Photo Credit: Jimmy Buffett and Jane Slagsvol / Jimmybuffett.com

Jimmy Buffett’s widow and his former business manager sue each other to remove one another from the administration of the late star’s estate.

Jane Buffett (née Slagsvol), Jimmy Buffett’s wife of 46 years, and Rick Mozenter, his former business manager, are seeking to remove one another from the administration of the late singer-songwriter’s estate. Both parties have launched court actions against each other, each accusing the other of hostility and mismanagement of a trust containing $275 million worth of assets.

Buffett’s wife became the sole beneficiary of a marital trust holding the bulk of the legendary hitmaker’s assets upon his death in September 2023. Her court filing says these assets, which include real estate and a 20% stake in his island-themed hospitality company, Margaritaville, are worth around $275 million.

She was made a co-trustee of the marital trust alongside Rick Mozenter, an account at the business management firm Gelfand Rennert & Feldman. However, the relationship between the two parties has soured, with both pursuing litigation to remove the other from their administration roles tied to the estate.

Mozenter’s petition, filed on Monday (June 2) in Florida, claims he was Jimmy Buffett’s “trusted financial advisor” for over 30 years. He further asserts that Buffett intentionally limited Jane Buffett’s control of the trust out of concern over his wife’s “ability to manage and control his assets.”

“Other than serving as a non-controlling trustee, Jane has no ability to manage the trust,” write Mozenter’s attorneys. “This fact has made Jane very angry. As a result, Jane has repeatedly acted in a hostile manner toward Rick and has been completely uncooperative with Rick in his attempts to administer the trust.”

Attorneys for Mozenter, from the law firm Comiter Singer, say Jane has refused to meet with him or otherwise assist him with “key duties” involved in managing the trust. Instead, Mozenter claims she has interfered with his work, namely by ousting her husband’s longtime law firm and harassing his former boat captain to such a degree that the trust was forced to pay a large settlement.

But Jane tells a different story. Her court petition, filed in California on Tuesday (June 3), alleges that Mozenter has been “openly hostile and adversarial” while blocking her access to key information about the late singer’s financial portfolio.

“Mr. Mozenter has failed to perform even the most basic tasks required of him in his role as co-trustee, including providing Mrs. Buffett with information concerning trust assets and finances, which has left Mrs. Buffett in the dark with regard to the state of her own finances,” write her attorneys, from the firm Sullivan & Cromwell. “Mr. Mozenter has belittled, disrespected, and condescended to Mrs. Buffett in response to her reasonable requests for information she undoubtedly was entitled to receive.”

Jane Buffett’s court filing says she met with Mozenter a month after Jimmy’s death in October 2023, asking how much income she should expect to receive annually from the trust. According to Jane’s filing, Mozenter “dragged his feet” for 16 months, repeatedly ignoring her requests for an answer.

In February 2025, Mozenter finally provided the requested estimate, but the results were “shocking.” Jane was told she would see less than $2 million in annual income, which her lawyers argue is not enough to cover her expenses and is “a remarkably poor return for a trust with an estimated $275 million in assets.”

According to Jane’s lawyers, that estimate is even more surprising given that the trust had received over $14 million in distributions from Margaritaville over the previous 18 months. As a result, Jane became concerned that Mozenter was mismanaging the trust. She requested additional financial information from him, and claims he once again stonewalled.

Further, Jane’s filing claims that in addition to being “unprofessional and combative” toward her, he refused her request to sell a piece of real estate in the Bahamas—despite the Buffett family rarely using the property, and the fact that it costs over $300,000 a year to operate.

Both Jane Buffett and Rick Mozenter are seeking to nix the other from the marital trust’s administration and have a new co-trustee appointed. Mozenter’s petition also asks that the court remove Jane as the personal representative of Jimmy Buffett’s estate.

Photo Credit: Gabriel Tovar

Goldman Sachs has long had a bullish outlook on the global music industry, but its latest ‘Music in the Air’ report reveals the investment bank wildly overestimated recorded music and streaming revenues for 2024. The overestimate has prompted a notable downgrade in its future forecasts—the streaming plateau is here.

Goldman Sachs initially projected a robust 7.6% global music industry growth rate for 2024. However, the actual growth rate clocked in at 6.2%—marking the first time in years that the sector failed to meet the bank’s expectations. The most glaring shortfall in this report was in recorded music. Goldman Sachs forecasted an 8.9% year-on-year increase, but the real figure was only 4.8%—a miss of over four percentage points.

This underperformance is confirmed by IFPI data and has reflected in the broader slowdown, especially the streaming segment. Goldman Sachs predicted a 10% compound annual growth rate (CAGR) for streaming between 2024 and 2030, but has now revised this figure down to 7.9%. The most dramatic adjustment comes in ad-supported streaming—where growth rates have plateaued. Growth forecasts for that segment were slashed from 11.3% down to just 5.7% for 2024.

Meanwhile, subscription streaming projections for 2025 were cut from $33 billion to $31.3 billion. Ad-supported streaming also got a forecast downgraded by $2.1 billion to $11.3 billion. As a result of these misses, Goldman Sachs has slashed its future forecasts for recorded music revenue forecasts across the board.

The 2025 projection was cut from $33.9 billion down to $31.4 billion, with growth rates for 2025 and 2025 now expected at 5.8% and 6.6% respectively. That’s down from the previous expected rates of 8.8% (2025) and 8.4% (2026). The bank’s long-term outlook for the sector has also been tempered, it now anticipates a 6.8% CAGR for the global music market through 2030—down from 7.5%.

While the report for streaming and recorded music revenue is a disappointing one, not all segments of the music industry delivered disappointment. Live music and physical sales of CDs and vinyl outperformed or met expectations. That’s mostly due to superfans and resilient demand for physical music. Music publishing remained stable with forecasts unchanged at $10.7 billion for 2025.

This report underscores a pivotal moment for the music industry. After years or rapid expansion, growth is slowing, particularly in the recorded music and streaming markets. The bank’s overestimation has led to a more cautious and realistic outlook—with future projections now reflecting the sector’s evolving dynamics and challenges as the digital landscape matures.

Photo Credit: Revolt Black News

50 Cent makes good on his promise after he vowed to let Trump know what Diddy has said about him, heading off a potential pardon for the mogul.

50 Cent promised to let Trump know what “really bad” things Sean “Diddy” Combs has said about him, after the president stated he would “look at the facts” pertaining to a potential pardon for the disgraced star. Now, the rapper has made good on that promise, posting a pair of clips on Monday featuring Combs condemning the president.

