sports family.

This isn’t just about keeping fans entertained; it’s about belonging. When a stadium plays a song that hits your roots, it’s a signal: you’re part of this. Over the years, I’ve noticed teams get bolder with their selections, mixing genres and eras to match the energy of their fanbase. It’s no coincidence that playlists now feel more diverse than ever.

Below you will find a playlist containing my top 20 tracks for inclusion.  Don’t worry, they are all stadium friendly.

The Score’s Playoff Power Playlist

The playoff season is almost here, and whether you’re courtside for the NBA or on the glass for the NHL, nothing sets the tone like a killer soundtrack. From heart-pounding open videos to the perfect high-energy track coming out of a timeout, music is the pulse of postseason chaos. We’ve scoured the latest bangers on our website (https://www.thescore.us/music-2) to bring you the freshest tracks that’ll have fans roaring and players locked in. These picks are built to amplify the drama of a Game 7 buzzer-beater or a sudden-death overtime goal. Let’s dive into the best current songs for your NBA and NHL playoff vibes.

The NBA playoffs are all about star power, clutch moments, and that undeniable swagger. These tracks are perfect for capturing playoff intensity:

1. Marbl - "Won My Crown" (BPM: 136)
   This arena-rock beast hits its stride with a colossal chorus at :46 that belts, “I won my crown, I’m never coming down.” It’s an awesome flex for an open video or synced to a montage of last year’s champs hoisting the trophy, then cutting to this season’s contenders stepping onto the hardwood.

2. Hanumankind - "Run It Up" (BPM: 140)
   Dropped in March 2025, this hip-hop firestorm blends Kerala’s Chenda drums with a relentless rap flow. The chorus kicks in at 1:10, “Run it up, the sun is up.” Use it for a hype video or pre-game drop.

3. Royale Lynn - "Battleground" (BPM: 128)
   This alt-metal track explodes with a chorus at :56: “It’s a battleground, it’s a battleground.” It’s gritty, defiant, and perfect for an NBA playoff open or an open for the WNBA.

4. Ryan Innes - "My City" (BPM: 120)
   This anthem of pride and determination hits its stride with a soaring chorus at :40, capturing the spirit of defending home turf. Perfect for highlighting a team’s connection to its city and fans, especially in a do-or-die game.

The NHL playoffs bring a different beast: grueling, physical, and unpredictable (Not that the NBA playoffs aren’t all of that, but a different feel musically). These tracks match the icy edge of a playoff beard and the thrill of a slapshot goal.

1. Armin van Buuren & Bon Jovi - "Keep The Faith" (BPM: 126)
   Fresh off its February 2025 release and available on our website, this trance-rock remix is a postseason powerhouse. The beat builds to the 1:36 mark, and the drop unleashes a synth-driven storm. It’s ideal for an NHL open video.

2. Smith/Kotzen - "Outlaw" (BPM: 132)
   From their upcoming Black Light/White Noise album, this rocker’s chorus at 1:18 has a classic southern rock feel. It’s perfect for teams with a renegade edge. Sync it to a hype video of blocked shots and breakaways, letting those searing guitar riffs fuel the playoff fire.

3. Disturbed - "I Will Not Break" (BPM: 150)
   This metal powerhouse’s defiant chorus at :48 screams resilience, perfect for a montage of bone-crushing hits, blocked shots, and overtime heroics.

4. Nathan James - "Alienation" (BPM: 140)
   This hard-hitting track brings an edge of intensity and alienation, mirroring the focus and isolation players feel in the playoffs. Its heavy riffs and pounding drums at 0:44 make it ideal for a hype reel showcasing the raw emotion and physical toll of the postseason.

5. Ryan Innes - "My City" (BPM: 120)
   “My City” gets listed in both lists.  This track is too good not to list everywhere we can!

For the NBA, tracks like "Won My Crown" and "Run It Up" capture the spotlight and swagger, while "Battleground" adds a gritty edge. "My City" brings it home, emphasizing the pride and stakes of representing a city in the playoffs. For the NHL, "Keep The Faith" and "Outlaw" channel resilience and grit, "I Will Not Break" and "Alienation" amplify the physical and emotional intensity, and "My City" underscores the fortress mentality of defending home ice. These songs aren’t just background noise, they’re the heartbeat of playoff storytelling.

Grab the MP3s or WAV files for these tracks over at our site HERE and start building your playoff playlist. Whether it’s a slick open video or a hype reel to fire up the faithful, these current bangers will carry your team, and your fans, through the postseason grind.

Stay tuned to The Score for more music, sports, and the latest drops to keep your game-day vibes on point.

Country Music's Back In The Saddle With Sports

Howdy!  Perhaps you had the pleasure of planning a Country Music night for your team and had to mosey into new country music playlists to find out it’s a lot more rocking that it used to be.  Country music’s been boot-scootin’ its way into sports stadiums across the U.S., and we are here to break down this rootin’-tootin’ trend.

According to our pals in the industry, country music play in stadiums has spiked over 20% in the last two years alone. From Nissan Stadium in Nashville (duh) to Crypto Arena in LA (where the Kings just had a popular country music night), teams are cranking up the Luke Bryan and Chris Stapleton like it’s a honky-tonk happy hour.

The current country music landscape is filled with crossover artists like Taylor Swift, Jelly Roll and Keith Urban who are played on both country and pop radio stations.  If country music is good enough for Beyoncé and Post Malone, it’s probably good enough for your stadium as well!  These crossover artists help make the appeal of Country music greater now than it ever has been.  If you haven’t given Country music a chance in your stadium… why not?!   

So, what’s behind this country takeover? For starters, it’s all about that feel-good, sing-along vibe. Think about songs like “Sweet Home Alabama” (yeah, we’re counting that as country-adjacent) or Garth Brooks’ “Friends in Low Places” that get the crowd singing along.  A sing-along may be the perfect rallying cry when your team’s down.  The sing-along aspect of country music invites camaraderie and a great time regardless of the outcome.  Plus, country’s got that heartland swagger that vibes with sports fans, whether they’re in Texas or Tampa. It’s gritty, it’s real, and it’s got some incredible and catchy hooks.

Here at The Score, we’ve been slingin’ country tracks to teams for 20 years—check out our Country Music Nights Playlist on Spotify for proof!  Hits like “My City” and “Hang Tight Honey” are becoming gameday staples.

Want your team to join the party? Hit us up at The Score—we’ve got the cleanest, stadium-ready tracks to help turn your gameday into a hoedown.

