Photo Credit: CBS | AMAs

The American Music Awards (AMAs) drew the largest audience since 2019—thanks to the move to CBS.

The 2025 AMAs were hosted by Jennifer Lopez, with the two-hour prime-time event attracting 4.86 million viewers. That’s a 38% increase over its last live broadcast in 2022, which aired on ABC. This year’s awards show reclaimed the top spot as the #1 broadcast of the night—demonstrating the growing impact of multi-platform distribution. These ratings include both traditional live viewership and live streaming figures from Paramount+, reflecting the change streaming video is having on live event viewership.

The 2022 AMAs, which aired on November 20 on ABC had significantly lower viewership. The resurgence in audience numbers signals renewed interest in live music award shows—perhaps with a boost from Swifties. Taylor Swift fans speculated that the singer may use the AMAs to announce her next Taylor’s Version album—but that didn’t happen. Instead, Taylor Swift announced last week that she had re-acquired the rights to her original masters from Shamrock Capital.

This year’s American Music Awards outpaced several recent prime-time specials, too. They were 26% higher than ABC’s CMA Country Christmas on December 3, which achieved 3.87 million viewers. It was also 39% higher than NBC’s SNL 50 Years of Music broadcast on January 27, which achieved 3.49 million viewers. Perhaps most impressive, the AMAs outpaced ABC’s CMA Fest by 52%, which aired on June 25, 2024 with 3.19 million viewers.

CBS also estimates that the AMAs drove 9.2 billion potential impressions and 816.6K mentions on social media as the world discussed the broadcast. It boasted growth across all key demos versus the 2022 broadcast as well. This year was up 91% among the 18-34 age cohort, 23% among the 18-49 cohort, and 16% among the 25-54 cohort.

Highlighting the importance of social media, CBS reveals that the 2025 AMAs social accounts garnered over 100 million video views within the first 24 hours of airing across Instagram, TikTok, X/Twitter, and Facebook. Meanwhile, the AMAs Twitch live broadcast peaked at 205.5K during the appearance of YouTube star Kai Cenat’s appearance.

Adaptive Music’s Tony Alexander chats with soul artist MAJOR at Music Biz in Atlanta last week (Photo: Music Biz)

Music Biz switched cities and kept most of the music business crowd. Now, Atlanta is the chosen city for 2026 as well — leaving a potentially juicy opportunity in Nashville.

Despite excessive hand-wringing over Music Biz’s switch to Atlanta from Nashville, the music business crowd showed up in droves last week. Attendance appeared slightly down from last year’s Nashville shindig, it should be noted, though the conference announced its intention to remain in Atlanta in 2026.

We’re still unclear on the machinations surrounding Music Biz’s shift from Nashville after several years in Music City, though organizers said they’ve always planned to shift cities periodically. Apparently, COVID complicated plans to jump around, though now the original game plan is being implemented.

That’s the official line and Music Biz is sticking to it, though some chatter suggests a political motivation for the shift — though that’s one hot potato we’ll politely pass along. Either way, the crowds showed up, and the event was chock-full of core music industry companies and execs.

Music Biz’s city-switch is vaguely reminiscent of the Grammys of yore, when ‘Music’s Biggest Night’ ping-ponged between New York and Los Angeles before largely being anchored in Tinseltown.

For Music Biz, it looks like a ‘build it in a new city and they will come’ dynamic is at work: for those bumping elbows at Music Biz at the Renaissance Atlanta Waverly, crowds were solid and dealmaking brisk — all ingredients for a solid music industry fest that is poised to hop around.

So how does this shift the deck on the music industry conference scene?

Music Biz continues to emerge as a marquee music industry event in the US, particularly given SXSW’s waning reputation for actual business, dealmaking, and even showcase quality. Meanwhile, Nashville already has a smattering of good industry events — most notably CRS. But given the city’s density of music celebs, songwriters, and industry folk — not to mention its party getaway appeal — will somebody make a run at building a mega industry conference in Tennessee?

Separately, Nashville’s sudden importance to the music industry’s critical lobbying agenda can’t be overstated, particularly given the huge shakeup that just went down at the US Copyright Office. Suddenly, the music industry is waffling in Washington against the tech bros — can Nashville and its more red-leaning artists potentially turn things around on the AI and copyright protection fronts?

Shifting back to Atlanta, Music Biz kicked off just as Live Nation signed a major lease in the city’s $5 billion Centennial Yards mega-project. Specifically, the concert giant inked a long-term lease for a 5,300 seat venue in the downtown stadium and entertainment megaplex, a move designed to draw a string of superstar artists to the Centennial zone.

Perhaps Atlanta opts to sweeten the deal further and rope Music Biz into a longer-term relationship? It’s always nice to have an entire industry of movers and shakers strategizing in your town, particularly given the music industry’s tendency to bump local economies.

And with that, here’s just a quick canvas of the companies on deck at Music Biz this year:

Apple Music, Spotify, Warner Music Group, Universal Music Group, DiMA, ASCAP, A2IM, RIAA, SONA, The Orchard, OpenPlay, Empire Publishing, Rhymesayers Entertainment, Concord Music, CD Baby, Downtown Music Publishing, Columbia College Chicago, DDEX, The MLC, AllTrack, Sound Credit, Encore Music Tech Solutions, MusicWatch, Luminate, New West Records, Music Canada, Criminal Records, Elektra Music Group, The Vinyl Alliance, Stem Disintermedia, Lark42, Sureel AI, University of North Texas, Drexel University, Music Business Toolbox, 24/7 Artists…

… and the list goes on and on.

See y’all next year — in Atlanta, that is.

Photo Credit: Lainey Wilson by KSON San Diego

The Academy of Country Music 60th awards ceremony took place last night—hosted by 16-time winner Reba McEntire. Here’s a peek at this year’s winners.

The 60th Academy of Country Music Awards (ACM), presented by Prime Video and Dick Clark Productions, took place last night in Frisco, Texas to celebrate the year’s biggest accomplishments. The show opened with a 12-minute all-star set celebrating the 60th anniversary with performances of ACM Songs of the Year from decades past.

Host Reba McEntire sang “Okie from Muskogee,” followed by Clint Black singing, “Rhinestone Cowboy,” Wynonna Judd singing “Why Not Me,” LeAnn Rimes singing “Blue,” Little Big Town singing “Girl Crush,” and Dan + Shay singing “Tequila.”

As for the night’s accolades, Lainey Wilson took home the night’s highest honor, Entertainer of the Year—her second year in a row earning the highly coveted title. Wilson clocked four wins overall, while Ella Langley led the night in total wins with five. Riley Green took home three awards for his collaboration with Ella Langley, “you look like you love me,” while country mainstay Alan Jackson received the inaugural Alan Jackson Lifetime Achievement Award.

Brooks & Dunn won Duo of the Year, marking their first win in the category in 15 years, and their 17th win overall in the category. Old Dominion took home ACM’s Group of the Year award, their eighth consecutive win in the category, pushing them past Rascal Flatts for the most consecutive wins in that category.

Meanwhile, Chris Stapleton won ACM Male Artist of the Year marks his second consecutive win for the title and his fifth overall. Jessie Jo Dillon won Songwriter of the Year, her second win after securing the title in 2024.

First time winners this year included Texas native Cody Johnson, who won Song of the Year for “Dirt Cheap,” Zach Top with New Male Artist of the Year, and The Red Clay Strays with New Duo or Group of the Year.

Interestingly, country superstar Morgan Wallen seemed to ditch the ACM Awards in favor of hanging out with former NFL quarterback Tom Brady. Images of him tossing a football with the Super Bowl champ on a golf course appeared on his Instagram stories around the time the ACM Awards were set to begin. Wallen was among the most nominated artists this year, alongside Ella Langley, Cody Johnson, and Lainey Wilson—but he didn’t get any wins.

After her appearance in a pixie-cut bob at this year’s Met Gala, actress Nicole Kidman stunned at the ACM Awards with her signature long hair as she accompanied husband Keith Urban. Urban was honored with the coveted ACM Triple Crown Award, while Chris Stapleton, Megan Morony, and Brothers Osborne paid tribute to him with a melange of some of his greatest hits. These included “Stupid Boy,” “Blue Ain’t Your Color,” and “Where the Blacktop Ends.” Urban joined Brothers Osborne on stage for the latter.

The Academy of Country Music Awards were established in 1966 and remain as the longest-running Country Music awards show. In 2022, the event made history as the first major awards ceremony to exclusively livestream, in collaboration with Amazon’s Prime Video.

Young Musicians Unite students and others celebrate raising $1.6 million at the non-profit’s 2025 gala. Photo Credit: Osmany Torres

Young Musicians Unite’s 2025 gala raised $1.6 million to support free music education for Miami-Dade students, according to organizers.

12-year-old Young Musicians Unite (YMU) reached out with word of the final fundraise total. The disco-themed gala itself took place at the Mana Wynwood on April 26th, attracting more than 700 attendees.

This guestlist featured actors (like Burn Notice star Gabrielle Anwar), philanthropists, politicians (chief among them Miami-Dade County Mayor Daniella Levine Cava), and, of course, industry figures, the non-profit recapped.

Keeping the focus on the music space, those on hand included iHeartMedia head Bob Pittman; BCHTA Records owner Pedro Polanco; BMI execs Jesus Gonzalez and Robertocarlos Carranza; Peermusic’s Julio Bagué; and Twelve:02 Agency founder Hector Mendez.

These and other attendees, Young Musicians Unite summed up, “enjoyed a vibrant mix of gourmet dining, electric performances by YMU’s talented student musicians, and a disco-fueled dance party.”

And most importantly, the 2025 installment raised the aforementioned $1.6 million, which organizers indicated “will support programs for 12,000+ students during the 2025–2026 school year.”

(For the entire fiscal year ended July 31st, 2023, Young Musicians Unite pointed to $2.15 million in overall “revenues and other support.”)

“What we witnessed tonight was more than generosity,” added Young Musicians Unite founder and CEO Sammy Gonzalez Zeira, “it was a full-circle moment. Many of our students began with nothing but raw talent, and now they’re growing into confident, creative leaders.

“This gala wasn’t just a celebration, it was a statement. We’re building a movement, and thanks to this community, it’s only getting stronger. And because of tonight, thousands more students will walk into school next year with instruments in their hands and music in their lives,” the Wynwood School of Music owner concluded.

According to its website, Young Musicians Unite has served north of 25,000 students since its 2013 founding, with over 60 partnered schools at present. The self-described “largest provider of free music education in Title I Schools in Florida” supports programs focusing on production, jazz ensembles, drumlines, and more, per the same source.

Photo Credit: Lance Anderson

The Rock and Roll Hall of Fame has unveiled its 2025 inductees, with this year’s class representing a wide spectrum of music innovation and influence. Noted fan-favorite Phish was left off the list, though Warren Zevon finally takes his place among the honorees.

Seven artists were selected in the Performer category including Bad Company, Chubby Checker, Joe Cocker, Cyndi Lauper, Outkast, Soundgarden, and The White Stripes. These inductees reflect the enduring legacy of rock and roll, as well as genre-defining creativity. From Chubby Checker’s early impact on rock and roll to the minimalist garage rock of The White Stripes.

In special categories, Salt-N-Pepa and Warren Zevon will receive the Musical Influence Award, recognizing their impact on hip-hop and songwriting respectively. The Musical Excellence Award honors producer Thom Bell, session pianist Nicky Hopkins, and legendary bassist Carol Kaye—each who have shaped countless recordings across decades of music. Lenny Waronker, an exec at Warner Bros. Records, will be recognized with the Ahmet Ertegun Award for his contributions to the industry.

Phish fans were notably upset on line with comments including, “Why do you ask us to vote? Phish was first, can you tell me why they’re not even on here? Why bother voting?” and “Phish next time, please.” The selection process for the Rock and Roll Hall of Fame has always sparked controversy as each year a limited selection of acts are chosen.

Despite the breadth of this year’s class, the Hall’s selection process and produced fierce debate online. Phish topped the fan vote by nearly 50,000 votes, well ahead of Bad Company but they were not inducted this year. The fan vote translates to just one ballot among more than 1,200 cast by industry professionals, historians, and artists—minimizing its influence on the final outcome. The same happened to the Dave Matthews Band in 2020 when the group won the fan vote but was not inducted.

Other high-profile nominees who didn’t make the cut this year include Mariah Carey, Billy Idol, Joy Division/New Order, Maná, The Black Crowes, and Oasis. This year’s induction ceremony will take place November 8 at the Peacock Theater in Los Angeles.

Since its birth in 1987, SXSW has grown into one of the largest of its kind — attracting thousands of visitors each year. Attendance was noticeably down at SXSW 2025, but in 2026, SXSW attendees may have an entirely different experience in store. SXSW 2026 is planning to go big with format changes.

For those trekking to SXSW this year, crowds were noticeably thinner. But that didn’t dilute the experience — in fact, many actually appreciated the extra elbow room. Starting with the tech expo that showcased the latest in music, audio, and visual technology, the panels were informative, as always. Topics ranged from AI, streaming fraud, artist revenue, and sync.

During one interactive panel, producers got to play their music for a panel of sync experts. Participants received instant feedback on placing their songs in films, TV shows, and commercials.

From off-site events at large venues like the main stage at the Texas Recording Academy party to modest ones like a backyard DJ set at the DISCO house event, the SXSW experience was as diverse as always.

You can always catch a performance from an up-and-coming artist as you take in the scene. But it’s the chance to network and make new connections that draw people worldwide to SXSW every year.

American Association of Independent Music (A2IM) President and CEO Richard James Burgess spoke to us outside their annual brunch event. “It is all about the networking at SXSW, although I know there’s much more than that.”

The President of the Music Managers Forum (MMF-US), Neeta Ragoowansi, emphasized the importance of connecting with members during their annual SXSW gathering. “Everyone shows up to show support, be part of this community, and really engage with each other on a very important pillar of our organization — networking. They learn from each other. It’s such a beautiful time, and it makes my heart glow,” she said.

As the Austin Convention Center closed down on April 1st for four years to undergo a massive renovation, SXSW organizers are using this as an opportunity to experiment with the usual SXSW format.

For 2026, officials are working on changes to bring back the crowds. For years, tech and film weekends have attracted crowds in droves — but the town empties out right after.

SXSW organizers insist that the event is committed to retaining a core music focus, but critics have had their doubts for a while. Some believe that SXSW has already aggressively diluted their value to the music industry by over-expanding into other areas such as film, TV, and tech.

A SXSW spokesperson told Digital Music News, “With the Conference, Film & TV Festival, and Music Festival all taking place concurrently over seven days, everyone will have the chance to experience the whole of SXSW.”

SXSW 2026 will be two days shorter — but the 6-night Music Fest will now be seven days long. According to SXSW, “A shorter SX gives attendees more of a chance to be here for the entire run.”

This compressed format may spike attendee numbers and engagement — unless there are other factors keeping the usual crowds at bay.

Are companies cutting down Travel and Entertainment (T&E) budgets under the industry wide bid to reduce operational costs? T&E is veritably the second largest operational cost for music companies after salaries, and a budget cut would significantly impact SXSW attendance.

Or, maybe SXSW’s reputation as a ‘party’ vs. serious industry core event (that warrants the travel cost and related expenses) is simply no longer worth it for industry professionals.

On the outset, SXSW does seem ready to make the necessary changes to bring back the music crowds. However, what organizers bring to the table for SXSW 2026 could make or break the future reputation of SXSW as a core music industry event.

Photo: Luis Quintero

Changes are afoot in the music industry conference circuit.

You’re probably too young to remember the decadent days of MIDEM in the South of France, though these days, look no further than SXSW for shifts in the modern-day music conference landscape. Suddenly, South-by — once an obligatory time- and budget-drainer — looks to be shedding attendees.

Ahead of the controversial 2026 programming changes, DMN’s on-the-ground team noticed something funny this year: the crowds were distinctively thinner in Austin. Blame it on mass label layoffs, more profit-conscious companies, a shift away from low-productivity debauchery — or heck, the rain — but SXSW doesn’t look like it’s heading north in terms of its 2026 attendance.

Those favoring the kvetch note that the days of a music-focused, expertly-curated SXSW are over. The showcases have declined, according to one disaffected A&R exec, with another lamenting the long flight for an overly-diluted tech/film/eco/music/whatever blob of a party — I mean, ‘conference’.

If the industry is looking for something more serious, that theoretically plays into the hands of Music Biz. But was a Nashville uproot to Atlanta a good call?

That’s a question we’ll be able to answer in a few weeks. But why the switch?

DMN has learned that Music Biz had always intended to switch cities yearly, but COVID planted the event in Nashville for a prolonged stretch. But given the growing momentum of Music Biz and its association with Music City, was shifting to Atlanta the wise play?

Aside from logistical arguments, there’s also a pressing political reason for keeping the action in Nashville. While we loathe to wade into politics, the industry is now facing some distinct challenges trying to get the Trump Administration and Republicans to care about urgent issues like AI and copyright.

Time couldn’t be more critical, though insiders lament that similarly-situated Hollywood is getting nowhere on critically important AI and IP-related concerns, for obvious reasons. But maybe there’s a strategic answer to this riddle.

The logic goes something like this: Hollywood is certainly a related industry, but music isn’t as fixed geographically — or politically. During his first term, Trump was flanked by country superstars and a certain Detroit rocker when he signed the Music Modernization Act (MMA). Given that success, is Tennessee the perfect hub for lobbying this administration and Congress again — particularly given the shutout being experienced by Hollywood and others on the wrong side of this political aisle?

Meanwhile, speaking of Capitol Hill fixers, National Music Publishers’ Association (NMPA) topper David Israelite could be building the industry’s next ‘It’ conference.

Israelite’s Music Investor Conference (MIC) is now in its third year, kicking off this June in Manhattan. But this event has a totally different game plan involving limited capacity and an invite-only, serious dealmaking crowd. That’s generating some surprisingly nice pre-event buzz, with New York offering a more serious backdrop. Are we looking at a budding Davos for music taking shape?

So far, we’re hearing that MIC isn’t yet getting the ‘heavy heavies’ like UMG titan Lucian Grainge — at least en masse — though a fairly influential cast of folks are expected to attend again this year (at least based on the 2024 list).

Meanwhile, it’s tricky to get a read on future industry crowds given a tough year+ of layoffs.

For obvious reasons, labels and tech bros like to keep layoffs on the hush, though heavy downsizing at mega-companies like Spotify and WMG could be trimming crowds at future industry conferences. Was SXSW just a preview of what a leaner business looks like?

On the flip side, a lot of money has been pouring into this industry. As of mid-April, north of $2 billion worth of investments have dropped in 2025 alone, according to DMN Pro’s latest tallies. Will that tailwind mark the start of a surprisingly bullish 2025 for the music business despite the economic turbulence of late?

That topic and more coming to a music conference panel near you.

Photo Credit: Milan Alicia Miller / CC by 3.0

The 2025 edition of the MTV VMAs will be simulcast on CBS and the streaming service Paramount+. Does this spell the end of the network?

Paramount+ made the 2024 VMAs available to watch the next day, but this is the first year a major network will broadcast the awards show simultaneously. The 2024 VMAs delivered its biggest multi-network audience in four years for a +25% year-over-year gain—so of course CBS is looking to expand the reach beyond a dying network.

While MTV’s original model focused on delivering music videos, the shift toward reality TV and other programming has left the network without its core audience. One could argue that the cancellation of Total Request Live (TRL) in 2008 was the first nail in the coffin on a network that was supposed to deliver music videos to a mass audience.

But the rise of streaming for music discovery hasn’t been kind to old formats like television and radio. Services like YouTube and Spotify have fundamentally altered how young people interact with music videos—Gen Z prefers finding this content online by a wide margin.

In 2023, MTV laid off 25% of its domestic staff and shut down MTV News—yet another nail in the coffin for the network. Viewership on the network remains low, which is likely why CBS is being chosen as the ‘main’ network to broadcast the VMAs with a simulcast on MTV.

The MTV Video Music Awards will air on CBS for the first time, marking the end of their exclusivity on MTV. The September 7 broadcast from 8 to 11 pm ET will also simulcast on MTV—but the built-in audience of CBS is where producers are hoping to snag more viewership. The awards show will be broadcast live from the UBS Arena in Elmont, New York. It’s worth noting that the CMT Music Awards also aired on CBS for the first time in 2024—so this move isn’t unprecedented as niche networks no longer draw eyeballs.

Fallout Boy’s Pete Wentz and father Pete Wentz, Sr., at the NMPA SONGS Foundation Golf Tournament on Monday at Riviera Country Club (Photo: NMPA)

One could be forgiven for predicting that the National Music Publishers’ Association (NMPA) might nix their annual golf outing in Los Angeles this year. Instead, the NMPA SONGS Foundation Golf Tournament went ahead as planned this week — just minutes from the fire lines in Pacific Palisades.

Ironically, Mother Nature offered a smattering of light rain and cloudy skies on Monday—cool and damp climes for the NMPA’s annual SONGS Foundation Golf Tournament at the swanky Riviera Country Club in Pacific Palisades. That type of weather was sorely needed a few months ago as fires ripped through the area, though Riviera was thankfully spared.

Things have been quiet around these parts ever since: according to one Riviera caddy, member traffic has been sharply down at the club since the Palisades fires for a variety of reasons. For music publishers, songwriters, composers, and others attending the National Music Publishers’ Association’s annual golf outing, it was difficult to imagine just how close the fires burned — though the mood was upbeat and donation dollars were flowing.

All in all, the event rustled a cool $350,000 for fire relief efforts through MusiCares, according to NMPA Senior Vice President of External Affairs Charlotte Sellmyer. Not bad for a single-day event, and the songwriting and publishing communities will benefit.

Another interesting twist: LA firefighters were the featured stars this time around, though plenty of superstar songwriters, performers, producers, and publishing execs were also milling around.

Among the who’s who of attendees: Fallout Boy’s Pete Wentz (and his father); Cam Avery of Tame Impala; Mark Bryan of Hootie and the Blowfish; Walker Hayes; Dan Omelio (aka Robopop); Adam Granduciel of The War on Drugs; songwriter Ross Golan; Mark Wystrach and Cameron Duddy of country group Midland; Cooper Alan; producer, composer, and writer Alex Hitchens; Mark Cazorla of The Record Company; and Mozella.

On the executive side, the ranks included Jody Klein (Abkco), Larry Mestel (Primary Wave), Jeff Pachman (Domino), Peter Brodsky (Sony Music Publishing), Frank Liwall (Royalty Network), Jenny Kim (Morgan Stanley), Thomas Winkler (Amazon Music), Jon Cohen (Amazon Music), and Bob Valentine (Concord).

NMPA brass were also hanging out, including CEO David Israelite, EVP and General Counsel Danielle Aguirre, and the aforementioned Charlotte Sellmyer.

Beyond that, the sponsor list was deep, with seemingly every hole sponsored by a music publishing heavyweight, streaming platform, PRO, or industry law firm (in this case, LaPolt Law, P.C.).

Spotify was non-existent at the event, which makes sense given the DSP’s deep beef with music publishers and songwriters. But Amazon Music was thoroughly involved, and even TikTok was a sponsoring partner.

The festivities also included a performance by songwriter Wrabel, who offered a stunning rendition of “All That Really Matters” by Teddy Swims — a song Wrabel co-wrote. All in all, it was a pretty damn good shindig — scroll down for more pics!

Members of the Los Angeles Fire Department (Photo: NMPA)

Pete Wentz (left) and NMPA chief David Israelite (right) diplomatically discuss whose drive was actually longer (Photo: NMPA)

Concord Music CEO Bob Valentine (Photo: NMPA)

NMPA Senior VP of External Affairs Charlotte Sellmyer kicks off the shotgun round (Photo: NMPA)

DMN’s Paul Resnikoff hits ‘publish’ on another bomb (Photo: NMPA)

Wrabel performs a stunning set for assembled guests (Photo: NMPA)

Jenny Kim (Morgan Stanley), David Israelite (NMPA), and Wentz father and son at Riviera’s first tee (Photo: NMPA)

Songwriter extraordinaire Mozella tees off (Photo: NMPA)

Riviera’s plush greens (Photo: NMPA)

Neeta Ragoowansi, President of Music Managers Forum US (MMF-US) and International (I-MMF) spoke about the benefits of conferences for networking and ‘a sense of community.’ “[These] conferences have allowed me to network, grow, and catapult to success.”

Neeta Ragoowansi is the President of MMF-US and IMF, co-founder of direct licensing exchange NPREX, and an entertainment attorney. Ragoowansi is also the global co-chair of the non-profit Women in Music, where she works on women’s empowerment and gender equity growth within the music industry.

Speaking to DMN during the MMF Annual Managers Brunch, Ragoowansi said, “It’s such a beautiful time; it makes my heart glow.” According to Ragoowansi, networking is an important part of MMF. “Managers, startups, media folks, labels, publishers, and the music industry community attend the brunch to engage as a community, and show each other support.”

Ragoowansi believes that without the SXSW network, Women in Music wouldn’t have been able to succeed in advancing and creating opportunities for women in the musical arts.

“Had it not been for SXSW introducing me to that first network and growing and catapulting from there, I would not have been able to do a lot of everything in the music industry — [such as] help others grow the community, and be of service to our industry.”

“This is my 30th year. People need to return year after year to discover constantly. It [reveals] a different pattern of what you can do for your business, your career, or your mission.”

Ragoowansi says such events offer enormous networking and learning opportunities. She believes this is especially valuable because members can reach out to this network to overcome any challenges or hiccups they face.

On a different note, she also addressed the challenges many artists face in finding management that’s capable and willing to support their vision for music — and have the knowledge and connections to best guide their careers.

On that topic, Ragoowansi mentioned the Miami Music Summit for the MMF, an all-day educational event conference that took place on March 21st.

Ragoowansi says, “IMF is doing a bit of a reboot and a relaunch — connecting the global network of managers as a trade association for both artist managers and self-managed artists.”

“If you’re an artist that needs to understand your own business, and there are not enough managers to go around, we share the knowledge.”

Speaking of MMF’s many endeavors within the US, Ragoowansi spoke passionately about developing best practices for ethical AI to ensure revenue opportunities for artists.

MMF’s efforts aim to facilitate regulatory agreements with AI companies in an attempt to protect artist assets. Ragoowansi said, “The [central] pillar of any trade association is advocacy work. MMF focuses on the issues around recognizing human artistry in the AI space. I want to make sure that we’re collaborative.”

“AI is here, so we must proactively engage with AI companies to determine a licensing model. Then, we need to do it on a global level.”

On the global front, Ragoowansi reveals that the IMF is ‘carrying the torch to create International agreements’ that push for law harmonization.

She adds, “These regulatory frameworks will affect how AI and creators [and copyright owners] engage and how we can develop best practices for revenue generation.”

“Because AI is here to stay. It’s like electricity — we’ll live with it now.”

DMN spoke with Ragoowansi during their annual brunch and networking event at SXSW in Austin.

Photo Credit: Tatsuya Nomura (Board Members, CEIPA / President, FMPJ) by Yuri Hasegawa

Japan’s cultural organization CEIPA made its debut in Los Angeles last week with the sold-out Matsuri ‘25: Japanese Music Experience Los Angeles.

The Japan Culture and Entertainment Industry Promotion Association (CEIPA) debuted its sold-out Matsuri ‘25 event at the Peacock Theater, supported by CEIPA and Toyota Group’s Music Way Project. They previously announced the launch of the project on February 25, which aims to support and drive the fundamental globalization and sustainable growth of the Japanese music industry.

The project focuses on strengthening the footholds of high-profile events. This world-class J-pop concert, starring Ado, Atarashii Gakko!, and Yoasobi, demonstrated that the music industry organization has already laid the groundwork for a lasting presence in America. A portion of ticket sales from the concert will go to LA wildfire recovery efforts through MusiCares.

In addition to the sold-out concert, the Matsuri ‘25: JP Music Industry Mixer, hosted by the Japan External Trade Organization (JETRO) Los Angeles, took place prior to the show at the same venue. The event began with opening greetings from Yoshiko Tsuwaki, the executive director of JETRO Los Angeles, setting the tone for the evening’s proceedings. Next, CEIPA presented an insightful overview of Music Awards Japan (MAJ) with key contributions from Tatsuya Nomura, a CEIPA board member, and Taro Kumabe, the executive director of CEIPA.

The “Music Festivals and Live Events: The Key to Japanese Artists’ Success in the International Market” panel, moderated by Ryan J. Downey (Billboard, MTV, Loudwire), provided industry perspectives on how Japanese artists are establishing themselves in the global music scene. In addition, the panel discussed the logistical and financial hurdles of touring overseas, and the role of international partnerships and festival bookings in shaping their future.

“I would say one of the great advantages is that musicians from Japan are very open to working with and collaborating with anime or gaming,” said Ellen Lu, VP of Regional Festivals, Goldenvoice. “These artists are not just reaching fans that are music fans.”

A sold-out success, Matsuri ‘25 wasn’t just another festival — it was proof that Japan’s next generation of artists isn’t waiting for the world to catch up. They’re already leading the charge.

Photo Credit: ACM Awards

Blake Shelton, Eric Church, and Lainey Wilson are the first round of performers set to take the stage at the 60th ACM Awards on May 8. Reba McEntire hosts the awards show, streaming live from the Ford Center at The Star in Frisco, Texas.

Today, the Academy of Country Music, Prime Video, and Dick Clark Productions revealed the first round of performers set to take the stage at the upcoming 2025 ACM Awards. Hosted by Reba McEntire, the 60th edition of the Academy of Country Music Awards will stream live via Prime Video on May 8.

Blake Shelton, Lainey Wilson, and Eric Church will hit the stage at Ford Center at The Star in Frisco, Texas in May. Fittingly, the 48-year-old Shelton will perform after his latest single, “Texas,” has been finding success on the country charts. His forthcoming album, For Recreational Use Only, is due out on May 9.

Like Shelton, the 47-year-old Church is taking the ACM Awards stage just in time to promote new material. His new album, Evangeline vs. the Machine, drops on May 2. Meanwhile, Wilson was the entertainer of the year at last year’s ACM Awards. The 32-year-old is currently promoting her latest album, Whirlwind, for which she kicks off a North American tour on August 14.

Nominations for the 2025 ACM Awards will be revealed later this month. Additional performers, presenters, and events pertaining to the ceremony will also be announced soon.

Last year, Wilson was the night’s top winner, alongside Chris Stapleton, both of whom took home three awards each. Wilson won entertainer of the year, female artist of the year, and music event of the year for “Save Me” with Jelly Roll. Stapleton won album of the year (Higher), male artist of the year, and artist-songwriter of the year.

The 2024 event, also hosted by McEntire, saw the award for song of the year go to writers Jordan Davis, Chase McGill, Greylan James, and Josh Osborne for Davis’ “Next Thing You Know.”

Photo Credit: Departure

The founder of Canadian Music Week (now called Departure) is suing new owners Loft Entertainment and Oak View Group Canada for breach of contract and unpaid sale fees.

A notice of action filed with the Ontario Court of Justice this week from Neill Dixon highlights the legal action against Departure’s owners. Dixon says both companies breached the contract signed when Canadian Music Week was sold. Dixon seeks damages of $435,428 plus $50,000 in punitive and aggravated damages. The legal action comes about as Dixon alleges that Departure’s new owners have not paid the full sale price $2,000,000 that was agreed in June 2024.

“After 42 years of building an internationally respected Canadian music business, I made the difficult decision to sell and retire, trusting the purchasers to honor their commitments under the agreement we had between us,” Dixon told Billboard Canada in a statement. “I have been forced to start a lawsuit to hold them to their end of the agreement. It’s disheartening to have decades of dedication and hard work met with such an approach by them.”

Dixon announced his retirement and the sale of Canadian Music Week to Loft Entertainment and Oak View Group last year. The new owners announced they would drop the well-known Canadian Music Week branding in favor of rebranding as Departure. The music industry festival had been known as Canadian Music Week since 1982—throughout Dixon’s entire term as president of the festival.

Oak View Group announced the rebranding in November 2024 during an event in Tornto. The new Departure team includes Loft Co-Founder Randy Lennox, CEO Jackie Dean, and Executive Producer Kevin Barton, as well as OVG Canada President Tom Pistore. Their outlined vision for the festival would include expanding it beyond music—to include comedy, tech, food, and more. The rebranding would turn CMW into more of a Canadian SXSW if you will.

Dixon alleges the new owners have not paid the full purchase price of $2 million after signing an agreement to purchase on June 1, 2024. The money was to be sent in a payment plan by a company co-owned by Loft and OVG. But $378,928 still has not been paid. Dixon also alleges he provided consulting services to the new owners to the tune of $56,000 which have also not been paid.

“Loft Entertainment and Oak View Group have received a formal statement of claim from Neill Dixon,” the two companies told Billboard Canada. “We have been negotiating with Neill and his counsel for an extended period to finalize our agreed upon terms. If we are unable to reach an agreement, we will explore alternative ooptions.”