The first video features Combs in conversation with Charlamagne Tha God, discussing a potential race war if Trump were in office. A second clip shows Diddy condemning the president on Revolt, saying, “White men like Trump need to be banished.”

50 Cent commented in the caption of one clip, “Welp can’t ask him for help then, buddy.” In the other clip’s caption, he remarked, “See, Trump don’t like shit like this, buddy; you run your mouth [too] much.”

Meanwhile, Combs remains on trial in New York for federal sex trafficking and racketeering charges. Should he be found guilty on all charges, Combs could spend life in prison. On Tuesday, during the trial’s fourth week and 15th day of testimony, a hotel security officer claimed Diddy paid him $100,000 to make sure the surveillance footage of Combs assaulting Cassie Ventura never got out to the public.

50 Cent’s efforts to curb a potential pardon for Combs comes hot on the heels of Trump’s pardon for YoungBoy Never Broke Again. Last week, Trump was asked about a potential pardon for Combs, and the president said he would consider it, but would need to look at the facts of the case.

“I haven’t spoken to him in years,” said Trump. “He used to really like me a lot. I think when I ran for politics, that relationship busted up. […] I would certainly look at all the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.”

Photo Credit: The Cars by E.J. Camp

Primary Wave Music announces a royalty deal with The Cars. This deal comes less than a year after partnering with the Estate of Ric Ocasek on his publishing catalog.

Independent publisher Primary Wave Music has announced their partnership with The Cars. Terms of the deal will see the publisher acquire the band’s artist royalties. It comes less than a year after Primary Wave partnered with the Estate of Ric Ocasek on his music publishing catalog—including all songs from his time with The Cars.

Included in the deal are some of The Cars’ biggest hits, such as “Just What I Needed,” “You Might Think,” “My Best Friend’s Girl,” “Drive,” and many more. Released in 1984, “Drive” was the band’s highest charting single, soaring to #3 on the Billboard Hot 100 on release. The song topped the Adult Contemporary chart and went on to be nominated for a Grammy in the category “Best Pop Performance by a Duo or Group with Vocal.”

“Together with last year’s partnership for Ric Ocasek’s publishing, Primary Wave is uniquely positioned to preserve and honor the legacy of The Cars,” says Samantha Rhulen, SVP of Business and Legal Affairs at Primary Wave. “Their music has left a lasting imprint on culture and continues to inspire fans and musicians around the world. It’s a privilege to be entrusted with this partnership.”

The Cars formed in Boston in 1976, fronted by singer, songwriter, and rhythm guitarist Ric Ocasek, bassist and vocalist Benjamin Orr, lead guitarist Elliot Easton, keyboardist Greg Hawkes, and drummer David Robinson. Combining elements of new wave, rock, and pop, The Cars quickly became one of the most influential and successful bands during this time. Their music was characterized by catchy hooks, sleek production, and a blend of synthesizers and guitar-driven rock.

The Cars reached the height of their popularity with Heartbeat City in 1984, an album that produced several major hits, including “Drive,” “You Might Think,” and “Magic.” The album was also recognized for its innovative music videos, particularly for “You Might Think,” which won the first-ever MTV Video Music Award for Video of the Year. During this time, The Cars became one of the biggest bands in the world, selling millions of albums and filling arenas with energetic live performances.

The band’s legacy was officially recognized when they were inducted into the Rock and Roll Hall of Fame. Their music continues to influence new generations of artists, and their blend of rock, new wave, and pop remains a staple of classic rock radio.

Photo Credit: Fever

Fever secures over $100 million in funding to expand its position in live experiences, namely music and sports.

Fever has now secured over $100 million in funding from L Catterton and Point72 Private Investors through the completion of an equity funding process, including existing investors, according to details shared this morning with Digital Music News.

The technology platform—now operating in over 40 countries—has structured partnerships with a number of institutions across all live entertainment verticals, specifically within sports and live music. Fever now reaches hundreds of millions of people through its discovery platform and media, according to the company.

Fever says it has built a multi-category, data-driven ecosystem that connects millions of fans worldwide with venues, festivals, and independent promoters.

Some recent marquee partnerships include independent promoters like TCE Presents, Cercle Music, and Last Tour; iconic venues like the Clapham Grand and Brooklyn Storehouse; and festivals like Rock in Rio Lisboa, Primavera Sound, and Pitchfork Music Festival.

The platform also provides ticketing and demand generation for sports organizations and events including Real Madrid and FC Barcelona, LIV Golf, and the X Games.

On the revenue side, Fever says it has achieved over 20x revenue growth from pre-pandemic levels, while maintaining full-year EBITDA profitability.

Fever says it is now exploring opportunities to work with the New York Mets, owned by Point72 Chairman and CEO Steve Cohen, to further enhance fan engagement through experiences.

Fever will also leverage L Catterton’s consumer insights and look to unlock new opportunities to engage audiences through experiential marketing and branded events, in line with the growing trend of brands leveraging live experiences to strengthen customer connections.

Photo Credit: Yout.com

Yout is a stream ripping website at the center of a high-profile criminal prosecution in Brazil—marking a significant escalation in the fight against online copyright infringement.

This prosecution comes in the wake of the Recording Industry Association of America’s (RIAA) legal campaign against all stream-ripping services. Yout is operated by American Johnathan Nader and allows users to download audio and video from streaming platforms like YouTube.

The services bypass YouTube’s built-in protections against downloading its streams. The RIAA has previously targeted Yout in the United States, resulting in a lengthy legal battle over whether stream-ripping violates the Digital Millennium Copyright Act (DMCA). That case remains unresolved, but in Brazil authorities are taking action.

Prosecutors in Brazil have filed a criminal complaint against Nader, accusing him of facilitating unauthorized downloads of copyrighted content for profit. The São Paulo court recently rejected Nader’s motion to dismiss the charges, stating that prosecutors presented sufficient preliminary evidence to proceed with the case. If convicted, Nader could face up to four years in prison.

Brazil’s case against Yout is a direct response to the music industry’s global push against the practice of stream-ripping. Industry groups like the RIAA argue that the practice is a major threat that deprives artists and rights holders of legitimate income. In 2022, the prosecution offered Yout a way out in the form of a deal. In exchange for several predetermined terms, the public prosecutor was willing to suspend criminal prosecution.