2025 Grammy Winning Sports Tracks

The 2025 Grammy Awards were stuffed with mind-blowing new music but not all tracks are ready for play in stadium.  I wanted to highlight a few songs, but before we dive in, I should admit that the music is amazing, but I wouldn’t even begin to use some of the slang associated with the music.  It’s never a good look for someone nearing the mid-century mark to start launching out terms like “Brat” or “Snatched”; so, I’ll stick to the music and give you my thoughts on a few of the winning and nominated tracks/albums. 

-          Album of the Year & Best Country Album- Cowboy Carter Beyonce- The biggest track from the album is clearly “Texas Hold ‘Em” and it’s a blast but I like the “Pony Up Remix” as it’s a little more dynamic for stadium use.

 -          Record, Song & video of the Year & Best Rap Song and Performance- “Not Like Us” Kendrick Lamar- This track is brilliant, and we cleared it for several teams over the past year.  We can’t wait to see what Kendrick brings to his Super Bowl performance. “A minorrrrrrrrrrrrrrrrr” (Honorable mention to Eminem for “Houdini”.  I love the Eminem flow/vocals against the Steve Miller Band “Abracadabra” sample.)

 -          Best Country Album went to Beyonce, but don’t miss Whirlwind from Lainey Wilson.  The single “Hang Tight Honey” has great energy and is a solid stadium track.

 -          Best Dance/Electronic Recording- “Neverender” Justice & Tame Impala- We sent this to teams back in May of 2024.  The track is strong and as one team DJ told us, it’s a great “vibe” track.

 -          Best Rock Performance- “Now and Then” Beatles- We love the Beatles, and it’s nice for them to win here, but I feel this is an award celebrating their history and stature in music rather than awarding this track.  I would focus on the Green Day track “The American Dream Is Killing Me”.  This track is a rock anthem that hits at the right time.  It’s up-tempo and a solid track for stadium play. 

 -          Best Metal Performance- “Mea Culpa (Ah! Ca ira)” Gojira- You may remember this track from the opening ceremonies at the Olympics.  This track is incredible and worthy of consideration for in-stadium play because it’s all power and energy!  However, an honorable mention to Metallica for “Screaming Suicide”.  Another banger from Metallica that may not see the light of day in stadium, but we have the instrumental here, and it’s powerful!  “Lux Aeterna” may be the better stadium track.

 -          Best Rock Album- Hackney Diamonds The Rolling Stones- I love this album from top to bottom, and most will want to point out the lead track “Angry” (which is good).  However, my stand-out track from this one is “Bite My Head Off” which features Paul McCartney on Bass.  Great energy and really fun (for a bunch of 80-year-old guys). Also, honorable mention to No Name from Jack White.  This is one of my favorite albums of the year.  “That’s How I’m Feeling” is great for stadium play and production.  Several teams requested this track for in-stadium and online content.

Every team will have a different vibe for their team and fan music needs.  These are a few of the tracks that stood out to me.  If you would like to listen to all of the tracks mentioned above, hit the playlist HERE.

New Year, New Music

January brings that new-year smell and a flock of upcoming releases from some amazing artists.  The rumor mill is spitting out some tantalizing whispers about established artists with new releases, current hit makers ready with their latest efforts and release celebrations and collaborations.  2025 could be a very diverse sonic landscape with a little something for everyone.  We will focus on the albums that could prove to be big releases in the world of sports.

The fist to focus on is coming on January 24th from The Weeknd Hurry Up Tomorrow.  The 1st single from the upcoming album was released on October 31st titled “Sao Paulo”.  This new album should hit hard and have a lot of great sports content.

The Darkness are getting ready to release their latest album Dreams on Toast, on March 28th.  Their first two singles were released on December 10th. Of the two tracks, “I Hate Myself” could work. It’s fun and could work as a high energy track in stadium… but I’m not sure where.  Perhaps showing opposing fans in arena.  It’s a fun track that I would love to hear in a stadium setting. 

Paul McCartney posted a Q&A on his website on December 22nd where he was asked about a new year’s resolution for 2025.  His reply was “Here’s one: finish an album! I’ve been working on a lot of songs and have had to put it to the side because of the tour. So, I’m hoping to get back into that and finish up a lot of these songs. So, how’s about that? ‘My New Year’s resolution is to finish a new album!’" Although he hasn’t released a stadium banger in a while, this album will probably have some collaborations and enough star power to take notice, or at least take a listen.

Lady Gaga is rumored to be releasing a new album LG7 in February.  In my opinion, her voice is unparalleled, and she always has a track or two that end up being huge for in-stadium play.  This past December, she released a single “Santa Claus Is Coming To Town”, and she made that torturous holiday track sound amazing.  She has the pipes and is a force of nature in this industry.  It is rumored that this album will be “dark pop”.  Pay attention to this one! 

Rihanna hasn’t released a full album since ANTI in 2016.  If the rumor mill is spitting truth here, she has an album ready to release this year.  Rhianna recently stated that this new release will infuse her style with some reggae undertones.  This could be a defining moment for her career and a possible album of the year candidate. 

Lil Wayne has announced that his latest album Tha Carter VI is now complete… but he’s been teasing this album for a while.  I believe he will have a release this year, but we will have to wait to see what it is.  The man is one of the kings of collabs, so expect him to turn up in unexpected places, like the Heisman trophy ceremony, or perhaps with Kendrick Lamar at the Super Bowl.   

The Bruce Springsteen camp ALWAYS has something to tease, and something to talk about.  Last month, they teased fans by stating, “Upcoming releases in 2025 will include a look back at Springsteen’s storied recording career, featuring never-before-heard material.” This could be a highly anticipated box set, or a series of singles… nobody knows for certain yet.  Fans of the New Jersey staple will be waiting patiently for any new or unreleased material from The Boss. 

A$AP Rocky did a bit of a soft release of Don’t Be Dumb back in August.. .but had to pull it back from release for one reason or another.  It is said that the release is scheduled for “early 2025”.  An exact date has not been leaked.  A$AP Rocky has said of the album that it will be dark and stated that he wanted Tim Burton to illustrate the album artwork but scheduling got in the way. Some of the confirmed collaborators include Burton’s longtime partner Danny Elfman and Tyler, The Creator.

We will continue to keep our finger on the pulse of the music industry and bring the best to teams for in-stadium play and sync opportunities.  If you need any help with your music needs, please contact John Adams at The Score Music and Sports Marketing. We are happy to help and look forward to working with you through 2025.

The Holidays Are Almost Here: Don't Be Late, Plan Ahead

The beginning of November is a tricky time for most of us.  The NFL is hitting the halfway mark of the season, the MLS playoffs are heating up, and the NHL and NBA seasons have just kicked off.  So WHY ON EARTH would anyone want to think about the Holidays NOW?!?

Before you call me out for sipping pumpkin spice drinks in August or hanging up holiday lights right after Halloween, let me offer a friendly reminder: Teams get busy at this time of year, and music can take a bit of time to license music properly. 

