Music Industry Moves: T.J. Martell Gala Honoring Red Light Founder Coran Capshaw Raises Over $3.2 Million for Cancer Research; Freddy Wexler Launches Label

The T.J. Martell Foundation’s annual New York Honors Gala, held on September 15, has shattered its previous fundraising record by generating over $3.2 million dedicated to cancer research — a sum the charity has not achieved in over twenty years. The evening’s centerpiece was the Lifetime Music Industry Award, presented to Coran Capshaw, founder of Red Light Management, by his close friend Dave Matthews. Attendees were later entertained by intimate solo acoustic sets from Matthews, Trey Anastasio, and Chris Stapleton, each offering a musical salute to the guest of honor.

Steve Gawley, Board of Trustees chair and EVP/Head of Business & Legal Affairs for Republic Collective, underscored Capshaw’s dedication: “Coran and his artists have an incredible spirit of philanthropy. When we first asked Coran to help us, he didn’t simply agree to be honored. He brought his team, his artists, his relationships and his whole heart – and look what happened. But tonight isn’t just about the total. It’s about what the money allows us to do: it lets brilliant scientists take risks, moves promising ideas forward, and gives people facing cancer what matters most – better treatments, more cures and more time with the people they love.” The T.J. Martell Foundation, established in 1975 by music executive Tony Martell in memory of his son T.J., has since directed hundreds of millions of dollars toward early-stage cancer research at leading institutions. This legacy of funding high-risk, high-reward science has positioned the foundation as a critical catalyst in the oncology space, often backing projects that traditional grantmakers deem too speculative.

In his acceptance speech, Capshaw reflected on the charitable instinct that permeates the music industry: “I think what really unites this room, both the musicians and the business side alike, is our industry’s inclination to do good and to give back. Without fail, we really are the go-to industry for fundraising and responding in times of need-whether it be a flood, a hurricane, fire relief, or helping our communities – musicians and the teams behind them, really step up.” His words echo a broader pattern: from Live Aid in 1985 to the recent wildfire benefit concerts in California, the music community has consistently mobilized rapid-response fundraising, often outpacing other entertainment sectors in per-capita giving.

Each performance carried a deeply personal connection. Matthews delivered acoustic renditions of two Dave Matthews Band favorites he felt Capshaw cherished, “Save Me” and “Don’t Drink the Water.” Anastasio — who has lost both a sister and a best friend to cancer — described Capshaw as someone who “cares about three things: music, giving back and raising money for things he cares about,” and credited a single conversation with him for inspiring the creation of a sober retreat in Vermont. He performed “Waste,” his collaboration with Matthews, along with “More.” Stapleton closed the night with “Where Rainbows Never Die,” a track from his former bluegrass group the SteelDrivers, and the iconic “Tennessee Whiskey.” The choice of “Tennessee Whiskey,” a song originally recorded by David Allan Coe and later popularized by George Jones, underscored Stapleton’s knack for bridging country’s past and present — a fitting metaphor for an evening that honored both tradition and forward-looking philanthropy.

Turning to other industry news, Freddy Wexler — the songwriter-producer behind Billy Joel’s first new song in decades in 2024 — has launched Wexler Records, an independent label whose entire debut roster is under 20 years old. The first signings include pop group JYT, country artist Madden Metcalf, and Kauani and Carter Barnes of Disney’s revamped Mickey Mouse Club. “The great record labels were defined by artist development: seeing extraordinary potential before the world did, nurturing it and then launching it with purpose. Wexler Records is built to bring that discipline back,” Wexler said. “We believe in data, but data tells you what has happened; it can’t always recognize what should happen next. We don’t simply chase stats—we develop artists who will create them. When an artist makes the hairs on our arms stand up, we will take the risk.” Wexler’s own track record includes collaborations with a diverse array of stars, from Justin Bieber to Celine Dion, giving him a unique vantage point on how to nurture young talent without sacrificing commercial viability.

Meanwhile, Warner Chappell Music Nashville has extended its global publishing deal with Grammy-nominated country trio Midland. The group, whose 2017 breakout “Drinkin’ Problem” put them on the map, has since delivered multiple hit albums and singles, most recently “Stages,” which landed a CMA Vocal Group of the Year nomination. “Warner Chappell has been part of the Midland story for a long time, and we’re really proud of everything we’ve accomplished together,” the band said. “They’ve always understood how important the songs are to us and have given us the support and freedom to keep making music that feels true to who we are.” Midland’s blend of retro-country harmonies and modern production has earned them a dedicated following, and the renewed partnership signals Warner Chappell’s commitment to long-term artist relationships in a rapidly shifting genre landscape.

In personnel moves, veteran publicist Jessica Nall has joined Full Coverage Communications. She arrives from Jonesworks, where she ran campaigns for Zac Brown Band, Ciara, J Balvin, and Brent Faiyaz, among others, following nearly ten years at Atlantic Records working with Oliver Tree, Janelle Monáe, Lizzo, and Arden Jones. Mom+Pop Music, meanwhile, has appointed Daria Stachera as Vice President of Digital Marketing. Stachera will assemble and lead a fresh digital team, steer social strategy and audience engagement, and roll out digital campaigns across the label, reporting to founder Michael Goldstone from New York. She joins from Republic Records, where she handled digital marketing for Five Seconds of Summer, Nick Jonas, and Haiden Henderson, after a three-year stint at RCA with Tate McRae and Rex Orange County. These hires reflect an industry-wide push to deepen direct-to-fan engagement as streaming platforms become increasingly saturated.

Electric Feel Entertainment has added 22-year-old R&B artist Jay Starr to both its label and publishing rosters. “Partnering with Electric Feel felt right from the start,” Starr said. “The energy, chemistry and support from the team have been real, and I’m grateful to build with people who understand the vision. This next chapter is about elevation, growth and creating something genuine as an artist.” Electric Feel, known for managing Post Malone and overseeing publishing for artists like Ty Dolla $ign, continues to expand its footprint in the R&B and hip-hop space, betting on young talent with cross-genre appeal.

On the rights administration front, SoundExchange — the world’s largest neighboring rights organization — and UAE-based Music Nation Copyrights Management have inked a reciprocal agreement aimed at streamlining cross-border neighboring rights administration and unlocking fresh revenue for rights holders in both countries. MusicNation was founded as a collective management organization to ensure local and international performers, labels, songwriters, publishers, and other rights holders get paid when their works are used in the UAE and, via reciprocal deals, elsewhere. “This ground-breaking reciprocal agreement with Music Nation will open a new revenue stream for SoundExchange artists and rights owners whose music is played in the UAE while ensuring Emirati creators are compensated when their music is played in the United States,” said SoundExchange President and CEO Michael Huppe. MusicNation Chairwoman Rasha Khalifa Al Mubarak added, “Music is one of the most powerful expressions of identity, culture, and human artistry. As the UAE continues to develop and attract foreign investment into its creative economy, we have a responsibility to build the systems that ensure artists and rights holders are respected, and that musical IP is protected and fairly compensated to global standards.” The deal marks a significant step in SoundExchange’s ongoing effort to secure international royalties for its members, particularly as streaming consumption grows in the Middle East and North Africa.