Those terms include Yout’s operator paying 1.9 Brazilian real ($400K) to be allocated to a special fund earmarked for social programs in Brazil. The deal also required Yout to block all Brazilian traffic and local payments. Nader has declined this settlement deal and decided to take the case to court. Yout instead argues in court that it is ‘internet DVR’ and does not store any copyright infringing material.

Now the case will proceed in Brazilian court with a hearing date set for August 9, 2025. The hearing will be held virtually since Nader lives in the United States—he is not expected to appear. Prosecution will present several witnesses, with at least one music industry representative speaking to the court.

Photo Credit: TC Restaurant Group (Post Malone)

Post Malone has partnered with TC Restaurant Group to open a Nashville entertainment venue under his name. The new venue will be designed around honky tonk grit and country soul with 26,000 square feet featuring six bars, three stages, and a full-service dining room and rooftop.

The venue will be located at 305 Broadway, right down the road from Morgan Wallen’s This Tennessee Bar & Kitchen (also a TC Restaurant Group property). Right now the building is undergoing construction to remaster the spaces, while preserving historical architecture and combining them into one cohesive experience. Posty’s venue will be Broadway’s largest ground floor blueprint.

“We’ve created a space where everyone can come together and kick some ass,” Post Malone said about the announcement. “Nashville has really become a second home for me so I can’t wait to invite y’all over to my house.”

“Post Malone is one of the most influential and gravitational artists of our time, and we’re thrilled to partner with him on this exciting concept,” adds Adam Hesler, President & CEO of TC Restaurant Group. “We’re honored to work with someone as dynamic as he is and create a venue that embodies his spirit and brings a new experience to Nashville’s Entertainment District.”

“There’s only one reason we would consider expanding our artist partnerships. That’s to have the ability to partner with someone of this caliber, innovation, and authenticity as Post. His talent and ability to transcend multiple genres is one of a kind, and we look forward to creating a venue that resonates with his global fanbase.”

TC Restaurant Group is well known across the United States for its successful management and operations of celebrity branded restaurant venues. Those include Morgan Wallen’s This Bar & Tennessee Kitchen, Jason Aldean’s Kitchen + Rooftop Bar, Luke Combs’ 32 Bridge, Miranda Lambert’s Casa Rosa, and Lainey Wilson’s Bell Bottoms Up.

Most recently, Post Malone released his debut country album F-1 Trillion, which landed at #1 on the Billboard 200 chart. This spring, Posty headlined Coachella before hitting the road on his ‘Big Ass Stadium’ tour, following his record-breaking F-1 Trillion Tour last fall.

Photo Credit: why kei

A coalition of automakers and tech companies sends a letter to Congress urging them to pair the AM radio mandate with royalties for musicians.

A broad array of leading automakers and technology companies have sent a letter to the Chairs and Ranking Members of the Senate and House Judiciary Committees, asking them to advance the American Music Fairness Act (AMFA). The legislation will require big radio companies that made $13.6 billion in advertising revenue last year to pay the artists whose music they currently play for free.

The letter was signed by the Alliance for Automotive Innovation, the Consumer Technology Association (CTA), the Zero Emissions Transportation Association (ZETA), and the musicFIRST Coalition.

“Mandating AM radio without addressing the performance royalty issues would perpetuate an inequity that denies hundreds of millions of dollars in compensation to countless recording artists every year,” the group writes.

“While some of our coalition members have concerns about the AM bill for a variety of reasons, we also believe that Congress should not mandate the use of an infringing platform that exploits artists by not paying them for their work. Our position is simply one of fairness and equity, and one that we think all Americans can agree: if you put in the hard work, you should be compensated.”

Their call to action comes as the House Energy and Commerce Committee prepares to consider the AM Radio for Every Vehicle Act. In their letter, the coalition warned that mandating AM radio in vehicles without first addressing the issue of performance royalties would exacerbate an already unfair system.

“AMFA addresses a longstanding inequity and would ensure that music recording artists are finally paid when their work is played on terrestrial radio. Under current law, terrestrial radio is the only music delivery platform that is not required to pay recording artists for their music,” the letter reads. “Satellite radio and streaming services, including some of our member companies, must compensate artists for their work. The lack of a performance right on terrestrial radio puts some of our member companies at a competitive disadvantage.”

“We urge the Senate and House Judiciary Committees to consider the American Music Fairness Act without delay to ensure this longstanding loophole is finally closed and that music artists are not left behind if Congress moves forward with the AM bill,” the coalition writes. “We stand ready to work with you to achieve this goal.”

Photo Credit: Fyre Hotels

Convicted frauster Billy McFarland’s Fyre Festival do-over failed after local officials revealed the ‘festival’ did not have the required permits. Now McFarland is trying again with a newly dubbed ‘Fyre Coral View Pop-Up’ on Utila—a small island in Honduras.

This new event is slated for September 3 – 10, 2025 and appears to follow the same setup as Fyre Festival 2. This attempt is being marketing as an ‘adventure-infused’ island getaway. That was supposedly the same appeal of Fyre Festival 2, which was supposed to be held on Isla Mujeres off the cost of Cancún, Mexico. But local Isla Mujeres officials took to social media to deny any involvement in the festival as advertised. Organizers then shifted the event to Playa del Carmen, another well-known Mexican resort spot.

Authorities from Playa del Carmen also publicly denied that Fyre Festival 2 could be held there, based on a lack of records for permits for such a festival. Organizers posted photos of the supposed permits, but those ‘proof’ photos were just permits granted to local hotels for small gatherings of up to 300 people—not the massive destination festival that was being advertised.

This latest attempt at resurrecting the failed Fyre name comes as a collaboration between McFarland and Heath Miller, a former New York concert promoter. Miller is the current owner of the Coral Villa Utila resort in Honduras. However, marketing for this pop-up event appears to be more in line with what Fyre Festival 2 actually would have been if it went through. It’s positioned as a pop-up and ‘low-key experience’ for 300 to 400 guests. Fyre Festival 2 ticket holders are not guaranteed entry.

Room rates for this pop-up event appear to start at $198 per night for singles and up to $449 for a four-person room with access to the event during booking. Miller has stressed that the pop-up event will not feature a star-studded line-up and at the time of writing, no artists have been confirmed to be on board. The focus is on bringing global attention to this ‘off the map gem’ of an island rather than creating a massive destination music festival.

Skepticism around anything Fyre related remains high after the 2017 debacle that resulted in McFarland going to prison. Whether this pop-up will deliver on an event that is worth talking about remains to be seen. So far, the marketing seems to be more honest than previous attempts—acknowledging the small-scale resort focus rather than massive weekend to attract big dollar ticket buyers.