The good news? If you're looking to license holiday classics like TSO, Mannheim Steamroller, Vince Guaraldi, or Frank Sinatra, these licensing teams are accustomed to a barrage of requests at this time of year.  These artists look forward to hearing from teams and approving uses quickly. 

Our advice? Secure your tracks by early or mid-November to stay ahead of the game. If you need a quick holiday playlist for stadium use, check out the one we've curated below or click this link: Holiday Playlist. https://spoti.fi/4hdbR9S

And with that, this marks our final email blast and survey of 2024. I know, sad times—but I want to take a moment to thank each of you. We appreciate your engagement with our blogs, your participation in our surveys, and your trust in us to clear music for in-stadium, social media, and broadcast sync uses. This year, we had the privilege of working with over 75 teams, clearing nearly 300 songs. We're thrilled to have been part of your success and can't wait to assist you again in 2025.

As we head into the holiday season, we're here to support you. Let us know what tracks you need, and we'll ensure you get them right on time. Happy holidays!

Welcome to The Music Lab

Welcome to the Music Lab!

Here at The Score, we are constantly striving to provide teams with as much value as we can, whether you use our licensing services or not.  That’s why we send you the BEST new music and are a first filter when it comes to content and appropriateness of music for a stadium environment.  We also send out our monthly blog to give insight into the current licensing needs of teams across the US and Canada. 

A few months ago, we introduced the “Music Lab” as the latest team resource.  The purpose of the Music Lab is to experiment with a wide variety of music and explore thematic connections and genres to find new tracks for your team to use in your video content.  These Music Labs get creative and can lead down unexpected paths as participants are led through this unique brainstorming experience. 

Here’s the Music Lab process:

1-      You can invite whomever you wish to be a part of The Music Lab.  We suggest any members of your staff who interact with music.  5-10 people is suggested.  

2-      Bring snacks and beverages.  This session usually takes 45 minutes to an hour. 

3-      We will give you a list of items to consider beforehand.

4-      Have a notepad handy.  You will want to take notes!

This is a fun process and very informative.  At the end of our Music Lab, our experiments will provide multiple playlists and insight into future projects. 

                The Music Lab is a free resource for teams to utilize to create a sound for the season, rebrand, or create something entirely new.  We are here to listen, facilitate and create with you.  If you would like to schedule a Music Lab for your team, please reach out to John Adams.   

Theme Night Music Madness

Theme nights have become a popular way for sports teams to engage fans by creating unique, immersive experiences that go beyond the game itself. These theme nights are getting very creative and involve some huge brands like Star Wars, Harry Potter, Dora the Explorer, and even TV shows like Friends, Seinfeld, Game of Thrones and The Simpsons.   Of course, these events involve special video elements, graphics packages, special merchandise, and even performances that tie into the chosen theme.

One missing element stands out.  Many of these nights do not include music from these properties. You would think that the tunes come hand in hand with the imagery, logos and assets that are associated with these brands, but there are a variety of issues that can stand in the way of music use for the night.

Music Ownership- TV show theme songs are owned or co-owned by the network.  Yes, even a theme song like “I’ll be There for You” by the Rembrandts isn’t just a band clearance issue, but it’s also an NBC clearance issue.  They basically co-own the track.  The network will approve or deny the use in the stadium.  Music/theme songs are highly valued by IP (intellectual property) departments and can carry a premium fee. 

SAG/AFTRA- In some cases, the songs are performed by SAG/AFTRA performers and not by “bands”.  In those cases, an additional fee would be paid to SAG or AFTRA for the use of those artists’ performances.  These fees are very reasonable and don’t typically prohibit team use.

‘Parody’ is a Problem- Over the past 30+ years, teams have relied on and shielded themselves from the legal arena by claiming “parody” for a piece that mimics or copies the imagery of a TV show or movie scene.  Parody law allows individuals to use copyrighted material, like a scene from a TV show, in a manner that is transformative and intended to comment on or critique the original work. A parody must evoke the original work to be recognizable but must also add new expression, meaning, or message, often through humor or satire. This makes it different from copying, as the intent is to make a social or critical point rather than simply replicating the original content. Parody is protected.  HOWEVER, when teams are simply recreating a TV show open or a scene from a movie, that would have to be cleared with the intellectual property lawyers for the brand.

I sense your frustration.  How can we run a theme night without the use of the music?!  You can, but you need to think about what you are doing with the music.  If you are playing the audio raw in stadium, no video content, then you are ok.  If you have video content being used, and the result is synced or has the appearance of sync, you are using the music improperly.

If you have music in a video, scene recreation or a unique open for the theme night, save your legal department the hassle and get the sync rights.   Even if you must pay a premium for the rights, it’s worth the hassle.  You do not want to get caught using them improperly, without permission and end up in legal hot water.

The other option is finding a sound-like track that could be a close substitute.  It’s not the best sounding option, especially if you are using the track to recreate an opening sequence, but it can be a much more affordable option.  Just BE CAREFUL.  Even if you are not using the theme music, you could still be in violation of the brand’s intellectual property by recreating a sequence (like having players open umbrellas or dance in a fountain as a recreation of the ‘Friends’ opening sequence.  You may not be using the song, but you are using the imagery and recreating the scene).

There are words of warning here, but these brands and intellectual property departments want you to create and have successful events.  It’s your use and reuse of these songs and brands that brings in new fans and the combined fandoms of your team and the brand.  These partnerships work, and the music can and will work for you as well.  Just be smart about recreations and music use. 

As always, we are here to help answer your music licensing and use needs.  Please contact John Adams to schedule a meeting or consultation.

All You Need To Know About PRO Licenses

All venues and/or teams that play music in a stadium or arena need PRO licenses to keep the music lawyers away.  So, what exactly is a PRO and why do we need their licenses?  A PRO is a Performance Rights Organization.  PROs represent songwriters, composers and music publishers, to collect royalties from licenses, and pay those royalties back to their clients.

Most of you know the big PROs out there, ASCAP and BMI, but over the last 20-30 years, there has been a bit of splintering of PROs.  There are now five PROs in the US: ALLTRACK, ASCAP, BMI, GMR and SESAC.  To be compliant, you should have all five for your team and venue.