In an interview with DMN, Richard Burgess recalls how he worked to reshape A2IM during the last decade. Burgess also shares his thoughts on the music industry not monetizing music enough, DSPs ‘leaving money on the table,’ and expansion into fast-growing global markets. “We need to make sure that we don’t kill the art of making music.”

Burgess recently announced he would be stepping down from his position as President and CEO of A2IM — after 10 years with the organization. When asked what he’s most proud of during his time at A2IM, and the legacy he wants to leave behind, Burgess humbly replied, “It’s really hard to look at what you’ve done and see it as a legacy.”

Burgess admits that the organization grew massively under his leadership, and is hugely proud of achieving diversification within the A2IM board and membership.

Regarding the A2IM’s improved coordination, Burgess said, “I’m big on trying to keep relationships open with other organizations. Sometimes, you have to collaborate with people even if you disagree on 90% of the things they want.”

“The relationships with the other trade associations have been a big part of what I’ve tried to achieve. I think we’ve done well with that.”

Another achievement Burgess mentioned was the ‘Protect Working Musicians Act.’ “With the PWMA, any group of artists, managers, labels, publishers, songwriters, etc. would be able to gather and jointly negotiate deals,” Burgess explained.

Before the PWMA, a small independent label had no leverage whatsoever. “It’s kind of insane. We’re negotiating with the largest companies of all time. If they want, they can divide and conquer a small independent label by just offering whatever they want to offer.”

Although the PWMA has been around for three years, Burgess expresses that legislation requires a lot of patience, adding, “It takes a while.”

Regarding the challenges of recorded music revenue generation, Burgess spoke passionately about the industry’s failure to grow revenue in proportion to ‘today’s massive audience increase.’

“The big challenge with the recorded music industry is that we should be seeing much higher revenue numbers. If you do the math by adjusted dollars relative to 1999’s revenue, we’re still down about 35 to 40 percent.”

Burgess notes that the industry is not seeing the revenue, and would like to ‘fix that.’ “I’d really like to see the music industry get back to not only the size it was, but the size it should be because the listening audience has increased massively.”

Although Burgess agrees that streaming has been an amazing democratizer in many ways, he believes DSPs are leaving money on the table.

“Music is one of those must-have things in life. People love music. But we’re not seeing the revenue flow commensurate with the amount of love that people give music.”

Burgess thinks that music subscriptions should be at par with video subscriptions — and makes an argument to prove his point. “When you look at surveys about subscriptions, consumers consider music the best value. It’s also the least expensive in the consumer’s mind,” he said.

“Look at what people are paying for Netflix and other subscriptions. I doubt that anybody watches Netflix as much as they listen to music.”

Speaking about other interesting new technologies and business models that could significantly change things for labels, Burgess praises the independent industry’s revenue generation from vinyl sales and merchandise.

“The independents make about 42 percent of their revenue from vinyl, CDs, and physical goods. The major labels are doing well under 10 percent.”

“There are a lot of opportunities there. And I’m seeing people developing technologies and business plans that fit into that kind of concept.”

Burgess also discusses emerging International markets and the massive revenue opportunities they present for the music industry.

Comparing the US streaming market to India, where 80% of subscribers are ad-supported and only 20% are paid, Burgess says, “[The revenue] is certainly a lot lower than the money that comes from economically developed markets like Europe and the US.”

“But we’re seeing those countries increase their gross domestic revenues, which will change things even on a free subscription.”

What does that impending growth mean for the music industry? Burgess says opportunities can be revealed by answering the questions: “What are [emerging markets] buying, and what are they listening to?”

A lot of American music — but also a lot of local music that’s going global now. “Because of streaming, we’re seeing a lot more acts from other countries that we normally would never have heard of.”

Burgess concluded the interview by highlighting that when it comes to revenue generation, the key is not whether people love music— ‘it’s about whether we can monetize it, so we can keep the musicians alive.’

The interview was taken at SXSW 2025 in Austin, during A2IM’s annual brunch networking event.

Photo Credit: Sabrina Carpenter / YouTube

The UK media watchdog Ofcom says it has logged more than 800 complaints about the BRIT Awards 2025 ceremony. Most of them are about Sabrina Carpenter’s performance included a medley of “Espresso,” “Bed Chem,” and “Rule Britannia!”

Sabrina Carpenter opened the awards show hosted at The O2 in London on Saturday. She wore a red sparkly mini-dress and matching stockings and suspenders with a front that resembles the King’s Guard uniform. At one point she’s perched on a pink and purple heart bed while singing, surrounded by dancers doing a dance routine while on their backs. The outfit Sabrina is wearing changes to a red teddy with stockings—with Sabrina posed provocatively while singing.

Charli XCX also received some complaints, mostly aimed at her black dress and a comment she made during one of her acceptance speeches. The Essex superstar managed to snag five awards so she was on and off the stage all night. “I heard that ITV were complaining about my nipples,” she said during one of the speeches. “I feel like we’re in the era of ‘free the nipple’ though, right?”

Speaking about the complaints received, an Ofcom spokesperson told the BBC, “we are assessing the complaints against our rules, but are yet to decide whether or not to investigate.”

The total number of complaints received was 825, which is a drop in the bucket compared to some incidents that prompted review from the media watchdog. The most complaints ever received was 58,000 in 2021. Those complaints followed comments Piers Morgan made about Meghan Markle, the Duchess of Sussex.

With so few relative complaints in comparison, it’s unlikely that Ofcom will investigate further. The television watershed in Britain is 9:00 pm; that’s the moment when content no longer has to be child-suitable. The BRIT Awards started at 8:15 pm and ended at 10:40 pm. So depending on where the performances on the time the performance aired, it may have been past the child-friendly cut off.

Photo Credit: Charli XCX for Condé Nast (VOGUE Taiwan) / CC by 3.0

Charli XCX swept up at this year’s Brit Awards, with five major wins including best artist, album, and song of the year.

It’s official: Charli XCX is a bona fide pop star. After starting out as a hero of the underground UK music scene, the “Brat” star is now a household name. Perhaps best illustrating this transformation is her incredible slate of wins at this year’s Brit Awards. She took home five awards, including Best Artist, Best Album, and Song of the Year.

Other significant British winners of the night included Stormzy, Sam Fender, Ezra Collective, and Best New Artist, The Last Dinner Party. Meanwhile, Chappell Roan and Fontaines DC took home the international prizes. US pop princess Sabrina Carpenter, who took home the Global Success Award, also gave a memorable performance. Finally, the show included a moving video tribute to Liam Payne, who died in October.

But Charli XCX stole the show with the biggest wins of the night. “This is cool — I’m really happy that a song about underwear now has a Brit award, very important stuff,” said Charli after collecting her award for Song of the Year for the track “Guess.”

“I’m sure that proves something about songwriting, but I’m not sure what,” she added.

In addition to the major awards for song of the year, best artist, and best album, Charli also snagged wins for Best Dance Act and Songwriter of the Year.

“I feel like dance music, electronic music, gets a really bad rep, because everyone is like, ‘It’s not that deep, is it?’ And I kind of feel it is,” she added. “This genre of music for me is euphoric; it allows me to escape, it allows me to feel on such a deep level.”

In collecting her fifth award of the night, Charli explained to the crowd that she had always felt like an outsider until then. “Culture caught up with us and wanted to be on the journey with us — I am living proof that it takes a long time, but you don’t need to compromise your vision.”

Charli XCX’s phenomenal success at this year’s Brit Awards may have sparked some controversy among her naysayers, but the labels are celebrating.

Ed Howard, Co-President of Atlantic Records UK, shared: “I’m absolutely delighted for Charli. Coming off the back of such a stellar year — one where she flew the flag for British music globally — it feels right that she has been recognized so fully by the Brits. She’s an inspiration and a pioneer; with Brat, she turned her music into a movement, and she’s far from done. Congratulations to Charli and her team.”

“I want to wish a massive congratulations to Charli and the Atlantic team for these fantastic wins,” added Tony Harlow, CEO of Warner Music UK. “Charli is a real one-of-a-kind, and has always done things on her own terms. Her international success over the last 18 months has shown that British artists can still resonate with a worldwide audience. I’m so happy she is getting the recognition she deserves.”

Photo Credit: CBS/Dick Clark Productions

After a short break in 2022, the American Music Awards are being revived in a new city on a new network. CBS will present the awards from Las Vegas this year.

Dick Clark Productions teased a return for the AMAs last year, with new details revealed this week. The awards show will air on Memorial Day, May 26 live in all time zones starting at 8 pm ET / 5 pm ET. Alongside the CBS airing, the awards show will also be streamed on Paramount+. No hosting details or location in Las Vegas have been announced.

The AMAs were on a break for 2023 and were originally set to return in 2024. However, what ended up returning was a 50th anniversary special celebrating the awards show’s history in October. That anniversary special averaged around 6 million viewers for its October 6 broadcast, which was a 54% increase over the 2022 AMAs on ABC. It was also the largest year-over-year growth of a music special or award show on TV.

Dick Clark Productions confirms the 50th anniversary special was the most-streamed AMAs in the show’s history, too. It racked up 65 million views across social media platforms in the week since it aired. The last time the awards show aired in 2022, Taylor Swift swept the awards with six wins and extended her record as the most-awarded artist in AMAs history. Wayne Brady hosted that special.

A video released by CBS showcased clips from stars including Justin Bieber, Dua Lipa, Post Malone, Megan Thee Stallion, Shakira, Rihanna, The Weeknd, Olivia Rodrigo, and several others. Dick Clark Productions confirms this airing will “pay special tribute to our veterans through authentic performances and unforgettable moments.”

Dick Clark created the American Music Awards in 1974 for ABC after the network lost the rights to air the Grammy Awards to CBS. The awards show aired on the network until the contract expired in 2022—which ABC chose not to renew. The extended absence was due in part to needing to find a new network home, but also a lack of interest in awards shows in general. It’s no secret that awards events like the Grammys, Oscars, and Emmys viewership numbers have tumbled over the last decade.

The 67th Grammy Awards, an evening that would crest on several high notes, featured heartfelt tributes to the individuals who fought the devastating California wildfires. On the biggest annual night in music, the stars descended at Crypto.com Arena in Los Angeles.

The following comes from Open On Sunday, a company DMN is proud to be partnering with.

First, the red carpet — a quick walk behind the scenes before Olivia Rodrigo absolutely shut it down. Jaden Smith definitely made an impression with a headpiece that caused a stir.

Then, it was showtime, with performances covering all the latest hits. The night belonged to Doechii, Saint Vincent, Chappell Roan, Kendrick Lamar, and Beyonce.

Billie Eilish soared singing ‘Birds of a Feather,’ while Benson Boone flipped through ‘Beautiful Things.’ Then there was Doechii, Chappell, Sabrina Carpenter, and Shaboozey — with Taylor Swift front and center, rocking to every tune.

Then, after a star-studded tribute to the late legendary Quincy Jones, the night took a heroic turn.

The Recording Academy recognized the heroes who bravely battled the devastating wildfires that ravaged entire neighborhoods in Los Angeles.

LA County Fire Chief Anthony Marrone said, “I am confident that we will recover and rebuild together because we are LA strong.”

Another significant moment during the night: Rapper Kendrick Lamar took home Grammys for all five of his nominations for the smash hit ‘Not Like Us’ — including Song of the Year.

At the end of the day, there’s nothing more powerful than rap music. But then, there is Beyonce.

After a surprise win for best country album, the music icon was nominated more than any other artist ever — finally winning the Grammy for album of the year with ‘Cowboy Carter.’

Beyonce accepted her well-deserved Grammy, saying, “I’d like to thank and acknowledge and praise all of the firefighters for keeping us safe. I feel very full and very honored. It’s been many, many years. I just want to thank the Grammys, every songwriter, every collaborator, and every producer for all the hard work. I want to dedicate this to Miss (Linda) Martell, and I hope we keep pushing forward and opening doors. God bless you all. Thank you so much.”

Photo Credit: Andre 3000 and Big Boi (OutKast) by David Shankbone / CC by 3.0

Mariah Carey, OutKast, Phish, Bad Company, Billy Idol and more top the 2025 Rock and Roll Hall of Fame nomination list.

The 2025 Rock and Roll Hall of Fame list of nominees has been released, with 14 artists up for consideration. These include Bad Company, Chubby Checker, Cyndi Lauper, Joe Cocker, Billy Idol, Joy Division/New Order, Maná, Soundgarden, The Black Crowes, Oasis, OutKast, Mariah Carey, Phish, and The White Stripes.

Of these, eight are first-time nominees: Bad Company, The Black Crowes, Chubby Checker, Joe Cocker, Billy Idol, Maná, OutKast, and Phish. Interestingly, the list also contains two sets of brothers who have had both a very public falling out and recent reunion: Oasis and The Black Crowes.

Though each of the artists on the list has left a notable mark on music in their career, few have been as impactful as those of Mariah Carey or Chubby Checker. Checker’s recording of “The Twist” and “Let’s Twist Again” were among the major pillars of rock and roll in the late 1950s and early 1960s. Mariah Carey has had an impressive 19 hits reach No. 1 on the Billboard Hot 100. Her Christmas staple, “All I Want for Christmas Is You,” continues to create a buzz every holiday season.

This year’s Rock and Roll Hall of Fame inductees will be revealed in late April, as well as inductees entering the Hall in three committee categories. These are musical influence, musical excellence, and the Ahmet Ertegun Non-Performer Award.

The induction ceremony will take place this fall in Los Angeles. Nominees will be voted by an array of over 1,200 artists, music industry professionals, and music historians. Artists must have released their first commercial recording at least 25 years ago to be eligible for induction.

The selection criteria include “an artist’s impact on other musicians, the scope and longevity of their career and body of work, as well as their innovation and excellence in style and technique.”

Last year’s inductees included Mary J. Blige, Cher, Foreigner, A Tribe Called Quest, Kool & The Gang, Ozzy Osbourne, Dave Matthews Band, and Peter Frampton.

Photo Credit: Trisha Yearwood, recipient of the June Carter Cash Humanitarian Award at the 2024 CMT Awards / US Navy Petty Officer 1st Class Chad J. McNeeley

Paramount hits pause on select events in 2025, including the CMT Music Awards and the MTV EMAs as its merger with Skydance Media is expected to close.

Paramount Global is putting the brakes on several events this year, as the company looks to “reimagine and optimize” its events offerings going forward. The news comes as Paramount’s planned merger with David Ellison’s Skydance Media is expected to close in the first half of the year.

Affected events include the MTV Europe Music Awards (EMAs), the CMT Music Awards, the Nickelodeon Kids’ Choice Awards Mexico, and the MTV MIAWs, formerly known as the MTV Millennial Awards. The announcement comes from an internal memo sent from the office of Bruce Gillmer, Paramount president of music, music talent, programming and events, media networks, and chief content officer.

“We are pausing a few events for 2025, as we look to reimagine and optimize our events slate going forward. These include the MTV EMAs, MTV MIAWs, Nickelodeon Kids’ Choice Awards in Mexico, and CMT Music Awards,” reads Gillmer’s memo.

“Our world-class events remain a key component of Paramount’s music offering as we continue to raise the bar in delivering iconic, unforgettable performances and moments that drive pop culture. We have the best team in the business, and we are grateful for your hard work and dedication in bringing these events to life.”

In the past year, Paramount has been trimming down significantly. The company’s co-CEOs George Cheeks, Brian Robbins, and Chris McCarthy unveiled a plan in August to cut 15% of the company workforce in the US to save approximately $500 million. Shortly thereafter, the first of three rounds of layoffs took place, which saw the departure of several high-profile executives and the shuttering of Paramount TV Studios. The second round affected portions of the business that include CBS News.

Taylor Swift and Ice Spice (left) laugh off a chorus of boos at the Louisiana Superdome during Super Bowl LIX (photo: Digital Music News)

It was a rough night for Taylor Swift and the Kansas City Chiefs at the Caesars Superdome in New Orleans for Super Bowl LIX. Now, Trump is rubbing it in.

In the wake of a very lopsided Super Bowl LIX victory for the Philadelphia Eagles, Donald Trump relished in the moment to pounce on a political enemy: Taylor Swift.

Leading up to the presidential election in November, Swift offered a ringing endorsement of Kamala Harris, pulling potentially millions of Swifties to the Democratic side. Apparently, that’s an endorsement Trump hasn’t forgotten.

“The only one that had a tougher night than the Kansas City Chiefs was Taylor Swift,” Trump relished on his Truth Social platform. “She got BOOED out of the Stadium. MAGA is very unforgiving!”

Adding salt to the wound, Swift was also buffeted by a hail of boos during the game itself.

While Taylor Swift camera pans have become notorious during Chiefs NFL games, Swift received almost no high-profile shots as the Philadelphia Eagles dominated the action.

Separately, Trump himself received a rousing ovation during the game. Trump, who incidentally picked the Chiefs to prevail, is the first standing president to attend a Super Bowl match-up.

For Swift and her beau, Chiefs tight end Travis Kelce, the on-field drubbing potentially disrupted some planned theatrics. That included rumors of a possible on-field marriage proposal following a historic Super Bowl ‘three-peat,’ though history wasn’t so kind.

Others poking at Swift wondered where the singer was after the game — and why there were so few shots of the singer during the game itself.

In previous Super Bowl games, when the Chiefs triumphed, Taylor Swift could be seen cheering ad nauseam. After Chiefs victories, Swift typically grabbed the spotlight with Kelce as the champagne and confetti flowed. This time, however, the singer was nowhere in sight as a downcast Kelce marched off the field in defeat.

Beyond the game’s theatrics—and the victory lap for Swift haters—the incident raises some questions about whether superstar musicians are wading too far into political waters.

Taylor has undoubtedly made calculated decisions on that front, though the downsides of picking a side—whether an NFL team or political candidate—were on full display at the Super Bowl last night.

Photo Credit: SZA and Kendrick Lamar at the Super Bowl LIX Halftime Show / ABC10

Following much speculation and multiple teasers over whether or not he would play his hit Drake diss track “Not Like Us,” Kendrick Lamar delivers.

In the first solo headlining hip-hop performance in Super Bowl history, Kendrick Lamar delivered a powerful halftime show featuring SZA and actor Samuel L. Jackson dressed as Uncle Sam.

The Pulitzer Prize winning rapper started under a spotlight atop the hood of a 1987 Buick GNX — fittingly, as he opened with “GNX,” before moving into “Squabble Up.” Dancers dressed in red, white, and blue stood in a US flag formation as they joined Lamar, before Jackson as Uncle Sam “interrupted” the performance to call them “too loud, too reckless… too ghetto.”

Jackson-as-Uncle-Sam taunted K.Dot to “play the game,” which the rapper answered by launching into a medley of “Humble,” “DNA,” “Euphoria,” and “man at the garden.” “Score keeper, deduct one life,” sneered Jackson, before Lamar launched into “peekaboo,” and teased a performance of “Not Like Us.”

Notably, speculation has abounded in the weeks leading up to the big game over whether Kendrick would play the Drake-dominating hit. Earlier, Digital Music News reported that Drake’s high-powered legal team was eyeing the halftime performance carefully, with damages potentially ratcheting into the stratosphere given the size of the Super Bowl audience.

A teaser for the performance hinted that it would be played, and Ken himself said he was undeterred by so-called threats from the Drake camp that their lawsuit against Universal Music Group was bound to get worse if he did. Earlier, one source indicated that a Super Bowl Halftime Show performance of the diss track could push defamation damages past the billion-dollar mark.

Speaking of billions: “Not Like Us” achieved a billion streams on Spotify in record time, and the song has been a massive hit for Kendrick Lamar. A rallying cry for his native Los Angeles, the track not only won K.Dot the highly publicized feud with Drake, but also secured him both song and record of the year at the Grammy Awards last weekend.

Fast forward to the Super Bowl halftime show: “I wanna play their favorite song but you know they love to sue,” Lamar told the female dancers behind him partway through the just-under-13-minute performance, referencing the ongoing litigation between Drake and UMG.

But fans expecting “Not Like Us” right at that moment were surprised when SZA joined Ken on stage for a medley of “Luther” and “All the Stars.” This pleased Jackson’s Uncle Sam. “That’s what America wants: nice and calm,” he said smugly.

And that’s when Kendrick pounced, launching into “Not Like Us” — with all its Drake call-outs and scathing culture vulture commentary intact, but notably with the word “pedophile” omitted — as his dancers surrounded him.

Kendrick Lamar is no stranger to the Super Bowl halftime show, as he previously performed alongside Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, and 50 Cent at the 2022 championship game. But this time, he was not only the headliner, but made history as the first hip-hop star to headline the show solo.

“Rap music is still the most impactful genre to date,” said Lamar back in September, when he was first announced as the 2025 halftime performer. “And I’ll be there to remind the world why. They got the right one.”

But whether that performance will spell more headaches for UMG in the defamation lawsuit that it’s battling with Drake remains to be seen.

Beyoncé’s reaction to winning Best Country Album has become a viral meme (photo: The Recording Academy/CBS)

Country singer John Rich calls Beyoncé’s Best Country Album win at the Grammys a ‘total joke,’ asserting the win should have gone to Lainey Wilson.

John Rich of country duo Big & Rich is adding fuel to the backlash over Beyoncé’s win for Best Country Album at the 2025 Grammys. While some country stars, like Kelsea Ballerini, have expressed their belief that country is for everyone, even those who are not traditional country singers, others — like Rich — think the Recording Academy “outed themselves” as pushing an agenda.

“There’s NO WAY [Beyoncé’s] album was better than Lainey Wilson’s Whirlwind. I don’t get it,” Rich wrote on social media. “Record labels making deals on the votes.”

“Folks are asking me ‘how do music award shows work?’” he continued. “Labels/publishers all have blocks of votes. They make deals with each other, ‘you vote for mine, we’ll vote for yours,’ type thing. It has ZERO to do with who made the best music. Thus, Beyoncé with ‘Country Album of the Year.’ Nice, right?”

“The same thing is true with the CMAs, ACMs, Billboard, etc. all work exactly the same,” Rich explained. “Last night, the Grammys outed themselves in a big way.”

Netizens have been debating the win at length, with the BeyHive rallying in support of their queen, while critics like Rich have been very vocal about their belief the award should have gone to an established country artist. Country singer Kelsea Ballerini defended Beyoncé’s nomination in the category ahead of the ceremony on February 2, who called the backlash the “16 Carriages” singer faced for shifting into the country space unnecessary.

“That category, to me, represents what country music has been this year, and that’s what the album of the year category should represent,” Ballerini shared on SiriusXM’s Fierce: Women in Music. “What has happened in country music has been successful and groundbreaking this year. I don’t really understand the other opinions other than like, it’s amazing to have huge, respected artists and other genres come in and celebrate ours.”

“I don’t understand why that would be anything but great,” she continued. “You don’t have to be a country artist to make a country record. Those don’t have to exist in the same plane.”

Some naysayers believe Beyoncé’s shocked expression (which has become a viral internet meme) stemmed from her not knowing that her husband, Jay-Z, had allegedly paid for the award. This belief apparently stems from remarks he made previously when he called out the Grammys for never awarding Album of the Year to his wife — despite her holding the record for the most Grammy wins and nominations overall of any artist in history.

“[Beyoncé] has more Grammys than anyone and never won Album of the Year,” said Jay-Z. “Some of you will feel like you were robbed. Some of you will get robbed. Some of you don’t belong in the category.”

Meanwhile, Queen Bey’s acceptance speech echoed some of her husband’s sentiments, but in a decidedly more palatable turn of phrase: “Sometimes I think genre is a code word to keep us in our places as artists,” she said. “I just want to encourage people to do what they’re passionate about. To stay persistent.”

Photo Credit: The Recording Academy

The Grammys viewership in 2025 has dropped 9% compared to last year—only 15.4 million people tuned in to watch the awards ceremony. The 2024 edition of music’s biggest night on TV saw 17 million viewers tune in.

The awards show aired on CBS and was available to stream on Paramount+, but this year a 9% drop breaks a three-year streak of viewership increases. Ratings began climbing in 2021 after the pandemic, but this year viewership fell despite the massive blow-out performances from Chappell Roan, Sabrina Carpenter, and more.

Grammys producers were not surprised by the ratings decline, likely because of the devastation of the LA wildfires. The Grammys did not engage in a massive marketing blitz to attract attention to the awards show and several pre and post-Grammys parties were cancelled in favor of focusing on relief efforts for those impacted by the wildfires. Despite the drop in audience attendance, the show was able to raise more than $24 million to support wildfire relief.

The Grammys Sunday alone raised $9 million. The weekend figure of more than $24 million includes MusiCares’ annual fundraising tribute concert, which honored The Grateful Dead. It also includes the Clive Davis pre-Grammy Gala on Saturday. The Grammys themselves were interspersed with tributes to emergency workers fighting the fires, focusing on commercials from LA businesses affected by the fires, and featuring stories of those who lost their homes and livelihoods.

The event began with a performance from LA-based rock band Dawes, who lost their homes and equipment in the LA wildfires. They performed a cover of Randy Newman’s “I Love L.A.” which was later released as a benefit single. 29 people lost their lives in the blaze, which destroyed 16,000 homes and buildings. The estimated financial toll of the wildfires sits at more than $250 billion in total damages and economic loss.

Photo Credit: The Recording Academy

Kanye West, his wife Bianca Censori, and their entourage were reportedly escorted out of the 2025 Grammys following a stunt on the red carpet.

Ye, the rapper formerly known as Kanye West, showed up at the 2025 Grammy Awards red carpet, along with his wife, Bianca Censori, and an entourage of around five people. The group was reportedly escorted off the premises after showing up uninvited and causing a stir, but some sources say they left of their own volition.

West was one of this year’s nominees, up for Best Rap Song with “Carnival” alongside Ty Dolla $ign, Rich The Kid, and Playboi Carti — though they were beat out by Kendrick Lamar’s smash hit, “Not Like Us.” But despite his nomination, Ye was not invited to this year’s Grammy Awards, and showed up at the red carpet anyway. However, other sources say Ye was invited, since he had secured a nomination.

The 47-year-old Chicago native made his red carpet debut early that evening along with his 30-year-old wife. He wore an all-black ensemble, while she wore an oversized black fur coat before discarding it to show off a sheer mini-dress with nothing underneath and a pair of clear heels. The pair posed for photos, including an attempt to replicate the album cover of West’s Vultures 1 album.

The couple were then seen leaving the Crypto.com Arena and getting into a silver car. One source tells Page Six the couple left on their own, rather than being escorted out. “He walked the red carpet and then got in his car and left,” they say.

Ye’s appearance at the red carpet marks his first time at the awards show (in some capacity) in a decade. He last attended back in 2015, but has not returned since. Ahead of the Grammys show, he also unfollowed everyone except for Taylor Swift on his personal Instagram account.

According to Ye, the dress Censori wore — which appeared to be made out of sheer stockings — was a “custom couture” number “for the most beautiful woman ever, my love, my best friend, my wife.” Notably, the couple were on rocky ground last year, and were reportedly headed for divorce in October.

The iconic Grammy icon (photo: The Recording Academy)

The 67th annual Grammy Awards are now complete — here’s a quick rundown of the biggest winners, loser, snubs, and everything in-between.

The 67th Annual Grammy Awards wrapped on Sunday evening (February 2nd) at the Crypto.com Arena in Los Angeles. As expected, the Grammys carried a bit of a different vibe given the devastations wrought by the recent wildfires in LA, which disproportionately impacted the music industry.

Accordingly, the event had a special focus on raising funds for wildfire relief and honoring first responders. In the immediate wake of the fires, there was some conjecture that the event would be canceled, and most of the pre- and post-Grammy parties were nixed — though the big show went on as scheduled. Indeed, a ‘show must go on’ vibe was also pervasive and part of a tried-and-true, centuries-long mantra for the performing arts.

Additionally, a large percentage of scheduled attendees opted against traveling to Los Angeles given the disruptions and devastation, though a few shindigs were still held.

The awards show was hosted by Trevor Noah for the fifth consecutive year.

(Also: Kanye West and Bianca Censori’s red carpet ‘reveal’ is already overshadowing the main event — here’s a very NSFW look if you’re interested.)

Heading into ‘music’s biggest night,’ Beyoncé led the pack with nominations and quickly started grabbing some major accolades (see below).

Also among the winners are The Beatles for their AI-generated ‘Now and Then,’ which won for Best Rock Performance. But the track didn’t win in the high-profile Record of the Year category (and strange fun fact: The Beatles have never won Record of the Year — not once in the history of the Grammys).

And for those looking for the night’s biggest snubs…

Both Billie Eilish and Taylor Swift easily top the list here. As Beyoncé, Chappell Roan, and Kendrick Lamar started scooping up prizes, fans of Eilish, Swift, and others called out the #Scammys for overlooking both stars. Amazingly, neither Eilish nor Swift received any awards during the ceremony.

Here’s a list of the biggest winners.

First, the big ones.

• • Album of the Year: Cowboy Carter – Beyoncé
  • Record of the Year: “Not Like Us” – Kendrick Lamar
  • Song of the Year: “Not Like Us” – Kendrick Lamar
  • Best New Artist: Chappell Roan

Pop Field

• • Best Pop Solo Performance: “Espresso” — Sabrina Carpenter
  • Best Pop Duo/Group Performance: “Die With A Smile” — Lady Gaga & Bruno Mars
  • Best Pop Vocal Album: Short n’ Sweet — Sabrina Carpenter
  • Best Dance Pop Recording: “Von Dutch” by Charli XCX

Dance/Electronic Field

• • Best Dance/Electronic Recording: “Neverender” — Justice & Tame Impala
  • Best Dance/Electronic Album: BRAT — Charli XCX

Rock Field

• • Best Rock Performance: “Now and Then” by The Beatles
  • Best Metal Performance: “Mea Culpa (Ah! Ça ira!)” — Gojira, Marina Viotti & Victor Le Masne
  • Best Rock Song: “Broken Man” — Annie Clark, songwriter (St. Vincent)
  • Best Rock Album: Hackney Diamonds — The Rolling Stones

Alternative Field

• • Best Alternative Music Performance: “Flea” — St. Vincent
  • Best Alternative Music Album: All Born Screaming — St. Vincent

R&B Field

• • Best R&B Performance: “Made For Me (Live On BET)” — Muni Long
  • Best Traditional R&B Performance: “That’s You” — Lucky Daye
  • Best R&B Song: “Saturn” — Rob Bisel, Cian Ducrot, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA) –
  • Best Progressive R&B Album: So Glad to Know You — Avery*Sunshine AND Why Lawd? — NxWorries (Anderson .Paak & Knxwledge)
  • Best R&B Album: 11:11 (Deluxe) — Chris Brown

Rap Field

• • Best Rap Performance: “Not Like Us” by Kendrick Lamar
  • Best Rap Album: “Alligator Bites Never Heal” – Doechii

Country Field

• • Best Country Solo Performance: “It Takes A Woman” — Chris Stapleton
  • Best Country Album: “Cowboy Carter” – Beyoncé
  • Best Country Duo/Group Performance: “II Wanted” by Beyoncé and Miley Cyrus
  • Best Country Song: “The Architect” — Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)

Other Notable Categories

• • Best Music Video: “Not Like Us” by Kendrick Lamar
  • Best Music Film: “American Symphony” by Jon Batiste
  • Producer of the Year, Non-Classical: Daniel Nigro
  • Songwriter of the Year, Non-Classical: Amy Allen

For a complete list of every category, complete with nominations — and there are many of them — check out the Recording Academy site here.

Photo Credit: UPROXX

UPROXX and will.i.am will host the ‘LA Check-In’ ahead of the Grammys to support the LA music community and fire relief efforts.

In partnership with will.i.am’s FYI and the i.am Angel Foundation, UPROXX and will.i.am will host the “LA Check-In” on Friday, January 31, from 8 PM to midnight PST. The special pre-Grammy event is dedicated to supporting the LA music community and fire relief efforts.

Hosted at will.i.am’s FYI Campus in Hollywood, the event will feature a night of music and giving back, with a performance by Coast Contra and special appearances by DJ Drama, DJ Hed, Samantha Ronson, and more — including, of course, will.i.am. Attendees will enjoy a premium open bar and live sets from an impressive lineup of DJs and many surprise guests.

All proceeds will be directed to the i.am Angel Foundations emergency fund, which provides immediate financial assistance to affected families, students, and communities. Donations will be distributed to the LAUSD Foundation, Pasadena Educational Foundation, and Core Foundations to maximize community impact.

Meanwhile, UPROXX has unveiled its 7th Annual Music Critics Poll, a comprehensive and industry-wide ranking of the year’s top music moments. Nearly 300 music critics were invited by Philip Cosores, UPROXX’s Senior Director of Editorial and Content Strategy, to contribute their expertise.