Photo Credit: Extra TV

Sean “Diddy” Combs paid a hotel security officer $100,000 to hand over surveillance footage showing the hip-hop mogul attacking his then-girlfriend Cassie Ventura, the officer testified at Combs’ federal trial.

Eddy Garcia, who worked as a security officer at an Intercontinental hotel, told jurors that Diddy bribed him to hand over surveillance footage showing the star brutally attacking then-girlfriend Cassie Ventura. Garcia testified on Tuesday in Sean “Diddy” Combs’ ongoing federal sex trafficking trial, which is now in its fourth week.

“He was concerned that this video would get out and that it would ruin his career,” said Garcia, who was granted immunity to secure his testimony. Garcia said shortly after the incident occurred, Combs contacted him, telling Garcia he would “take care” of him if he handed over the footage.

Garcia relayed Combs’ message about the video to his boss, who said he would give Combs the footage for $50,000. The next day, Garcia said he saw his boss enter the room that hosted servers for the surveillance cameras.

He testified that his boss gave him a USB drive, which Garcia gave to Combs, who later returned with a brown bag and a cash counter. Garcia said Combs ran the cash through the counter, which displayed $100,000. Combs then returned the money to the bag and handed it over to Garcia.

Jurors had previously been shown footage of the surveillance video, dated March 2016, which took place in the hallway of the Intercontinental hotel in Los Angeles. There, Combs, wearing only a towel, is seen throwing Ventura to the ground, kicking her, and dragging her back to their room.

Combs’ attorneys have admitted the star has, at times, been abusive in his domestic relationships. However, they argue that the so-called “Freak Offs” were consensual sexual encounters.

Ventura testified earlier in the trial that the incident shown in the surveillance video took place after Combs had given her a black eye during a “Freak Off.” Prosecutors say that such encounters took place over two decades, in which Combs coerced women such as Ventura to take part in drug-fueled sexual performances with male sex workers.

According to the prosecution, bribery is among the racketeering acts that either Combs or his employees used to facilitate the “Freak Off” encounters and prevent word of his abuse from getting out. If convicted on all counts in the federal trial, Combs could face life in prison.

Photo Credit: RCA Records

Rick Astley’s 1987 hit “Never Gonna Give You Up” has reached a new milestone—surpassing one billion streams on Spotify. The achievement comes nearly four decades after the track’s original release and is propelled by the internet phenomenon known as ‘rick rolling.’

“Never Gonna Give You Up” now joins the exclusive Spotify Billions Club playlist, a feat achieved by fewer than 1,000 tracks so far. Astley, 59, expressed his thanks to the public for the feat. “So who would’ve believed after all these years ‘Never Gonna Give You Up’ has had a billion streams on Spotify. How amazing. Thank you for listening and lots of love and I’ll see you all soon.”

Originally released as part of Astley’s debut album, Whenever You Need Somebody, the song topped charts in over 20 countries. It became a defining song of the late 1980s, with an infectious melody and upbeat lyrics. But that initial run of fame was short-lived compared to the new life the song found as an internet meme.

In the late 2000s, the “Never Gonna Give You Up” YouTube video became a prank. Known as ‘rick rolling,’ early internet users would post a link to YouTube (before previews were common) and say the link was something else. The bait-and-switch then tricked unsuspecting users into watching the song’s music video.

This rick rolling phenomenon was central to the song’s enduring popularity in the internet zeitgeist—where memes can become old after a few months’ use. The official music video on YouTube has amassed over 1.6 billion views on YouTube, far surpassing Spotify’s total.

But achieving the Spotify Billions Club honor is a testament to the enduring nature of the song beyond its use as a meme—many people simply love the track and its optimism. Spotify users are intentionally seeking out the song to listen, while the YouTube video may be shared simply to engage in a now decades-old internet prank.

When asked about the internet prank, Astley says he only views it in a positive light. He says he appreciates how internet users have kept the song relevant over the years while introducing it to new generations.

Photo Credit: Rod Stewart by Joe Bielawa / CC by 2.0

Rod Stewart postpones his performance at The Colosseum at Caesars Palace four hours before showtime due to an unnamed illness.

Sir Rod Stewart called in sick just four hours before he was scheduled to hit the stage at The Colosseum at Caesars Palace in Las Vegas on Sunday night. The 80-year-old rock and roll legend posted to his Instagram Stories to give fans the news, while Caesars Palace also confirmed the postponement.

“I am sorry to inform you that I’m not feeling well and my show tonight at The Colosseum at Caesars Palace is being rescheduled to June 10,” wrote Stewart. “Your tickets will be valid for the new date.”

Later this month, the legendary artist is slated to perform at Glastonbury as one of the oldest artists to play the UK festival. He has confirmed the show will feature a Faces reunion with Ronnie Wood. Throughout the summer, Stewart will also perform more shows across North America for his One Last Time World Tour, and will continue with his 200-show residency at The Colosseum at Caesars Palace through the fall.

Stewart was forced to cancel a few shows in Las Vegas last summer due to a combination of strep throat and COVID. Last week, he was honored with the Lifetime Achievement Award at the 2025 American Music Awards.

“I love what I do, and I do what I love,” Stewart said in an Instagram post last year. “I’m fit, have a full head of hair, and can run 100 meters in 18 seconds at the jolly old age of 79.”

“This will be the end of large-scale world tours for me, but I have no desire to retire,” he said, speaking on his One Last Time farewell tour. “I’d like to move onto a Great American Songbook, Swing Fever tour the year after next—smaller venues and more intimacy,” Stewart explained. “But then again, I may not.”

Photo Credit: Kneecap

Kneecap are getting ready to play their largest show outside of Ireland at Wembley Arena in London. The 12,500 capacity event comes at a time when the group is facing criticism for promoting proscribes terrorist groups Hamas and Hezbollah.

After being removed from Glasgow’s TRNSMT festival due to police concerns—organizers cited the need for a “significant policing operation” if the group were to perform—the rap trio quickly pivoted. They announced a new show at the O2 Academy in Glasgow and sold-out the show in just 30 seconds when tickets became available.

Fans at Wembley can expect a setlist spanning their acclaimed albums 3CAG and Fine Art, alongside singles like “H.O.O.D.” and “Its Been Ages.” The Wembley Arena show is also the centerpiece for a packed summer; Kneecap has several other dates slated including Glastonbury, Dublin’s Fairview Park, 2000 Trees, and Sziget in Budapest.