When it comes down to it, PROs are in place to pay the artist for the public use of their music.  Music is created, copyrighted, then licensed. When it’s played or performed, the songwriter and music publisher have a royalty due to them. Once music is played at any business (a restaurant, gym or stadium) this play is considered a “public performance” and permission must be granted by the artist/songwriter’s PROs.  Here is a bit more information of each PRO:

-          ASCAP- the first PRO in the US, they are home to more than one million music creator members across all genres with more than 20 million songs, distributing over 1 billion dollars to their members annually

-          BMI- currently the largest music rights organization in the U.S. representing over 22.4 million musical works created and owned by more than 1.4 million songwriters, composers and music publishers

-          SESAC- currently licenses more than 1.5 million songs on behalf of its 15,000+ affiliated songwriters, composers, and music publishers, which include artists Bob Dylan, Neil Diamond, RUSH, Adele, Jack Harlow, Ariana Grande and many more.

-          GMR- founded by Irving Azoff, GMR represents a smaller roster of HUGE artists like Bruno Mars, Billie Eilish, Jon Bon Jovi, Lizzo, Prince, Chris Cornell, Drake, George Harrison, Harry Styles, Ira Gershwin, James Hetfield and a LOT more

-          AllTrack- the newest and fastest growing PRO, represents thousands of smaller writers that collaborate with bigger writers and artists

Obtaining music licenses from PROs grant you the legal permission required to play music. These licensing agreements safeguard your business from severe consequences associated with copyright infringement, which can include fines and penalties of up to $150,000 per song.

The question I get asked a lot is, “Do I need to get all 5 PRO licenses?”  In most cases, yes. Each PRO represents a different group of songwriters and publishers whose music is utilized across the music industry. PROs provide "blanket licenses," which grant you the ability to perform or play all the copyrighted music they represent without any limitations on frequency.

That said, if you don’t want to pay for the PRO licenses, you can play all rights free music or public domain music.  If you do that, your music options and overall stadium sound will be severely limited.  You would not be able to play any of the big-named artists that your fans look forward to hearing in arena.

Another option is to pay for a couple of these PROs.  However, you will be creating a LOT of work for your DJ and/or music staff.  Every track that would be played in arena would have to be checked across PROs to make sure the writers of each song are covered with the PRO licenses you have in place.  If one of the writers of a song you play are not, you are leaving your team and/or venue open to legal action.

Keep in mind the music played at games and events has expanded greatly over the past few years.  Stadium music has moved away from “Jock Jams” and big tracks released from a few big-named artists.  Independent artists accounts for close to 50% of all streaming today, and over 85% of all songs in the top 100 are written by more than one person.  Music diversity is bigger than ever and is also why the US has several PRO's representing the tremendous growth in artists.  

This is a good time to tell you that this blog is not legal advice and should not be treated as such. It may not be up-to-date and is subject to change without notice. All materials provided are for general informational purposes only.  Of course, you and your team will have to consider the benefits of having these licenses and the consequences for not having them and make the best educated decision for your team.

If you have any questions, contact John Adams at The Score.

The EXPENSIVE Queen Catalog

The rock band Queen wrote another chapter into their historical career in June when their catalog was sold to Sony Music for 1.27 BILLION dollars. Among their hits are some stadium standards like “We Will Rock You”, “Another One Bites the Dust”, and, of course “We Are The Champions”.   

With Sony Music obtaining the rights to Queen’s music, this may affect the sports world.  Queen was already an expensive band to license and were regularly higher than most artists when the catalog was held with Hollywood Records (a division of Disney Music).  We anticipate these rates to rise with Sony Music in control of the catalog.

Teams have already been met with rising rates for music use for in-stadium, social media and broadcast use, and have planned accordingly by slightly increasing music budgets annually. However, Sony has always been at the top (or close to it) when setting rates for music licensing with sports teams. 

Licensing is becoming more expensive, as are game tickets, concert seats and all forms of entertainment in general.    It’s the new lay of the land that all teams and those that license music are settling in to. 

The Queen catalog will end up making a lot of money for Sony, and Sony knows they will eventually make back their 1.27 BILLION dollar investment.  However, that may come to the detriment of teams who win a championship.  Recent uses of “We Are the Champions” were some of the most expensive sports music licenses we have seen.  It’s important to know that this track is ICONIC.  It’s expected to be played when championships are won, and fans love it.  Teams will have to pay for the privilege of being woven into the legendary status of that track.

As playoffs begin, and eyes are set firmly on the ultimate goal, start thinking of your championship roll out early.  If you don’t want to pay for the use of the greatest championship song of all time, then have other music at the ready and do not get caught off guard.  For more on these alternate tracks, please read our blog from January 31st of 2024, “Beyond Queen: 10 Anthems to Celebrate Championships”.  This should give you a few more options to consider as you raise your trophy high.

From 8-Bit to Epic: Modern Video Game Soundtracks in Sports

In the dimly lit arcades of the 1980s, amidst the blips and bleeps, a revolution was underway. Video game music, once simple melodies on limited hardware, began its journey from humble beginnings to the masterpieces of today. In the last 40 years, video game soundtracks have become their own music genre.

Gone are the days of monotonous loops; instead, we find ourselves immersed in dynamic scores that enhance gameplay.

I connected with my friend LP, part of the music team at Ubisoft to discuss the state of video game music today and how teams should not overlook these dynamic soundtracks for their in game entertainment..

• JA: How long have you been at Ubisoft?

o   LP: I’ve been part of the Ubisoft Music team for more than 13 years now. Our team of 15 professionals is based in Montreal, Paris and Shanghai. I previously worked for an indie music publishing company based in Montreal, Canada.

• JA: How much music does Ubisoft produce for their games every year?

o   LP: Yearly, we produce hundreds of music tracks. We had around 40 album releases (singles or full soundtracks from our games) in 2023. The scope varies from game to game, but to give an idea, massive open world games such as Assassin’s Creed or Avatar: Frontier of Pandora can contain around 3 hours of music. Small or mid-size projects like Prince of Persia: The Lost Crown or TrackMania have more or less 45-60 minutes of original music. We also create dozens of custom tracks for our trailers and marketing assets each year. We’re also extremely proud to have won the first-ever Grammy in the Best Score Soundtrack for Video Games category with the soundtrack of the game Assassin's Creed Valhalla: Dawn of Ragnarök composed by Stephanie Economou

• JA: How early do you start planning for the music soundtrack prior to the release of the game?

o   LP: Game development takes a long time, usually multiple years between the conception and release. Therefore, for both original music composed for projects like Assassin’s Creed and licensed music for yearly games like Just Dance, we have plenty of time to craft the best soundtrack and license the perfect songs.

• JA: Are you a gamer?  How long have you been playing and what’s your favorite game?

o   LP: Eh! I’m Canadian, so the NHL series is an all-time favorite since SNES. I also love funky games like Katamari Damacy for quick gaming sessions or epic adventure games like Assassin’s Creed when I have more time.