“Kicking off the week of the Grammys, the UPROXX Music Critics Poll offers a unique lens into the year’s biggest hits and hidden gems,” said Cosores. “Our inclusive approach ensures that every vote counts, including the biggest names in the industry and its rising stars, for results that are completely transparent. This is a nuanced and comprehensive snapshot of music in 2024 from some of the industry’s most critical voices.”

UPROXX’s poll’s unmatched scale and inclusivity serves as an honest reflection of the year’s musical landscape, going beyond traditional, peer-voted awards to represent the broadest consensus of critical voices in music media. Now in its seventh year, the UPROXX Music Critics Poll asks numerous credible journalists, reporters, critics, and more to weigh in on over 900 albums and 700 songs.

This year, UPROXX introduces two new categories, Top 20 Music Videos and Top 20 Album Covers, in addition to the Top 50 Albums and Top 20 Songs that defined the year. The additions follow the success of UPROXX’s inaugural Sound+Vision Awards and ceremony, which launched last year as a first-of-its-kind celebration of creative direction in music.

Photo Credit: The Recording Academy

The 67th Grammy Awards will honor the legacy of Quincy Jones, pay tribute to Los Angeles, and feature an In Memoriam segment during the live telecast.

The 2025 Grammys will take a slightly different shape than previous years. The event will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles. A series of special performances will form a salute to the life and legacy of Quincy Jones, musical tributes honoring the City of Los Angeles, and the annual In Memoriam segment.

Newly announced performers include Brad Paisley, Brittany Howard, Coldplay’s Chris Martin, Cynthia Erivo, Herbie Hancock, Jacob Collier, Janelle Monáe, John Legend, Lainey Wilson, Sheryl Crow, St. Vincent, and Stevie Wonder. That’s in addition to previously announced performers Benson Boone, Billie Eilish, Chappell Roan, Charli XCX, Doechii, Raye, Sabrina Carpenter, Shakira, and Teddy Swims.

The show will air live on Sunday, February 2 at 8 PM ET / 5 PM PT on CBS and streaming on Paramount+. Prior to the telecast, the Grammy Awards Premiere Ceremony will be broadcast live from the Peacock Theater at 12:30 PM PT, and will be streamed live on the Recording Academy’s website and YouTube channel.

The Premiere Ceremony will feature performances by Yolanda Adams, Wayne Brady, Deborah Cox, Scott Hoying, Angelique Kidjo, and Taj Mahal. Other scheduled performances include nominees Joe Bonamassa, Joyce DiDonato, Bela Fleck, Renee Fleming, Muni Long, and Kelli O’Hara, as well as composer Kevin Puts. Wayne Brady and Scott Hoying, Bob Clearmountain, Rhiannon Giddens, Queen Sheba, Anoushka Shankar, and Jimmy Jam.

Many traditional Grammy week events have been cancelled or reformatted to maximize support for those affected by the wildfires, including members of the music community and the wider Los Angeles population. Since launching the Los Angeles Fire Relief Effort To Support Music Professionals, the Recording Academy and MusiCares have raised and pledged over $4 million in emergency aid for music professionals impacted by the crisis.

To contribute to the Recording Academy and MusiCares’ Los Angeles Fire Relief Effort, or if you or someone you know needs assistance, visit the MusiCares Fire Relief page.

Photo Credit: Mason Poole / Taylor Swift’s Instagram

A new promo shared by Grammys organizers confirms Taylor Swift and Beyoncé, as well as a special guest, will be in attendance at this year’s event.

The 68th Grammy Awards are right around the corner on February 2, with Trevor Noah hosting for the fifth consecutive time. Now, event organizers have confirmed that Beyoncé and Taylor Swift will be in attendance, as well as “a very special guest.” Other musicians confirmed to be in attendance include Benson Boone, Billie Eilish, Charli XCX, Chappell Roan, and Sabrina Carpenter.

Beyoncé is looking at 11 nominations at this year’s Grammys, making her the most nominated artist in the history of the show. She was previously tied with her husband, Jay-Z, for a total of 88 nominations. But that total has now increased to 90. The artist broke the record for most Grammy wins of all time in 2023, with 32 awards to her name.

Taylor Swift is up for Record of the Year and Song of the Year, as well as Album of the Year, and Best Pop Vocal Album. Joining both Swift and Bey as nominees for Album of the Year are Billie Eilish, Chappell Roan, Charli XCX, and Sabrina Carpenter.

Other noms include RAYE for Best New Artist and Songwriter of the Year, as well as Shakira, Teddy Swims, and Benson Boone. Performers confirmed include Billie Eilish, Doechii, RAYE, Shakira, Teddy Swims, and Benson Boone.

Recording Academy CEO Harvey Mason Jr. confirmed the Grammys will proceed as planned despite the horrific wildfires that have ravaged Los Angeles this month. But the event will double as a fundraising event, on the heels of the Recording Academy and MusiCares launching the Los Angeles Fire Relief Effort and donating $1 million to the cause.

The 68th Grammy Awards take place at the Crypto.com Arena in Los Angeles on February 2. It will be broadcast live on CBS, and available to stream on Paramount+ starting at 8 PM ET / 5 PM PT.

Photo Credit: The National Association of Music Merchants (NAMM)

NAMM announces eight new board members at the 2025 NAMM Show joining its board of directors. Here’s a peek at the new board members elected for 2025.

Eight newly elected board members will be joining the National Association of Music Merchants (NAMM) Board of Directors for 2025. The music trade organization announced the news during its annual meeting of members at the 2025 NAMM Show in Anaheim.

These new members will serve a three-year term through January 2028 and will provide oversight and support of NAMM’s vision, mission, and objectives. NAMM’s board of directors consists of 24 directors elected by the NAMM membership, each serving three-year terms in slates of eight.

“NAMM is eternally grateful to the talented coalition of industry leaders that continue to volunteer their time to guide our organization into the future,” said John Mlynczak, NAMM President and CEO.

New board members include:

• Mayumi Allison, CEO, Hosa Technology, Inc.
• Betty Bennett, CEO and Co-Founder, Apogee Electronics Corp.
• Jenna Day, Owner, Day Violins LLC
• Jeremiah Manriquez, President, CEO and Owner, Pecknel Music Co., Inc.
• Tim Pratt, President and Owner, Dietze Music House
• Thomas Ripsam, President and CEO, C.F. Martin & Co., Inc.
• Tom Tedesco, President and CEO, The Music People
• Hans Thomann, CEO, Thomann Musikhaus

Tom Sumner, NAMM Chair, thanked the outgoing board members during the annual meeting of members and lauded their ideas and expertise, which have benefitted the organization and its members as a whole.

They are Roger Hart (TKL Products Corp), DeDe Heid (Heid Music Company), Elizabeth Heidt (Gibson), Adam Levin (Chuck Levin’s Washington Music Center), Lana Negrete (Santa Monica Music Center), Paul Tobias (Tobias Music), Ray Williams (Music Marketing), and Steve Zapf (Conn-Selmer).

The largest global not-for-profit music trade organization, NAMM’s mission is to strengthen the $19.5 billion music products industry and promote the pleasures and benefits of making music. NAMM is comprised of over 10,000 global member companies and individual professionals representing a global workforce of over 475,000 employees. The group has also contributed to LA wildfire relief and is soliciting more donations towards that effort.

Steven Tyler (right) is set to host a Grammy party in support of his Janie’s Fund charity. Photo Credit: Ed Vill

Most of this year’s Grammy parties have been shelved due to the LA wildfires, but Clive Davis’ annual gala isn’t the only event that’s still happening.

We previously covered the short list of Grammy parties that remain scheduled to take place. 10 days out from “music’s biggest night,” those events include 92-year-old Clive Davis’ mentioned bash and the MusiCares Person of the Year benefit.

On the other hand, the major labels, BMG, and Spotify have all put their own parties on ice. (More than 50 Universal Music employees have been “totally displaced” by the wildfires. And per drone footage uploaded to X, the Pacific Palisades neighborhood where CEO Lucian Grainge reportedly owns a home was badly damaged by the fires.)

Meanwhile, the noted MusiCares has already distributed millions in relief to victims; an indie aid event is set for the 29th, with the FireAid LA benefit concert expected to stream live on the 30th.

At the intersection of these points – still-scheduled Grammy shindigs and charitable initiatives – Steven Tyler-founded Janie’s Fund is preparing to host its sixth-annual viewing party.

Proceeds from that event, booked for the Hollywood Palladium and coinciding with the actual Grammy Awards broadcast, will be used to provide “critical resources for young women in America who have experienced abuse and neglect,” per the charity.

The Janie’s Fund viewing party has teed up a “glamorous cocktail hour” and “world-class dining” to accompany the Grammy telecast itself, which could well extend past its allotted 3.5-hour runtime on CBS and Paramount+.

Additionally, the charity event will host a “curated live auction” and then “legendary performances from some of Steven Tyler’s iconic friends.” Subsequently, a “rock star-worthy after-party DJ set” will “keep the celebration going late into the night,” according to organizers.

Reports have indicated that Tyler intends to assemble Aerosmith for the event, with Tiffany Haddish hosting and the likes of Joan Jett and Billy Idol on hand as well. Over 100 local firefighters are also said to have received invitations.

On the pricing front, the most affordable attendance option is the $3,000-a-pop “Best New Artist Ticket,” which includes a spot at the happening and “listing in the event catalog.”

A $5,000 “Producer of the Year Ticket” will afford one “preferred seating” and admittance to the “Sounds of Laughter” VIP sub-event – with the $10,000 “Song of the Year” counterpart offering the same perks except with two “Sounds of Laughter” passes.

Photo Credit: Martti Salmi

The Academy announces there will be no performances of nominated songs at the 2025 Oscars ceremony.

In a strange move, the Academy of Motion Picture Arts and Sciences CEO Bill Kramer and President Janet Young announce there will be no performances of nominated songs during this year’s Academy Awards Oscars ceremony. The news comes from an email sent to Academy members on Wednesday, January 22 — the day before nominations are due to be revealed.

“Our thoughts remain with those who were impacted by the recent Los Angeles-area wildfires. If you would like to join the Academy in supporting the ongoing relief efforts, please click here for a list of aid resources,” the email begins.

“After continued consultation with ABC, our board, and other key stakeholders in the Los Angeles and film communities, planning continues for the 97th Oscars ceremony on Sunday, March 2. This year’s Oscars will celebrate the work that unites us as a global film community and acknowledge those who fought so bravely against the wildfires,” they continue. “As a precursor to tomorrow’s announcement, we wanted to share a little about this year’s show.”

“Hosted by the incredible Conan O’Brien, our 97th Oscars will be a celebration of connection and collaboration — honoring the unifying spirit and creative synergy of moviemaking. We will highlight the transformative power of the teamwork that brings cinematic visions to life,” the letter states. “As part of this, we are thrilled to bring back our ‘Fab 5’ moments, where individual film artists recognize nominees.”

“Also, this year, the Best Original Song category presentation will move away from live performances and will be focused on the songwriters. We will celebrate their artistry through personal reflections from the teams who bring these songs to life. All of this, and more, will uncover the stories and inspiration behind this year’s nominees.”

“There is so much more in store, including powerful musical moments that connect film’s rich history to its bold and inspiring future. We hope you will tune in tomorrow morning to watch the Nominations Announcement, and we greatly appreciate your ongoing commitment to the Academy and our film community. We are stronger together.”

The pivot to focus on songwriters comes after the boycott by prominent songwriters of Spotify’s Grammy celebration event. That move was sparked by Spotify’s changes to its subscription model, which resulted in a significant decrease in royalty payments for creators. Ultimately, Spotify cancelled its Grammy events in the wake of the Los Angeles wildfires.

Photo Credit: CBS

Trevor Noah is returning for the fifth consecutive year as the host of the Grammy Awards. After the devastating wildfires in LA, the Recording Academy says it will raise funds to support relief efforts and honoring first responders as well.

The Grammy Awards will go on as planned at Los Angeles’ Crypto.com Arena on February 2 and will be live on CBS and Paramount+ for streaming. The 67th annual Grammy Awards are produced by Fulwell 73 Productions for the Recording Academy. Ben Winston, Raj Kapoor, and Jesse Collins are executive producers of the awards ceremony.

Other awards shows delayed their scheduled ceremonies due to the wildfires in Los Angeles, but the Recording Academy says the Grammys will go ahead as planned. They will place additional focus on relief efforts instead of canceling or postponing the show. Several Grammy parties were also cancelled amid somber attitudes for those impacted by the fires.

“The 67th annual Grammy Awards will carry a renewed sense of purpose: raising additional funds to support wildfire relief efforts and honoring the bravery and dedication of first responders who risk their lives to protect ours,” said CBS in a press release confirming Trevor Noah as the host this year.

In a revised mission letter to Recording Academy members, Harvey Mason Jr. addressed why the Grammys is going forward. “In challenging times, music has the power to heal, comfort, and unite like nothing else. The Grammys will not only honor the artistry and achievements of our music community but also serve as a platform to amplify the spirit of resilience that defines this great City of Los Angeles,” the letter reads.

The Recording Academy and its charitable organization MusiCares have revealed a relief campaign offering financial, medical, and personal assistance to music industry professionals impacted by the wildfires. MusiCares has already raised and distributed $2 million in emergency aid. Several other industry organizations have announced relief funds for those impacted. Digital Music News has cataloged a run down of those relief efforts here for anyone who needs assistance.

Photo Credit: NAMM Foundation

NAMM (National Association of Music Merchants), the largest global nonprofit music trade organization, has committed $50,000 to establish the LA Wildfires Relief Fund in response to the devastating fires in the Los Angeles area. Additional donations to NAMM’s fund are welcome as the trade organization prepares to kick off the 2025 NAMM Show in Anaheim this week.

The following comes in collaboration with NAMM, a proud partner of DMN. 

This fund will provide needs-based assistance to NAMM members, employees of NAMM member companies, music programs, and music makers affected by the wildfires. The NAMM Foundation is performing a needs assessment and will provide more information in the coming days on the distribution and application of these funds.

NAMM has also made clear they have “taken every precaution” in preparing this year’s NAMM Show at the Anaheim Convention Center. The music products community will gather for a week full of sessions led by industry thought leaders, over 100 concerts from up-and-coming artists and established stars, and endless gear innovation. Especially in the wake of the wildfires in Greater Los Angeles, this year’s NAMM Show is about coming together and celebrating people who serve the music industry.

“We continue to stay in close contact with our NAMM members and partners in Los Angeles, including those impacted by the wildfires. Anaheim has remained unaffected by the fires all week, which are located 60 miles northwest,” begins a statement from NAMM CEO John Mlynczak. “Air quality has remained safe all week, with no fire-related impact on Anaheim or the surrounding areas.”

“We have taken every precaution to confirm that we can gather for a safe and successful NAMM show while also supporting the ongoing relief efforts,” Mlynczak’s statement continues. “The 2025 NAMM Show will unite our global industry in support of those impacted in Los Angeles. We are coordinating relief efforts with our partners and continue to communicate with our members in Los Angeles on their needs. […] The NAMM Show will provide two dedicated LA Wildfire Relief Centers for attendees to learn more about how they can support the coordinated efforts of our members and partners.”

This year, the NAMM Show 2025 kicks off its full slate of events beginning January 21 through January 25 in Anaheim, California. Event highlights this year include a performance by Jack White at the 2025 TEC Awards, hosted by Skunk Baxter on Thursday, January 23; An Evening with Jon Batiste on Friday, January 24; and a performance by Jacob Collier at The Grand Rally for Music Education on Saturday, January 25, hosted by NAMM president and CEO John Mlynczak.

The Parnelli Awards, the industry’s highest honor for live event professionals since 2001, takes place on Friday, January 24. The award recognizes pioneering, influential professionals and their contributions, honoring individuals, companies, and game-changing products. On Saturday, January 25, the NAMM Show’s She Rock Awards kick off with live performances by Christina Perri, Samantha Fish, Amanda Palmer, Stitched Up Heart, Lindsey Stirling, AIJIA, Paula Cole, and more.

Other important events include a session called Master the Fundamentals of Audio in Hybrid Events: Techniques Every Technician Must Know. Presented in collaboration with AXIVA, the session promises to show attendees how to create a mix-minus quickly and effectively for broadcast or overflow rooms using fader flip mode on a digital console.

Those interested in attending the NAMM Show 2025 but who cannot make it to Anaheim can register for an online-only badge and access exclusive gear, product launches, networking, livestreamed and on-demand education sessions, and more.

Photo Credit: Country Radio Seminar (CRS 2025)

Country Radio Seminar (CRS) 2025 will be held at the Omni Hotel in Nashville from February 19 – February 21. The CRS Digital Music Summit returns for a fifth year; now included in all three days of CRS.

The following was created in collaboration with Country Radio Seminar (CRS), a company DMN is proud to be partnering with.

Some of the highlights from the Digital Music Summit sessions scheduled for CRS 2025 include Streaming 101, Capitalizing on the Country Moment in Streaming, and The Label, Radio, and Streaming relationship. Take a peek at some of the sessions. Interested? You can register for CRS 2025 here.

Streaming 101: Everything You Want To Know | This comprehensive session is an evolution of past streaming discussions, diving deeper into the business structures of streaming platforms, free vs. premium tiers, and demystifying key myths. With leaders from each digital service provider (DSP) speaking on behalf of their platforms, the panel will cover the current state of country music streaming. It will share best practices for labels, managers, and marketing teams. Moderated by a C-Suite executive, this session aims to integrate the streaming and radio communities further, ensuring both thrive together.

Teamwork Makes the Dream Work: Capitalizing on the Country Moment in Streaming | Country music is experiencing unprecedented growth, with cross-genre collaborations, joint ventures, and major labels expanding into Nashville. This session will explore how the country genre reached this moment, how DSPs are handling the cross-genre boom, and what the future holds for labels, artists, and DSPs alike. The discussion will focus on working together to sustain this momentum.

Why Can’t We Be Friends? The Label, Radio, and Streaming Relationship | In this candid conversation, panelists will examine the current relationship between streaming, radio, and labels. They’ll address challenges and opportunities for increased collaboration between all three. How do these entities work together, and how can they do so more effectively to drive the genre forward? Attendees will gain insights into the differences in timelines between streaming and radio, and the strategies labels use to navigate both spaces.

Sustaining Momentum: How To Turn Moments Into A Career | This session will focus on strategies and tools needed to maintain momentum for country artists, especially when working singles at country radio for extended periods. This panel explores digital marketing strategies, DSP tools, and how to build a sustainable career in today’s music landscape.

The CRS Digital Music Summit also continues with its popular ‘Cycle of a Song’ sessions, examining successful, impactful songs on digital platforms—featuring the artist who performed them. This year, CRS is proud to feature Ella Langley, Tucker Wetmore, and one more artist TBA.

Jelly Roll and Eric Church will close out CRS 2025, with a heartfelt interview simply dubbed ‘The Conversation.’ Eric Church, a modern-day icon of country music, will interview Jelly Roll, an artist with boundary-pushing creativity spanning multiple genres.

Old Dominion will also sit for an exclusive artist interview conducted by Shane McAnally, their long-time song writing collaborator and producer. Old Dominion will also headline the annual ‘Acoustic Alley’ songwriter showcase, which also features Tyler Hubbard, formerly of Florida Georgia Line and Rhett Akins.

CRS has once again commissioned a custom research project to be conducted and presented by Nuvoodoo. The comprehensive three-tiered study will include a targeted look at how, where and how often smartphone users access different media platforms. The data was gathered as part of a quantitative 1,500 person questionnaire gathering thoughts on country music’s current state. Questions asked if country was mainstream, if that’s good or bad, and how different generations of country music fans relate to radio vs. other listening options.

Registration for CRS 2025 is now open.

Photo Credit: Aleksandr Popov

Spotify has announced the cancellation of all of its Grammy parties and events in the wake of the Los Angeles wildfires. But nominees for the Songwriter of the Year Award were already boycotting the Grammy party before fires broke out.

Jessi Alexander, Amy Allen, Jessie Jo Dillon, and RAYE were all nominated for the Songwriter of the Year Grammy. All of them announced they would be skipping the Spotify party celebrating this year’s Grammy winners—because Spotify’s bundling move has lowered the royalty payments it makes to publishers and songwriters.

“After some thought, I couldn’t in good conscience support this initiative given their approach to bundling royalties,” Dillon said in a statement to Billboard. “It is very nice to be individually honored, but it is better for me and my entire songwriter community to be paid fairly for our art. There are no songs without songwriters.”

Spotify cutting royalty rates to songwriters and publishers led to an estimated $150 million decrease in royalty payments in 2024.

Now Spotify has announced the cancellation of all of its Grammy parties and events. “We’ve spent the last few days considering how to best show up for LA, the music industry, and the creative community,” says Joe Hadley, Spotify’s Global Head of Music Partnerships & Audience. “Ultimately, we’ve decided that the most impactful approach is cancelling all of our Grammy Week events, including our annual Best New Artist party.”

Spotify says it will redirect funds earmarked for these soirees into efforts to reach local fans and charitable organizations helping those who need relief. Spotify’s efforts include donations to the MusiCares charity, and FireAid, a benefit concert organized by Live Nation, AEG Presents, and the Azoff family.

“We’re also joining forces with GoFundMe to support and spotlight fundraisers dedicated to helping members of the artist and music community who’ve been affected by the fires,” Hadley continues. “In addition to these donations, we’re dedicating on-platform promotion and offering pro bono ad inventory to drive awareness of causes supporting the relief of artist and creator support via studio time at our LA office in the Arts District. The summation of these efforts mean we are committing a combined total of $5 million.”

Photo Credit: Stephen King

Prolific author Stephen King thinks the Oscars should be cancelled this year in the wake of the devastating Los Angeles wildfires.

Stephen King is the latest celebrity to suggest the film Academy should cancel the Oscars this year amid the devastation from the Los Angeles wildfires. Previously, Hacks star Jean Smart suggested the same thing, saying the Academy should donate the revenue they would have gathered to the relief efforts. Now the horror author is advocating for the same.

“Not voting for the Oscars this year,” wrote King on Bluesky, the social media platform he joined after recently leaving the former Twitter. “IMHO they should cancel them. No glitz with Los Angeles on fire.”

But the Academy has no intention of doing so. The Hollywood Reporter confirmed yesterday the 2025 Oscars are set to go on as planned on March 2. Most likely, the show going on would encourage donations to raise funds for fire relief and rebuilding efforts, which would garner more support than cancelling the event altogether.

“The prevailing sentiment within the Academy’s leadership is that the show should go on — in a dignified manner that would help to raise funds for and celebrate fire relief efforts,” wrote The Hollywood Reporter.

Both King and Smart’s posts sparked some backlash, with many agreeing that “America needs a good distraction” from the negativity in the world. That’s what show business is for, others echoed. “The [awards show] workers had months, YEARS without pay due to COVID, then to union negotiations,” wrote one user. “And now the fires. You’re wrong in this one. Support the industry.”

Due to the Los Angeles wildfires, the Academy of Motion Picture Arts and Sciences announced an extension to the Oscar nomination voting window, which began last week. While it would have ended on Sunday evening, the voting ran until 5 PM PT on Tuesday, January 14. Likewise, the Oscar nominations unveiling has been pushed back from Friday, January 17, to Sunday, January 19.

Photo Credit: Sudhith Xavier

With music’s biggest night a few weeks away, will the 67th Annual Grammy Awards be delayed due to the wildfires still ravaging Los Angeles?

The Grammys are scheduled to take place on Sunday, February 2, at downtown Los Angeles’ Crypto.com Arena. But in the wake of the rampant wildfires in the area, will music’s biggest night have to be postponed?

Discussions are reportedly underway to either postpone the show and its related events, or transform the broadcast into a fundraiser — the latter of which seems incredibly likely, regardless. A senior television executive tells The Hollywood Reporter it’s “highly likely” the Grammys will postpone, especially since the fires are still active. The devastation to the city is likely to still be a concern into next month, even once the fires are under control.

Meanwhile, Recording Academy head Harvey Mason Jr. is said to be contemplating several scenarios. Other sources echo the sentiment that what transpires in the coming days will be key to determining whether the show will go on as scheduled.

Plans for a benefit concert in the days leading up to the February 2 event, which would involve the Grammys’ own foundation, MusiCares, are still ongoing. Live Nation, the Azoff family, and AEG Presents also announced a January 30 event to be held at the Intuit Dome, with participating artists still to be determined.

The Recording Academy has twice postponed the Grammys in recent years, both due to COVID-19. The 2021 show was moved from January to March due to the pandemic. Similarly, the 2022 Grammys moved to April due to a spike in the virus’ Omicron variant.

The wildfires started Tuesday due to high wind in Pacific Palisades before spreading to parts of Malibu and Santa Monica overnight. First responders have been working hard across Los Angeles to contain active wildfires throughout the county. These include the Eaton, Hurst, and Kenneth fires. The Los Angeles Medical Examiner’s Office said Friday that the death toll has risen to 24 people. Thousands of residents have lost their homes to the flames.

Photo Credit: Spotify

Songwriters Jessi Alexander, Amy Allen, Jessie Jo Dillon, and RAYE will not be attending Spotify’s Songwriter of the Year Grammy party on January 28.

Songwriters are protesting Spotify’s treatment of their ilk, and will not be attending the streaming service’s Songwriter of the Year Grammy party. Jessi Alexander, Amy Allen, Jessie Jo Dillon, and RAYE have all indicated they will neither attend nor perform at the January 28 event, with Allen and Dillon citing Spotify’s treatment of songwriters as the reason.

That means four out of five nominees in the Songwriter of the Year category at this year’s Grammys will not be in attendance. A representative for the fifth, Edgar Barrera, has not yet responded to media requests for comment.

Reps for Allen, who wrote Sabrina Carpenter’s hit “Espresso,” and Dillon, who penned Morgan Wallen’s “Lies Lies Lies,” confirmed to Billboard they decided not to attend the event due to Spotify cutting royalty rates on premium streams for songwriters and publishers last year. The cuts will lead to an estimated $150 million decrease in royalties over 12 months for songwriters and publishers as a result.

“After some thought, I couldn’t in good conscience support this initiative given their approach to bundling royalties,” said Dillon. “It is very nice to be individually honored, but it is better for me and my entire songwriter community to be paid fairly for our art. There are no songs without songwriters.”

Spotify began its Songwriter of the Year Grammy event to celebrate the nominees for the award, which was established by the Recording Academy in 2023. Other songwriters have taken to social media to express their disappointment in Spotify’s upcoming event.

“If you are a songwriter, you cannot go to this,” said songwriter Ross Golan in an Instagram story. “Do not let Spotify f*ck you on bundling and then give you free booze.”

2023 Grammy Songwriter of the Year nominee Laura Veltz said in her own Instagram Story, “Spotify is robbing you. Songwriters: do not fall for this horse shit.”

Spotify’s changes to its royalty rates back in April stem from the platform’s belief it qualifies for lower mechanical rates because of the addition of audiobooks to its premium subscription tiers, which it has reclassified as “bundles.” With multiple services lumped together for one price, the royalty originally intended for songwriters and publishers is less now that Spotify classifies all of its Premium subscriptions as a bundled product.

Photo Credit: A.R. Rahman by Dani Charles for Silverscreen Media / CC by 3.0

To celebrate his birthday, A.R. Rahman announces the launch of the Bharat Maestro Awards through his music institute, the KM Music Conservatory.

Indian musician and producer A.R. Rahman is celebrating his birthday with the announcement from his music institute, the KM Music Conservatory, launching the Bharat Maestro Awards. The awards will honor music legends in Indian classical music while nurturing the next wave of talent.

“The greatest joy of a guru is to witness the success and growth of their students, and it is this bond that the Bharat Maestro Awards seeks to celebrate,” said Rahman. “The idea behind instituting this is for it to be more than just an award — it’s about connecting the past, present, and future of music, and uniting us all through the language of sound.”

This launch also coincides with KM Music Conservatory’s 16th anniversary. Founded by Rahman himself, the conservatory has become a renowned institution that offers programs in Western and Indian Classica musical traditions, as well as music technology. Its mission continues to be to provide international standards of education while preserving and advancing India’s rich musical heritage.

“The Conservatory has always sought to bridge the gap between tradition and modernity, creating opportunities for young artists to develop their craft while staying grounded in the cultural fabric of India,” Rahman adds. “With this annual award being instituted, I want to support in building an ecosystem that will also fuel the immersive experiences in the arena of music.”

The mentor panel for the award includes Asha Bhosle, Amjad Ali Khan, Bombay Jayashri, and Ajoy Chakrabarty. Additionally, the advisory board consists of Ila Paliwal, Sai Shravanam, Bharat Bala, Fathima Rafiq, Khatija Rahman, Adam Greig, and Clint Valladares.

Award recipients will receive a cash prize and be provided opportunities to perform on a global stage, while also joining performances by Rahman. The awards aim to inspire younger audiences while making classical music more accessible.

Photo Credit: Better Man from Paramount Pictures

Despite making the finalists for Best Original Song at the Oscars, the Academy disqualifies Robbie Williams’ track from his recent biopic.

Robbie Williams’ song, “Forbidden Road” from his recent biopic, Better Man, has been disqualified from Oscar eligibility at this year’s Academy Awards, despite having made the shortlist of 15 finalists.

Written by Williams, Freddy Wexler, and Sacha Skarbek, the song was recently nominated for Best Original Song at the Golden Globes. But “Forbidden Road” won’t be up for an Oscar, despite the shortlist being announced shortly before Williams’ Golden Globe nom. There will be no replacement nomination.

The film, Better Man, does remain shortlisted for the Oscar category for Visual Effects, however, as the movie shows Williams visually portrayed as a chimpanzee. Better Man is one of ten finalists for the shortlist of eventual five nominations in that category.

“It is always nice to be invited to the party — or should I say considered to be invited to the party,” said Williams of his nomination before it was revealed the song would be disqualified.

“Forbidden Road” reportedly features material from a previous song not written for Better Man, which is prohibited for Academy music nom eligibility. The category is specifically for songs written directly for a motion picture. Deadline mentions the track “I Got A Name,” written by Charles Fox and Norman Gimbel for the 1973 film The Last American Hero features similarities to “Forbidden Road.” Fox is a longtime member of the AMPAS Board of Governors.

A letter went out to the over 400 members of the Academy’s music branch, explaining the decision. Reportedly, the similarities between the two songs only came to the attention of the branch executive committee this week, with the decision coming only yesterday (December 19).

Songs being disqualified after initially qualifying for the Oscar shortlist is surprisingly not new. The 2013 film Alone Yet Not Alone’s title song was disqualified after the song’s composer, Bruce Broughton — a former AMPAS music branch governor — lobbied members in his branch to vote for the song, which is expressly forbidden by the Academy. No replacement was nominated, and only four songs competed that year.

Photo Credit: J-Kwon for Spotify

The Recording Academy has withdrawn rapper J-Kwon’s Grammy eligibility as a songwriter for Shaboozey’s country hit “A Bar Song (Tipsy).”

Shaboozey’s smash hit, “A Bar Song (Tipsy)” is up for a Grammy for 2025 Song of the Year, but rapper J-Kwon, whose 2004 hip-hop track “Tipsy” is interpolated in the song, won’t be eligible for a songwriting credit. Initially, Shaboozey’s country jam credited the rapper, as well as writers Joe Kent and Mark Williams.

But an updated post on the Recording Academy website reveals Kent, Williams, and J-Kwon (real name Jerrell C. Jones) will no longer be considered songwriters. Instead, the writers of the original hip-hop track will only be eligible for a certificate if Shaboozey’s song wins at the awards ceremony on February 1, according to the Academy’s rules regarding sampled or interpolated material.

“Tipsy” hit #2 on the Billboard Hot 100 chart in April 2004. It continues life 20 years on through “A Bar Song (Tipsy),” which held the #1 spot for over four months. The song joined Lil Nas X’s 2018 hit “Old Town Road” as the only songs to maintain the top spot for 19 weeks.

“A Bar Song (Tipsy)” propelled Shaboozey into the limelight, landing him his first of five Grammy nominations, including Best Country Song, Best Country Solo Performance, and Song of the Year. Known for fusing country and rap, the Virginia native also secured a Best New Artist nomination following his third album, Where I’ve Been, Isn’t Where I’m Going.

His collaborations with Beyoncé on her country debut, Cowboy Carter, further launched him into the cultural zeitgeist. Their track “Spaghetti” is also nominated for Best Melodic Rap Performance. Queen Bey is up for Song of the Year as well for “Texas Hold ‘Em.”

The 2025 Song of the Year Grammy nomination also includes Billie Eilish’s “Birds of a Feather,” Lady Gaga and Bruno Mars’ “Die With A Smile,” Taylor Swift and Post Malone’s “Fortnight,” Chappell Roan’s “Good Luck, Babe!,” Kendrick Lamar’s “Not Like Us,” and Sabrina Carpenter’s “Please Please Please.”