Kneecap’s set at Coachella this year drew international headlines for its pro-Palestinian messaging and anti-Israel sentiment—prompting calls for visa revocation. Their first set at Weekend 1 for Coachella was censored, while the second weekend featured the group getting the crowd to lead a chant of ‘Maggie’s in a box’ a reference to former Prime Minister Margaret Thatcher. The fallout from their appearance at Coachella included the loss of their booking agent and cancellations of several appearances at European music festivals.

Kneecap member Mo Chara (real name Liam Og O Hannaidh) faces a terror charge in London. The charge stems from footage showing the rapper chanting support for Hamas and Hezbollah, both proscribed terrorist organizations in the UK. Mo Chara has denied these allegations, dismissing them as a “carnival of distraction.” He is scheduled to appear in Westminster Magistrates’ Court on June 18. Despite the controversy, the group has no shortage of upcoming tour dates.

Summer 2025 — Kneecap Europe & UK Tour Dates

June

• 06 | NorthSide Festival — Denmark
• 08 | Primavera — Barcelona, Spain
• 11 | Rock for the People Festival — Czech Republic
• 14 | Best Kept Secret — Netherlands
• 19 | Fairview Park — Dublin (SOLD OUT)
• 28 | Glastonbury — England

July

• 2 – 4 | The Depo — Plymouth, England
• 05 | Finsbury Park — London
• 06 | Eurockéennes — France
• 10 | 2000 Trees Festival — England
• 11 | TRNSMT — Scotland (CANCELLED)
• 13 | Rockwave Festival — Greece

August

• 01 | Off Festival — Poland
• 07 | Way Out West — Sweden
• 08 | Øya Festival — Norway
• 09 | Flow Festival — Finland
• 11 | Sziget — Hungary
• 14 | Green Man — Wales
• 15 | Wythenshawe Park — England
• 16 | Pukkelpop — Belgium
• 17 | Cabaret Vert — France
• 24 | Rock en Seine — France
• 29 | Vital — Belfast, Ireland

September

• 05 | Paradiso — Amsterdam
• 06 | Paradiso — Amsterdam
• 18 | Wembley Arena — London, England

Photo Credit: Amy Syiek

Several major record labels have settled their copyright infringement lawsuit with internet provider Frontier after a multi-year legal battle.

Major record labels, including UMG, Sony Music, and Warner Music, have settled their piracy liability lawsuit with internet provider Frontier after a lengthy, multi-year legal battle. All parties agreed in a public notice to bear their own costs, while the details of the settlement remain undisclosed. The settlement comes a few weeks after another similar lawsuit, filed by film companies, was settled ahead of trial.

Frontier, which only emerged from bankruptcy three years ago, was fighting a pair of similar piracy liability lawsuits filed by music and film companies. Both were scheduled to go to trial in the spring, but were settled beforehand.

The music companies, spearheaded by UMG, reached a settlement with Frontier this week. In a notice submitted to the New York federal court, all parties agreed that all claims were settled with prejudice—meaning the claims cannot be refiled in the future. Last month, the movie companies’ lawsuit was settled on undisclosed terms.

Several prominent music and movie companies have filed lawsuits against internet providers in recent years for failing to take action against subscribers who commit piracy. Chiefly, the companies assert that ISPs like Frontier have failed to terminate the accounts of subscribers who repeatedly engage in copyright infringement by pirating IP— in violation of DMCA requirements. Lawsuits like this action against Frontier have resulted in millions owed by providers like Cox and Grande.

The settlement arrives just days after the U.S. government recommended the Supreme Court hear Cox’s case seeking to overturn a ruling in favor of the music companies. However, there is nothing to suggest that stance impacted the Frontier lawsuit’s settlement. Should the Supreme Court take action, that outcome would affect similar lawsuits against ISPs.

Meanwhile, several U.S. lawmakers are working on legislation against pirate sites, under which ISPs would be tasked with ensuring access to such sites is blocked. Some ISPs are open to the idea, as long as they’re granted “retrospective immunity” in the process.

Photo Credit: Live Nation (NBA Youngboy)

NBA YoungBoy is making his return to the stage by announcing 13 new shows for his ‘Make America Slime Again’ 2025 tour. The tour is a sly reference to his recently granted presidential pardon from Donald Trump.

Trump granted the pardon on May 28,2025 after NBA YoungBoy served almost two years in prison on federal gun charges. In a statement at the time, the rapper thanked the president for “giving me the opportunity to keep building—as a man, as a father, and as an artist.”

The rapper isn’t resting on his laurels, either—the new MASA Tour is his first-ever headlining run. Due to overwhelming fan demand, the tour has expanded to include new stops in San Diego, Las Vegas, Charlotte, Glendale, and more. The tour has also added new dates in Dallas and Houston before wrapping up in Seattle on November 12.

Tickets will be available with artist pre-sales starting June 4 with general on-sale launching June 6 at 10 am on LiveNation.com. Fans can also elevate their experience with a range of VIP packages, backstage tours, pre-show VIP lounge access, and exclusive merchandise.

NBA YoungBoy — Make America Slime Again Tour Dates

September

• 01 | American Airlines Center — Dallas, TX
• 02 | American Airlines Center — Dallas, TX
• 05 | Moody Center — Austin, TX
• 06 | Toyota Center — Houston, TX
• 09 | Crypto.com Arena — Los Angeles, CA
• 10 | Crypto.com Arena — Los Angeles, CA
• 12 | Oakland Arena — Oakland, CA
• 13 | Golden 1 Center — Sacramento, CA
• 15 | PHX Arena — Phoenix, AZ
• 17 | Ball Arena — Denver, CO
• 20 | Enterprise Center — St. Louis, MO
• 21 | T-Mobile Center — Kansas City, MO
• 22 | Target Center — Minneapolis, MN (ADDED SHOW)
• 24 | United Center — Chicago, IL
• 25 | Nationwide Arena — Columbus, OH
• 27 | Barclays Center — Brooklyn, NY
• 28 | TD Garden — Boston, MA
• 29 | Prudential Center — Newark, NJ