• JA: You use music from a variety of genres depending upon the game. Do you collaborate with many artists or do you have full time composers who work for Ubisoft?

o   LP: For original in-game music, we work almost exclusively with external composers, which we select after a thorough creative process to make sure we get the best for each game. They come from everywhere in the world and authenticity is at the center of our projects when it comes to finding the perfect musical match. We also create multiple custom songs for either specific in-game cutscenes or Pop anthems for our game Just Dance. Over the years, we partnered with multiple AAA artists as well, for example recently with One Republic for an original song around the release of Assassin’s Creed Mirage. Finally, we license a lot of existing music for our open world games such as The Crew, Far Cry and Watch Dogs, but also for trailers where the perfect licensed songs can be extremely powerful to convey emotions.

• JA: Do you have a favorite video game soundtrack?

o   LP: I love the soundtrack from the latest Zelda games, it’s amazing to see how it evolved but kept the themes, spirit and epicness of the very first games. There’s also the OST from our very own game Far Cry 3: Blood Dragon, created by the synthwave duo Power Glove, which is such a perfect match with the game’s retro-futuristic comedic homage to 80’s sci-fi movies.

• JA: Finally, can you give me a top 10 Ubisoft tracks I can find on Spotify?

o   LP: We have a dedicated playlist on Spotify to listen to Ubisoft Classics themes and songs see below or follow the link HERE: https://open.spotify.com/playlist/1Dz9R82Atv2TGU4AdvX7vg?si=cf9806ff95b24cc7

I’d like to thank LP for his time and input into the video game music industry. Next time you plug in your headphones, and fire up your console, take a moment to pay attention to the meticulously crafted soundtrack that has been prepared for your gaming experience. The soundtrack is not just background noise but an integral part of the adventure.

Every Team Needs A Solid Back Up

Back ups are a necessity. Just as every NFL team needs a serviceable back up to take the reins when something unexpected happens to the starter, your creative team needs to be ready with a plan B.

This scenario happens to everyone at some point. You have chosen the perfect song for a hype video or open video, and you move forward licensing the track. Then, the track becomes unavailable and you are stuck with production music you didn’t want, or a secondary track that doesn’t measure up.

There are a variety of reasons that will move you from your preferred music to another track.

• Price- Certain labels and artists price their music so high that the licensing fees become a concern and your team is priced out of the use.

• Artist Preference- Some artists want to know how their music is being used and what team will be using it. If the artist isn’t a fan, or if they don’t like a featured player, they could deny the use.

• Availability- Some songs are locked up and unavailable to license. That can be for a variety of reasons including a national brand paying a high rate to lock up the track and restricting it from being licensed to other entities, or the track can be on a restricted list from the artist or management.

• Splits- In some cases the splits can be unresolved creating an issue in clearing the track. One writer claims a higher percentage of the track than they should be claiming making the splits total over 100%.

The best way to combat unexpected disappointment when licensing music is to have at LEAST 2 back up tracks at the ready. Take a stab at clearing the preferred track, but be able to shift to the second or third choice if needed. Don’t tie your creative vision to one song or you could be setting your team up for a huge let down.

We have helped many teams navigate these difficult licensing snafus and have assisted maneuvering around each of the scenarios listed above. We can help you too! Contact John Adams to discuss your licensing needs.

Timeless Sounds of Summer

The summer season is not only marked by higher temps, but also with hot summer tracks.  For over 60 years, record labels have released significant albums and singles that help create what has been known as The Sounds of Summer. 

As summer fun hits our stadiums in a couple of months, it’s worth looking back to some of these timeless tracks to see if there is a place for them in today’s stadium playlist.

Let’s look back to the origins with The Beach Boys.  No summer playlist is complete without tracks like “I Get Around”, “California Girls”, and “Surfin’ USA”; but do they still belong on stadium playlists?  We spoke to several prominent sports DJs to ask their opinion, and the overwhelming reply is YES. 

The top reasons for incorporating some Beach Boys and other older summer tracks into the sounds of your stadium include:

-          Most music is geared toward a younger audience.  Playing some music for an older audience is inclusive.  They get overlooked with most stadium DJ tracks.

-          What’s old is new again.  Many songs see a resurgence through socials making them relevant again.  Fleetwood Mac had a #1 hit with “Dreams” decades after its release, after that cranberry swigging, skateboard chilling dude launched his video that went viral in 2020.

-          Location matters when curating playlists.  Teams in coastal cities like LA and San Diego naturally gravitate toward more surf rock than those in Denver (although they play more John Denver).

-          A change of pace is nice.  Many stadium playlists are dominated by EDM and current pop tracks.  Infusing some timeless classics can be the change of pace and provide breathing room all playlists need.

-          Theme Nights have different music needs.  Many teams incorporate “Beach Nights” or “Surf Nights” into their theme games.  Those games need a playlist focused on classic tracks from the Beach Boys, Jan & Dean and the Ventures.

“I feel it's important to sprinkle in a wide variety of genres in our sports events.” Adds Erik Jorgensen, DJ for several teams including the San Diego Padres. “If you consider the fans who spend their hard-earned money at sports events, we as soundtrack curators have to program a game to appeal to fans from 5 to 95 across a myriad of demographics. So I'm all for adding genres like surf rock, motown, soul, r&b, country, etc. in at games. That said, it's important to know what plays well and when - there are nuances to these philosophies. (For example, I would only play Beach Boys during day games, beach theme nights, etc)”

The tracks that will define the sounds of summer 2024 will be released in the next few months.  You will have an incredible opportunity to shape that sound for your fans, and The Score will be here to assist.  We will be working with many top artists and labels to provide you with music options to infuse summer heat into your stadium setting.  However, there is no need to wait on some timeless summer tracks.  Start to incorporate them into your stadium profile now and bring the summer nostalgia to your fans.

1st and 10 with Easy McCoy

This Seattle-born rapper, is an amazing talent with a catalog of great music perfect for sports use. For several years, The Score has been working with Easy McCoy to bring his music to you for sync opportunities in-stadium, online and for broadcast. Easy is an incredible artist, but also a sports fan and a guy who loves to hear his music in arenas and stadiums all over the world.

Beyond his musical prowess, Easy McCoy shares a passion for sports that often finds its way into his compositions. In this exclusive interview, John Adams, delves into the intersection of sports and music as Easy McCoy graciously answers 10 questions about his experiences, inspirations, and the dynamic relationship between his artistry and the world of sports. Get ready to explore the harmonious fusion of sound and athleticism through the lens of Easy McCoy's unique perspective.

1.            Are you a sports fan?  What sports and teams do you like?

Yes I am, Basketball and Football my favorite hoop teams would have to be the Seattle supersonics and the Chicago bulls, Football would be the Seahawks since I’m from Seattle

2.            Did you ever play a sport or sports? 

Yes when I was younger I played football and basketball in Seattle growing up I was very active.