Photo Credit: Spotify

If Spotify Wrapped stats aren’t enough, the audio giant has teamed up with Google to build an AI-generated podcast offering an audio recap of your year in music.

The Spotify Wrapped AI podcast features two AI hosts from Google’s NotebookLM unwrapping the year in music. These hosts dive into favorite tracks and artists and explore the way a person’s music taste evolved throughout the year. Spotify created the personalized podcasts using the technology that powers NotebookLM’s Audio Overviews.

How to Listen To Your Spotify Wrapped AI Podcast

• Go to the Wrapped feed on the Spotify homepage.
• Or head to Spotify.com/WrappedAIpodcast.
• Tap ‘Your Wrapped AI Podcast’ to give ti a listen.
• The podcast can be shared with others or downloaded for posterity.

The Wrapped AI podcast is available in English for eligible Spotify Free and Premium users located in the United States, the United Kingdom, Australia, New Zealand, Canada, Ireland, and Sweden. However, it’s only available for a limited time.

The AI generated podcast is a new spin on Spotify Wrapped, but I’m not sure how well it will be received among listeners. Many took to social media to voice their frustrations about this year’s Spotify Wrapped drop compared to last year. Part of that is Spotify laid off its data engineers who helped craft last year’s meticulous Wrapped stats.

Spotify laid off 17% of its employees in a third round of job cuts last year, with Spotify data engineer Glenn McDonald impacted. He was the mind responsible for the Every Noise at Once website, which was a precursor to Spotify’s highly customized Daylist playlist.

“[Every Noise at Once] is to understand the communities of listening that exist in the world, figure out what they’re called, what artists are in them and what their audiences are,” McDonald told TechCrunch. “The goal is to use math where you can to find real things that exist in listening patterns. So I think about it as trying to help global music self-organize.”

McDonald no longer has access to Spotify’s internal data, so Every Noise is no longer maintained. That shows in this year’s Spotify Wrapped results, which were decidedly worse than 2023, unless you always wanted an AI podcast.

Photo Credit: Muso.AI

Celebrate your music milestones with Muso.AI’s Encore 2024—a celebration of people behind the music who make the industry thrive. From producers, songwriters, engineers, to the companies themselves, this powerful end-of-year campaign highlights music achievements with exclusive shareable stats, personalized highlights, and the opportunity to purchase a custom Encore profile or milestone plaques.

The following was created in collaboration with Muso.AI, a proud partner of Digital Music News.

Muso.AI Encore 2024 turns a year’s worth of hard work into a tangible, lasting tribute. Encore 2024  builds on the success of previous Encore campaigns, aiming to amplify the visibility of behind-the-scenes music professionals and companies. Now they can celebrate their music milestones and tangibly impact across the industry.

Encore 2024 also compiles key metrics, including total streams into a sleek and shareable format for posts or stories on social media. Shareable key metrics help music professionals and companies increase their visibility within their social networks. Encore also gives users the opportunity to correct or update their credits before sharing their stats—ensuring every achievement is accurately reflected. 

Photo Credit: Muso.AI

The Encore 2024 wrap-up features comprehensive career highlights with reels that showcase contributions, top tracks, and total career stats—providing users with a complete year-end review snapshot. Music professionals and companies can commemorate their lifetime stats or milestones by purchasing a custom Encore plaque.

The Encore plaque is a physical representation of those achievements that can be displayed in a studio, home, or office. Music companies can grant an Encore plaque to members of their roster, commemorating their achievement. The plaque lists the company logo at the bottom with ‘presented by [Company Name].’

Photo Credit: Muso.AI

And for the first time ever, Muso.AI is bringing Milestone tracks to the plaque offering. If users or companies have achieved specific milestones from as little as 30,000 streams to over 700 million streams, they can commemorate this achievement with a specific milestone plaque. Previously, Muso.AI only offered plaques for lifetime stats for an individual or company. The RIAA only recognizes tracks that achieve 37.5 million streams—Muso.AI allows users to celebrate each milestone along the way.

Now specific tracks can be celebrated for anybody who worked on the track. Companies that choose to gift milestone plaques to members of their roster will have the same ‘presented by [Company Name]’ branding on the bottom of the plaque. 

Photo Credit: Muso.AI

The format is designed to bring attention to the contributions of producers, engineers, songwriters, and other behind-the-scenes music professionals. For an industry that often prioritizes front-facing talent, Muso.AI’s Encore shines a light on those who are the backbone for every great track we enjoy. 

“Encore has shown us, year after year, how making credits fun, engaging, and shareable can really make an impact on the music industry’s credit challenges,” Kyran de Keijzer, Co-Founder, Muso.AI tells Digital Music News. “Last year during Encore 2023, we saw over one million credits fixed and updated simply because people were excited to share their stats.”

“That kind of energy doesn’t just celebrate achievements—it helps make sure everyone’s hard work is seen and recognized. It’s a huge step toward our mission of solving music credits,” de Keijzer continues.

Ready to Celebrate Your Music Career in 2024?

Encore 2024 is now live—music professionals can access stats, download shareable highlights, and order custom plaques celebrating those achievements right now. Start sharing your achievements with the world—because everyone’s contributions to the industry deserve to be celebrated. The service is available to all Muso.AI members but be quick, the window for plaque orders closes at the end of the year.

Photo Credit: Billie Eilish by Lars Crommelinck Photography / CC by 2.0

It’s time for the year-end accolades, as Apple Music names Billie Eilish Artist of the Year, and SoundExchange names Shaboozey 2024’s Breakout Artist.

As we enter the last weeks of 2024, artists recognized for their work throughout the year will start receiving their accolades. Among those are Billie Eilish, named Apple Music’s Artist of the Year for her extraordinary impact this year, while SoundExchange honors Shaboozey as a 2024 Breakout Artist.

With a historic second Academy Award win and two more Grammy Awards for her contribution to Greta Gerwig’s Barbie film soundtrack, Billie Eilish released her third studio album, Hit Me Hard and Soft. The release features what many consider the best music of her career, with the album soaring to #1 on Apple Music’s all-genre albums chart in 138 countries.

In addition to being nominated for seven Grammy Awards this year, including Record of the Year, Billie Eilish has also become the first artist to earn Apple Music’s Artist of the Year accolades twice. She first won the award in 2019.

“Since day one, Apple Music has supported by music and artistry, and I am both honored and humbled to receive this recognition as Artist of the Year this many years into my career,” said Billie.

SoundExchange, meanwhile, has honored Shaboozey as a 2024 Breakout Artist, recognizing his undeniable success this year. From his smash hit “A Bar Song (Tipsy)” to his appearance on Beyoncé’s star-laden country album, Cowboy Carter, Shaboozey is rapidly becoming a household name.

“Shaboozey has literally changed the game, marrying hip-hop and country music to create a unique sound that has rocketed him into the consciousness of the mainstream,” said Michael Huppe, President and CEO of SoundExchange. “He’s a prolific creator, unafraid of pairing big, exciting hooks with relatable storytelling and staging memorable live performances. We are proud to present Shaboozey with the SoundExchange Breakout Artist Award, and we can’t wait to see what he does next.”

“Thank you to SoundExchange for this honor and naming me 2024’s Breakout Artist,” says Shaboozey. “It’s been an incredible fulfilling year with still, lots to come, and I deeply respect the work that you do to ensure artists get paid fairly for the use of their work.”

Shaboozey is the first-ever Black artist to simultaneously top Billboard’s Hot Country Songs chart and the Hot 100. He will headline the Thanksgiving Halftime Show powered by Verizon at the Detroit Lions’ annual holiday football game on November 28, on CBS. He also has a European tour slated to kick off in March, after he plays Nashville’s Grand Ole Opry on January 18. His North American tour wraps up in Philadelphia on December 16.

Photo Credit: Country Music Association

The 58th annual Country Music Association Awards kicked off in Nashville on Wednesday, recognizing the year’s biggest talent across the genre.

The 58th annual Country Music Association Awards kicked off in Nashville on Wednesday night, with winner including Morgan Wallen, who earned the night’s most coveted prize — though he unfortunately wasn’t in attendance to claim it personally. The awards show was broadcast live on ABC and is available to stream today on Hulu, hosted by Lainey Wilson, Luke Bryan, and Peyton Manning at Nashville’s Bridgstone Arena.

It’s not clear why Morgan Wallen was absent from the night’s event, having wrapped his One Night at a Time Tour last month. He was the most nominated artist this year, with nods for entertainer, single of the year, song of the year, male vocalist of the year, music video of the year, and musical event of the year.

The 31-year-old Wallen was honored with Entertainer of the Year, accepted on his behalf by presenter Jeff Bridges, while Megan Moroney took home New Artist of the Year. Cody Johnson won Album of the Year with Leather, and Chris Stapleton’s “White Horse” won both Single of the Year and Song of the Year. The evening also honored George Strait with the Willie Nelson Lifetime Achievement Award.

Here’s a full list of winners at the 2024 Country Music Association Awards.

Entertainer of the Year

• Morgan Wallen

Album of the Year

• Leather — Cody Johnson

Male Vocalist of the Year

• Chris Stapleton

Female Vocalist of the Year

• Lainey Wilson

Vocal Group of the Year

• Old Dominion

Vocal Duo of the Year

• Brooks & Dunn

Single of the Year

• “White Horse” — Chris Stapleton

Song of the Year

• “White Horse” — Chris Stapleton

New Artist of the Year

• Megan Moroney

Musician of the Year

• Charlie Worsham

Music Video of the Year

• “Wildflowers and Wild Horses” — Lainey Wilson

Musical Event of the Year

• “You Look Like You Love Me” — Ella Langley (ft. Riley Green)

Willie Nelson Lifetime Achievement of the Year

• George Strait

Music Tectonics 2024 featured informative panels on hot industry topics like streaming fraud, fan relationship management, music investments, financing options for artists, and more.

The Music Tectonics 2024 conference is all about the fusion of music and tech. There are certain things you come to expect at Music Tectonics in sunny Santa Monica — beautiful beach backgrounds and engaging activities. And the 2024 conference did not disappoint.

Dmitri Vietze, conference director and founder of PR firm Rock Paper Scissors, welcomed attendees along the Santa Monica pier.

“I started this company twenty-five years ago in late October. So this is our 25th anniversary right now and you guys are here with me to celebrate this party,” Vietze said.

The first informative panel was a fireside chat with former Managing Director of Techstars Music (and investor) Bob Moczydlowsky, and Joe Tou from Sony Ventures.

The duo had abundant valuable insights on how businesses and startup owners looking to secure financing can attain their goals.

“There are a lot of startup companies here that people are trying to build. The world’s ready for new creative ideas. And there are a lot of people here who are building the pipes and the platforms to do that,” Tou said.

Taking it all in were the finalists of this year’s startup competition, companies like Soloist. Parker Busick, founder of Soloist, relayed the company’s inspiration and journey.

“We took that loop pedal and put it on your phone and connected it to every other loop pedal in the world so you could use any loop uploaded by any musician — and the result is that you have bandmates in your pocket. You can create with them and play with them,” Busick said, adding, “It allows you to practice with yourself as if you were your bandmate.”

Riley Lemons, Head of Design at Soloist, said, “I’m grateful to be up here with so many other incredible companies.”

After a sunset carousel mixer along the pier, Music Tectonics shifted for day-two to the Annenberg Community Beach House — a stunning poolside venue that’s the perfect setting to network and exchange ideas.

Panel discussions focused on the latest and most significant industry topics: preventing streaming fraud, and moves that help artists develop more profound relationships with their fans.

Tetris Kelly with Billboard explained that for labels to cash in, fans need to feel appreciated by the artist before they can be motivated to spend money on merch and concert tickets.

This year at Music Tectonics, Vietze added a creators’ fair where musicians and music minds could present and share new innovations. Participants included companies like Roland.

Vietze said, “Our focus is on innovation. We’re not solely focused on the recording industry, startups, new creator tools — but we’re bringing it all together.”

Vietze also explained his views on the innovation ecosystem that thrives when conversations can happen in a unique way, at a fabulous destination, and in a fun spot. “We also want a great experience.”

Music Tectonics 2024 took place October 22 — 24.

Photo Credit: Juan Luis Guerra by Roderick Delgado / CC by 3.0

The Latin Grammy winners have been announced for 2024, with winners including Juan Luis Guerra, Ela Taubert, Bizarrap, Shakira, and more.

It’s the 25th year of the Latin Grammy Awards, and a slew of winners were announced, including Edgar Barrera, Bizarrap, Ela Taubert, Shakira, Jorge Drexler, and Juan Luis Guerra. Barrera won both Songwriter and Producer of the Year for the second year in a row for his work with stars like Don Omar, Karol G, Grupo Frontera, Shakira, and many more.

Bizarrap won Best Electronic Music Performance for his single with Tiesto and Shakira, “Bzrp Music Sessions, Vol. 53 (Tiesto Remix).” Meanwhile, Nathy Peluso was honored with three Latin Grammy Awards for Best Long Form Video for “Grasa (Album Long Form),” Best Alternative Song (“El Día Que Perdi Mi Juventud”), and Best Rap/Hip-Hop Song (“Aprender A Amar”).

Performances this year include Barrera, DJ Khaled, Jon Bon Jovi, Joe Jonas, Anitta, Becky G, Kali Uchis, Pitbull, Luis Fonsi, Grupo Frontera, Residente, Myke Towers, Juan Luis Guerra, Carlos Vives, Carin León, and more.

Latin Grammy Award Winners 2024

Record of the Year

• Juan Luis Guerra y 440 — “Mambo 23”

Album of the Year

• Juan Luis Guerra y 440 — Radio Güira

Song of the Year

• Jorge Drexler — “Derrumbe”

Best New Artist

• Ela Taubert

Best Pop Vocal Album

• Luis Fonsi — El Viaje

Best Traditional Pop Vocal Album

• Kany García — García

Best Pop Song

• Rawayana — “Feriado”

Best Latin Electronic Music Performance

• Bizarrap, Shakira — “Bzrp Music Sessions, Vol. 53 (Tiesto Remix)”

Best Urban/Fusion Performance

• Trueno — “Tranky Funky”

Best Reggaeton Performance

• Bad Bunny Featuring Feid — “Perro Negro”

Best Urban Music Album

• Karol G — Mañana Será Bonito (Bichota Season)

Best Rap/Hip-Hop Song

• Pablo Drexler, Alberto Escámez López & Nathy Peluso — “Aprender A Amar”

Best Urban Song

• Daddy Yankee — “Bonita”

Best Rock Album

• Aterciopelados — El Dorado (En Vivo)

Best Rock Song

• Jesús Quintero & Draco Rosa — “No Me Preguntes (Live)”

Best Pop/Rock Album

• Draco Rosa — Reflejos De Lo Eterno

Best Pop/Rock Song

• Conociendo Rusia & Natalia Lafourcade — “5 Horas Menos”

Best Alternative Music Album

• Mon Laferte — Autopoiética

Best Alternative Song

• Devonté Hynes & Nathy Peluso — “El Día Que Perdí Mi Juventud”

Best Salsa Album

• Rubén Blades and Roberto Delgado & Orquesta — Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022)

Best Cumbia/Vallenato Album

• Silvestre Dangond — Ta Malo

Best Merengue/Bachata Album

• Juan Luis Guerra y 440 — Radio Güira

Best Traditional Tropical Album

• Rodando Por El Mundo, José Alberto — El Canario

Best Contemporary Tropical Album

• Fonseca — Tropicalia

Best Tropical Song

• Juan Luis Guerra — “Mambo 23”

Best Singer-Songwriter Album

• Leonel García — Pausa

Best Singer-Songwriter Song [TIE]

• Jorge Drexler — “Derrumbe”
• Kany García — “García”

Best Ranchero/Mariachi Album

• Alejandro Fernández — Te Llevo En La Sangre

Best Banda Album

• Chiquis — Diamantes

Best Norteño Album

• Grupo Frontera — El Comienzo

Best Contemporary Mexican Music Album

• Carin León — Boca Chueca, Vol. 1

Best Regional Song

• Edgar Barrera & Kevyn Mauricio Cruz (Grupo Frontera, Grupo Firme) — “El Amor De Su Vida”

Best Instrumental Album

• Hamilton De Holanda & C4 Trio — Tembla

Best Folk Album

• Raíz Nunca Me Fui, Lila Downs, Niña Pastori — Soledad

Best Tango Album

• Diego Schissi — Apiazolado

Best Flamenco Album

• Antonio Rey — Historias De Un Flamenco

Best Latin Jazz/Jazz Album

• Ilza, Hermeto Pascoal & Grupo — Pra Você

Best Christian Album (Spanish Language)

• Kintsugi — Un Corazón

Best Portuguese Language Christian Album

• Thalles Roberto — Deixa Vir – Vol II (Ao Vivo)

Best Portuguese Language Contemporary Album

• Os Garotin — Os Garotin De São Gonçalo

Best Portuguese Language Rock or Alternative Album

• Erasmo Carlos — Erasmo Esteves

Best Portuguese Language Urban Performance

• Gabriel O Pensador, Lulu Santos, Xamã — “Cachimbo da Paz 2”

Best Samba/Pagode Album

• Xande de Pilares — Xande Canta Caetano

Best MPB (Musica Popular Brasileira)/MAPB (Musica Afro Portuguesa Brasileira) Album

• Jota.Pê — Se o Meu Peito Fosse o Mundo

Best Sertaneja Music Album

• Ana Castela — Boiadeira Internacional (Ao Vivo)

Best Portuguese Language Roots Album

• Mariana Aydar, Mestrinho — Mariana e Mestrinho

Best Portuguese Language Song

• Jota.Pê — “Ouro Marrom”

Best Latin Children’s Album

• Danilo & Chapis — ¡A Cantar!

Best Classical Album

• Anne Akiko Meyers & Gustavo Castillo — Fandango

Best Classical Contemporary Composition

• Arturo Márquez, Gustavo Dudamel, Anne Akiko Meyers — “Fandango”

Best Arrangement

• Hilario Durán and His Latin Jazz Big Band Featuring Paquito D’Rivera — “Night In Tunisia”

Best Recording Package [TIE]

• 100 Años de Azúcar, Nelson Albareda, Sebastian Aristizabal, Kemelly Figueroa-Mouriz, Omer Pardillo-Cid & Albertico Rodríguez (Celia Cruz) — En Vivo
• Carlos Ortiz (Diana Burco) — Karma

Songwriter of the Year

• Edgar Barrera

Best Engineered Album

• Thiago Baggio, Will Bone, Leonardo Emocija, Rodrigo Lemos & Felipe Vassão, engineers; João Milliet, mixer; Felipe Tichauer, mastering engineer (Jota.Pê) — Se o Meu Peito Fosse o Mundo

Producer of the Year [TIE]

• Edgar Barrera
• Eduardo Cabra

Best Short Form Music Video

• Residente Featuring Penélope Cruz & Silvia Pérez Cruz — “313”

Best Long Form Music Video

• Nathy Peluso — Grasa (Album Long Form)

Photo Credit: Chris Brown by Eva Renaldi / CC by 2.0

Chris Brown earns his first Diamond cert thanks to his collaboration with Drake, ‘No Guidance,’ the subject of a major copyright infringement lawsuit.

Chris Brown and Drake’s 2019 collaboration, “No Guidance,” has been certified Diamond per the Recording Industry Association of America (RIAA) on Tuesday, November 12, having sold over 10 million units.

The honor, which is Chris Brown’s first Diamond cert, comes as the song is currently the subject of a copyright infringement lawsuit filed by artists Tykeiya Dore and Marc Stephens. The pair sued Brown and Drake for at least $5 million for the damages caused by the track being allegedly stolen from their 2016 song, “I Got It.”

Filed in New Jersey, the lawsuit claims that Drake, Brown, and other songwriters behind “No Guidance” actually took the song’s main lyric from “I Got It” and changed it to “You got it.” They allege that aside from this minor change, the track uses “the same chord progressions, tempo, pitch, key, melody, harmony, rhythm, structure, phrasing, and lyrics” as Dore and Stephens’ song.

“It’s impossible to not hear the two songs are substantially similar,” the complaint reads, citing a now-deleted YouTube video comparing the two.

In addition to Brown and Drake, the lawsuit names co-writers Velous, Nija Charles, and Michee Lebrun as defendants, alongside producers Noah “40” Shebib, Vinylz, J-Louis, and Teddy Walton. Several music publishers behind “No Guidance,” such as Brown’s label RCA Records, are also named in the suit.

Strangely, the lawsuit also requests damages from YouTube and parent companies Google and Alphabet for defamation against Stephens stemming from a dispute over a YouTube takedown notice. Stephens says YouTube deleted his channel earlier this year after he filed a takedown request over “No Guidance,” with the company replying that “some of the info in the takedown request may be fraudulent.”

This isn’t actually the first lawsuit to hit “No Guidance since its release in 2019. The song was also the subject of a separate copyright lawsuit in 2021, which was eventually dropped altogether.

Photo Credit: Eminem performing at the Anger Management Tour in 2003 by Scott Kinmartin / CC by 2.0

The Songwriters Hall of Fame announces its nominees for 2025, including Eminem, Janet Jackson, and Walter Afanasieff.

The Songwriters Hall of Fame has announced its slate of nominees to be voted upon for its 2025 awards gala in New York City. This year’s nominees include Eminem, Janet Jackson, and Walter Afanasieff. Afanasieff is a songwriter and producer with nearly 40 years of experience, best known for his work with Mariah Carey.

Songwriters Hall of Fame 2025 Nominees for Induction

Songwriters

Walter Afanasieff — All I Want for Christmas Is You; Hero; License to Kill; Love Will Survive; One Sweet Day

Steve Barri and P.F. Sloan — Secret Agent Man; Eve of Destruction; Where Were You When I Needed You; You Baby; Can I Get to Know You

Mike Chapman (The Best; Love Is A Battlefield; Ballroom Blitz; Stumblin’ In; Kiss You All Over)

Sonny Curtis — Love Is All Around (Theme from The Mary Tyler Moore Show); I Fought the Law; Walk Right Back; More Than I Can Say; I’m No Stranger to the Rain

Tom Douglas — The House That Built Me; Little Rock; I Run To You; Grown Men Don’t Cry; Love Me Anyway

Franne Golde — Dreaming of You; Nightshift; Don’t Look Any Further; Don’t You Want Me; Stickwitu

Ashley Gorley — I Had Some Help; Last Night; You Should Probably Leave; Play It Again; You’re Gonna Miss Me

Rodney “Darkchild” Jerkins — Say My Name; The Boy Is Mine; You Rock My World; Deja Vu; Telephone

Dennis Lambert and Brian Potter (One Tin Soldier (Theme from Billy Jack)); Don’t Pull Your Love; Ain’t No Woman (Like the One I’ve Got); It Only Takes a Minute; Country Boy (You Got Your Feet In L.A.))

Tony Macaulay — Baby Now That I’ve Found You; Build Me Up Buttercup; Don’t Give Up On Us; (Last Night) I Didn’t Get to Sleep at All; Love Grows (Where My Rosemary Goes)

Roger Nichols — We’ve Only Just Begun; Rainy Days and Mondays; I Won’t Last a Day Without You; Out in the Country; Times of Your Life

Dan Penn and Spooner Oldham — I’m Your Puppet; Cry Like a Baby; A Woman Left Lonely; Out of Left Field; It Tears Me Up

Narada Michael Walden — How Will I Know; Freeway of Love; You’re a Friend of Mine; Baby Come to Me; Who’s Zoomin’ Who?

Performing Songwriters

Bryan Adams — (Everything I Do) I Do It For You; Heaven; All for Love; Have You Ever Really Loved a Woman?; Summer of ‘69

George Alan O’Dowd p/k/a Boy George — Karma Chameleon; Do You Really Want to Hurt Me; Time (Clock of the Heart); Love Is Love; Miss Me Blind

George Clinton — Atomic Dog; Flash Light; (Not Just) Knee Deep; I’d Rather Be With You; Give Up the Funk (Tear the Roof Off the Sucker)

Sheryl Crow — All I Wanna Do; Soak Up the Sun; If It Makes You Happy; A Change Would Do You Good; Everyday Is a Winding Road

Tom Johnston, Michael McDonald, and Patrick Simmons p/k/a The Doobie Brothers — Listen to the Music; Takin’ It to the Streets; Black Water; What a Fool Believes; Long Train Runnin’

Marshall Mathers p/k/a Eminem — Lose Yourself; Stan; Mockingbird; Houdini; Rap God

David Gates — Everything I Own; Make It WIth You; Baby I’m-A Want You; The Guitar Man; If

Janet Jackson — Black Cat; Together Again; Again; Got ‘Til It’s Gone; Rhythm Nation

Tommy James — Mony Mony; Crimson and Clover; Crystal Blue Persuasion; Sweet Cherry Wine; Tighter, Tighter

Mike Love — California Girls; Good Vibrations; The Warmth of the Sun; I Get Around; Fun, Fun, Fun

Alanis Morissette — You Oughta Know; Ironic; Hand in My Pocket; Thank U; Uninvited

Dr. Dre, Easy-E, Ice Cube, MC Ren and DJ Yella p/k/a N.W.A. — Express Yourself; Dopeman; F*&k Tha Police; Gangsta Gangsta; Straight Outta Compton

Steve Winwood — Higher Love; Gimme Some Lovin’; I’m a Man; Valerie; Roll With It

The Songwriters Hall of Fame is dedicated to recognizing and celebrating composers and lyricists whose work has made an indelible impact on the world. A songwriter qualifies for induction 20 years after their first significant commercial release of a song.

Photo Credit: Beyoncé’s YouTube

Beyoncé gets snubbed at the MTV EMAs as Taylor Swift, Sabrina Carpenter, Lisa, and Tyla clean up with massive wins.

Beyoncé may have a record-breaking amount of Grammy Award nominations, but the star was seemingly snubbed at the MTV European Music Awards over the weekend. Taylor Swift came out with the most wins—Best Artist, Best US Act, Best Live Act, and Best Video for “Fortnight” featuring Post Malone.

Ariana Grande, Billie Eilish, Charli XCX, and Sabrina Carpenter each had five nominations in categories such as Best Song, Best Video, and Best Artist. Other artists with four nominations included Ayra Starr, Beyoncé, Kendrick Lamar, Lisa, Chappell Roan, and Tyla.

Shawn Mendes received the award for Best Canadian Act, while Sabrina Carpenter took the award for Best Song for her hit “Espresso.” Ariana Grande won Best Pop Act, while Eminem won Best Hip-Hop Act.

British singer Rita Ora hosted the show for a record third time, and paid tribute to former One Direction star Liam Payne, who died suddenly last month after falling from his hotel balcony in Buenos Aires. Ora recorded a song with Payne in 2018, “For You (Fifty Shades Freed).”

“Liam Payne was one of the kindest people I knew,” said Ora, whose voice broke as she addressed the crowd. “He had the biggest heart, and he left such a mark on this world.”

Hip-hop legend Busta Rhymes was honored with the EMA Global Icon Award from British rapper Little Simz. The 12-time Grammy Award nominee performed a medley of his greatest hits, and told the crowd that in 34 years of recording music, this was his first award from MTV.

Legendary New Wave duo Pet Shop Boys were honored with the inaugural Pop Pioneers Award for their contributions to pop music. They closed out the show with accompaniment by the Manchester Camerata orchestra, playing a cover of David Bowie’s “All the Young Dudes,” followed by their classic “West End Girls” for the song’s 40th anniversary.

Other performers included Shawn Mendes, Le Sserafim, Peso Pluma, Raye, Teddy Swims, and Mexican rock sisters The Warning.

Photo Credit: The Beatles – “Now and Then” (Official Music Video)

The Beatles’ ‘Now and Then’ is up for two Grammy awards this year, the first AI-assisted song to be nominated for an award.

Though the Beatles have been broken up for 50 years, you might feel like you’d fallen into a time vortex to learn the band is up for two Grammy awards this year. The Fab Four’s “Now and Then,” refined using AI and released last year, is up for Record of the Year and Best Rock Performance, pitting the band against artists like Chappell Roan and Beyoncé.

Last year, Paul McCartney used an AI assisted program to clean up the poor sound quality of some John Lennon demos from 1978 to create “the last Beatles record.” The resulting track resurrected old recordings of both Lennon and George Harrison, alongside current recordings from McCartney and Ringo Starr, to make the song a reality.

Paul took inspiration from filmmaker Peter Jackson’s “The Beatles: Get Back” documentary, the 2021 series based on archival footage of recording sessions for Let It Be. McCartney and his team used the same AI-based audio editing software producer Giles Martin used to make a new stereo mix of the Beatles’ Revolver.

The AI-based software is similar to how certain video or audio chat platforms like Zoom, FaceTime, or Discord might filter out background noise from a call. Machine learning helped isolate the sound of Lennon’s late ‘70s demo tapes to clean up existing audio for use in a modern song.

The end result is a track that’s astoundingly up for two Grammys — the first AI-assisted song to achieve such a feat. But that begs the question whether novelty will be enough to secure the Beatles a win against contemporary heavyweights like Kendrick Lamar and Billie Eilish. Or do these modern artists stand a chance against a legendary band like the Beatles?

Since “Now and Then” actually has the fewest Spotify streams of all Record of the Year noms for 2025 with 78 million, it seems the band might be given a run for their money in terms of securing a win. But it speaks to the depth of their reach that a long-lost Beatles track can carry that weight of two Grammy nominations half a century after their breakup.

Photo Credit: Jathan Campbell

Beyoncé racked up more Grammy noms for 2025 with 11, bringing her to a total of 99 in her career. But will she sweep the competition this year?

The nominees for the 2025 Grammy Awards were announced on Friday, November 8, and Beyoncé has added 11 more nominations to her career total. That brings her to 99 overall in her career, more than any other artist. But does that spell a sweep for Queen Bey at the Grammys this year?

Winners will be revealed at the awards ceremony in Los Angeles on February 2. Beyoncé leads the pack with 11 nominations this year, including the coveted Album of the Year, which she has still yet to win. Other noms include Kendrick Lamar, Charli XCX, and Billie Eilish with seven each.

The list of nominees in several top categories is below. A full list of nominations in all 94 categories can be found on the Grammys website.

Record of the Year

• • • “Now and Then” — The Beatles
    • “Texas Hold ‘Em” — Beyoncé
    • “Espresso” — Sabrina Carpenter
    • “360” – Charli XCX
    • “Birds of a Feather” — Billie Eilish
    • “Not Like Us” — Kendrick Lamar
    • “Good Luck, Babe!” — Chappell Roan
    • “Fortnight” — Taylor Swift featuring Post Malone

Album of the Year

• • • “New Blue Sun” — André 3000
    • “Cowboy Carter” — Beyoncé
    • “Hit Me Hard and Soft” — Billie Eilish
    • “The Rise and Fall of a Midwest Princess” — Chappell Roan
    • “Brat” — Charli XCX
    • “Djesse Vol. 4” — Jacob Collier
    • “Short n’ Sweet” — Sabrina Carpenter
    • “The Tortured Poets Department” — Taylor Swift

Song of the Year

• • • “A Bar Song (Tipsy)” — Shaboozey
    • “Birds of a Feather” — Billie Eilish
    • “Die With a Smile” — Lady Gaga & Bruno Mars
    • “Fortnight” — Taylor Swift ft. Post Malone
    • “Good Luck, Babe!” — Chappell Roan
    • “Not Like Us” — Kendrick Lamar
    • “Please Please Please” — Sabrina Carpenter

Best New Artist

• • • Benson Boone
    • Sabrina Carpenter
    • Doechii
    • Khruangbin
    • RAYE
    • Chappell Roan
    • Shaboozey
    • Teddy Swims

Best Pop Solo Performance

• • • “Bodyguard” — Beyoncé
    • “Espresso” — Sabrina Carpenter
    • “Apple” — Charli XCX
    • “Birds of a Feather” — Billie Eilish
    • “Good Luck, Babe!” — Chappell Roan

Best Pop Duo/Group Performance

• • • “Us” — Gracie Abrams ft. Taylor
    • “Levii’s Jeans” — Beyoncé ft. Post Malone
    • “Guess” — Charli XCX & Billie Eilish
    • “The Boy is Mine” — Ariana Grande, Brandy & Monica
    • “Die With a Smile” — Lady Gaga & Bruno Mars

Best Rap Album

• • • “The Auditorium Vol. 1” — Common & Pete Rock
    • “Alligator Bites Never Heal” — Doechii
    • “The Death of Slim Shady (Coup de Grâce)” — Eminem
    • “We Don’t Trust You” — Future & Metro Boomin
    • “Might Delete Later” — J. Cole

Best Rap Performance

• • • “Enough (Miami)” — Cardi B
    • “When the Sun Shines Again” — Common & Pete Rock Featuring Posdnuos
    • “Nissan Altima” — Doechii
    • “Houdini” — Eminem
    • “Like That” — Future, Metro Boomin & Kendrick Lamar
    • “Yeah Glo!” — Glorilla
    • “Not Like Us” — Kendrick Lamar

Best Country Album

• • • “Cowboy Carter” — Beyoncé
    • “F-1 Trillion” — Post Malone
    • “Deeper Well” — Kacey Musgraves
    • “Higher” — Chris Stapleton
    • “Whirlwind” — Lainey Wilson

Best Country Solo Performance

• • • “16 Carriages” — Beyoncé
    • “It Takes a Woman” — Chris Stapleton
    • “I Am Not Okay” — Jelly Roll
    • “The Architect” — Kacey Musgraves
    • “A Bar Song (Tipsy)” — Shaboozey

Best Rock Album

• • • “Happiness Bastards” — The Black Crowes
    • “Romance” — Fontaines D.C.
    • “Saviors” — Green Day
    • “TANGK” — Idles
    • “Dark Matter” — Pearl Jam
    • “Hackney Diamonds” — The Rolling Stones
    • “No Name” — Jack White

Best Rock Performance

• • • “Now and Then” — The Beatles
    • “Beautiful People (Stay High)” — The Black Keys
    • “The American Dream is Killing Me” — Green Day
    • “Gift Horse” — Idles
    • “Dark Matter” — Pearl Jam
    • “Broken Man” — St. Vincent

Best R&B Album

• • • “11:11 (Deluxe)” — Chris Brown
    • “Vantablack” — Lalah Hathaway
    • “Revenge” — Muni Long
    • “Algorithm” — Lucky Daye
    • “Coming Home” — Usher

Best R&B Performance

• • • “Residuals” — Chris Brown
    • “Here We Go (Uh Oh)” — Coco Jones
    • “Guidance” — Jhené Aiko
    • “Made for Me (Live on BET)” — Muni Long
    • “Saturn” — SZA

The following comes from Open On Sunday, a company DMN is proud to be partnering with.