October

• 01 | Capital One Arena — Washington, DC
• 03 | Wells Fargo Center — Philadelphia, PA
• 04 | CFG Bank Arena — Baltimore, MD
• 06 | Little Caesars Arena — Detroit, MI
• 08 | Colonial Life Arena — Columbia, SC
• 09 | Colonial Life Arena — Columbia, SC
• 10 | VyStar Veterans Memorial Arena — Jacksonville, FL
• 11 | Kia Center — Orlando, FL
• 13 | Kaseya Center — Miami, FL
• 15 | State Farm Arena — Atlanta, GA
• 16 | Bridgestone Arena — Nashville, TN
• 18 | State Farm Arena — Atlanta, GA
• 19 | Smoothie King Center — New Orleans, LA
• 20 | Smoothie King Center — New Orleans, LA
• 22 | Legacy Arena at the BJCC — Birmingham, AL
• 24 | Lenovo Center — Raleigh, NC (ADDED SHOW)
• 26 | Spectrum Center — Charlotte, NC (ADDED SHOW)
• 28 | Toyota Center — Houston, TX (ADDED SHOW)
• 29 | Frost Bank Center — San Antonio, TX (ADDED SHOW)
• 30 | American Airlines Center — Dallas, TX (ADDED SHOW)

November

• 01 | Paycom Center — Oklahoma City, OK (ADDED SHOW)
• 05 | Honda Center — Anaheim, CA (ADDED SHOW)
• 06 | Desert Diamond Arena — Glendale, AZ (ADDED SHOW)
• 07 | Viejas Arena — San Diego, CA (ADDED SHOW)
• 09 | T-Mobile Arena — Las Vegas, NV (ADDED SHOW)
• 11 | Moda Center — Portland, OR (ADDED SHOW)
• 12 | Climate Pledge Arena — Seattle, WA (ADDED SHOW)

Photo Credit: Eminem by EJ Hersom for DoD News / CC by 2.0

Eminem’s music publisher, Eight Mile Style, is suing Meta with allegations of widespread copyright infringement on Facebook and Instagram.

Eight Mile Style, Eminem’s music publishing company, has filed a lawsuit against Meta, alleging the tech company’s social media platforms allow widespread use of the rapper’s songs without proper licensing.

The complaint, filed Friday in U.S. District Court in Detroit, says Meta has “created and stored” copies of Eminem’s songs on their servers and distributed them to “billions of users” around the world. According to the publisher, the rapper’s songs have been used in millions of videos across Facebook and Instagram that have collectively been viewed “billions of times.”

Further, through Meta’s online tools that encourage creating content based on another user’s content, users can “steal” music from others’ posts for use in their own, “resulting in exponential infringement,” the lawsuit claims.

Eight Mile Style asserts that Meta is “actively encouraging” users to stream the rapper’s music by making his songs available for use on Facebook, Instagram, and the messaging service WhatsApp. These apps’ algorithms also allegedly promote his music directly to users via “For You” pages and “Trending” features.

Eminem’s publisher brought the issue to Meta’s attention previously, the lawsuit claims, which resulted in the tech giant removing several Eminem tracks from its libraries. However, several alternative versions of his song “Lose Yourself,” including a karaoke version, an instrumental piano version, and a cover version, remained available to all users. Other prominent tracks from the artist also remained available—prompting the lawsuit.

“Meta’s years-long and ongoing infringement of the Eight Mile Compositions is another case of a trillion (with a ‘T’) dollar company exploiting the creative efforts of musical artists for the obscene monetary benefit of its executives and shareholders without a license and without regard to the rights of the owners of the intellectual property,” Eight Mile’s lawyers write.

The company is seeking damages, in addition to Meta’s “profits attributable to the infringement,” with maximum statutory damages that Eight Mile claims would exceed $109 million. Further, the company is seeking an injunction to cease further infringement.

Pictured L-R: EJ Gaines, Phil Thornton, Norman Gyamfi, Kirk Franklin, Ron Hill, Trell Woodberry, Jonathan Jay (Photo Credit: Rob Ector)

Gospel music icon Kirk Franklin has announced a major partnership with Insignia Assets—the new Black-owned entertainment venture founded by Norman Gyamfi and Jonathan Jay.

This strategic alliance brings together Franklin’s acclaimed Fo Yo Soul Recordings and CLTRE Lab with Insignia Assets’ expanding portfolio which spans recorded music, publishing, television, film, touring, and live events. Franklin will also assume the role of Chief of Creative Services at Insignia Assets.

Franklin, who will be honored with the BET Ultimate Icon Award at the 2025 BET Awards on June 9 emphasized the cultural significance of the partnership. “This partnership with Insignia is bigger than business,” Franklin says. “it’s about building a platform where our stories, our faith, and our culture can live and breathe across every screen and stage. I’ve always believed in pushing Gospel beyond the margins and into spaces where it can challenge, inspire, and connect the world in a real way.”

To launch this new chapter, Franklin will release a new single “Do It Again” on June 6. His media production company CLTRE Lab will also team up with Insignia Assets’ 3 Diamonds Entertainment division to produce ‘Den of Kings,’ a dinner conversation series hosted by Franklin. The premiere episode focusing on fatherhood will feature D.C. Young Fly, Kountry Wayne, Lou Young, and Devale Ellis and will debut on Franklin’s YouTube channel on Father’s Day.

“We’re thrilled to fortify and deepen our partnership by welcoming Kirk to our executive team, and by charting a course for the future with him from recorded music to touring, film, TV, digital media, and more,” adds Norman Gyamfi, Co-Founder and CEO of Insignia Assets. “We are collectively very proud of this moment.”

Insignia Assets’ music portfolio includes leading Christian and Gospel labels such as Tribl Records, Maverick City Music, and Fo Yo Soul Recordings, as well as R&B label Platform Sounds. Additional divisions include Undivided Entertainment for touring and events, 3 Diamonds Entertainment for TV and film, and the Icho Group for marketing.

Photo Credit: 50 Cent for Branson Cognac

50 Cent says he’s going to make his feelings about Diddy known after Trump said he’d “look at the facts” of the case regarding a potential pardon.

50 Cent says he’s going to “make sure” Donald Trump is aware of the “really bad things” Diddy has said about him. His comments come on the heels of Trump saying he would “look at the facts” of Diddy’s sex trafficking case regarding a potential pardon.

“[Diddy] said some really bad things about Trump, it’s not ok. I’m gonna reach out so he knows how I feel about this guy,” said 50 Cent in a now-deleted Instagram post on May 30. “Donald doesn’t take well to disrespect and doesn’t forget who chooses to go against him.”

Those remarks made headlines, which led to 50 Cent responding to The Daily Beast’s article with another Instagram post on Sunday, June 1. “I didn’t say I would nuke anything; I simply said I will make sure Trump is aware,” he explained.