3.            What's your favorite sports event you have attended?

I don’t know if I have a favorite but I love football stadium games and live basketball games it’s just a vibe, also soccer games are crazy. 

4.            Have you ever attended a game and heard one of your tracks being played?

Yea I have for sure. Seahawks games and Portland Trail Blazers games, Even attended a Ducks game in Eugene heard my record on the big screen with a video montage of the ducks. 

5.            Have you ever investigated a track you have seen used in stadium to see if it was properly licensed?

Lol yep all the time, but most of the time its used right!

6.            Have you ever been surprised at a team’s request or use of one of your songs?

No not really I more surprised they don’t request them more often. Ya feel me lol

7.            Have you connected with any athletes who are fans of your music?

Not personally but via social media I have. 

8.            What is your hobby outside of music that most people wouldn’t know you are into?

I’m pretty open on my socials but I would say hiking is one of them people don’t know I love hikes lol 

9.            Many of your tracks are anthemic and have lots of energy, especially for a sports audience. 

When you write your music, do you have stadium use specifically in mind? No not all the time, I believe I just create music with that feel with the producers I work with and plus it also just depends on what we creating records for. 

10.         If you could place one of your songs in an iconic sports moment, what would the track be and which sports moment would it be?

Super Bowl would be a big one cause haven’t gotten a placement like that yet or a big Olympics placement would be crazy as far as the track goes hmmmm I have so many. I would say mayhem, look at me now, clock stop, my time part 2, shot caller, or anyone the supervisor loved out the hundreds of records I got lol 

 We would like to thank Easy McCoy for his time in chatting with us about his love of sports and his music. Below you will find a top 20 playlist with some of Easy McCoy’s most requested tracks by sports teams. Please let us know if you would like to license these track or anything from Easy’s catalog.

Beyond Queen: 10 Anthems to Celebrate Championships

Winning a championship is a momentous occasion, and the right soundtrack can elevate the celebration to new heights. While Queen's "We Are The Champions" is undoubtedly a classic, it can be very expensive to license.  Most may think that the track will be played raw, in stadium during a live event, thus the PRO licenses will cover that play.  While this is true, you would be limited to the play of the track, in that moment, and nothing more.  If you want to share that moment via socials, your team will then need a sync license to share across socials. 

It's not that the track is hard to license, it is expensive. 

What do you do?  Your team has reached the pinnacle of success and will be holding the trophy, or raising a banner.  You need some music to accompany the moment, but the most iconic of tracks may not be in the cards.  Here are 10 songs that are more affordable and can add a fresh, energetic vibe to the joyous atmosphere when your team emerges victorious.

1. DJ Khaled - "All I Do Is Win" The title says it all – this hip-hop anthem is all about winning and is sure to resonate with the winning team and its fans. HOWEVER, it’s a bit repetitive and you need to make sure you don’t have the explicit version.

2. Jay Rock - "Win" is another high energy track for a championship moment.  It has great energy and lyric content, HOWEVER, ESPN played the heck out of it a few years ago so there is a bit of burn out, and you need to make sure you don’t use the explicit version.

3. Macklemore & Ryan Lewis - "Can’t Hold Us" has a ton of energy and its production is brilliant!  It’s infectious and current, HOWEVER, there is still a bit of burn out with the track.

4. Josh Logan - "Good Time for a Good Time" is a country track with great energy, party lyrics and has a great feel for a championship, HOWEVER, country doesn’t fly in all stadiums or with all audiences. 

5. Flyers - "Ride of our Lives" is massively positive and brings happy feels for anyone listening to it.  HOWEVER, may not be enough energy for a moment on the field.  Perhaps it’s a better post-game video/recap .

6. Three Days Grace - "Champion" brings outstanding energy, positive lyrics, and a good rock hook at the :41 mark.  The chorus is great.  HOWEVER, it’s a straight up rock anthem and that may not be appropriate in all venues.

7. Clement Marfo & The Frontline - "Champion" is OUTSTANDING!  Great energy, victorious lyrics, and a strong hook (at the :40).  HOWEVER, the verses bring more power than the chorus.

8. Stella Mwangi - "Icon" This track has attitude, strong beats, energy, and lyrics with massive swag.  HOWEVER, the biggest drawback is that Stella Mwangi isn’t a household name.  This is the only drawback I have with this one.  If you aren’t afraid to try something new, this is THE track!

9. Clement Marfo - "Trophies" This track is STRONG!  Great beat, strong feel to the track, well produced, awesome song!  HOWEVER, can sound repetitive, but that’s not necessarily bad.

10. Joznez, Bazanji, Marvin Brooks - "Winning Time" is a great track with swag and strong beats.  The chorus at the :44 mark is great!  HOWEVER, it builds to the pinnacle of the track.  It may be a better produced video than a track to play at the winning moment.

Upon reviewing all 10 tracks, I would hitch my wagon to Stella Mwangi “Icon” or Clement Marfo & The Frontline “Champion”.  Both tracks are unique as they have not been overused, and easy to license for EVERYTHING you might need. 

While Queen's "We Are The Champions" will forever hold its place in sports history, these 10 songs offer a diverse range to bring flavor and a different feeling to championship victories. Be prepared for the next time your team emerges triumphant. After all, a championship deserves a soundtrack as epic as the trophy.

Check out the tracks below.

6 Most Anticipated New Music Releases for Sports in 2024

2023 is in the rearview mirror and we all get to focus on a fresh start with 2024, complete with its “New Year” smell.  As we anticipate the new year and what it holds for us, let's explore some of the releases that stand out to us as key releases for teams to target.

1. "Saviors" – Green Day

Release Date: 1/19

Billie Joe Armstrong's band have said in a statement, “’Saviors’ is an invitation into Green Day’s brain, their collective spirit as a band, and an understanding of friendship, culture, and legacy of the last 30 plus years. It's raw and emotional. Funny and disturbing. It’s a laugh at the pain, weep in the happiness kind of record. Honesty and vulnerability.  The 1st 3 singles “The American Dream Is Killing Me”, “Look Ma, No Brains!” and “Dilemma” all rock and show the band is being true to form.  This album should be amazing!

1. "Coming Home" – Usher

Release Date: 2/11

The new album release will coincide with his upcoming Super Bowl LVIII halftime show performance on the same day. This will be Usher's first solo album in nearly eight years, and there is no question there will be MASSIVE buzz around the release and his Super Bowl performance.

1. "This is Me… Now" – Jennifer Lopez

Release Date 2/16

Jennifer Lopez is releasing “This Is Me... Now” on February 16, 2024. The record is a sequel to Lopez's third studio album “This Is Me... Then”.  I have no idea what the album will contain, but if the past album releases teach us anything, we can expect at least a couple of big chart toppers and one track that is great for in-stadium play.  An artist of this caliber will create some major buzz around the release.  I would expect the 1st single to be released in the 1st week of January.