Billboard Latin Music Week 2024 — artists and industry frontliners converged to attend round table discussions and panels on the rise of reggae, music and data management, monetization, and catalog financing.

Hosted at The Fillmore Miami Beach, Billboard Latin Music Week 2024 kicked off with performances from Latin music’s biggest stars. The event was abuzz with attendees, including established and up-and-coming artists and music industry leaders.

Colombian reggaeton superstar J Balvin was the headliner for the 35th Anniversary Special. Balvin also took part in a special Q&A session, joining other notable guests such as hip hop artists Fat Joe and N.O.R.E.

During a panel discussion, Fat Joe called the hip hop and reggaeton connection ‘crazy but dope.’

Joe added, “Hip hop and reggae go side by side — and hip hop is the influence. It’s like they’re rapping in Spanish, with hip hop beats.”

N.O.R.E. highlighted that the 2004 release of his classic single, Oye Mi Canto ‘set off a movement,’ and made him one of the pioneers of reggaeton. He added, “No one could ever take this away from me, the first reggaeton record on MTV is mine and the first reggaeton record on BET (Black Entertainment Television) is mine. First reggaeton record on Hot 97 is mine. The first reggaeton performing at the Source Awards is mine.”

“If you listen to that record — whether you’re Black or Chinese — you become Latino for three minutes,” N.O.R.E. said.

Billboard Latin Week panels also covered major topics like catalog financing and the carbon footprint of festivals and music events.

Anana Love, Director of Membership for catalog acquisition company Open on Sunday, spoke at a panel to dish out truths about essential catalog elements. “If you’re interested in selling your music catalog, you must have your data in order,” Love told the group.

Tanner Watt, Director of Partnerships at REVERB, also joined the panel. REVERB partners with venues, festivals, and artists to minimize the negative environmental impact of music endeavors.

Watt relayed that he was ‘very excited to connect with more artist teams in the Latin space to help them support non-profit causes they care about — and engage their fans in positive change in the world.’

Many of the Billboard Latin Music Week 2024 attendees were artists looking to promote their music and meet like-minded individuals. However, business professionals were also at hand to network and educate artists on alternative revenue streams.

Luxury real estate agent Wendy Sanchez spoke about the importance of sound financial advice for artists and entertainers. “I am a luxury real estate agent, I also do high-end luxury Airbnb management, and then I also work for one of the top hospitality groups doing their private membership club program.”

“I’m here to help artists or anybody in the entertainment industry with the business side of things — real estate,” Sanchez said.

Financial advisor Andrea Friedman touched upon the importance of balancing family and career — whether you’re an artist or businessperson. “It’s about being disciplined so you can spend time with loved ones and still be a highly successful career individual,” Friedman said.

Billboard Latin Music Week 2024 took place October 15-18.

Photo Credit: Mariah Carey by Raph PH / CC by 2.0

Mariah Carey has been eligible for the Rock & Roll Hall of Fame for nearly a decade, but laments her lawyer got inducted before her.

Mariah Carey says her lawyer made it into the Rock & Roll Hall of Fame before her. The singer, who has been eligible for the Hall of Fame herself for nearly a decade, has only just received a nomination this year.

But her lawyer, Allen Grubman, was inducted in 2022 in the Ahmet Ertegun Award category for his work representing stars like Carey, Bruce Springsteen, Madonna, Elton John, and — until recently — Sean “Diddy” Combs. Notably, Grubman is also one of the Rock Hall’s founders.

Mariah Carey recently spoke about the situation in an interview with The Los Angeles Times, in which she was asked about her thoughts on being nominated for the first time. “My thoughts are, I didn’t get in,” she said. “Everybody was calling me, going, ‘I think you’re getting in!’ and so I was excited about it. But then it didn’t happen. My lawyer got into the Rock & Roll Hall of Fame before me.”

She first became eligible for nomination in 2015, on the 25th anniversary of her debut album. But Grubman has been involved in the Rock Hall since its inception back in 1983. That said, his induction was not without its share of controversy. Fellow co-founder Jann Wenner criticized the decision, calling it “about money and bending to the ego of a music-business power broker.” Wenner was removed from his position after a disastrous interview about his book ‘The Masters,’ which only highlighted male rock star points of view.

Mariah Carey is getting ready to unleash Christmas this month with her 2024 Christmas Tour, followed by dates next year with her residency in Las Vegas. The star is also reportedly working on “nine or 10” new songs, “enough to have an album.” She’s also forged a partnership with Amazon Music to sell Christmas merch this year—embracing her title as Queen of Christmas.

Photo Credit: Aiden Craver

After over 50 years at CBS, the Grammy Awards find a new home in Disney in a major 10-year deal.

The Grammy Awards have aired on CBS for over 50 years, but that’s about to change as Disney strikes up a significant 10-year deal with rights to the annual music awards show. The Grammys will air on ABC, Hulu, and Disney+ from 2027 through 2036.

CBS struck up a ten-year deal in 2016 to maintain the rights until 2026 — breaking the record for a broadcast partnership with an awards show. The network has hosted the show since 1973, when it took the rights from ABC. ABC had aired the show in 1971 and 1972, after NBC hosted it from 1959 to 1970.

The Recording Academy and CBS were not able to reach an agreement within their negotiating window, according to sources, but CBS remained interested in maintaining the rights. Talks continued after the end of the exclusive period when The Recording Academy opened negotiations with other interested parties. But it was Disney who secured the winning bid.

“As the Walt Disney Company combines forces with The Recording Academy to open this exciting new chapter in the history of The Grammys we do so with pride and gratitude,” said Disney Entertainment Co-Chairman Dana Walden. “Live events have never been more important to our culture and industry, and we just acquired one of the crown jewels, adding to our portfolio of world-class programming across all genres.”

“We are completely thrilled to be bringing The Grammys and other new music programming to the Disney ecosystem,” added Harvey Mason Jr., Recording Academy CEO. “We are grateful to our long-standing partners at CBS and now honored to be joining with Disney, an iconic company where creators have always been at the forefront. This partnership represents another important milestone in the Academy’s transformation and growth, and strengthens our ability to fulfill our mission of uplifting and serving music people around the world.”

Though this is a major loss for Paramount’s streaming service, CBS has been focused on reducing costs, prioritizing spending resources on live sports in addition to prime-time franchises. The network secured rights to the Golden Globes when it became available last year.

The deal means that in its first year, ABC will air The Grammys, the Oscars, as well as the Super Bowl, and even gets the CMA Awards and Dick Clark’s New Year’s Rockin’ Eve to boot.

Photo Credit: U.S. State Department / Recording Academy (Dolly Parton)

The U.S. State Department and the Recording Academy announced Dolly Parton has received the 2024 Peace Through Music Award.

The award honors American music industry professionals, artists, or groups who play an invaluable role in cross-cultural exchanges and whose music work advances peace and mutual understanding globally.

Parton was celebrated at the Grammy Museum in Los Angeles where she gave her acceptance speech in an event hosted by the Recording Academy and the U.S. Department of State. The event also recognizes the first-ever cohort of the American Music Mentorship Program.

“Over the course of her career, Dolly Parton has been committed to enriching communities across the globe, and it’s a privilege to celebrate her dedication to service with the Peace Through Music Award Today,” said Recording Academy CEO Harvey Mason Jr. “We are grateful to partner with the Department of State on the Global Music Diplomacy Initiative, which represents an important part of the Academy’s work to support music people across the globe.”

Dolly Parton is an icon and a force in the music industry, reaching audiences at home and abroad for generations. She was chosen because she embodies all that the Peace Through Music Award represents—understanding, peace, inclusion, and unity. Her selection this year is grounded in her music and public persona and her commitment to children’s education through her Imagination Library. She was also instrumental in funding research for the COVID-19 vaccine.

“Dolly Parton represents the best of America—her excellence in music, her servant’s heart in giving back to those in need, and her unique ability to always bring people together,” adds Lee Satterfield, Acting Under Secretary of State for Public Diplomacy and Public Affairs. “On behalf of the American people and Secretary of State Blinken, we are honored to celebrate all of her contributions to people around the world with the Peace Through Music Award.”

The Peace Through Music Award is determined through a nomination process, with U.S. embassies from around the globe submitting nominations to be considered by a selection committee created jointly by both the State Department and the Recording Academy. The selection committee is represented by Recording Academy members, U.S. Department of State leadership, music industry professionals, and academia. The recommended honorees are approved by the CEO of the Recording Academy, then presented to the Assistant Secretary of State for Educational and Cultural Affairs, who makes the final determination.

Photo Credit: Zach Bryan performing at Crypto.com Arena by Katrina Paisano

Zach Bryan is officially boycotting the 2025 Grammys and refusing to submit his music for consideration. Rather than responding to a snub, however, the singer apparently dislikes the concept of making music competitive.

Country sensation Zach Bryan is notably absent from the massive ballot that recently went out to Grammy voters — specifically available only to Recording Academy members and not the general public — after having declined to submit his work for consideration in any category for the 2025 awards ceremony.

A search of the online ballot by Recording Academy members revealed that Bryan’s name does not appear among the thousands of submissions. Similarly, his albums and songs are not entered for any of the rock, country, or Americana categories in which his work would be most likely to appear. Sources close to the situation confirmed Bryan opted not to submit this year, citing discomfort with awards shows “making music competitive.”

To be fair, that tracks with Bryan’s notably lukewarm attitude toward the music industry, but he has never declined to submit his work for consideration for awards in the past. But he joins the company of the select few elite musicians who have decided to sit it out, namely Abel “The Weeknd” Tesfaye and Drake (though Drake has since walked back his boycott).

Interestingly, while The Weeknd made the choice after having been shut out of nominations entirely during the year his monster hit “Blinding Lights” exploded on the scene, Zach Bryan made his choice hot on the heels of having won a Grammy earlier in the year.

Bryan’s duet with Kacey Musgraves, “I Remember Everything,” won him his 2024 Grammy, his first, for Best Country Duo/Group Performance. He has received four nominations altogether, with three of those having taken place last year, and one the year prior. Each of his noms was in the country genre, though Bryan does not consider himself strictly a country musician.

A boycott of the process does fit Bryan’s decision to further withdraw from the “music industry machine,” which he has done by asking his label Warner not to promote his music. But he has remained firmly in the zeitgeist in spite of it — and despite a brief controversy last month when he made a comment on social media that he preferred the music of disgraced rapper Kanye West to that of megastar Taylor Swift. He has since apologized and walked back the remark.

Photo Credit: Music Cities Awards

The Music Cities Awards nominations have been revealed. Hearby, Music Innovation Hub, and Opulous were nominated for the ‘Best Digital Innovation to Support Musicians or Music in Cities’ category.

The Music Cities Awards Ceremony will take place December 7-9 in Riyadh, Saudi Arabia. The award is a global competition designed to acknowledge and reward outstanding applications of music for economic, social, environmental, and cultural development in cities across the world. Since its launch in 2020, the MCA’s have become a global showcase of projects using music to make cities better.

The competition covers 11 categories from rewarding the ‘Best Global Music City,’ to spotlighting initiatives working at the intersection of music and technology, diversity, youth engagement, sustainability, real estate, health tourism, night time economy, city planning, and more. With over 300 applications from 19 countries across six continents, the year’s competition highlights the vital role that music plays in shaping the cultural, economic, and social fabric of cities.

Best Digital Innovation to Support Musicians or Music in Cities

The aim of this award is to showcase a leading innovation that is positively impacting the lives of musicians or supporting music in cities. Eligible initiatives include but are not limited to digital innovations that have improved the ability to musicians to make money, improved access to key information, improved how live music is showcased in a city, or improved the lives of musicians when touring. This year’s nominees include:

• Music Innovation Hub (ITA) — Supports Innovative Music Startups
• Hearby, By Area4 Labs (USA) — Reveals the Abundance of Live Music
• Opulous (SGP) — Help Artists Get Funding

The selection process for each category was led by a global jury of 10 high-level professionals working at the front end of music cities topics. They include:

• Annika Park (HKG), Freelance Strategist, Brand/Culture/Innovation
• Christina Ballico (GBR), Lecturer, Music and Visual Culture, University of Aberdeen
• Enrique Avogadro (ARG), Cultural and Creative Promoter, Pulmón Creativo
• Helen Glengarry (AUS), Music Industry Lead, City of Gold Coast
• Khadija El Bennaoui (UAE), Head of Performing Arts, Department of Culture and Tourism Abu Dhabi
• Lawrence “Boo” Mitchell (USA), GRAMMY Award-winning engineer, producer, composer, Owner, Royal Studios
• Nada Alhelabi (KSA), General Manager, MDLBEAST Foundation
• Panos A. Panay (USA), President, The Recording Academy
• Raoul Rugamba (RWA), Founder at Hobe Agency & Africa in Colors

Photo Credit: American Music Awards

The AMAs announce the lineup ahead of the 50th anniversary event, featuring Gladys Knight, Chaka Khan, Mariah Carey, Brad Paisley, and more.

The American Music Awards is gearing up to celebrate its 50th anniversary, and CBS has announced the lineup alongside Dick Clark Productions for the star-studded event. Brad Paisley, Chaka Khan, Gladys Knight, Green Day, Jennifer Hudson, Kane Brown, Mariah Carey, RAYE, and Stray Kids will all perform for the AMAs 50th Anniversary Special.

The two-hour event will also feature appearances by Carrie Underwood, Gloria Estefan, and Jennifer Lopez, as well as a special appearance by Jimmy Kimmel. More performers and guest appearances will be announced in the coming days.

Airing on Sunday, October 6, at 8:00-10:00 PM ET and 5:00-7:00 PM PT on CBS and streaming on Paramount+, the AMAs 50th Anniversary Special celebrates half a century of “groundbreaking music, iconic moments, unforgettable performances, and rich pop culture history.”

Two-time AMA winner Brad Paisley will honor the late Charley Pride, the first AMA winner for Country Male and Country Album, as well as perform his new single. Chaka Khan will celebrate 50 years of achievements by female artists at the AMAs with a special performance of her classic hit, “I Am Every Woman.”

The incomparable Gladys Knight — a seven-time AMA winner who first performed at the event in 1974 — will return to the stage for a performance of “Midnight Train to Georgia.” Three-time AMA winners Green Day will perform their latest No. 1 hit, “Dilemma,” to celebrate the history of rock music at the AMAs.

Jennifer Hudson will honor 22-time AMA winner Whitney Houston — one of the top AMA winners of all time — with a tribute performance. Five-time AMA winner Kane Brown will celebrate the legacy of country music at the AMAs with a performance of classic and current hits.

Meanwhile, to celebrate the 20th anniversary of The Emancipation of Mimi, ten-time AMA winner Mariah Carey will perform a medley of hits from her album. Singer-songwriter RAYE will perform the James Brown classic, “It’s A Man’s Man’s Man’s World” for a retrospective on the American Music Award of Merit. Finally, K-pop sensations Stray Kids will deliver a special performance honoring the legacy of boy bands at the AMAs.

The program will feature themed highlights from the AMAs’ expansive show archives, with segments looking back at the evolution of specific artists and genres, as well as award and performance milestones.

The world’s largest fan-voted award show, the American Music Awards, will return in May 2025.

Photo Credit: MTV Video Music Awards

Taylor Swift, Chappell Roan, Sabrina Carpenter, Tyla, Katy Perry, and more clean up with honors at the 2024 MTV VMAs.

The MTV Video Music Awards got pushed back a day due to the presidential debate, so we’ve had to wait until Wednesday night to see the results of this year’s VMAs. And it might come as no surprise to learn that Taylor Swift cleaned up handily with seven wins.

Hosted by Megan Thee Stallion, who also performed during the show, the 2024 VMAs aired live from New York’s UBS Arena. This year’s ceremony was executive produced by Bruce Gillmer and Den of Thieves co-founder Jesse Ignjatovic, and Barb Bialkowski. Alicia Portugal and Jackie Barba served as executives in charge of production, while Wendy Plaut was executive in charge of celebrity talent, and Lisa Lauricella was music talent executive.

Since it took place on September 11, MTV observed the 23rd anniversary of 9/11 by supporting the nonprofit 9/11 Day, organizer of the September 11 National Day of Service and Remembrance, as well as Tuesday’s Children, which serves families who were affected by 9/11.

MTV VMA Winners 2024

• Video of the Year — Taylor Swift ft. Post Malone – “Fortnight”
• Artist of the Year — Taylor Swift
• Song of the Year — Sabrina Carpenter – “Espresso”
• Best New Artist — Chappell Roan
• MTV Push Performance of the Year — June 2024: Le Sserafim – “Easy”
• Best Collaboration — Taylor Swift ft. Post Malone – “Fortnight”
• Best Pop — Taylor Swift
• Best Hip-Hop — Eminem – “Houdini”
• Best R&B — SZA – “Snooze”
• Best Alternative — Benson Boone – “Beautiful Things”
• Best Rock — Lenny Kravitz – “Human”
• Best Latin — Anitta – “Mil Veces”
• Best Afrobeats — Tyla – “Water”
• Best K-Pop — Lisa – “Rockstar”
• Video for Good — Billie Eilish – “What Was I Made For? (From The Motion Picture ‘Barbie’)”
• Best Direction — Taylor Swift ft. Post Malone – “Fortnight”
• Best Cinematography — Ariana Grande – “we can’t be friends (wait for your love)”
• Best Editing — Taylor Swift ft. Post Malone – “Fortnight”
• Best Choreography — Dua Lipa – “Houdini”
• Best Visual Effects — Eminem – “Houdini”
• Best Art Direction — Megan Thee Stallion – “BOA”
• Best Trending Video — Megan Thee Stallion ft. Yuki Chiba – “Mamushi”
• Best Group — Seventeen
• Song of the Summer — Taylor Swift ft. Post Malone – “Fortnight”
• VMAs Most Iconic Performance — Katy Perry – “Roar”
• Michael Jackson Video Vanguard Award — Katy Perry

Photo Credit: AFI

AFI has announced that the world premiere of the ‘Music by John Williams’ documentary will open the 38th AFI Fest in October. Here’s the latest.

The documentary film from Lucasfilm Ltd, Amblin Documentaries and Imagine Documentaries offers a comprehensive look at the prolific life and career of the legendary composer John Williams. From his early days as a jazz pianist to his 54 Oscar nominations and five wins, the documentary celebrates Williams’ countless contributions to the moving image arts, music for the concert stage, and his impact on popular culture.

‘Music by John Williams’ features interviews with Steven Spielberg, Kathleen Kennedy, Frank Marshall, Kate Capshaw, Gustavo Dudamel, J.J. Abrams, Chris Martin, Ron Howard, Chris Columbus, George Lucas, Itzhak Perlman, Lawrence Kasdan, Yo-Yo Ma, Ke Huy Quan, James Mangold, Alan Silvestri, David Newman, Thomas Newman, Seth McFarlane, Annie-Sophie Mutter, and Branford Marsalis. It is directed by Laurent Bouzereau and produced by Steven Spielberg, Brian Grazer, Ron Howard, Darryl Frank, Justin Falvey, Sarah Bernstein, Justin Wilkes, Meredith Kaulfers, Kathleen Kennedy, Frank Marshall, Laurent Bouzereau, with Markus Keith and Michael Rosenberg serving as executive producers.

In 2016, John Williams was honored with the AFI Life Achievement Award, becoming the first composer to receive this highest honor for a career in film. Following the premiere, ‘Music by John Williams’ will have a limited theatrical release and will premiere on Disney+ on November 1.

“John Williams is an American icon with a true and timeless global impact,” shares Bob Gazzale, AFI President & CEO. “One could say we are ‘over the moon’ to host the world premiere of the film, but that sentiment would hardly soar without the music of E.T. The Extra-Terrestrial.”

“Growing up in France, I discovered the soundtracks I bought on vinyl ahead of most American movies that would come out months after the U.S. release,” shares the film’s director Laurent Bouzereau. “John Williams was the composer I immediately identified with; his scores made me fall in love with music, and made me realize at a very young age, the power that a score had on cinematic storytelling.”

“This was an important story to tell, not only because it is about one of the greatest composers of all time, but because of the message it carries about the survival of orchestral music, and musicians.”

Photo Credit: MTV

After the first Trump/Harris debate was announced for September 11—the same date as the MTV VMAs—the music awards will now take place one day sooner.

The MTV VMAs were slated to go head-to-head in a ratings battle with the first Trump/Harris presidential debate. Now the awards show is moving to September 10, the day before, avoiding a ratings battle with the debate. The 2024 VMAs will be held at UBS Arena in Long Island, NY and will air live on MTV at 8 pm ET/PT.

Performers at this year’s awards show will include Sabrina Carpenter, Camila Cabello, Chappell Roan, GloRilla, and Rauw Alejandro. This will mark Camila Cabello’s third performance at the MTA VMAs, while her co-performers are all making their respective debuts for the devent.

Nominations were announced earlier this month, with Taylor Swift leading at 10 nominations, followed by Post Malone (9), Ariana Grande (6), Eminem (6), and Sabrina Carpenter (6). GloRilla and Ruaw Alejandro both have three nominations each, while Chappell Roan is up for Best New Artist and MTV Push Performance of the Year.

Interest in the presidential debate is likely to be at an all time high, which posed a problem for the MTV VMAs. The already ratings-challenged awards show would be going up against a juggernaut in ratings—the first Trump/Biden debate drew in more than 50 million viewers. The first Trump/Harris matchup is expected to draw more than that, which would leave the VMAs with an anemic viewership well before the awards get underway.

The 2023 MTV VMAs saw a Taylor Swift sweep, with Swift winning nine of the 11 nominations she received. Other nominees this year include Megan Thee Stallion, SZA, Teddy Swims, LISA, and Dua Lipa. Fans who want to participate in the voting process can head to MTV to see all of the nominees and vote for their favorites.

Photo Credit: Joshua Hoehne

Former president Donald Trump has agreed to an ABC-aired debate with Vice President Kamala Harris, pitting the MTV VMAs against the presidential offering.

ABC has announced that both the former president and the current Vice President have agreed to a September 10 presidential debate. Trump told reporters that he proposed three presidential debates with three different television networks in September. “I think it’s very important to have debates,” he told reporters. “I look forward to the debates because I think we have to set the record straight.”

Harris responded, “I hear that Donald Trump has finally committed to debating me on September 10. I look forward to it.” The debate will air on ABC and will be moderated by David Muir and Linsey Davis, both anchors for World News Tonight. The date is the same for the originally proposed debate between Trump and Biden, before the latter dropped out of the race entirely.

As pointed out by Billboard, the MTV VMAs will be pitted against the first presidential debate. MTV announced the September 10 date for the 2024 edition of the VMAs on April 24, well ahead of that date being chosen for the presidential debate. They will air live at 8 pm ET / PT. It’s expected that the presidential debate will be held without a live audience, much like the first debate.

The first presidential debate this year in June was one of the most consequential debates in television history. Biden’s diminishing performance set off alarm bells with Democrats, who quietly began urging the president to reconsider running. That eventually led to an op-ed from George Clooney and later, President Biden agreeing to cede his spot at the top of the Democratic ticket this year.

More than 51 million Americans watched the first Trump vs. Biden debate live on television, which means the second debate will likely attract an even large audience. It will be the first time the former president goes head-to-head with the new Democratic nominee, meeting face-to-face on the debate stage. How will the MTV VMAs stack up against that, especially for East Coast viewers who must choose which to watch live.

NBC News is also reportedly in discussion with both candidates about a potential debate for September 25, but Kamala Harris has not committed.

Photo Credit: Access Hollywood YouTube

Da da da da da—the D-O-double-G is pulling in the big bucks at the Olympics according to recent scuttlebutt. But just how much is Snoop Dogg making as an Olympic promoter? Here’s the latest.

On Sunday, venture capitalist Henry L. McNamara who is attending the Olympics in Paris tweeted a small tidbit overheard from an NBC executive. “Sat next to an NBC exec at dinner, he said Snoop gets paid $500k a day plus expenses to be here promoting the Olympics. From Gin and Juice to a few million to be a celebrity at the Olympics—what a world.”

While these numbers have not been confirmed, it wouldn’t be surprising given what NBC paid to be the exclusive Olympics broadcaster in the United States. NBC agreed to a $4.38 billion contract in 2011 with the International Olympic Committee (IOC) to broadcast through the 2020 games—marking the most expensive television rights deal in Olympic history. NBC then topped that offer in 2014 with a $7.75 billion contract extension to air the Olympic games through 2032.

With Snoop on board this year, NBC has already set a record for advertising review and viewership. Through five days beginning with the opening ceremony, NBC averaged 34 million people a day watching the Olympic coverage, a gain of 19 million compared to the Tokyo Olympics. NBC reports more than $1.25 billion in advertising revenue (a record for Olympics broadcasting) and says it still has plenty of time to sell.

NBC says the focus on celebrities at the event has helped boost those numbers—with Snoop Dogg included. “[NBC] is standing by its decision to make the Olympics more celebrity-focused, saying it creates a social media buzz that helps its telecasts. Cameras frequently catch movie and sports stars alike rooting on Olympic athletes from the stands,” reports the Associated Press.

“We’ve been pleasantly surprised by [Snoop Dogg’s] popularity, but you never underestimate Snoop Dogg,” adds Molly Solomon, Executive Producer of the Olympics. “He’s this wonderful mix of swagger and positivity.”

Snoop Dogg reunited with his ex-convict bestie Martha Stewart during the equestrian team dressage event—sparking lots of interest online. The duo sat in the front row dressed in full equestrian attire, donning matching riding helmets, show coats, jodhpurs, and high boots. Speaking with Today, Martha Stewart says Snoop asked her to attend the equestrian event with him.

“Snoop called me and he knows I love horses,” she says. “He’s a little fearful of horses.” During the broadcast, both Snoop and Martha fed carrots to the horses, with Snoop adding, “This is the first time I’ve ever been this close to a horse.”

Photo Credit: CBS

After a short hiatus and a network hop from NBC to CBS, the American Music Awards (AMAs) will celebrate its 50 year history in October.

CBS and Dick Clark Productions, the parent company of the AMAs, has announced the 50th anniversary AMAs for October 6, 2024. The two-hour broadcast of the AMAs 50th Anniversary Special will air at 8pm ET / 5 pm PT on both CBS and Paramount+.

The American Music Awards 50th Anniversary special will serve as a tribute to the past 50 years and feature dazzling new performances, heartfelt artist interviews, legendary special guests, and exclusive never-before-seen footage from DCP’s extensive archives, highlighting iconic moments that have defined the awards show over the last 50 years and shaping pop culture as we know it.

The program will feature themed highlights from AMAs expansive show archives, each culminating with an original performance or artist interview. Segments will look back on the evolution of specific artists and genres at the AMAs, as well as an award and performance milestones. The performances created just for the AMAs 50th Anniversary special will include collaborations, debuts from today’s hottest stars, and appearances from AMAs legends. Performers will be announced in the coming weeks.

The American Music Awards is the world’s largest fan-voted award show and will be returning fully in May 2025. The show was created by legendary producer and visionary Dick Clark and first awarded in 1974, celebrating the year’s top achievements in music as determined by the fans. The 50th Anniversary special is produced by Dick Clark Productions.

Ratings for the AMAs have been in precipitous decline in recent years, marking an all-time low in 2022 with a 0.6 rating among adults in the 18-49 demographic with just 3.53 million viewers. Shows from 2020 and 2021 fared marginally better, but low ratings on NBC explains the network hop and retooling focusing on the 50th anniversary this year. The height of the AMAs viewership occurred in the 80s, competing with the Grammys in terms of viewership.

Photo Credit: Kevin Kresse

A statue of singer Johnny Cash will be the first likeness of a musician to debut at a dedication ceremony at the US Capitol next month.

Speaker Mike Johnson (R-LA) and Minority Leader Hakeem Jeffries (D-NY) have announced that a statue of singing legend Johnny Cash will be unveiled at a dedicated ceremony at the Capitol next month.

The ceremony will take place in the Emancipation Hall and will be an invitation-only event, according to Johnson and Jeffries in a letter also signed by Senate Majority Leader Chuck Schumer (D-NY) and Minority Leader Mitch McConnell (R-KY). Members of the Cash family, as well as members of the Arkansas congressional delegation and Arkansas Governor Sarah Huckabee Sanders (R) will also attend the ceremony.

Each state is permitted two statues in the US Capitol, and Cash’s statue will be the second for his home state of Arkansas. In May, the state unveiled a statue of civil rights icon Daisy Bates. Notably, Johnny Cash’s statue will be the first of a musician to debut at the US Capitol.

The news comes five years after then-Arkansas Governor Asa Hutchinson (R) signed a bill into law that called for the replacement of two statues of figures with ties to the Confederacy. At the time, Hutchinson said the goal was to “update the statues with representatives of our more recent history.”

“We’re especially honored that a statue of my dad has been chosen to represent Arkansas in our nation’s Capitol,” Rosanne Cash, Johnny’s daughter with his first wife, Vivian, said in 2019.

Sculptor Kevin Kresse originally posted photos of the finished statue to his Instagram account in December, 2022, writing: “Although I finished this 8ft. tall sculpture of Johnny Cash 2-3 months ago, I couldn’t take it to the foundry until we received approval from Washington, D.C. for the entire packet — sculpture, pedestal, inscriptions, engineering, etc. Yesterday we received ‘official’ approval from D.C.”

“Although I don’t know when the unveiling will be, I do know that statues of Daisy Bates and Johnny Cash will be the new representatives of Arkansas in the US Capitol,” Kresse continued. “I couldn’t be happier with these choices for Arkansas. I’m also extremely proud to be a native son of Arkansas, getting this opportunity to sculpt an Arkansas icon for the nation’s Capitol.”

Photo Credit: Academy of Country Music

The first round of performers for the 17th ACM Honors has been announced, including Eric Church, Vince Gill, Emmylou Harris, and Keith Urban.

The Academy of Country Music has announced the first round of performers for the 17th Academy of Country Music Honors. These include seven-time ACM Award winner Eric Church, nine-time winner Vince Gill, two-time winner Emmylou Harris, 11-time winner Tyler Hubbard, three-time winner Jamey Johnson, three-time winner Ashley McBryde, two-time winner Darius Rucker, and 15-time winner and 2018 Entertainer of the Year Keith Urban. Performers will take the stage to tribute this year’s Honorees, Walt Aldridge, Tony Brown, Luke Bryan, Alan Jackson, Shannon Sanders, Lainey Wilson, and Trisha Yearwood.

Often cited as the “Country Music Industry’s favorite night,” the ACM Honors will take place on Wednesday, August 21, at the historic Ryman Auditorium in Nashville, Tennessee. The show will be hosted by four-time ACM Award winner Carly Pearce, who is returning for the fourth straight year, and ACM Song of the Year winner, Jordan Davis. Additional performers, presenters, and event details will be announced in the coming weeks.

Additionally, the previously announced Artist-Songwriter of the Year winner Chris Stapleton, Songwriter of the Year Jessie Jo Dillon, and Studio Recording Award and Industry Award winners, will be feted at the ACM Honors. Tyler Hubbard, in addition to performing on the show, will present the ACM Studio Recording and Industry Awards portion of the ACM Honors.