On Friday, Trump was asked about a potential pardon for Sean “Diddy” Combs, should the music mogul be convicted in his case. The president said he and Diddy used to be friendly, but that he hadn’t spoken to him since he got into politics.

“He used to really like me a lot,” said Trump. “I think when I ran for politics, that relationship busted up. […] I would certainly look at the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.”

Today (June 2), 50 Cent posted a clip on Instagram featuring Diddy discussing his feelings on Trump. “See Trump don’t like shit like this buddy, you run your mouth to [sic] much,” he wrote in the post’s caption, along with a laughing emoji.

Diddy is facing charges of racketeering and sex trafficking, to which he has pleaded not guilty. His trial is expected to continue through July, and the disgraced mogul could face life in prison should he be found guilty.

Photo Credit: Netflix

Netflix tees up a trailer for Adam Sandler’s “Happy Gilmore 2,” featuring a slew of stars, including Bad Bunny, Eminem, and Post Malone.

Adam Sandler’s highly anticipated sequel, “Happy Gilmore 2,” got a new trailer reveal during Netflix’s Tudum event on Saturday, May 31. The footage shows a cavalcade of stars, including Eric André, Travis Kelce, Ben Stiller, Bad Bunny, Eminem, and Post Malone.

A teaser that initially dropped in March showed Sandler’s character, former pro hockey player Happy Gilmore, facing off against PGA champions and eventually returning to the green. Professional golfers John Daly, Scottie Scheffler, Rory McIlroy, and Bryson DeChambeau also appear.

The film, a sequel to the 1996 original, comes from a screenplay written by Sandler and Tim Herlihy, his co-writer on the first film. “Happy Gilmore 2” is directed by Kyle Newacheck, who also directed Sandler and Jennifer Anniston in Netflix’s “Murder Mystery.” The original film’s director, Dennis Dugan, returns as an executive producer.

Margaret Qualley, a huge fan of the original, also scored a cameo, thanks to the help of her husband, Jack Antonoff. According to Qualley during an appearance on The Tonight Show, Antonoff convinced Sandler to cast her by claiming she is good at golf.

“He lied for the sake of the family,” she joked. “I’ve never golfed a day in my life. I’m terrible, actually.”

Sandler has teased some of the film’s cameos in recent interviews. On The Dan Patrick Show back in December, he said he filmed for a day with Eminem, and the rapper “said a million things we can use.” He added, “I’ve known Eminem for a long time, and he’s a great guy.”

Beyond the cameos, the main cast of “Happy Gilmore 2” features Julie Bowen and Christopher McDonald, the latter of whom returns as fan favorite Shooter McGavin.

“Happy Gilmore 2” is slated to debut on Netflix on July 25.

Photo Credit: Midwest Dreams Music Festival

The Midwest Dreams Music Festival at World Wide Technology Raceway was postponed following a catastrophic tornado that struck St. Louis on May 16. It highlights unforeseen circumstances that festival organizers are facing in an already razor-thin margin live entertainment industry.

Organizers describe the tornado as “the worst tornado in St. Louis area history” with widespread destruction, collapsed buildings, and entire neighborhoods in need of aid. With additional storms forecasted, festival organizers made the difficult decision to delay the event to ensure the safety of attendees, artists, and staff.

The new date for Midwest Dreams this year has been confirmed as November 1, 2025. All purchased tickets will automatically transfer to the rescheduled date, though ticket holders have a limited window to request refunds. While the artist lineup—originally featuring Dom Dolla, Diplo, Acraze, and YDG—may see changes, organizers have reassured fans they are working to preserve the spirit and quality of the festival.

In response to the disaster, Midwest Dreams is donating 15% of ticket sales to tornado relief efforts. Organizers are joining forces with local sponsors, affiliates, and city personnel to provide supplies and support for those in affected communities. “We want to express our sincere condolences to all those affected by the recent storms,” said John Soell, Founder of Midwest Dreams.

“Our festival is about more than just music—it’s about community. We look forward to bringing our festival to metro St. Louis when the time is right and are planning important partnerships with local non-profit organizations.”

Severe weather, economic pressures, and logistical challenges have led to a surge in festival postponements and cancellations in 2024 and 2025.

Dozens of music festivals across the world have faced similar fates, with some industry trackers reporting a 20% increase in cancellations compared to pre-pandemic years. The Pitchfork Music Festival in Chicago threw in the towel, while GoldenSky Country Music Festival in Sacramento took a one-year hiatus. Meanwhile, the Eastern Music Festival in Greensboro, NC canceled its 2025 season due to unresolved labor negotiations between management and staff.

Festivals like Music Midtown (Atlanta), Kickoff Jam (Florida), Made in America (Philadelphia), and Firefly Music Festival (Delaware) have all been canceled or have not returned since 2022. Even iconic music festivals like Coachella and Electric Forest are feeling the squeeze as unsold tickets linger for months with noticeable drops in demand.

Photo Credit: Anna Lee

Stanford Stadium hosted Coldplay for two sold-out dates as the band launches the North American leg of its Music Of the Spheres World Tour.

Stanford Stadium opened its doors to music for the first time to welcome the group on May 31 and June 1. The band performed to an elated audience, delivering a full set of songs from their latest global #1 album Moon Music. They also performed classics including “Yellow,” “Viva La Vida,” “Paradise,” “Fix You,” “The Scientist,” “A Sky Full of Stars” and many more.

This show featured Coldplay’s hallmark visual experience, replete with LED wristbands, confetti bursts, lasers, and fireworks lighting up the sporting venue in spectacular fashion. Support for these North American Dates came courtesy of Willow and Elyanna, both of whom were met with thunderous applause from the early evening crowd in attendance.

Coldplay’s Music of the Spheres World Tour has now sold over 12 million tickets globally—the most ever for a single tour. It firmly establishes the band as a cultural and touring phenomenon, while establishing a baseline for environmentally responsible live entertainment.

Lasts summer, Coldplay issued an update on their sustainability initiatives, revealing that their current tour has produced 59% fewer CO2e emissions than their previous stadium tour in 2016/2017. That exceeds their original target of achieving a 50% reduction in emissions. More than 9 million trees have already been planted around the world—with a further million to be planted.

