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Demetriou

WARNER MUSIC U.K.'S ALL FIRED UP

We’ve been wondering what Max Lousada’s Warner Music U.K. has been up to since they tweeted a cryptic sparks/fire idiom earlier this week. Now we know, the label has launched a creative content division, The Firepit, akin to UMG U.K.'s Globe.

Based at WMG’s London HQ, the new division will produce short and long form videos, supporting brand partnerships and recording music via its very own recording studio. Working with tech firms, start-ups and developers, it will also help discover emerging technologies for Warner Music’s family of labels for campaigns, and find commercial opportunities for their content.

The Firepit’s new production company and creative content agency will be headed up by Stefan Demetriou as VP Content. Demetriou joined WMG in 2013 and, as VP Contents and Formats Strategy, has led campaigns for artists including Coldplay, Kylie Minogue and Muse. He's also a two-time Grammy nominee, and produced the 4K Ed Sheeran concert film.

Demtrio will be joined by Head of Development, Matt Cook—formerly of MTV Networks and Crown Productions. The Firepit’s production studio manager, Trish McGregor, will run a team of filmmakers and content creators. McGregor was previously Studio Manager at Abbey Road Interactive.

Use of The Firepit’s recording studio will be non-recoupable for Warner Music’s artists and prospective new signings. It will be overseen by Conor O’Mahony, VP A&R Co-ordination WMUK, who will work with in-house engineer Richard Woodcraft, previously Senior Engineer/Producer at RAK Studios.

Woodcraft won a Grammy award for his work on In Rainbows by Radiohead and engineered and recorded the current Mercury Prize-winning album from Benjamin Clementine. He has also recorded and mixed with the Arctic Monkeys and The Last Shadow Puppets, as well as working with Neil Young, Savages and Michael Kiwanuka.

Max Lousada, Chairman & CEO of Warner Music U.K., said: “The Firepit grew from our commitment to telling our artists’ stories in the most vivid, compelling and powerful ways possible. It’s not enough for people to simply hear our artists’ music or see the content they create, we want them to really listen; to watch, to engage, to react and to connect.

“Placing the creative process at the heart of the organisation will give us a dynamic space in which we can pioneer rich, immersive experiences for fans and unlock new promotional and commercial opportunities for our artists.”

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