Examples of categories from the Studio Recording and Industry Awards include Audio Engineer of the Year, Bass Player of the Year, Casino of the Year, Drummer of the Year, Electric Guitar Player of the Year, Fair/Rodeo of the Year, Piano/Keyboards Player of the Year, Producer of the Year, Specialty Instrument(s) Player of the Year, and Theater of the Year.

Limited tickets for the ACM Honors are currently available through AXS. These also include VIP packages consisting of a ticket in the VIP Artist section (the first seven rows) of the Ryman, a ticket to the VIP pre-party reception with complimentary beverages and light hors d’oeuvres, a commemorative Hatch Show Print poster, parking, and drink tickets.

Photo Credit: Songwriters Hall of Fame

Prince was posthumously inducted into the Songwriters Hall of Fame on the 40th anniversary of the release of his semi-autobiographical film, ‘Purple Rain.’

Minneapolis’ Target Center was an ocean of purple on July 27 as fans flocked to celebrate Minnesota’s icon, the late singer Prince, and the 40th anniversary of his semi-autobiographical film, “Purple Rain.” The arena was filled with historic memorabilia from Prince’s Purple Rain era, as fans watched the film before the legend was posthumously inducted into the Songwriters Hall of Fame.

Prince Rogers Nelson, known mononymously as Prince, was first elected in 2013 for induction into the Songwriters Hall of Fame. However, the policy is that a songwriter must personally attend the annual induction and awards gala to be officially inducted, and Prince’s schedule did not permit him to attend for several years. The organization had been working with him to coordinate his schedule, according to President and CEO Linda Moran.

“He reached out at the end of 2015 and said how important the award was to him and that the June 2016 ceremony could work,” said Moran. “We planned that it would be unannounced and a surprise; but unfortunately Prince passed away two months beforehand in April. It has been a long road, but we are thrilled that one of the world’s most prolific and phenomenal songwriters is finally a member of the Songwriters Hall of Fame.”

Prince’s sister, Sharon L. Nelson, accepted the award from Gilbert Davison, a longtime professional colleague of the artist. Nelson said she has fond memories of her brother walking around writing lyrics on a yellow notepad. “You will always remember his songs,” she said. “This is the award he wanted more than any other in life — to be known as a great songwriter.”

Prince crossed into all genres of music effortlessly, and wrote every song in his catalog. He had 19 songs in the Top 10 of the Billboard Hot 100, and five that went to No. 1, with “Let’s Go Crazy,” “When Doves Cry,” “Kiss,” “Batdance,” and “Cream.” He has sold over 100 million records as an artist, and also wrote hits for other artists, including Sheena Easton, Kenny Rogers, Madonna, Stevie Nicks, Patti LaBelle, Celine Dion, Kate Bush, and The Bangles.

Some of his hits, which he wrote and recorded, were also covered by other artists and met with tremendous success, including Chaka Khan, Tom Jones, Sinead O’Connor, Alicia Keys, The Pointer Sisters, and Cyndi Lauper.

Photo Credit: Usher and Ashley Gorley for NMPA

The National Music Publishers’ Association announces the top gold and platinum songwriters and certifications for Q1 2024, with Usher racking up 20 certifications after his Super Bowl spot.

The National Music Publishers’ Association (NMPA) Gold & Platinum Program has announced the top songwriters for the first quarter of 2024, including the top artist-songwriter and top non-performing songwriter for the period. Across January, February, and March, 1,161 Gold, Platinum, and Multi-Platinum certifications were awarded.

Usher, published by Sony Music Publishing, was the top artist-songwriter overall, with 20 certifications, including the 5X Platinum “U Got It Bad,” the 4X Platinum “I Don’t Mind,” and the 3X Platinum “Confessions Part II.”

Streams for Usher’s catalog saw a massive surge following his stellar Super Bowl Halftime Show performance back in February. The set made a lot of his existing fans nostalgic for his numerous hits, while new fans were discovering the jams that made Usher a household name during the late ‘90s and early aughts.

The top non-performing songwriter was Ashley Gorley, with eight certifications for songs including the 7X Platinum “Last Night,” the 5X Platinum “Crash My Party,” and the 2X Platinum “Aw Naw.” Gorley is also published by Sony Music Publishing.

“Q1 was huge for Sony Music Publishing,” said NMPA President & CEO David Israelite. “Usher’s hits have lasting power and this proves the enduring popularity of his music. Once again, Ashley Gorley reigns supreme due to his phenomenal country crossover success. We congratulate both of these exceptional songwriters.”

NMPA’s Gold & Platinum Program, in partnership with RIAA’s Gold & Platinum Program, identifies and honors the songwriters behind today’s biggest hits. NMPA confirms songwriters with their music publishers to ensure all appropriate songwriters are recognized for their contribution to an RIAA certified single. Certifications count both sales and on-demand streams towards Gold (500k), Platinum (1k), and Multi-Platinum (2m+) thresholds. Thousands of songwriters have been certified since NMPA’s program began in 2007.

Photo Credit: Loxy!! / CC by 2.0

Donald Glover calls out the BET Awards over his lack of wins, questioning why he has the same number of awards as white English artist Sam Smith: “It’s the Black Entertainment Television Awards — how much more entertaining do I have to do?”

Donald Glover, better known in the music world by his stage name Childish Gambino, is a formidable talent across singing, acting, and comedy. But despite the amount of Black-oriented entertainment content under his belt, he still shares the same number of BET Awards as white, English singer-songwriter Sam Smith.

Glover took the stage on Sunday to present rapper Killer Mike with the award for Album of the Year — but before that, he also seized the opportunity to call out the BET Awards for overlooking his own work for much of his career.

“This isn’t personal, but I just feel like I should have more BET Awards,” said Glover. “I’m serious. It’s the Black Entertainment Television Awards — how much more entertaining do I have to do? Because it’s just the math of the fact… It doesn’t really make sense.”

The former “Community” star went on to highlight the number of BET Awards he’s received, bringing attention to what he considers ironies and inconsistencies in the voting system as it pertains to Black versus white artists.

“I have more Grammys than Will Smith, which makes no sense, but I have the same amount of BET Awards as Sam Smith. Does that make sense to you guys?” Glover continued. “Me and Sam Smith are neck and neck at the Black Entertainment Television Awards.”

Glover concluded by half-jokingly stating that he would be willing to star in the network’s most telecasted film, “Baby Boy,” if it meant BET would show him more recognition. “If I have to do a ‘Baby Boy’ remake or something, just let me know; I’ll have Jonathan Majors put me in a headlock, shave my head — I’ll do it.”

Donald Glover won his only BET Award for Video of the Year in 2019, for “This Is America.” Sam Smith’s came in 2015 for Best New Artist, beating out Rae Sremmurd, DeJ Loaf, Tinashe, Bobby Shmurda, and Fetty Wap.

In addition to his remarks, Donald Glover also shared the trailer debut for his upcoming film, “Bando Stone & The New World,” which shares its title with his forthcoming sixth and final album under the name Childish Gambino. The project releases on July 19.

For A2IM IndieWeek 2024, the music industry convened at the InterContinental Hotel in Times Square. From panel discussions and sharing insights and knowledge to networking, A2IM IndieWeek offered something for everyone.

A2IM IndieWeek 2024 drew labels, distributors, DSPs, agencies, and other members of the music community — sparking in-depth discussions among music industry leaders. Panels navigated the dynamic nature of marketing trends, leveraging social media platforms, building diverse revenue streams for artists, the role of AI, data, neighboring rights, and more.

Anthony Brown from Influencer collaboration platform Breakr spoke on some early brand marketing successes in his panel, “Brand-tastic; How Can Labels Engage Brands for Their Emerging Artist?”

Brown said about Breakr’s partnership with KitKat, “They basically wanted to do a six-city tour exploring black music — wanted to find influencers, major artists, and emerging artists to tell unique stories in each city. In DC, we studied the history of Gogo, and in Detroit, we studied funk and house, and in Memphis, we went deep into R&B and how gospel music affected those stories. If they went in there on their own, they wouldn’t have known who to touch in authentic ways to tell those stories.”

Nikki Cox, Chief Marketing Officer at Red Bull Records, was asked to summarize music marketing in 2024 during her panel, “Unlocking Global Success: Navigating International DSPs and Marketing.”

Cox said, “It’s everything everywhere all at once.”

During his panel, “Maximizing Your Catalog: Label Strategies Unveiled,” Open On Sunday’s Don McGill explained catalog evaluations and how they source these lucrative deals.

“We have a network of what we call Market Development Partners, essentially catalog brokers,” McGill said, adding, “They find catalogs for us, but we also source a ton of deals through lawyers, managers, and sometimes friends in the industry — just people that you pick up along the way.”

The MMF-US Summit featured its own set of panels. Peter Leathem from PPL spoke about neighboring rights and said that for US performers, there are “some big opportunities.”

Shilpa Sadagopan from SoundOn discussed drafting targeted campaigns leveraging social platforms like TikTok. “We were able to tap into the global International market for SoundOn quickly and activate campaigns across ten different markets, including over 4,600 commissioned videos from our campaigns and over 100 million views. So, I think that also shows our capability to quickly react when you see something happening on the platform.”

New York still serves as one of the biggest music hubs in the world, making it the perfect forum for off-site networking and events.

Held at Kaufman Music Center, The Music Investor Conference was well attended.

Artist and songwriter Jessica Lattman (JeLa) was there to make connections and promote her music better. “I came here to find out how to do my distribution, promotion, and how to get my solo artist project going,” Lattman said.

Caribbean artist Sabi Pitt was looking to do the same. “I’m here networking, trying to get distribution, trying to get some more marketing, and taking it to another level because the world needs positive music right now.”

And we must remember the nightlife. After all, it’s the city that never sleeps.

The ADA party was packed with people networking at the bar and cutting loose on the dance floor. Not to be outdone, the Czech Showcase took it to the rooftops of New York as performers from Prague rocked the crowd well into the night.

From artists and songwriters to label executives and business owners, A2IM IndieWeek once again proved to be the place where the music industry connects.

A2IM IndieWeek 2024 took place June 10th to June 13th, 2024.

Photo Credit: Amazon Music

The Recording Academy CEO Harvey Mason Jr. was recently accosted by TMZ’s paparazzo asking about Kendrick Lamar’s “Not Like Us.”

Kendrick Lamar shot a music video for the track in Compton over the weekend, which will breathe new life into the Drake diss track. He also held a one-off concert at the Kia Forum in Inglewood, California on June 19—playing “Not Like Us” six times back to back as the audience sang along with him. Harvey Mason Jr. says he’s feeling the cultural avalanche of the track’s relevance much like everyone else.

“Obviously it’s a hot record,” Mason Jr. says. “Amazing artistry, great writing. The talent on that record is incredible, Kendrick obviously has been successful with the organization so I don’t see any reason why it couldn’t be [nominated for a Grammy.] It’s all about the quality of the record. It’s about the members. If the members like it, it’ll be nominated.”

Following the Grammy ask, Mason was asked if he thought the diss aspect of the track would be a problem in scoring a nomination.

“I think the voting members of the Academy appreciate greatness,” Mason continues. “They appreciate what’s hot, what’s going on. That’s a relevant record that’s impacting on so many levels. So much creativity and talent. I like to believe that the Academy members recognize that and vote appropriately.”

TMZ also asked Mason if a new category would be added to the Grammys in the future, perhaps “Best Diss Track.” Again, Mason says that’s up to the voting members of the Academy. “If the members want it, it will be nominated,” he reiterates before stepping away from being interviewed.

Kendrick Lamar recently shared photos of he and DJ Mustard dancing to the song in front of Tam’s Burgers as people in the background sing along. Another video posted shows fans bouncing along to the beat while Lamar raps near the Compton Courthouse. It’s currently unclear when the music video for “Not Like Us” will drop, but when it does you can bet it will soar back to the top of the Billboard Hot 100 chart.

Photo Credit: Alan Jackson for the Nashville Songwriters Association International

The Nashville Songwriters Association International brings the 7th annual Nashville Songwriter Awards back to the Ryman Auditorium on September 24, where Alan Jackson will receive the Kris Kristofferson Lifetime Achievement Award.

Today, the Nashville Songwriters Association International (NSAI), alongside presenting partner City National Bank, announces the return of the Nashville Songwriter Awards at the Ryman Auditorium on September 24. The seventh edition of the celebration will honor the peer voted “10 Songs I Wish I’d Written” awards, Songwriter-Artist of the Year, and will recognize individuals who have had tremendous influence in the world of songwriting.

The organization’s highest honor of the evening, the Kris Kristofferson Lifetime Achievement Award, will be presented to legendary songwriter and recording artist Alan Jackson, who has earned an impressive list of awards throughout his career. He has been recognized by the Grammys, the Academy of Country Music (ACM), the Country Music Association (CMA), and the American Music Awards (AMAs), as well as stars on both the Hollywood Walk of Fame and the Music City Walk of Fame.

In 2012, Jackson was awarded CMA’s Willie Nelson Lifetime Achievement Award, and in 2017, he was inducted into the Country Music Hall of Fame. With 26 No. 1 songs under his belt during his 30-year career, Jackson’s impact on songwriting and the music industry is etched in history.

“When the NSAI Board of Directors chose Alan Jackson as this year’s recipient of the Kris Kristofferson Lifetime Achievement Award, I knew they had made a fantastic choice,” said Jennifer Turnbow, NSAI Chief Operating Officer. “I was eager to craft a segment of our annual awards show around his work as a songwriter. But it wasn’t until I really studied his body of work and recalled decades of his songs that I realized just how deserving he was of this recognition.”

“Alan’s songs, many of which he wrote by himself, have marked significant moments in time and are etched into the memories of multiple generations. Choosing only a handful of his many hits to highlight in a celebration of his career will be incredibly challenging — that I’m looking forward to!”

“City National Bank has supported the music industry from the first day we opened our doors in 1954 and we are especially proud of our work in the beloved country music and local Nashville communities,” added Diane Pearson and Lori Badgett, Co-Manager of City National Entertainment in Nashville. “On behalf of City National, we congratulate the incomparable Alan Jackson for his Kris Kristofferson Lifetime Achievement Award. For decades, Alan, as both an artist and a songwriter, has delivered the most inspirational, motivational, and uplifting music, and we applaud the recognition of his eloquent songwriting artistry.”

Each year, NSAI’s Board President has the opportunity to present an individual with the President’s Keystone Award, and this year the incomparable producer and songwriter Buddy Cannon will be celebrated to honor his significant contributions to the industry and betterment of all songwriters.

Best known for his work producing Kenny Chesney and Willie Nelson, Cannon got his start playing bass for Bob Luman and Mel Tillis. As an A&R executive, he contributed to signing and developing Shania Twain and Billy Ray Cyrus, and in the studio, he shepherded projects by Alison Krauss, George Jones, Reba McEntire, Joe Nichols, John Michael Montgomery, and many more.

Beginning this year, NSAI will also commemorate one song chosen by NSAI’s professional songwriting members as the “Legendary Song” of its time, starting with songs from 1967 to 1983. The NSAI board of directors selected 10 impactful songs in the given range, and the pro membership anonymously voted to determine the winning song. The first Legendary Song Award recipient will be revealed and performed at the show.

A performer announcement and ticket information will be revealed in the coming weeks, with an on-sale set for July 26.

Photo Credit: L. Busacca/Getty Images for Songwriters Hall Of Fame

The 53rd induction ceremony for the Songwriters Hall of Fame saw R.E.M. reunite for the first time in 15 years. The even celebrated inductees including Timbaland, Steely Dan, and more.

R.E.M.’s Bill Berry, Peter Buck, Mike Mills, and Michael Stipe were on hand at the ceremony, stunning audiences with an acoustic performance of “Losing My Religion.” After the performance, Michael Stipe told the audience, “We are R.E.M., and this is what we did.”

Musical icons Hillary Lindsey, Timothy Mosley (Timbaland), Dean Pitchford, Bill Berry, Peter Buck, Mike Mills, and Michael Stipe performing as R.E.M., and Walt Becker and Donald Fagan performing as Steely Dan were inducted into the Songwriters Hall of Fame. Diane Warren received the Johnny Mercer Award, while SZA received the Hal David Starlight Award.

The evening kicked off with a special performance of Irena Cara’s “Fame,” performed by Rodney Chrome, Molly Kate Kestner, Sierra “Spirit” Kihega, Ava Liv Mabry, and Matilda Marigolds. Aftward, Deniece Williams took the stage to begin the induction of Dean Pitchford with her 1984 hit, “Let’s Hear It For the Boy” of Footlose fame. Kevin Bacon and musician Michael Bacon then performed “Footloose” before inducting Dean, saying his writing has “inspired us all to reach for our dreams. Pitchford performed “Once Before I Go” after his induction.

Manager Irving Azoff began the honors for Steely Dan, naming them among the best bans ever and stating, “their records will be recognized as iconic for the rest of time.” Trey Anastasio took to the stage to perform several Steely Dan hits including “Kid Charlemagne” and “Reelin’ In The Years.” Trey inducted the duo, stating that they together “created a body of work that defied categorization—masterful, thought-provoking, elegantly melodic songs filled with beautifully flawed, deeply human, and believable characters.”

Nile Rodgers took the stage next to honor SZA with the Hal David Starlight Award, which is presented to young songwriters who make a significant impact on the music industry with their original songs. SZA then performed her hit, “Snooze” from her sophomore album SOS.

Carrie Underwood kicked off the induction for Hillary Lindsey with a powerful performance of “Jesus Take The Wheel” from her album Some Hearts. Underwood bestowed the title “queen of modern Nashville songwriting” to Hillary Lindsey while Keith Urban joined her on-stage for the induction. Hillary then performed a rendition of Lady Gaga’s “Million Reasons,” followed by a duet with Keith Urban for “Blue Ain’t Your Color.”

Missy Elliot took the stage to induct frequent collaborator and friend Timbaland, crediting the rapper and producer for “changing the cadence of hip-hop.” Timbaland claimed the induction is his best award to receive and performed a medley of music from “Big Pimpin’,” “Pony,” “SexyBack,” “Get Your Freak On,” “Drunk In Love,” “Promiscuous,” and “Suit & Tie.”

R.E.M. was the final induction of the evening, with Jason Isbell taking the stage to perform the song “It’s The End of the World As We Know It (And I Feel Fine).” The band played together for the first time in 15 years, performing “Losing My Religion.”

Diane Warren was awarded the Johnny Mercer Award at the end of the program—the highest honor bestowed by the Songwriters Hall of Fame. “Songwriting isn’t something I do, it’s who I am and what I live and breathe for every day of my life,” Warren told the audience upon accepting her award.

Photo Credit: Country Music Hall of Fame

The Recording Academy has shared some rule changes and updates for the 67th Annual Grammy Awards in 2025. Here’s a peek at the changes.

Key updates include adjustments to eligibility criteria, category renaming, and the introduction of new guidelines for categories including Songwriter Of The Year, Best Traditional Pop Vocal Album, and Best Dance/Electronic Music Album among others. These amendments were voted on and passed at the Recording Academy’s semiannual Board of Trustees meeting in May—all changes will be effective immediately for the 2025 Grammy Awards.

2025 Grammy Awards Eligibility, Criteria & Submission Guidelines Amendments

All eligible-credited Featured Artists with under 50% playtime will be awarded a Winners’ Certificate for all genre album categories, with the exception of the Best Musical Theater Album, the General Field, or Craft categories.

For Songwriter Of The Year, Non-Classical, the following submission guidelines were amended to allow for winder representation of the songwriter community. The minimum submission threshold in which a songwriter is credited as songwriter or co-writer has been reduced from five to four songs. The additional number of songs a songwriter may enter in which they are credited as primary or featured artist or another supporting role has increased from four to five.

The Best Traditional R&B Performance Category criteria was amended to more accurately represent the recordings that embody the classical elements of R&B/Soul music, distinguishing them from contemporary interpretations.

The Best Traditional Pop Vocal Album Category criteria was amended to expand the category by broadening its scope and welcoming more entries from the Musical Theater community. Additionally, album eligibility criteria was updated to require albums in this category must contain more than 75% of newly recorded (previously unreleased) performances.

The Best Children’s Music Album Category criteria was amended to include a requirement that lyrics and English language translations must be included with entry submissions. Audience age range for this category was further defined as infant to 12-years-old.

Grammy Award Category Adjustments for 2025

The Best Remixed Recording Category has moved from Production, Engineering, Composition & Arrangement Field into the Pop & Dance/Electronic Field.

The category formerly known as Best Pop Dance Recording has been renamed Best Dance Pop Recording.

The Best Dance/Electronic Music Album Category was renamed to Best Dance/Electronic Album and the category criteria was amended to establish that albums must be made up of at least 50% Dance/Electronic recordings to qualify.

Conjunto Music will now be recognized in the Best Regional Roots Music Album category, rather than the Best Música Mexicana Album category.

The Best Score Soundtrack for Video Games and Other Interactive Media Category was amended to include a qualification for released material, specifically new downloaded content (DLC) and seasonal expansions. The updated qualification establishes that greater than 50% of the music on an eligible Video Game Soundtrack must be derived from new episodes or new programming released during the Grammy eligibility year for which it is entered.

Photo Credit: Akein O. Brown / CC by 3.0

BET announces the latest additions to the BET Awards 2024 lineup, including Ice Spice, Tyle, Ms. Lauryn Hill, and YG Marley. They join the previously announced performers GloRilla, Latto, Muni Long, Sexyy Red, Shaboozey, and Victoria Monét.

The list of performers for this year’s BET Awards just got bigger, as BET announced the addition of Ms. Lauryn Hill and her son YG Marley, as well as Ice Spice and Tyla. They’ll hit the stage along with previously announced performers GloRilla, Latto, Muni Long, Sexyy Red, Shaboozey, and Victoria Monét, with Tanner Adell performing on the BET Amplified stage. The show kicks off on Sunday, June 30, at 8 PM on BET.

Multi-hyphenate actor and philanthropist Taraji P. Henson returns to host the 2024 BET Awards, where Usher will be honored with the prestigious Lifetime Achievement BET Award. Drake leads this year’s nominations with seven nods, followed by Nicki Minaj, who has six. Victoria Monét, SZA, Sexyy Red, and J. Cole each have five nominations, while Beyonce, Doja Cat, Megan Thee Stallion, Tyla, and Usher each have four.

It’s a big year for female musicians, with GloRilla, Ice Spice, Latto, and Sexyy Red all nominated for Best Female Hip-Hop Artist. Tyla’s four noms include Best New Artist, Best Female R&B/Pop Artist, Best International Act, and a Viewer’s Choice Award nomination for her hit, “Water.”

Tanner Adell and Shaboozey, both of whom appeared on Beyonce’s Cowboy Carter, bring a country twang to this year’s awards show as they celebrate the success of their respective singles, “Whiskey Blues” and “A Bar Song (Tipsy).”

Last year’s lineup included performances from Coco Jones, GloRilla, Doechii, Lil Uzi Vert, Latto, Ice Spice, Quavo, Offset, and more. The BET Awards have been the No. 1 cable award show among all adults 18-49 for the last three consecutive years. Further, it has been the No. 1 cable award show among Black adults aged 18-49 for 22 consecutive years.

The 2024 BET Awards will air live on June 30 in Los Angeles, on the BET network beginning at 8 PM ET/PT. Voting for this year’s Viewer’s Choice Award continues until June 30 at 6:30 PM PT / 9:30 PM ET.

Photo Credit: Amani Nation

The Recording Academy has announced it has reached agreements with the Ministries of Culture and key stakeholders in the Middle East and Africa to extend its efforts to support music creators on a global scale.

The Recording Academy is now working with the Ministries of Culture in Kenya, Kingdom of Saudi Arabia, and Nigeria; the Department of Culture and Tourism in Abu Dhabi for the United Arab Emirates, the Rwanda Development Board, and the Ministry of Sports, Arts, and Culture in South Africa. Additionally, the Recording Academy has signed a memorandum of understanding (MOUs) with Ghana and the Ivory Coast.

Through these newly announced agreements, the Academy will collaborate with its partners on a framework to bolster the Academy’s presence and services in these rapidly growing music regions—taking its mission international. The Recording Academy says it aims to champion music creators at all levels, empower creators through enhanced training with its GRAMMY GO online learning platform, produce original content, and enhance support for existing members in these regions.

As a cornerstone of this initiative, the Recording Academy will publish a series of reports highlighting the Academy’s research and insights into these music markets. It will also advocate for strong intellectual property legislation and protections for music creators in each of these regions.

“This is exciting because music is one of humanity’s greatest natural resources,” says CEO Harvey Mason Jr. “It is critical that the people who dedicate themselves to creating music have support, resources, and opportunities, no matter where they are from.”

“The Recording Academy is dedicated to supporting music creators around the world,” adds Panos A. Pany, Recording Academy President. “Our expansion efforts in to these fast-growing regions reflect our commitment to fostering a truly global music community, where creators at every stage of their careers and from every corner of the world have the resources and support they need to thrive.”

Photo Credit: Ben Childers / CC by 4.0

Lainey Wilson and Chris Stapleton claim top honors at the 59th annual ACM Awards. Wilson won Entertainer of the Year, Female Artist of the Year, and Event of the Year, while Stapleton took home awards for Album of the Year, Male Entertainer of the Year, and Artist-Songwriter of the Year.

The 59th annual ACM Awards, held at the Ford Center at The Star in Frisco, Texas and hosted by 16-time ACM Awards winner Reba McEntire, saw some powerful performances in addition to the awards ceremony. Luke Combs led with eight nominations, while Morgan Wallen and Megan Moroney — the most nominated woman this year — tied in second place with six nominations.

The star-studded performances included sets from Jelly Roll, Miranda Lambert, Kelsea Ballerini, a duet from Blake Shelton and wife Gwen Stefani, Nate Smith featuring Avril Lavigne, and Post Malone’s first performance at a country music awards show. Malone is dropping his first country album later this year.

Lainey Wilson and Chris Stapleton, who cleaned up the night by taking home the show’s most coveted awards, both gave stunner performances; Stapleton surprised music fans everywhere by bringing Dua Lipa onstage for a killer performance alongside his wife Morgane.

Wilson ultimately won Entertainer of the Year, Female Artist of the Year, and Event of the Year, while Stapleton took home awards for Album of the Year, Male Entertainer of the Year, and Artist-Songwriter of the Year. Wilson’s win for Music Event of the Year was shared with first-time nom Jelly Roll for their collaboration on his “Save Me.”

Other big winners of the night included Megan Maroney and Nate Smith (Female/Male Best New Artists), Jessie Jo Dillon (Best Songwriter), and Old Dominion (Best Group). Unsurprisingly, Luke Combs took home Single of the Year for his cover of Tracy Chapman’s “Fast Car,” and Jordan Davis won Song of the Year for “Next Thing You Know.”

The full list of ACM Awards nominees and winners is below:

Entertainer of the Year

• Kane Brown
• Luke Combs
• Jelly Roll
• Cody Johnson
• Chris Stapleton
• Morgan Wallen
• Lainey Wilson — Winner

Female Artist of the Year

• Kelsea Ballerini
• Ashley McBryde
• Megan Moroney
• Kacey Musgraves
• Lainey Wilson — Winner

Male Artist of the Year

• Luke Combs
• Jelly Roll
• Cody Johnson
• Chris Stapleton — Winner
• Morgan Wallen

Duo of the Year

• Brooks & Dunn
• Brothers Osbourne
• Dan + Shay — Winner
• Maddie & Tae
• The War and Treaty

Group of the Year

• Flatland Cavalry
• Lady A
• Little Big Town
• Old Dominion — Winner
• Zac Brown Band

New Female Artist of the Year

• Kassi Ashton
• Ashley Cooke
• Hannah Ellis
• Kylie Morgan
• Megan Moroney — Winner

New Male Artist of the Year

• ERNEST
• Kameron Marlow
• Dylan Scott
• Conner Smith
• Nate Smith — Winner

New Duo or Group of the Year

• Neon Union
• Restless Road
• Tigirlily Gold — Winner

Album of the Year

• Gettin’ Old – Luke Combs
• Higher – Chris Stapleton — Winner
• Leather – Cody Johnson
• One Thing at a Time – Morgan Wallen
• Rolling Up the Welcome Mat (For Good) – Kelsea Ballerini

Single of the Year

• “Burn It Down” – Parker McCollum
• “Fast Car” – Luke Combs — Winner
• “Last Night” – Morgan Wallen
• “Need a Favor” – Jelly Roll
• “Next Thing You Know” – Jordan Davis

Song of the Year

• “Fast Car” – Luke Combs
• “Heart Like a Truck” – Lainey Wilson
• “Next Thing You Know” – Jordan Davis — Winner
• “The Painter” – Cody Johnson
• “Tennessee Orange” – Megan Moroney

Music Event of the Year

• “Can’t Break Up Now” – Old Dominion with Megan Moroney
• “Different ‘Round Here” – Riley Green with Luke Combs
• “I Remember Everything” – Zach Bryan with Kacey Musgraves
• “Man Made a Bar” – Morgan Wallen with Eric Church
• “Save Me” – Jelly Roll with Lainey Wilson — Winner

Visual Media of the Year

• “Burn It Down” – Parker McCollum — Winner
• “Human” – Cody Johnson
• “In Your Love” – Tyler Childers
• “Next Thing You Know” – Jordan Davis
• “Tennessee Orange” – Megan Moroney

Songwriter of the Year

• Jessie Jo Dillon — Winner
• Ashley Gorley
• Hillary Lindsey
• Chase McGill
• Josh Thompson

Artist-Songwriter of the Year

• Zach Bryan
• ERNEST
• HARDY
• Chris Stapleton — Winner
• Morgan Wallen

Is Music Biz 2024 attendee information for sale online? Seemingly unauthorized email sales offers are raising related questions. Photo Credit: Music Business Association

Music Biz 2024 kicked off on Monday, attracting thousands of industry professionals to Nashville. But is valuable attendee information being sold online?

That question is taking center stage after Digital Music News received multiple unsolicited emails advertising purported Music Biz attendee information. The relevant messages were sent from a Gmail address by an individual identified only as ‘Christina.’

As a result, the offer doesn’t appear to have come from a legitimate source or otherwise been endorsed by the Music Business Association. At the time of this writing, though, the organization hadn’t responded to a request for comment.

Update (5/14): Music Biz has now responded, noting that they do not sell their attendee lists: “Music Biz does not sell its lists. Period.” 

The email itself indicates that the all-encompassing list contains Music Biz attendees’ company names, contact details (email addresses and phone numbers), titles, websites, and additional information yet.

Also in the text, which has a decidedly straightforward subject reading “Music Biz 2024,” are multiple unnecessary capitalizations (the email doesn’t look to have been written with particular attentiveness) and a clear-cut call to reach out for further details such as pricing specifics.

Time could reveal the exact source of the attendee-info offer, the motivation behind which – cashing in on useful and relatively high-value data – is apparent enough. In the absence of concrete answers from organizers, possibilities that come to mind include a hack of some kind, which wouldn’t be without precedent in the contemporary industry.

To be sure, it was only in 2020 that credit-card hacks reportedly impacted a number of Warner Music customers – spurring several class-action complaints in the process. Admittedly, knowledge about conference attendees, while best left unsold to third parties without authorization, doesn’t seem as significant as stolen payment info.

Other potential explanations include a profit-minded operation spearheaded by someone with access to the appropriate database.

The scenario, far from being outside the realm of possibility, is central to a distributor-versus-distributor lawsuit involving a former employee’s alleged unauthorized access to a proprietary database.

In any event, before wrapping this Thursday, May 16th, Music Biz is expected to feature as speakers execs from Tunecore, SESAC, and Round Hill, to name just a few of the many higher-ups. As described by the event, Music Biz 2023 attracted north of 2,100 attendees from over 800 companies and 30 nations; the email offer, while unclear in this regard, appears to reference 3,200 attendees for the 2024 installment.

Photo Credit: Lester Cohen / Getty Images for ASCAP

The American Society of Composers, Authors, and Publishers (ASCAP) has announced the winners of its 2024 ASCAP Pop Music Awards.

Olivia Rodrigo and co-writer Daniel Nigro dominated the charts last year with “vampire” and “bad idea right?”, claiming the ASCAP Pop Music Songwriters of the Year distinction. This is the second win for Olivia Rodrigo, who first scored the honor in 2022.

British avant-pop and electric sensation Charli XCX receives the ASCAP Global Impact Award for the worldwide popularity of her music. Charli is gearing up for the release of her sixth studio album, BRAT on June 7 and a North American tour with Troye Sivan.