4.       "Invincible Shield" – Judas Priest

Release Date: 3/8

We don’t have a lot of info on the upcoming 19th (!) studio album from Judas Priest, but the 1st single “Panic Attack” was released on October 13th, and it’s vintage Judas Priest rock.  I’m sure there will be several tracks appropriate for team use.

1. "Blue Electric Light" – Lenny Kravitz

Release Date: 3/15

“Blue Electric Light” is the upcoming twelfth studio album by Lenny Kravitz. The album was preceded by the release of the lead single "TK421" on October 12. The lead single is funky and cool… exactly what you would expect from Lenny Kravitz. (Anyone else get the Star Wars reference in the title?")

1. “???”– Pearl Jam

Release Date: ???

It is rumored that Pearl Jam has a new album dropping in the spring of 2024, but details are sketchy at best.  Mike McCready has been quoted as saying “You’re gonna hear a lot more lead guitar from me” on the new album.  It is also rumored that the album is being followed by a US and European tour. 

Take note, pay attention to the release dates and check in with The Score as these dates get closer.  It is typical for artists to have a flurry of media, performances, interviews and other activity surrounding new releases.  This promotional/marketing window can be a fantastic opportunity to get an artist to perform or make an appearance at an upcoming game.  Tour dates will follow the album release as the promotion machine’s gears continue to churn.  Don’t miss opportunities with these significant artists.

Sleigh Rides & Scoreboards: Holiday Music Tips

I know… the Halloween candy is still in the bowl, Dia De Los Muertos ofrendas are still fresh and nobody has even started shopping for Thanksgiving dinner.  I hate to add to the holiday madness, but NOW is the time to start planning your Holiday music for your arena/stadium.

The holidays hit hard and creep up on all of us.  Even the best of planners get surprised.  The Score is here to help alleviate some of the stress and ensure a happy and successful Holiday season (at least the music portion).

When planning your team production elements and considering holiday tracks, there are a few things to keep in mind:

1. Start Early:

The holiday season may officially start in December, but preparations should begin early in November. Consider the tracks you want to use in your stadium video content and via socials.  Some labels and publishers get VERY busy during the Holiday season with their large 4th quarter release schedule.  Label assets and reply time can be delayed.  The earlier you start, the better.  If you didn’t start yesterday, today is the next best day to start! 

2. Label Timing:

Record labels have a different schedule and budget for Holiday releases.  Typically, a new release will be marketed for many months including the trickle release of several singles before the album “drops”.  Holiday albums don’t have that kind of time or length of interest.  Singles start to hit in early/mid October, pushed in November for radio play in December, and then it’s back on the shelf.  Because of that, Holiday releases typically carry a promotion window of two to three years (or Holiday Seasons).  Keep that timing in mind when exploring new Holiday tracks.

3. Performances:

Consider those artists who have recently released a Holiday album for a halftime or intermission performance during the holiday season.  Remember the marketing window for holiday releases is typically two to three years.  Most labels are searching for holiday opportunities for their artists.

4. Target Classics:

Classic Holiday tracks from legendary artists like Bing Crosby, Frank Sinatra, Dean Martin, and Johnny Mathis are like a cozy blanket and cup of hot cocoa during the Holiday season.  We know these tracks because we hear them everywhere and have been listening to them through our entire lives.  Classics are always a strong choice because of their rich nostalgia factor and many of these artists know their window for making an impact is limited. 

5. Modern Holiday Standards:

There are a few more “modern” Holiday artists to target.  Consider tracks from Lindsay Stirling, Mannheim Steamroller, Trans-Siberian Orchestra, Michael Bublé and Harry Connick Jr. when planning your Holiday production pieces.  These more modern takes on holiday classics give a traditional feel of the holidays with a twist.  These artists also know their window is small, so they want their music utilized!

There are a lot of factors to consider when choosing the most appropriate Holiday music for your venue, and each stadium will have a unique feel to the season.  We are here to help with all of your music licensing needs.  To help haul out the holly, we have created a playlist of holiday songs that are ready to license.  We are always available to discuss your specific needs and answer your questions.   Happy Holidays!

Navigating the Melody Maze: Venue PRO Licenses

Every team and stadium has (or should have) PRO licenses in place so they can play music in the venue. These PRO licenses or Performing Rights Organizations, grant teams the rights to push play so music can be used live, in stadium during an event.  These PROs are responsible for collecting income on behalf of songwriters and music publishers when a song is publicly broadcast or performed.

Your teams aren’t the only ones who have to pay these fees.  Any business that plays music must have PRO licenses in place.  This affects more companies and businesses than you might think.  A bustling cafe, an energetic sports bar, a tranquil yoga studio, and a raucous stadium all must pay licenses for the music played publicly in their business.   Most in our industry know how important these licenses are for teams, as the right music can elevate the atmosphere and engage fans.

However, PRO rights companies are splintering into several companies and that is alarming to many teams and leagues.  In the past, teams had to obtain licenses from ASCAP and BMI.  That’s it.  If you were in Canada, you had to add in SOCAN.  Today, there are many companies that are representing PRO licenses for different artists.  Now, in the US alone, you’ll have to clear ASCAP, BMI, SESAC, GMR, and AllTrack to have access to most music for in-stadium play.

Performance rights are sometimes purchased and moved from one company to another.  For instance, GMR is a smaller company, but controls the PRO licenses for some HUGE artists including Metallica, Bruno Mars, Bruce Springsteen, Harry Styles, Steve Miller Band, The Weeknd and a lot more.  If you have PRO agreements in place with ASCAP and BMI, but have not paid for a GMR license, you can be open to legal issues or hefty fees for playing these artists in your venue.

This is creating headaches for teams as they struggle to cover all necessary licenses in-stadium. This splintering of rights and the emergence of new PRO companies makes life harder during preseason as teams sometimes must decide which PRO licenses they will be paying.  The good thing is that for the most part, these license are fairly affordable and although obtaining 5 different PRO licenses can irritate, you do not want to leave your venue open to lawsuits for improper music use. 

Right now, it’s not horrible to obtain licenses from all 5 of these PRO companies, but if more companies start to pop up, teams can be left choosing between catalogs of artists to be played in stadium.  This would be bad for teams, the music industry and these PRO companies.

At The Score, we want to help teams as much as possible.  Part of what we do is to educate and help with understanding as to why licenses are important. Know that these organizations help protect the intellectual property of musicians and songwriters.  Perhaps knowing why these organizations are in place can help take the sting out of PRO fees.