“Calm Down” performed by Rema and featuring Selena Gomez wins ASCAP Pop Song of the Year. Co-written by Rema, Gomez, Michael “LONDON” Hunter, Amanda “Kiddo AI” Ibanez and Andre Vibez, the song topped the Billboard Pop, Adult Pop and Rhythmic Airplay charts, hitting #3 on the Billboard Hot 100. “Calm Down” is published by Hook Like Behavior, Kobalt Music Publishing, Livelihood Music Company, SMG Tunes, Sony Music Publishing, Universal Music Publishing Group, and Warner Chappell Music.

Publisher of the Year goes to Universal Music Publishing Group for songs including “Calm Down,” “Cuff It” (Beyonce), “Dance the Night” (Dua Lipa), “Barbie World” (Nicki Minaj & Ice Spice with Aqua), “Lavender Haze” (Taylor Swift), “Paint the Town Red” (Doja Cat), “Star Walkin’” (Lil Nas X), and “Sure Thing” (Miguel).

Other 2024 ASCAP Pop Music Award-winning songwriters include Mariah Carey and Walter Afanasieff (“All I Want For Christmas Is You”), Dua Lipa (“Dance the Night”), Noah Kahan (“Dial Drunk”), St. Vincent (“Cruel Summer”), Meghan Trainor (“Made You Look”), and Leon Thomas (“Snooze”).

The ASCAP Pop Music Awards honor songwriters and publishers of the most-performed ASCAP pop songs of 2023. The winning songs are determined by data on terrestrial and satellite radio and for programmed and on-demand audio streams, all provided by Luminate Data LLC in accordance with ASCAP’s publicly available rules.

ASCAP 2024 Pop Music Awards

• Global Impact Award | Charlie XCX
• Songwriters of the Year | Olivia Rodrigo & Daniel Nigro
• Song of the Year | “Calm Down” (Writers: Selena Gomez, Michael “LONDON” Hunter, Amanda “Kiddo A.I.” Ibanez, Rema, Andrew Vibez | Publishers: Hook Like Behavior, Kobalt Music Publishing, Livelihood Music Company, SMG Tunes, Sony Music Publishing, Universal Music Publshing Group, Warner Chappell Music)
• Publisher of the Year | Universal Music Publishing Group

MOST PERFORMED SONGS:

ALL I WANT FOR CHRISTMAS IS YOU

• Writers: Walter Afanasieff, Mariah Carey,
• Publishers: BEYONDIDOLIZATION, Kobalt Music Publishing, Sony Music Publishing, Tamal Vista Music, Universal Music Publishing Group

ALL MY LIFE

• Writers: Lukasz “dr. luke” Gottwald, Theron Thomas
• Publishers: Kasz Money Publishing, Kobalt Music Publishing, Sony Music Publishing, THOMASSTARTING5

BABY DON’T HURT ME

• Writers: Mike Hawkins, Toby Green, David Guetta, Karin Hartmann, Akil “worldwidefresh” King, Tony Hendrik, Steve Mac
• Publishers: Kobalt Music Publishing, Reservoir Media, d/b/a Shapiro, Bernstein & Co, Inc., Sony Music Publishing, Universal Music Publishing Group, Warner Chappell Music

BAD IDEA RIGHT?

• Writers: DANIEL NIGRO, OLIVIA RODRIGO
• Publishers: DANIEL LEONARD NIGRO MUSIC, LIV LAF LUV, Sony Music Publishing

BARBIE WORLD

• Writers: Rene Dif, Claus Norreen, Lene Nystrøm, Johnny Pedersen, Søren Rasted
• Publishers: Universal Music Publishing Group, Warner Chappell Music

BLOODY MARY

• Writers: DJ White Shadow, DJ Snake
• Publishers: Maxwell & Carter Publishing, Primary Wave Music, Songs of Peer Ltd., Universal Music Publishing Group

CHEMICAL

• Writers: Louis Bell, Billy Walsh
• Publishers: Bell Ear Publishing, Universal Music Publishing Group, WMMW Publishing

CREEPIN’

• Writers: Chauncey Hawkins, Erick Sermon, PND
• Publishers: Sony Music Publishing, Hot Heat Music, Kobalt Music Publishing, Notting Dale Songs Inc., Spirit Music Group

CRUEL SUMMER

• Writer: ANNIE CLARK
• Publishers: Hipgnosis Songs Group, NAIL POLISH MANIFESTO MUSIC

CUFF IT

• Writers: Blu June, The-Dream, Morten “Rissi” Ristorp, Beyoncé, Allen McGrier, Raphael Saadiq
• Publishers: Eleven Eleven Studios, Sony Music Publishing, Halla!Halla! Publishing, MC NELLA MUSIC, Midnight Magnet Music Publishing, Oakland 13 Music, Roynet Music, Ugmoe Music, Universal Music Publishing Group, Warner Chappell Music

DANCE THE NIGHT

• Writer: Dua Lipa
• Publishers: Universal Music Publishing Group, Warner-Olive Music

DAYLIGHT

• Writer: Hayden Hubers
• Publisher: Haydmusic

DIAL DRUNK

• Writer: Noah Kahan
• Publishers: Secret Meadow Songs, Sony Music Publishing

EYES CLOSED

• Writers: MAX MARTIN, Shellback
• Publisher: Kobalt Music Publishing

FAST CAR

• Writer: Tracy Chapman
• Publisher: Purple Rabbit Music

FORGET ME

• Writers: Lewis Capaldi, Pete “Merf” Kelleher, Ben Kohn, Philip Plested
• Publishers: BMG, Sony Music Publishing

FUKUMEAN

• Writer: Florion Ongonga
• Publishers: Florion Ongonga, Warner Chappell Music

GOLDEN HOUR

• Writers: JVKE, Zac Lawson
• Publishers: JVKE SONGZ, Kobalt Music Publishing, Melodies of Seventy7 Music, ZVC SONGZ

GREEDY

• Writer: Amy Allen
• Publisher: Warner Chappell Music

HOLD ME CLOSER

• Writers: Bernie Taupin, Henry “Cirkut” Walter
• Publishers: Cirkut Breaker LLC, Critter Toons, Universal Music Publishing Group

HOW DO I SAY GOODBYE

• Writer:
• Jon Hume

JADED

• Writer: Greg Kurstin
• Publishers: Sony Music Publishing, Kurstin Music

JIMMY COOKS

• Writers: 21 Savage, Anderson “Vinylz” Hernandez
• Publishers: Slaughter Gang, Virgoat, Warner Chappell Music

JUST WANNA ROCK

• Writers: Mohamed Camara, Lil Uzi Vert
• Publishers: Anthems of Platinum Grammar, ASCAPUZI, McVertt LLC, Warner Chappell Music

LAST NIGHT

• Writers: Ashley Gorley, JACOB “JKASH” HINDLIN
• Publishers: Kobalt Music Publishing, Domain Capital Group, Poppy’s Picks, Prescription Songs, RAP KINGPIN MUSIC, Sony Music Publishing

LAVENDER HAZE

• Writer: Zoe Kravitz
• Publishers: Universal Music Publishing Group, ZOE KRAVITZ PUBLISHING

LIFT ME UP

• Writer: Ryan Coogler
• Publishers: MARVEL COMICS MUSIC INC, Walt Disney Music Company

LIL BOO THANG

• Writers: Sean Cook, Al McKay, Paul Russell, Maurice White
• Publishers: Sony Music Publishing, Paul Jeffrey Russell Music, Steel Chest Music, Warner Chappell Music

MADE YOU LOOK

• Writer: Meghan Trainor
• Publishers: I Love Tommy Bruce Publishing, Sony Music Publishing

NEED A FAVOR

• Writers: Austin Nivarel, Joe Ragosta
• Publishers: Austin Nivarel Publishing, BMG, Sony Music Publishing

NONSENSE

• Writer: Steph Jones
• Publishers: Hipgnosis Songs Group, Steph Jones Who Music, Walt Disney Music Company

PAINT THE TOWN RED

• Writers: Burt Bacharach, Hal David, Jean Baptiste
• Publishers: BMG, Kobalt Music Publishing, LORD PHARAOH JB MUSIC, New Hidden Valley Music Co, Primary Wave Music, Fuji Music Group, Inc., Universal Music Publishing Group

RICH FLEX

• Writers: Charles Bernstein, 21 Savage, Tip “T.I.” Harris, Anderson “Vinylz” Hernandez
• Publishers: Pimp Squad Publishing, Slaughter Gang, Turnstyle Music, Virgoat, Warner Chappell Music

SEARCH & RESCUE

• Writers: Jeremiah Raisen, Wesley Curtis, Noah “40” Shebib
• Publishers: Heavy Duty Music, Kobalt Music Publishing, Roncesvalles Music Publishing, Sony Music Publishing

SHIRT

• Writer: Robert “Freaky Rob” Gueringer
• Publisher: ROB GUERINGER LLC

SINGLE SOON

• Writers: Selena Gomez, JACOB “JKASH” HINDLIN, Phil Phever
• Publishers: High Phever Music, Kobalt Music Publishing, Prescription Songs, RAP KINGPIN MUSIC, SMG Tunes, Universal Music Publishing Group

SNAP

• Writers: Jeremy “Kinetics” Dussolliet, Courtney Harrell
• Publishers: DYLANBOY MUSIC LLC, Kinetics and One Love, Kobalt Music Publishing, Lemondreams, Warner Chappell Music

SNOOZE

• Writer: Leon Thomas
• Publishers: Eclectic Collective Publishing, Sony Music Publishing

SPIN BOUT U

• Writers: 21 Savage, Tenaia Sanders, Noah “40” Shebib
• Publishers: Kobalt Music Publishing, OOB PRODUCTIONS, Roncesvalles Music Publishing, Slaughter Gang, Warner Chappell Music

STAR WALKIN’ (LEAGUE OF LEGENDS WORLDS ANTHEM)

• Writer: Henry “Cirkut” Walter
• Publishers: Cirkut Breaker LLC, Universal Music Publishing Group

SUNSHINE

• Writers: Alexander “A.E.” Edwards, Asher Saperstein, Armen Zabounian
• Publishers: BackBasement Productions, Kobalt Music Publishing, Peyote Beats Music, Prescription Songs, Slashmania, Sony Music Publishing

SURE THING

• Writer: Miguel
• Publishers: Amaya Sofia Publishing, Art Dealer Chic, Universal Music Publishing Group

SWEET HOME ALABAMA

• Writer: Ed King
• Publishers: EMI FULL KEEL MUSIC, Universal Music Publishing Group

THINKIN’ BOUT ME

• Writer: Ashley Gorley
• Publishers: Michael Scott Paper Company Publishing Company, Sony Music Publishing

TITI ME PREGUNTO

• Publishers:
• RSM Publishing, Universal Music Publishing Group

TOMORROW 2

• Writers: Cardi B, Javaan “Big Toga” Anderson
• Publishers: Eeeooowww Music, Feels Like Summer Ent, Sony Music Publishing, Warner Chappell Music

UNDER THE INFLUENCE

• Writer: Tiffany McKie
• Publishers: TIFFANY MCKIE JAYDE MUSIC, Vydia, Inc.

VAMPIRE

• Writers: DANIEL NIGRO, OLIVIA RODRIGO
• Publishers: DANIEL LEONARD NIGRO MUSIC, LIV LAF LUV, Sony Music Publishing

WHAT IT IS (BLOCK BOY)

• Writers: Kandi Burruss, Tameka “Tiny” Harris, Lawrence (La) Edwards ll aka Lil Atlanta Trill, Jamal Glaze, LaMarquis ‘Lokey’ Jefferson, Akil “worldwidefresh” King, Brian Kennedy
• Publishers: Air Control Music, BMG, Sony Music Publishing, Kandacy Music, Me And Marq Music, MONEY STACKS PUBLISHING LLC, MR FUNKADELIC PUBLISHING LLC, Tiny Tam Music, Warner Chappell Music

Photo Credit: BET Awards

Diddy’s name appears on the ballot designed to pick who will be nominated for this year’s BET Awards, despite being embroiled in multiple lawsuits stemming from sexual assault allegations.

The first round of voting to select the nominees for this year’s BET Awards kicked off this week, and Sean “Diddy” Combs — the music mogul currently involved in multiple controversies and sexual assault allegations — appears on the ballot multiple times.

His latest release, The Love Album: Off the Grid, is up for consideration for album of the year, while the track “Closer to God” with Teyana Taylor from the same album is up for best collaboration. His guest appearance on Metro Boomin’s “Creepin’,” also featuring 21 Savage and The Weeknd, is on the ballot for video of the year.

Though the album didn’t debut to major acclaim on the charts, its high-profile collaborations with artists like The Weeknd, Mary J. Blige, Burna Boy, John Legend, and Justin Bieber have provided some staying power since its release in September 2023. The album was even up for a Grammy, Diddy’s first nomination in 20 years, though he lost to SZA’s SOS.

But the week after his Grammy nom, Diddy was slapped with a sexual assault lawsuit from his former partner and employee, singer Cassie Ventura. Though the two settled the lawsuit just two days later, more lawsuits from others began to pop up with similar claims of sexual assault and harassment. Diddy and his legal team have systematically denied all allegations.

And the controversies haven’t stopped there. In March, Diddy’s Los Angeles and Miami homes were raided by Homeland Security per a federal investigation into allegations of human trafficking. That investigation is not confirmed to be tied to any specific lawsuit against Combs, but many of the allegations in the lawsuits are notably similar, including sexual assault and providing drugs to minors.

The first round of voting for the BET Awards 2024 will close on May 7, while the show itself will kick off on June 30 in Los Angeles. Before the ceremony, BET will host pre-weekend festivities, including the return of the BET Experience. That set will feature performances from artists like Cardi B, Gunna, Sexyy Red, Davido, Queen Latifah, The Roots, Common, and the Jungle Brothers.

Joel T. Jordan, the founder of Synchtank and co-founder of earthprogram has been chosen as a finalist for the ‘Leading Light Award’ at the Music Biz’s Bizzy Awards program.

The following was developed in collaboration with earthprogram, a company DMN is proud to be partnering with.

Speaking to Digital Music News about the nomination that highlights ‘executives working to make the music industry a better place to work,’ Jordan said, “This is an incredible honor to be nominated — let alone be a finalist with these other leaders in the industry who are focusing on real-life solutions to support artists, students, and executives alike.”

For this award specifically, Joel has donated his time and technology directly to University students to help them develop their knowledge of IP management and licensing processes. He is also committed to guiding them through the nuances of the various technologies they must master to succeed in the music business.

The Bizzy Awards is an industry-focused rework of Music Biz’s past awards. It celebrates companies and executives making great strides in advancing commerce within the entertainment sector.

The Leading Light award is presented to executives who demonstrate support for their employees through internal programs focused on enhancing mental health and wellness and maintaining a work-life balance. Jordan is among the top four contenders advancing to the final round of voting.

David Herlihy, Dean of Music at Northeastern University, nominated Joel for the Music Biz Leading Light Award because of his commitment to ‘making sure that creatives get paid, combined with his enthusiastic mentorship of the next generation of music industry professionals.’

Herlihy further applauded Synchtank, calling it a ‘best-of-its-breed digital asset and rights management system,’ adding, “Joel has graciously provided free access to Synchtank for Good Dog Licensing — Northeastern University’s student-run music sync service. Throughout this process, Joel has also selflessly given his time to guide students through integrating Synchtank into the Good Dog Service.”

Originally born out of the earthprogram office, Synchtank is a B2B provider of software tools for music rights holders and rights users (such as platforms, broadcasters, and production companies). The company aims to simplify complex rights, data, and licensing challenges for media companies.

earthprogram’s guiding mantra is to ‘give honest advice to everyone.’ The company provides private distribution, marketing, strategy, business development, and music publishing services to artists, labels, startups, and investors.

Photo Credit: Arindam Mahanta

The Academy of Motion Picture Arts & Sciences has announced several rule changes approved for the 97th Oscars. One of these changes impacts the ‘Best Original Score’ category.

Now in the Music (Original Score) category, three composers will be allowed to receive individual statuettes if they all contributed fully to the score. Previously, three composers were required to submit as a group. These rules now clarify the definition of a group as a recognized band. Also changing is the shortlist category increasing from 15 titles to 20 titles.

The change is a welcome one for composers who collaborate on a score. The previous rule stated, “a second statuette may be awarded when two credited composers function as equal collaborators, each contributing fully to the original dramatic underscore for the film.” With the new rule change, that will increase to three composers.

“The music branch executive committee has the right, in what it alone determines to be a very rare and extraordinary circumstance, to award a third statuette to three individuals who functioned as equal collaborators in the creation of the original score and do not work together as a recognized band or group.”

The new rules would have allowed Trent Reznor, Atticus Ross, and Jon Batiste to each have an individual Oscar statuette for their ‘Best Original Score’ win for the Soul score. Rules at the time meant that win was only awarded one statuette—which Reznor and Ross allowed Batiste to take home as his first Oscar win.

“In cases where three or more credited composers function as equal collaborators in a recognized band, a single statuette may be awarded to the group. Each credit composer in the band must agree to the single ‘group statuette’ option by signing and returning a ‘group award form’ prior to the submission deadline.”

Also changing is the shortlist for ‘Best Original Score’ will increase to 20 titles, though the shortlist for ‘Best Original Song’ will remain at 15 titles. The submission deadline for Original Score and Original Song categories is November 1, 2024.

Photo Credit: Rock and Roll Hall of Fame

The Rock and Roll Hall of Fame reveals the names of 16 artists who will be inducted in 2024, including Cher, Dionne Warwick, Ozzy Osbourne, Foreigner, A Tribe Called Quest, and more.

This year’s inductees into the Rock and Roll Hall of Fame make up a diverse list spanning R&B and rock pioneers from the ‘70s through the ‘90s, with surprising names like Cher, Dionne Warwick, and Jimmy Buffett, who had never before received nominations.

Jimmy Buffett’s death less than a year ago put the Rock Hall committee in a presumably sentimental mood, fast-tracking the father of yacht rock into a non-voted category for musical excellence. Other artists in this category who had never received votes in the other categories include Dionne Warwick and MC5, the latter of whom had been nominated six times in the past.

The inductees in the “performer” category are those selected by the ballot sent out to voters following the announcement of the 15 nominees on February 10. The remaining seven nominees this year — Mariah Carey, Sade, Sinead O’Connor, Jane’s Addiction, Oasis, Lenny Kravitz, and the duo Eric B. and Rakim — will have to wait for another opportunity to be inducted.

Notably, Cher, who had never received a nomination, has expressed as recently as December her ire toward the Hall of Fame, leaving fans wondering how she will react to her upcoming induction. The star told Kelly Clarkson during an appearance on her talk show that “I wouldn’t be in it now if they gave me a million dollars — I’m never going to change my mind. They can just go you-know-what themselves.”

Aside from Cher, four of this year’s other inductees to be voted in were first-time nominees, including Ozzy Osbourne, Peter Frampton, Foreigner, and Kool & The Gang.

Rock and Roll Hall of Fame 2024 Inductees

Performer Category

• Mary J. Blige
• Cher
• Dave Matthews Band
• Foreigner
• Peter Frampton
• Kool & The Gang
• Ozzy Osbourne
• A Tribe Called Quest

Musical Influence Award

• Alexis Korner
• John Mayall
• Big Mama Thornton

Musical Excellence Award

• Jimmy Buffett
• MC5
• Dionne Warwick
• Norman Whitfield

Ahmet Ertegun Award

• Suzanne de Passe

The Rock and Roll Hall of Fame 2024 induction ceremony takes place on October 19 at the Rocket Mortgage Fieldhouse in Cleveland, OH, airing on ABC with a livestream on Disney+, and availability on Hulu the following day.

Leading North American music industry conference Canadian Music Week (CMW), now in its 42nd year, has lured engaging interviewer and former Dire Straits manager Ed Bicknell back to Toronto this June for two keynote interviews. He has not been to Canada since the 1990s.

The following was created in collaboration with Canadian Music Week, a company DMN is proud to be partnered with.

Bicknell will sit down with legendary concert promoter Bill Silva on the June 4 and entertainment lawyer and author Donald Passman on 5th.

“First of all, I have never considered them interviews. I always think of them as conversations. That’s because I don’t have an editorial button in my brain. I love it to be spontaneous,” Bicknell says.

Over the past three-plus decades, Bicknell has “interviewed” about 70 guests, many over the past 23 years for London’s International Live Music Conference (ILMC). He was enticed back to CMW by sheer flattery.

“As you may recall, your contributions to Canadian Music Week in the nineties were nothing short of remarkable,” CMW president Neill Dixon wrote to him in an email.

“Your annual industry celebrity interviews with luminaries such as entertainment lawyer Allen Grubman, Miles Copeland, Peter Grant, Jerry Wexler, Wolfman Jack left an indelible mark on our conference’s history. Your insightful discussions and your ability to delve into the minds of these music industry icons made those moments and laughs unforgettable for our attendees.”

Bicknell says he’s interviewed “everybody imaginable,” label presidents, artists, agents. His favourite was Sir George Martin, but this year he thought he was done.

“I had 23 years doing these interview conversation things with the ILMC and I’d got to the point where, to be quite honest, we were running out of characters. It’s very difficult to interview what I call corporate types because they don’t say anything because, ‘It’s going to be on YouTube in 10 minutes. I can’t do this.’ So, it’s quite difficult to find people.”

Dixon, who saw Bicknell’s interview last month at ILMC with AEG Presents chairman and CEO Jay Marciano, prompted the invitation.

“Your more recent involvement at the ILMC, where you have charmed audiences with your trademark humorous interview style alongside numerous top celebrity guests, further demonstrates your continued relevance and appeal within the live music industry,” Dixon wrote.

No more ego stroking was needed. Bicknell said yes.

“Don and Bill, I’ve known for many years,” he says. “They’re both great speakers and the ideal guests. My main objective is to make it entertaining, as well as informative.”

In the lead up to CMW, Bicknell will not do any preparation, just pack his bag and touch down in Toronto, as promised. “I know the first thing that I’m going to ask, and, after that, it either takes off or it doesn’t,” he says.

The Yorkshire native, who promoted shows in the late 60s by the likes of The Jimi Hendrix Experience, The Who, Pink Floyd and The Kinks, moved to London, where he played drums in several bands. He became an agent at NEMS, representing a range of acts from Jose Feliciano to Black Sabbath to the Ramones. In the late 70s, he started managing newly signed act Dire Straits, which went on to sell over 156 million albums worldwide.

When the band dissolved in 1993, he continued representing frontman Mark Knopfler, as well as Gerry Rafferty, Bryan Ferry, and others. In late 2000, he amicably stopped managing Knopfler and closed his office. A few years later, LA’s William Morris Agency hired him to set up and run a London office. He left in 2010.

CMW’s conference runs June 3-5 at The Westin Harbour Castle. The festival, Canada’s largest for new music, is June 1-8.

The panels and presentations at Pop Conference 2024 were an education in music history — topics ranged from how a Mexican military brass band helped shape Jazz in New Orleans, to a deep dive into the rave scene subculture.

The following comes from Open On Sunday, a company DMN is proud to be partnering with.

USC’s Thornton School of Music was a fitting backdrop for Pop Conference 2024 in Los Angeles. This year’s theme was ‘Legacy, Music Collections, and Archives.’

Speaking to DMN, presenter Lily Moayeri explained how she turned a career’s worth of band interviews into a successful podcast, Pictures of Lily. “We just did episode 80 last month which was Noel Gallagher — it was an interview I did with him from 1995. Next episode is going to be Daft Punk from 1997. And I have two or three more Daft Punk interviews as well, so they might be coming down the line. And I have a lot of interviews with Noel, so they might be coming down the line too,” Msayeri said.

Another awesome topic was peeling back the layers of country music, and how artists like Beyonce and others are starting to shed light on part of the genre’s rich history that was once suppressed from the public.

Jwly Hight, Journalist for Nashville Public Radio spoke about figures that have been traditionally held up as the founding parents of country music, such as Jimmy Rogers and The Carter Family, and so on. “Alice Randall, her own mission has been to bring black voices and brown voices into country music and to redefine how the history of country music and that narrative is told,” said Hight, adding, “[Randall’s] written a book [My Black Country] that not only centers her own legacy, but goes back to the very beginning of commercially recorded country music.”

“[It] shows that there have been black originators and pioneers all along, even though they have been erased from so many tellings of the story,” Hight explained.

The highlight of Pop Con 2024 was a trip down memory lane with keynote speakers Wendy Melvoin and Lisa Coleman.

The legendary musicians and songwriting duo recalled their days creating magic in the band, Prince and the Revolution, recording their own music, and collaborating on countless successful music and film projects.

Lisa told the story of how she first met and auditioned for Prince. After he picked her up from the airport in his hometown of Minneapolis, Lisa lit a cigarette in Prince’s Fiat. Later at his home, Prince was about to get her a ‘plane ticket back to LA’ until he heard her play the piano in his basement. “And the rest was history,” Lisa said.

Pop Conference 2024 took place March 7-9 in Los Angeles.

The following comes from Open On Sunday, a company DMN is proud to be partnering with.

We were on the ground in Austin, Texas, for South by Southwest (SXSW) 2024 — the place to be to share industry knowledge, ideas, and innovations.

Thousands from around the world converged on the city for SXSW 2024. The week-long music, film, and tech conference showcases the most prominent names and stars in the industry — and provides opportunities to learn and network.

Many of this year’s panels focused on celebrating women’s successes and highlighting their incredible achievements in music, business, and entertainment.

Joi Brown, founder and CEO of Culture Creators — which Brown reveals ‘positions itself as a vital link between global cultural leaders and the generation of diverse creators’ — spoke to DMN at SXSW about lending encouragement and support to those striving for success.

Brown said, “I always hold true to what I believe God purposed me to do on this planet — which is to inspire and to provide opportunities for others to achieve their goals.”

The Creative Industries Expo, held at the Convention Center, is always a hit at SXSW.

The expo showcases the latest technology, from electric vehicles and home assistant robotics to advances in audio speaker systems. The biggest takeaway from the expo in 2024: AI and VR continue to dominate the tech landscape.

Amy Web, CEO of Future Today Institute, told DMN, “Artificial Intelligence is the present, it’s here.”

Richard James Burgess, President and CEO of the American Association of Independent Music (A2IM), believes ‘it’s an interesting time for music,’ adding, “We’ve been in the streaming economy for a couple of decades now. We’ve been in the digital economy for a quarter of a century.”

“We’re at a sort of a turning point in the industry. There’s a lot of new interesting models being talked about — things that will ultimately make a big difference,” Burgess said.

Neeta Ragoowansi, President of the Music Managers Forum (MMF-US), spoke about the opportunities presented by SXSW 2024.

We have all these artists’ managers coming in to mix and network, as well as labels, publishers, and DSPs. I see performing arts rights societies and sponsors and partners of all sorts coming in, so we’re really happy to be here,” Ragoowansi said.

With a focus on networking, learning, and unlocking opportunities, several other off-site events and day parties took place all over Austin during SXSW 2024 — providing the platform for up-and-coming artists and songwriters to showcase their music and make key connections in the industry.

SXSW 2024 took place on March 6-18.

Photo Credit: Country Music Association

The CMA announces Country Music Hall of Fame 2024 inductees John Anderson, James Burton, and the late Toby Keith.

The Country Music Association (CMA) has announced the 2024 inductees into the Country Music Hall of Fame: John Anderson, James Burton, and Toby Keith. Country Music Hall of Famers Brooks & Dunn hosted the CMA press conference to reveal the news, streamed live on CMA’s official YouTube channel.

James Burton will be inducted into the Recording and/or Touring Musician category, an honor awarded every third year in rotation with Songwriter and Non-Performer categories. John Anderson will be inducted into the Veterans Era Artist category, while Toby Keith will be posthumously inducted into the Modern Era Artist category.

“This year’s nominees exemplify the excellence of our genre,” said Sarah Trahern, Chief Executive Officer of the CMA. “James, John, and Toby have each made an indelible impact and brought their distinctive contributions to Country Music, enriching our format. Their influence is evident throughout the longevity of their careers, ensuring each legacy will thrive indefinitely. It is with great pride that we welcome these three remarkable individuals into the esteemed ranks of the Country Music Hall of Fame.”

“After several days, I am still trying to grasp the reality of being inducted into the Country Music Hall of Fame,” says Anderson. “It is one of the greatest honors I could ever receive. My love and heartfelt gratitude goes out to the fans who have supported me through the years, everyone at the Country Music Hall of Fame, and all of those who made this possible. I am proud and honored beyond words.”

“Toby’s passing left our hearts broken,” says the late singer’s family. “We miss him so much, but we take comfort that his music and legacy will live forever. Thank you, Country Music Hall of Fame, for helping keep it alive.”

Of finding out about his upcoming induction, James Burton said, “I was completely shocked and couldn’t think of anything to say. […] I am so humbled and excited to be recognized in this way. So much of my career was spent playing for incredible country artists and to now be going up on that wall with all those innovators and industry greats is just incredible.”

“Each of the three new inductees has left a deep and distinctive stamp on our genre,” says Kyle Young, Country Music Hall of Fame and Museum Chief Executive Officer. “They have all profoundly shaped our music, and we are honored and delighted that their achievements will now forever be enshrined in the Country Music Hall of Fame.”

The formal induction ceremony for Anderson, Burton, and Keith will take place at the Country Music Hall of Fame and Museum in the CMA Theater this October. A reunion of the Hall of Fame membership, the Museum’s Medallion Ceremony, is the official rite of induction for new members.

Hard Summer Music Festival is making its move to Hollywood Park, adjacent to SoFi Stadium, August 3-4, 2024, in Inglewood, CA.

HARD Events has announced the 2024 edition of HARD Summer Music Festival. The festival has grown to become the biggest electronic music event in Los Angeles.

The 2024 lineup features a mix of electronic music’s top tier, underground artists, crossover acts, live performers, and emerging talent. In past editions, the festival had featured more rap and hip-hop acts. This year is the year of crossover acts.

The organizers put together a sweet reveal of the crossover acts with child versions of the DJs and producers.

going HARD since day 1!💥 Come thru HSMF 2K24 on August 3 + 4 at Hollywood Park adjacent to SoFi Stadium! 🤯 2-Day & Single Day tickets go On Sale this Friday, 3/8 @ 10AM PT for a $9.95 deposit (limited time only)! 🔗 FULL LINEUP at https://t.co/s83XEy4OqM pic.twitter.com/zaVj2VtzUT

— HARD Events (@HARDFEST) March 5, 2024

Kicking off the stacked acts of this year’s lineup reveal with GRAMMY-nominated Disclosure, FISHER + Chris Lake: Under Construction, and REZZMAU5, a joint project of Rezz and deadmau5.

Last year at Coachella 2023, FISHER + Chris Lake: Under Construction brought over 50,000 people to the Outdoor Stage. In October 2023, the duo also took over the streets of Los Angeles, spanning from Cahuenga Boulevard to the top of Hollywood/Vine Street. 

Not only will there be heavy-hitting crossover acts, but there are some notable guest headliners – GRAMMY-winning singer/songwriter Nelly Furtado, Jamie xx of The XX group, and international trio Major Lazer.

Heavier sounds will be prominent, with Subtronics, Zeds Dead, Sub Focus, Dimension, and emerging producer Hamdi on the lineup.

Several HARD Summer alumni will be returning to the festival. This includes Tchami x Malaa: No Redemption, Dillon Francis, SIDEPIECE, and “Diamonds On My Mind” ‘s Eli Brown. 

Fans of the festival will also have two remaining acts revealed at a later date. 

Hollywood Park spans nearly 300 acres on the same grounds of SoFi Stadium and YouTube Theater.

There will be five stages in total:

• The HARD Stage: known as the mainstage for the festival’s marquee acts. 
• Pink Stage: hosting house and techno
• The HARDER stage: hosting multi-genre acts throughout the festival. 
• Green Stage: hosting heavy bass and dubstep acts. 
• Purple Stage: club-minded DJ sets and live performances.

Fans can purchase festival passes, including Two-day GA, GA+, and VIP options, starting March 8 at 10 AM PST. For a limited time, the festival organizers are offering a $9.95 deposit. 

Full lineup from (A-Z)

33 Below

Ahadadream

Alleycvt

ARMNHMR

AYYBO

Beltran b2b Classmatic

BEME

Bianca Oblivion

Boys Noize

BUNT.

Camden Cox

Carola

Channel Tres

Chase & Status

Chloe Caillet

Chris Stussy

Cole Knight

Curra

Dillon Francis

Dimension

Disclosure

DJ Heartstring

DJ Susan

Elderbrook

Eli Brown

FISHER + Chris Lake: Under Construction

Gudfella

Hamdi

Hayes Bradley

Hedex

HoneyLuv b2b Bontan

INFEKT

Interplanetary Criminal

INVT

Jamie xx

Juelz

Jyoty

Kanine

Kenny Bears

Kerri Chandler

KETBOI69 (KETTAMA B2B PARTIBOI69)

Lake Hills

Level Up

Levity

Lupa

Major Lazer

Mary Droppinz

Matroda

Mochakk

Nazaar

Nelly Furtado

Notion

Oppidan

Overmono

Panteros666

Pocket

Ranger Trucco

Reaper

REZZMAU5

Saka b2b Fly

San Pacho

Seth Troxler b2b DJ Tennis

SIDEPIECE

Sofi Tukker (DJ Set)

SOSA

Sub Focus

Subtronics

Tchami x Malaa: No Redemption

Teko

TroyBoi

Wax Motif

Zeds Dead

Photo Credit: The Grammy Museum

The Grammy Museum and Recording Academy have announced the Grammy Hall of Fame is returning on its 50th anniversary after a two-year hiatus.

The return will be celebrated with an inaugural gala and concert on May 21, 2024 at the NOVO Theater in Los Angeles. The Grammy Hall of Fame was established by the Recording Academy’s National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old.

Inductees are selected annually by a special member committee of professionals from all branches of the recording arts with final ratification by the Recording Academy’s National Board of Trustees.

This year the Hall will bring forth 10 new inducted recordings—four albums and six singles. There are currently 1,152 inducted recordings in the Grammy Hall of Fame. Inductees for 2024 will be announced at a later date.

The Grammy Hall of Fame Gala will be the first of what will become an annual event, including a red carpet and VIP reception on the Ray Charles Terrace at the Grammy Museum followed by a one-of-a-kind concert at the NOVO Theater in downtown Los Angeles.

Produced by longtime Executive Producer of the Grammy Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile. Musical Direction by globally renowned producer and keyboardist Greg Phillinganes. Tickets and performers will be announced at a later date.

The Grammy Museum is currently celebrating its 15th anniversary as a non-profit organization dedicated to celebrating and exploring music from yesterday and today to inspire the music of tomorrow through exhibits, education, grants, preservation initiatives, and public programming.

Paying tribute to our collective musical heritage, the Museum values and celebrates the dynamic connection in people’s diverse backgrounds and music’s many genres, telling stories that inspire us, and creative expression that leads change in our industry.

The Recording Academy initially paused its honorary awards programs for a year in 2021, extending that hiatus another year. The pause came as the Recording Academy announced it was re-tooling the whole process of inducting recordings. The two-year hiatus is the first time the Recording Academy suspended the honors ceremony.

Last night, Insomniac hosted its Night Owl Radio show to unveil the EDC Las Vegas 2024 lineup uniquely with Music Through Music. Those tuned into the livestream got a first-hand taste of the headliners for this year’s festival. Here’s the official reveal.

Insomniac, recognized as a leading creator of world-class music festivals and live entertainment experiences, announced the return of Electric Daisy Carnival (EDC) Las Vegas. Transforming the iconic Las Vegas Motor Speedway from May 17th to May 19th, 2024, with an expected attendance of 525,000, festival goers will join to immerse themselves in this year’s theme, kineticCIRCLE.

kineticCIRCLE will commemorate the circle of life, emphasizing community bonds and the shared memories of the past and present, all dancing under the Electric Sky.

Artists performing in this year’s edition range from Kaskade, Dom Dolla, Tiësto, David Guetta, John Summit, FISHER, Diplo, Deadmau5, Illenium, Allison Wonderland, Purple Disco Machine, Eric Prydz and many more.

The anthem for this year’s EDC will be provided by Tiësto, featuring an exclusive track set to drop in May both as a standalone single and as part of the 2024 EDC Las Vegas compilation album.

In addition to the single acts, there will be many back-to-back sets from John Summit b2b Green Velvet, Carl Cox b2b Nicole Moudaber, Peggy Gou b2b Marcel Dettman, Subtronics b2b Level Up, and more.

Carl Cox, one of Britain’s most iconic house and techno DJs, will grace the EDC stage for the first time since 2015, marking a significant return.

This year’s festival will feature debut performances from artists such as Peggy Gou, Four Tet, Mersiv, LAYZ, Tape B, Bou, Lilly Palmer, Sara Landry, Marcel Dettman, and many others.

During the radio show, Insomniac Founder and CEO Pasquale Rotella unveiled plans for a revamped festival layout, exclusive production upgrades and stage features, and made general announcements.

• Significant changes are being made to the entire festival layout. A volume of attendees noted some bottleneck issues and overflow at some stages last year. This was the first note they acknowledged on the stream and announced significant changes for crowd flow and comfortability in mind. In addition, Insomniac and the Las Vegas Motor Speedway are working together to repave most of the asphalt, making it more convenient for foot traffic to navigate.
• bassPOD, wasteLAND, neonGARDEN, and quantumVALLEy will move and have new locations on the grounds.
• Downtown EDC will also be a part of the move with its new placement center stage within the festival grounds.
• Country is making its way to the electronic music festival with the YeEDC Saloon newly being implemented. The announcement of the artists slated to perform in this new space will be made at a later date.
• New art cars & new art installations.
• A few special guests, not mentioned in this announcement, are slated to perform at EDC Las Vegas and have yet to be revealed.
• Electric Daisy Carnival will be making its way to Thailand for the first time.

What are the costs?

3-Day General Admission tickets had sold out previously during the Early Owl sale. There are still tickets available for other tiered access. 

• 3-Day GA+ Experience Passes are available at $599 plus taxes and fees. 
• 3-Day VIP Elevated Experience Passes are available at $1,199.99 plus taxes and fees.

Artists in alphabetical order:

Abana b2b D. Zeledon

Acraze b2b Kream

Adam Beyer

Adam X

Adrenalize b2b Wasted Penguinz

Adventure Club

Airwolf Paradise

Alchimyst

Alesso

Alison Wonderland

Aly & Fila

Andrew Bayer

Andrew Rayel

Andruss

Angerfist

Argy

Armin van Buuren

ATLiens

Atmozfears

Audiofreq

Azzecca

BEC

Before Dawn

Ben Hemsley

Ben Sterling

Benny Benassi

Bianca Oblivion

Blastoyz

Boogie T

Bou

Boyz Noize

Boyz Noize b2b VTSS

Brina Knauss

Bryan Kearney

Calussa

Camden Cox

Carl Cox Invites

Carl Cox b2b Nicole Moudaber

Caspa

Cassian

Chef Boyarbeatz

Chelina Manuhutu

Cristoph

Clawz b2b Domina

Crankdat

Creeds & Helen Ka

D-Sturb

Da Tweekaz

Dabin

David Guetta

Daxson

Dead X b2b Levenkhan

Deadly Guns

Deadmau5

Death Code

Deborah De Luca

Deeper Purpose

Denis Sulta

Deorro

Devault

Devin Wild

Devin Wild b2b Keltek

Dillon Francis

Dimension

Diplo

DJ Heartstring

DJ Snake

Dom Dolla

East End Dubs

Eli Brown

Eli Brown b2b HI-LO

Emorfik

Eric Prydz

Excision

Fallen with MC Dino

Ferry Corsten

Fisher

Fleur Shore

Four Tet

Frosttop b2b RemK

GEO

Ghastly Presents Ghengar

Giuseppe Ottaviani

GRAVEDGR

Grigoré

Gryffin

HAAi

Hamdi

Hannah Laing

Hedex

Heidi Lawden

Hint Of Lavender

Hivemind (Kayzo x Space Laces x Must Die!)

Hixxy

HOL!

HoneyLuv

HUGEL

ILLENIUM

Indira Paganotto

Infected Mushroom

Interplanetary Criminal

[IVY]

J. Worra

Jamie Jones

Jeanie

Jessica Audiffred

John 00 Fleming

John Summit

John Summit b2b Green Velvet

Joluca

Jon Casey

Joseph Capriati

Justin Jay

Jyoty

Kai Wachi

Kasablanca

Kaskade

Kayzo Unleashed XL

Keltek

Kevin de Vries

Kevin Saunderson b2b DJ Minx

Khiva

Khomha

Klangkuenstler

Koven

Kreation b2b Darksiderz

Kyle Walker

Lady Faith

LAYZ

LF System

Lil Texas

Lilly Palmer

Lost Frequencies

LSDream

Luttrell

Maddix

Majestic

Malóne

Mandy

Marauda

Marcel Dettman

Markus Schulz

Marlie

Marsh

Martin Garrix

Mary Droppinz

Matroda

Matroda b2b San Pacho

Matt Sassari

Mau P

Max Styler

Melé

Mersiv

Metta & Glyde

Mind Against

Miss Dre

Mitis

Miyuki

MK

Naz

NGHTMRE

Nicole Moudaber

Nifra

Nightstalker

Ninajirachi

Noizu

Noizui b3b Westend b3b Melé

Odd Mob

Odd Mob x OMNOM: Hyperbeam

Oden & Fatzo

Orjan Nilsen & Mark Sizma Pres Nilsix

Öwnboss

Panteros666

Paul Oakenfold (Full on Fluoro)

Paul van Dyk

Peggy Gou

Peggy Gou b2b Marcel Dettman

Pocket

Prunk

Pryda

Purple Disco Machine

Ranger Trucco

Rated R

Rayben

Richter

Riordan

Sally C b2b Matisa

Sara Landry

Seven Lions

Shiba San

Shlømo

Sicaria

Sidney Charles

Skin on Skin

SLANDER

Sofi Tukker (DJ Set)

Soren

Sosa

Sound Rush

Steve Aoki

Sub Focus

Sub Zero Project

Subtronics

Subtronics b2b Level Up

Svdden Death

Talla 2XLC

Tape B

Taylor Torrence

Tiësto

Timmy Trumpet

ToBeHonest

Troyboi

Trym

Valentino Khan

Vintage Culture

Virtual Riot

Vuiiigur

Wade

Warface

Wasted Penguinz

Water Spirit

Wilkinson

Will Clarke

Wooli

Worship (Sub Focus b2b Dimension b2b Culture Shock b2b 1991)

Wuki

X-Coast

Yosuf

Yotto

Zedd

Zen Freeman

Zingara

Zomboy

Zuezeu

At 6 P.M. Pacific Time on February 29th, Insomniac’s Night Owl Radio will embark on a live journey, transforming the 2024 EDC Las Vegas lineup reveal into an interactive experience through the Music Through Music lineup unveiling.

Electric Daisy Carnival (EDC) Las Vegas is uniquely changing the way music festivals engage their community with a lineup announcement dubbed the “Music Through Music” lineup reveal. This innovative approach provides an interactive experience for Insomniac’s community of festival goers.

Scheduled to kick off at 6 P.M. Pacific Time on Insomniac’s official YouTube page, the “Music Through Music” lineup reveal will take the form of a special edition of Night Owl Radio.

Pasquale Rotella, Founder of Insomniac, will unveil the official lineup for EDC Las Vegas 2024 through a megamix. However, this won’t be the typical lineup announcement with an extensive list of names dropped. The Music Through Music lineup reveal will take the audience on an immersive journey through 255 tracks, each representing an artist on the festival’s lineup.

With 18 minutes in total, the mission for the EDC community and audience is to decode the lineup and piece together the puzzle of performers for this year’s event. 

Listeners may recognize familiar tracks off the bat, while others might rely on tools like Shazam to uncover the creators behind the music.

Behind-the-scenes footage from last night’s dress rehearsal for the “Music Through Music” lineup reveal has been shared with Digital Music News, showcasing the planning and excitement building up to the show. 

It’s important to note that the BTS footage serves as a teaser and no hints are included for tonight’s reveal from the rehearsal. As anticipation mounts and speculation runs wild, EDC Las Vegas continues to push the boundaries of creativity and community engagement in the festival landscape.

In an era where traditional lineup announcements have become the norm and feel like one dropping after the other, EDC Las Vegas 2024’s “Music Through Music” lineup reveal stands out as a bold and refreshing launch. 

By inviting fans to actively participate in decoding the lineup, the electronic music festival fosters excitement that will only garner more excitement for those who will be attending the festival in May. 

The audience for the livestream will be able to engage and interact with each other to assist in decoding the lineup before the official reveal.

The success of this reveal could encourage festival holders to reconsider the ways they engage their communities for lineup reveals. We might be embarking on a new journey of event organizers gamifying their headliner reveals.

Stay tuned for the full lineup reveal and list of all headliners performing at EDC Las Vegas 2024.

Photo Credit: OneOf

In 2021, the Recording Academy struck up a partnership with NFT platform OneOf to distribute three NFT collections to commemorate the 64th, 65th, and 66th Grammy Awards. So what happened?

Details for the NFT partnership with the Quincy Jones-backed NFT platform were revealed November 2021. Both the 64th and 65th Grammy Awards received their NFT tie-ins as part of that planned partnership, but the 66th Grammy Awards NFTs are nowhere to be found on the OneOf website. So what happened to that partnership?

“In considering an NFT partner, we were committed to working with a like-minded organization that had an artist-first approach and we undoubtedly found that in OneOf,” Recording Academy Co-President Panos A. Panay said in the initial announcement of the partnership.

“As an Academy, we are always looking for ways to help artists discover new forms of creative expression, while also creating new ways of income generation and ways for fans to interact with the artists that they love. OneOf shares that vision, and we are proud to work with a sustainable NFT company.”

But as funding for music web3 projects dried up in 2023, OneOf has seemingly disappeared from the conversation. Digital Music News covered the platforms’ first new drop in more than six months in January 2024—a Music Hall of Fame NFT collection featuring art prints and vintage slides of popular music figures including KISS, Jim Morrison, Jimi Hendrix, David Bowie Elvis Presley, Notorious B.I.G., and more.

Those NFTs are available for sale on the OneOf website for $395, though a peek at the transaction records show the sales have been few and far between.

OneOf seems have run afoul of the hardcore NFT buyers who feel as though the platform is now a joke. “Most of us won’t spend another dime until they follow through with promises of past drops,” one investor told Digital Music News. “When I bring them up on NFT groups, it is as a joke or [people] have never heard of OneOf.”

The Recording Academy seems to have given up on the partnership as NFTs were not a part of the discussion for the 66th Grammy Awards at all—especially as funding in the space has dried up. Crunchbase reports total web3 funding fell 74% in 2023 compared to 2022’s funding figures—from $26.6 billion down to just $7 billion.

Super Bowl LVIII halftime show performers’ net Spotify monthly listener gains between February 10th and 18th (Source: Chartmetric)

The longest and most-viewed Super Bowl in history featured performances from a number of artists – chief among them Usher, who headlined a star-studded halftime show sponsored by Apple Music. But what kind of commercial results did the big game drive for the acts?

According to Nielsen, Super Bowl LVIII attracted a record 123.7 million average viewers, up markedly from LVII’s approximately 115 million watchers and over 20 percent higher than LVI’s viewership. Fueled by a competitive match-up that culminated in a nailbiter overtime ending – and, of course, the presence of Taylor Swift – LVIII, besides being the most-viewed Super Bowl to date, scored the “largest TV audience on record,” Nielsen noted.

With all that said, relatively little attention has been directed to the precise commercial impact of the Super Bowl – including streams and more – for the involved artists.

So how did the Super Bowl’s musical superstars fare?

Report Table of Contents

I. Super Bowl LVIII’s Halftime Show by the Numbers

Graph: Super Bowl LVIII Halftime Show Performers’ Spotify Monthly Listener Growth

Graph: Selected Halftime Show Tracks’ Spotify Streams Growth

II. Did Super Bowl LVIII’s Ratings Magic Translate Into a Popularity Boost for Pregame Performers?

Graph: Super Bowl LVIII Non-Halftime Show Performers’ Spotify Monthly Listener Growth

III. Can Super Bowl Commercials Spur Career Growth for Artists?

IV. By the Dates: A Timeline of Super Bowl LVIII’s Music-Related Developments

Please note: Redistribution of this report is prohibited.

Backstage at the 66th Grammys, Atlanta rapper Killer Mike calmly took questions after he won three Grammys, including Best Rap Album for ‘Michael.’ Just moments later, Mike became the talk of the event as he was escorted out of Crypto.com Arena and arrested after a misdemeanor altercation with a security guard.

The following was developed in collaboration with Open On Sunday, a company DMN is proud to be partnering with.

Shortly before his surprise arrest, DMN asked Grammy-winner Killer Mike whether he consciously set out to make an album that people are calling ‘refreshing, and back to true, real hip-hop.’

In measured tones, Mike answered that he ‘consciously set out to make the best album in the world,’ adding, ‘I consciously set out to sell the story of a young black boy growing up in the west side of Atlanta, so that the world can see that our narrative isn’t just victimization and losing but we can win, we can thrive, and we’ll prosper, and I’m confident in saying that we’re gonna be right back at your ass and do it again next year.”

Moments later, Killer Mike got into an altercation with Grammys security guards. He was quickly escorted out of the event and arrested by LAPD officers on misdemeanor battery charges.

Outside of that unfortunate event, the multi-hour Grammys showcase went smoothly.

The event kicked off with a fantastic performance by Dua Lipa. Luke Combs and Tracy Chapman struck an emotional chord with ‘Fast Car.’ SZA performed her Grammy-winning hits, and Miley Cyrus rocked the house with her Grammy-winning Record Of The Year, ‘Flowers.’

Lainey Wilson, winning her first Grammy for Best Country Album, ‘Bellbottom Country,’ spoke humbly during her acceptance speech, highlighting the incredible journey of her success. “I am from a farming community in Northeast Louisiana, a little town of 200.”

Victoria Monet won Best New Artist, and Billie Eilish took home the Grammy for Song of the Year, writing ‘What Was I Made For,’ for the Barbie Soundtrack. Speaking about what appears to have been the year of the woman at the Grammys, Eilish said, “As a woman, it feels a lot of the time like you’re not being seen, and I feel that this makes me feel very seen.”

And no big surprise, Taylor Swift won the night, taking home her fourth Album of the Year Grammy — this time, for ‘Midnights.’

“I would love to tell you that this is the best moment of my life,” Swift said during her acceptance speech. “But I feel this happy when I finish a song, or when I crack the code to a bridge that I love, or when I’m shot listing a music video, or when I’m rehearsing with my dancers, or my band, or getting ready to go to Tokyo to play a show.

“For me, the award is the work, and all I want to do is keep being able to do this. I love it so much! It makes me so happy. It makes me unbelievably blown away that it makes some people happy who voted for this award, too. All I want to do is keep doing this. So, thank you so much for giving me the opportunity to do what I love so much. Mind blown!” Swift said.

Photo Credit: Eva Rinaldi / CC by 2.0

The Grammy Awards recorded a surge in growth in 2024 as the post-pandemic recovery continues, a record high since 2020.

The 66th Grammy Awards raked in a record growth since before the COVID-19 pandemic began in 2020, with 16.9 million viewers on CBS, according to Nielsen data — a 34% increase over last year’s 12.4 million. The ceremony’s livestream on Paramount+ saw even higher viewership, up 173% from last year’s online audience, with estimates for delayed live-plus three-day viewing expected to bring the Grammys audience over 17 million.

Viewership for the 2024 Grammys peaked with 18.25 million from 9:45 to 10 PM ET during the In Memoriam segment featuring performances from Stevie Wonder, Annie Lennox, Jon Batiste, and Fantasia Barrino. This year’s viewership also substantially exceeded that of the 2021 show, which only saw 9.39 million total viewers, and the 2022 show’s 9.59 million.

But this year’s numbers are still pale compared to the ceremony’s pre-pandemic audience, with 18.8 million total viewers in 2020 and 19.9 million in 2019. That said, 2024’s viewership numbers show light at the end of the tunnel as live events continue their post-pandemic recovery.

The Grammys red carpet event saw similar viewership growth this year, with 1.5 million viewers, up from 1.1 million the previous year. That’s also the biggest audience for the event since a pre-pandemic 2020.

Comedian Trevor Noah hosted the ceremony for the fourth year in a row, broadcast live from the Crypto.com Arena in Los Angeles. Sunday night’s show featured performances from Billy Joel, Burna Boy, Joni Mitchell, SZA, U2, Dua Lipa, Billie Eilish, Travis Scott, Olivia Rodrigo, and Luke Combs featuring Tracy Chapman.

In addition to the night’s performances, the 2024 Grammys featured several watercooler moments: Jay-Z called out the snubbing of wife Beyonce in the Album of the Year category, and Taylor Swift announced a new album dropping in April while claiming her award for Best Pop Vocal Album. Meanwhile, rapper and award winner Killer Mike was detained and questioned following an alleged physical altercation.

Photo Credit: The Recording Academy / YouTube

While accepting the Dr. Dre Global Impact Award last night at the Grammys, Jay-Z had some beef with The Recording Academy he needed to get off of his chest.

During his speech, Jay-Z made mention of DMX’s lack of nomination, and the lack of an Album of the Year win for Beyoncé, who has won 32 Grammys. “DMX dropped two albums [in 1998], they both went number one and he was not nominated at all. So I boycotted, and I watched the Grammys. I’m just saying, we want y’all to get it right,” the rapper said.

He then turned his attention to his wife Beyoncé. “I don’t want to embarrass this young lady, but she has won more Grammys than anyone and never won Album of the Year. So even by your own metrics, that doesn’t work,” Jay-Z continued. Renaissance lost the Album of the Year award this year to Harry Styles’ Harry’s House.

“Some of you are gonna go home tonight and feel like you’ve been robbed. Some of you may get robbed. Some of you don’t belong in the category. When I get nervous, I tell the truth. You’ve got to keep showing up. Until they give you all those accolades you think you deserve. Until they call you chairman. Until they call you a genius. Until they call you the greatest of all time,” he concluded his speech. “You feel me?”

Jay-Z is tied with Kanye West for the rapper with the most Grammy wins in history—both have a total of 24 to their name. They’re both outshined by Beyoncé, who has 32 wins to her name despite the lack of an album of the year win. While Jay-Z’s comments are a known criticism of The Recording Academy that has prompted several artists’ to boycott—its also remniscent of Kanye’s interruption of Taylor Swift during the 2009 MTV VMAs.

“Yo Taylor, I’m really happy for you, I’mma let you finish. But Beyoncé had one of the best videos of all time!” the rapper told Swift, who was 19 at the time. At the time, the camera cut to Beyoncé who mouthed the words, ‘Oh Kanye.’

Photo Credit: The Recording Academy / YouTube

During her acceptance speech for Best Pop Vocal Album, Taylor Swift made a surprise announcement—expect a new album in 2024.

“My brand-new album comes out on April 19,” Taylor Swift told her fans during acceptance speech for Midnights. “It’s called ‘The Tortured Poets Department.’ I’m going to go and post the cover right now backstage,” she told the audience. Just a few moments after walking off-stage, a new post appeared on Taylor’s Instagram.

Swifties across the globe were ecstatic with the news, though many of them were speculating online last night after the TaylorSwift.com website briefly went offline. Some wondered if it would be the announcement of another Taylor’s Version album re-release, but now we know it’s an entirely new album.

Once the site re-appeared, of course there were new pre-order and merchandise options. Slick marketing indeed, Tay-Tay. The Tortured Poets Department will be Swift’s 11th studio album release, not counting her re-recordings of previous albums to wipe her slate of Scooter Braun. The last original album to release was Midnights in 2022, with two Taylor’s Version albums (Speak Now, 1989) releasing since then.

Swift later picked up Album of the Year, setting a new record for the Grammys—she’s the most-awarded artist (Midnights, Fearless, 1989, Folklore) in that category.

“I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song, or when I crack the code to a bridge that I love, or when I’m shortlisting a music video, or when I’m working with my dancers,” she told the audience while accepting the Album of the Year award from Celine Dion.

Now she’ll be jetting off to perform on her Eras Tour for four nights in Tokyo before heading to the Super Bowl. For the Swifties worried Taylor might not make it back to the States in time—don’t worry. There’s plenty of time. Even the Japanese Embassy chimed in on the issue.

Photo Credit: The Recording Academy

The 2024 Grammys took place on Sunday night, February 4th. So who won what? Taylor, Miley, SZA, Billie, boygenius, and more topped the list.

‘Music’s Biggest Night’ 2024 has come and gone, with the 66th Grammy Awards broadcasting live on Sunday, February 4 at the Crypto.com Arena in Los Angeles. Here’s a list of all the winners who took home a coveted gramophone statuette and a 2024 “Best” title.

1. Record of the Year — Flowers – Miley Cyrus

2. Album of the Year — Midnights – Taylor Swift

3. Song of the Year — What Was I Made For? [From the Motion Picture “Barbie”] – Billie Eilish

4. Best New Artist — Victoria Monét

5. Producer of the Year, Non-Classical — Jack Antonoff:

Being Funny in a Foreign Language (The 1975)

Did You Know That There’s a Tunnel Under Ocean Blvd (Lana Del Rey)

Midnights (Taylor Swift)

6. Songwriter of the Year, Non-Classical — Theron Thomas

“All My Life” (Lil Durk Featuring J. Cole)

“Been Thinking” (Tyla)

“Cheatback” (Chlöe & Future)

“How We Roll” (Ciara & Chris Brown)

“Make Up Your Mind” (Cordae)

“Pretty Girls Walk” (Big Boss Vette)

“Seven” (Jungkook & Latto)

“Told Ya” (Chlöe & Missy Elliot)

“You and I” (Sekou)

7. Best Pop Solo Performance — Flowers – Miley Cyrus

8. Best Pop Duo/Group Performance — Ghost in the Machine – SZA Featuring Phoebe Bridgers

9. Best Pop Vocal Album — Midnights – Taylor Swift

10. Best Dance/Electronic Recording — Rumble – Skrillex, Fred again.. & Flowdan

11. Best Pop Dance Recording — Padam Padam – Kylie Minogue

12. Best Dance/Electronic Music Album — Actual Life 3 (January 1 – September 2022) – Fred again..

13. Best Rock Performance — Not Strong Enough – boygenius

14. Best Metal Performance — Metallica – 72 Seasons

15. Best Rock Song — Not Strong Enough – boygenius

16. Best Rock Album — This is Why – Paramore

17. Best Alternative Music Performance — This is Why – Paramore

18. Best Alternative Music Album — The Record – boygenius

19. Best R&B Performance — ICU – Coco Jones

20. Best Traditional R&B Performance — Good Morning – PJ Morton Featuring Susan Carol

21. Best R&B Song — Snooze – SZA

22. Best Progressive R&B Album — SOS – SZA

23. Best R&B Album — JAGUAR II – Victoria Monét

24. Best Rap Performance — SCIENTISTS & ENGINEERS – Killer Mike Featuring André 3000, Future & Eryn Allen Kane

25. Best Melodic Rap Performance — All My Life – Lil Durk Featuring J. Cole

26. Best Rap Song — SCIENTISTS & ENGINEERS – Killer Mike Featuring André 3000, Future & Eryn Allen Kane

27. Best Rap Album — MICHAEL – Killer Mike

28. Best Spoken Word Poetry Album — The Light Inside – J. Ivy

29. Best Jazz Performance — Tight – Samara Joy

30. Best Jazz Vocal Album — How Love Begins – Nicole Zuraitis

31. Best Jazz Instrumental Album — The Winds of Change – Billy Childs

32. Best Large Jazz Ensemble Album — Basie Swings the Blues – The Count Basie Orchestra Directed by Scotty Barnhart

33. Best Latin Jazz Album — El Arte Del Bolero Vol. 2 – Miguel Zenón & Luis Perdomo

34. Best Alternative Jazz Album — The Omnichord Real Book – Meshell Ndegeocello

35. Best Traditional Pop Vocal Album — Bewitched – Laufey

36. Best Contemporary Instrumental Album — As We Speak – Béla Fleck, Zakir Hussain, Edgar Meyer, Featuring Rakesh Chaurasia

37. Best Musical Theater Album — Some Like It Hot – Original Broadway Cast

38. Best Country Solo Performance — White Horse – Chris Stapleton

39. Best Country Duo/Group Performance — I Remember Everything – Zach Bryan Featuring Kacey Musgraves

40. Best Country Song — White Horse – Chris Stapleton

41. Best Country Album — Bell Bottom Country – Lainey Wilson

42. Best American Roots Performance — Eve Was Black – Allison Russell

43. Best Americana Performance — Dear Insecurity – Brandy Clark Featuring Brandi Carlile

44. Best American Roots Song — Cast Iron Skillet – Jason Isbell & The 400 Unit

45. Best Americana Album — Weathervanes – Jason Isbell & The 400 Unit

46. Best Bluegrass Album — City of Gold – Molly Tuttle & Golden Highway

47. Best Traditional Blues Album — All My Love For You – Bobby Rush

48. Best Contemporary Blues Album – Blood Harmony – Larkin Poe

49. Best Folk Album — Joni Mitchell at Newport [Live] – Joni Mitchell

50. Best Regional Roots Music Album — Live: Orpheum Theater Nola – Lost Bayou Ramblers & Louisiana Philharmonic Orchestra

51. Best Gospel Performance/Song — All Things – Kirk Franklin

52. Best Contemporary Christian Music Performance/Song — Your Power – Lecrae & Tasha Cobbs Leonard

53. Best Gospel Album — All Things New: Live in Orlando – Tye Tribbett

54. Best Contemporary Christian Music Album — Church Clothes 4 – Lecrae

55. Best Roots Gospel Album — Echoes of the South – Blind Boys of Alabama

56. Best Latin Pop Album — X Mí (Vol. 1) – Gaby Moreno

57. Best Música Urbana Album — MAÑANA SERÁ BONITO – Karol G

58. Best Latin Rock or Alternative Album — Vida Cotidiana – Juanes

59. Best Música Mexicana Album (Including Tejano) — GÉNESIS – Peso Pluma

60. Best Tropical Latin Album — Siembra: 45º Aniversario (En Vivo en el Coliseo de Puerto Rico, 12 de Mayo 2022) – Rubén Blades Con Roberto Delgado & Orquesta

61. Best Global Music Performance — Pashto – Béla Fleck, Edgar Meyer& Zakir Hussain Featuring Rakesh Chaurasia

62. Best African Music Performance — Water – Tyla

63. Best Global Music Album — This Moment – Shakti

64. Best Reggae Album — Colors of Royal – Julian Marley & Antaeus

65. Best New Age, Ambient, or Chant Album — So She Howls – Carla Patullo Featuring Tonality and the Scorchio Quartet

66. Best Children’s Music Album — We Grow Together Preschool Songs – 123 Andrés

67. Best Comedy Album — What’s in a Name? – Dave Chappelle

68. Best Audio Book, Narration, and Storytelling Recording — The Light We Carry: Overcoming in Uncertain Times – Michelle Obama

69. Best Compilation Soundtrack for Visual Media — Barbie The Album – Various Artists

70. Best Score Soundtrack for Visual Media (Includes Film and Television) — Oppenheimer – Ludwig Göransson, composer

71. Best Score Soundtrack for Video Games and Other Interactive Media — Star Wars Jedi: Survivor – Stephen Barton & Gordy Haab, composers

72. Best Song Written for Visual Media — What Was I Made For? [From “Barbie The Album”] – Billie Eilish O’Connell & Finneas O’Connell, songwriters

73. Best Music Video — I’m Only Sleeping – The Beatles

74. Best Music Film — Moonage Daydream – David Bowie

75. Best Recording Package — Stumpwork – Dry Cleaning

76. Best Boxed or Special Limited Edition Package — For the Birds: The Birdsong Project – Various Artists

77. Best Album Notes — Written in Their Soul: The Stax Songwriter Demos – Various Artists

78. Best Historical Album — Written in Their Soul: The Stax Songwriter Demos – Various Artists

79. Best Engineered Album, Non-Classical — JAGUAR II – Victoria Monét

80. Best Engineered Album, Classical — Contemporary American Composers – Riccardo Muti & Chicago Symphony Orchestra

81. Producer of the Year, Classical — Elaine Martone

82. Best Remixed Recording — Wagging Tongue (Wet Leg Remix) – Wet Leg (Depeche Mode)

83. Best Immersive Audio Album — The Diary of Alicia Keys – Alicia Keys

84. Best Instrumental Composition — Helena’s Theme – John Williams

85. Best Arrangement, Instrumental or A Cappella — Folsom Prison Blues – The String Revolution Featuring Tommy Emmanuel

86. Best Arrangement, Instruments and Vocals — In the Wee Small Hours of the Morning – säje Featuring Jacob Collier

87. Best Orchestral Performance — Adès: Dante – Los Angeles Philharmonic

88. Best Opera Recording — Blanchard: Champion – The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus

89. Best Choral Performance — Saariaho: Reconnaissance – Uusinta Ensemble; Helsinki Chamber Choir

90. Best Chamber Music/Small Ensemble Performance — Rough Magic – Roomful of Teeth

91. Best Classical Instrumental Solo — The American Project – Louisville Orchestra

92. Best Classical Solo Vocal Album — Walking in the Dark – Julia Bullock, Philharmonia Orchestra

93. Best Classical Compendium — Passion for Bach and Coltrane – Alex Brown, Harlem Quartet, Imani Winds, Edward Perez, Neal Smith & A.B. Spellman

94. Best Contemporary Classical Composition — Montgomery: Rounds – Awadagin Pratt, A Far Cry & Roomful of Teeth