Why Venue PRO Licenses Are Important:

1. Legal Compliance: Playing copyrighted music in a public space without the appropriate licenses is a copyright infringement. This can lead to legal troubles and hefty fines. Venue PRO licenses ensure that your business complies with copyright laws.

2. Fair Compensation for Artists: When you obtain a venue PRO license, you're essentially paying a fee that goes back to the artists and composers whose music you're playing. This supports the creators and allows them to continue making music.

3. Vast Music Libraries: PROs have vast catalogs of music from various genres, making it easy for venues to access and play a wide range of tracks. This allows you to curate the right atmosphere in-stadium.

4. Performance Monitoring: PROs often use advanced technology to monitor which songs are played in commercial spaces. This data helps ensure that artists receive accurate royalties for their work.

5. Variety of Music Sources: You can play music from various sources, including CDs, streaming services, live performances, and more, without worrying about individual clearances as long as you have a venue PRO license.

6. Fan Experience: Music significantly impacts the fan experience. By having a PRO license, you can use music strategically to create the desired feel for the moment.  You want these PRO licenses in place so you are not hindered by the tracks or artists that can be played. 

7. Avoid Legal Issues: Having a venue PRO license means you won't have to worry about unexpected legal disputes or disgruntled artists, which could negatively impact your team’s reputation and your budget.

Trailerized Tracks: The Perfect Pitfall

Movie production companies know how to grab an audience and compel them to sit through the trailer for the latest Hollywood blockbuster.  Part of the secret sauce of success is their choice of trailer music.  In many cases, it’s recognizable, but a different take on the song.

“Trailerized” music is a term for music created specifically for movie trailers. The music is used to support the trailer's sales message and infuse some emotion into the short piece. Trailerized music is often a remixed or slowed-down version of a classic song; it may have a different tempo or arrangement, which can grab people's attention. For example, the song "War Pigs" by Junkie XL was used in the teaser for Justice League.  It’s packed with emotion, Ozzy’s raw vocals, orchestrations that rise and fall as needed in the brief piece, and crescendo’s to an energetic fury at the end.

The music is usually not included in the film's soundtrack. Instead, it's created by a trailer music composer and often contains orchestral arrangements. These tracks typically follow a structure of an intense intro, a main section with a dramatic build, and a climactic ending/finale. Think of it as “music concentrate”.  All the best parts of the song are there, with no fluff and it’s smashed into a very tight time frame.

Over the past couple of months, several teams have come to The Score requesting help clearing some “trailerized” music.  Although the music is PERFECT for the produced pieces teams look to create for opens or hype reels, these tracks can be riddled with issues. 

1. Artist Approval: One of the most noticeable drawbacks of trailerized music is artist approval.  In some cases, a track is created for release, like the 2WEI version of the Deep Purple classic “Smoke On The Water”.  It is recognizable, but different and makes an immediate impact.  It should be good for use, right?  Wrong.  Although 2WEI was able to release the track for their album, the publishing rights for the track revert back to the original songwriters in Deep Purple.  They refuse to allow use for any version of the track, except their own.

2. Licensing Issues: Trailerized music often has massive issues determining who owns the master or the recorded piece of music.  Trailers typically start with a company hiring a DJ to put the piece together.  If the rights or ownership of the piece is not properly vetted prior to the use of the track, the rights can become a big problem, especially if the piece becomes popular.  The company and DJ end up arguing who owns the piece and that holds up all licensing conversations.

3. Movie Company Co-Ownership: If a movie company co-owns the track, do yourself a favor and choose another song.  These companies like Universal and Warner Brothers co-own the music to stop any other use.  They want the track to stand out and be recognized as part of the trailer for their movie and will deny any other use of the track.  Save yourself time and energy.  Learn to move on if a movie company is involved.

4. Splits: A split is the track percentage owned by each party.  For example, if two songwriters agree on a 50-50 split, each publisher will receive 50% of the total music publishing royalties. The overall music publishing ownership total ALWAYS adds up to 100%. In some cases, with trailerized versions, splits are not rectified.  The DJ who created the track may want a part of the publishing rights, or a portion of the master to their production company.  For example, if a co-writer claims 40% of a song and the other co-writer claims 70%, the royalties will be put on hold until an agreement is reached.  If there are discrepancies in the splits and they are not settled, move on from the track.  If they haven’t been rectified for other uses, they won’t be rectified for your sports use.

5. Overexposure and Fatigue: Trailerized music has permeated not only trailers but also commercials, video game promos, and various forms of media. This overexposure has the unintended consequence of causing audience fatigue. These once exhilarating orchestral swells and pounding drums can quickly become tiresome and clichéd when encountered repeatedly.  Use sparingly.

Although these tracks are cinematic and cause a swell of emotion, they can be problematic.  If you insist on trying to track down and license one of these songs, the strongest recommendation we can make is to have a plan B.  Nobody wants to roll with plan B, but having one at the ready is good practice.

Locksley: Exclusive Early Access

Some artists have a way of leaving a lasting impact with their unique sound and infectious melodies. Locksley is a band that has been steadily garnering attention for their distinctive style and innovative song writing.

Locksley, formed in 2003 in Madison, Wisconsin, has managed to carve out a niche in the music industry with their infectious blend of indie rock and power pop. The band members - Jesse Laz, Jordan Laz, Kai Kennedy, and Sam Bair - have an undeniable chemistry that translates effortlessly into their music. Their tracks often feature catchy hooks, vibrant harmonies, and an overall sense of playfulness that captivates listeners from the get-go.

What makes Locksley stand out is their ability to channel classic rock influences while staying true to their modern indie roots. Drawing inspiration from legendary bands like The Beatles and The Kinks, they infuse their music with a nostalgic charm that appeals to music enthusiasts of all ages. Simultaneously, Locksley injects their songs with a contemporary edge, adding a fresh twist that breathes new life into the genre.

The world of sports has long been a focus for the band.  Their biggest sports hit was the 2010 smash “The Whip”, which was used in stadiums across the US and Canada.  Several NHL and minor league hockey teams used the track as one of their goal songs.  It has a sports, anthemic feel to it, and the crowd chant element is undeniable when played in stadium to infuse instant energy. 

Locksley loves sports and relishes sharing video clips of their music being played and shared in-stadium.  Many teams request the use of their music for arena and online/social media use because the music is a great fit, but also because artist management is easy to work with.  It’s the perfect storm for stadium play when an artist is affordable, easy to work with and understand what teams are trying to accomplish.

The Score is once again working with Locksley to bring their latest track “Believe” to teams this September.  The track is destined to become another top track for in-stadium play and production.  The track is not available until the beginning of September, but if you would like to check out the track prior to public release, please email The Score for early access to “Believe” and more details.

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