Coldplay — Music of the Spheres World Tour Dates

JUNE

• 06 | Las Vegas, NV — Allegiant Stadium – SOLD OUT
• 07 | Las Vegas, NV — Allegiant Stadium – SOLD OUT
• 10 | Denver, CO — Empower Field at Mile High – SOLD OUT
• 13 | El Paso, TX — Sun Bowl Stadium – SOLD OUT
• 14 | El Paso, TX — Sun Bowl Stadium – SOLD OUT

JULY

• 07 | Toronto, ON — Rogers Stadium – SOLD OUT
• 08 | Toronto, ON — Rogers Stadium – SOLD OUT
• 11 | Toronto, ON — Rogers Stadium – SOLD OUT
• 12 | Toronto, ON — Rogers Stadium – SOLD OUT
• 15 | Boston, MA — Gillette Stadium – SOLD OUT
• 16 | Boston, MA — Gillette Stadium – SOLD OUT
• 19 | Madison, WI — Camp Randall Stadium – SOLD OUT
• 22 | Nashville, TN — Nissan Stadium – SOLD OUT
• 26 | Miami, FL — Hard Rock Stadium – SOLD OUT
• 27 | Miami, FL — Hard Rock Stadium – SOLD OUT

AUGUST

• 18 | Hull, UK — Craven Park Stadium – SOLD OUT
• 19 | Hull, UK — Craven Park Stadium – SOLD OUT
• 22 | London, UK — Wembley Stadium – SOLD OUT
• 23 | London, UK — Wembley Stadium – SOLD OUT
• 26 | London, UK — Wembley Stadium – SOLD OUT
• 27 | London, UK — Wembley Stadium – SOLD OUT
• 30 | London, UK — Wembley Stadium – SOLD OUT
• 31 | London, UK — Wembley Stadium – SOLD OUT

SEPTEMBER

• 03 | London, UK — Wembley Stadium – SOLD OUT
• 04 | London, UK — Wembley Stadium – SOLD OUT
• 07 | London, UK — Wembley Stadium – SOLD OUT
• 08 | London, UK — Wembley Stadium – SOLD OUT

Photo Credit: Calvin Ulysses Levin Schneider

The partnership between Too Lost, Olympus Projects, and On the Radar Radio marks a pivotal moment for international music professionals—particularly those invested in the cross-pollination of genres and markets. This initiative is not only a showcase for Brazil’s vibrant music scene, but also a case study in how strategic alliances between distribution, label, and media platforms can redefine global music discovery.

The following is in collaboration with Too Lost, a proud partner of Digital Music News.

Too Lost is a leading music distribution company, recognized for delivering releases to over 450 platforms globally. Their infrastructure ensures same-day delivery of music, making them a preferred partner for labels and artists seeking rapid, global reach. Too Lost is the backbone of this initiative, providing the infrastructure for On The Radar and Olympus Projects’ expansion.

Olympus Projects operates as both an independent label and a global music strategy company. Their core mission is to build bridges between international markets, with a particular focus on cross-cultural collaboration and genre expansion. Olympus Projects plays a multi-faceted role in this strategic partnership. They facilitated the partnership between Too Lost and On The Radar and led talent coordination, creative direction, and on-the-ground production in Brazil.

The flagship campaign is the Brazil Initiative. This initiative aims to spotlight over 100 emerging and superstar Brazilian artists across genres—inncluding trap, funk, and other local styles. On The Radar’s production team and Olympus Projects’ team spent two weeks in Brazil, filming in São Paulo and Rio de Janeiro, capturing original freestyles and performances that reflect the country’s musical diversity.

The group currently has three tracks charting on Spotify’s Brazil Viral Daily 50 playlist, including Franco, The Sir!’s On The Radar Freestyle debuting at #6. Remixesare dropping this summer with artists including Cash Cobain, Bay Swag, and 41—with fans able to expect notable UK and Latin names to appear. Since launch, OTR’s Spotify has increased 500% in monthly streams. It has also been featured on over 10 different DSP editorial playlists.

“I don’t think we ever get used to life’s surprises,” Brazilian singer Grelo told Digital Music News. “Back when I was writing my first songs, I never imagined I’d be recognized by such an incredible international project. Everyone should have the opportunity to make their dreams come true like this—even the dreams we never imagined having.” Grelo has achieved 10 million monthly listeners on Spotify in the Seresta genre. Seresta is a Brazilian domestic music genre that is characterized by romantic and nostalgic feelings.

Now over 100 original freestyles and subsequent videos are being released across all major platforms—powered by Too Lost’s distribution engine—every Thursday and Friday. The group also filmed more than 10 in-depth interviews with top Brazilian producers. These interviews are scheduled for release on Saturdays, giving insight into the creative forces behind Brazil’s biggest hits. Meanwhile, a Brazil-themed event in collaboration with Live Nation is set for July at Irving Plaza in New York City.

Too Lost’s distribution capabilities ensure that Brazilian artists and their content are accessible to a worldwide audience. Too Lost helps break down historical barriers of language and geography for music fans. The campaign’s structure with regular content drops and strategic remixes is designed to sustain engagement and streaming growth over time.

As a result, this collaboration is more than just a marketing campaign—it’s the launchpad for global expansion strategy. Too Lost serves as the distribution backbone for the effort. On The Radar’s Brazil initiative is the first step in a planned rollout to every major music market worldwide. Meanwhile, Olympus Projects and Too Lost are poised to replicate this model of cross-market collaboration and content distribution.

Combining Too Lost’s digital infrastructure with market expertise creates new opportunities for artists. Influential media platforms like On the Radio also help reshape the international music landscape for fans across the globe.

Photo Credit: Live Nation / Capital Pride Alliance

Shakira cancellations are piling up with yet another show this week. Complications prevented her team from getting her set in Washington, D.C. ready in time.

Colombian singer Shakira was scheduled to perform at Fenway Park in Boston on May 29 and May 30, but was forced to cancel just hours before showtime on Thursday due to production issues. Then, Shakira was slated to perform on May 31 at Nationals Park in Washington, D.C., for World Pride 2025. However, her production team ran into some snags related to the Boston show, leading to yet another cancellation.

“Due to complications with the previous show in Boston, Shakira’s full tour production cannot be transported to Washington, D.C. in time for her scheduled performance at Nationals Park on Saturday, May 31,” read a message by the official Nationals Park account on Instagram.

Refunds will be issued automatically for purchases made through Ticketmaster and Nationals Park’s official website, with no further action required. Those with tickets purchased through third-party resellers are encouraged to contact the point of purchase directly.

Shakira shared her own message on her Instagram Stories shortly after the second cancellation. “Nothing more painful for an artist than having to cancel two sold-out stadium shows like Boston and DC for reasons beyond one’s control,” she wrote. “Thank you for being there in the good times and the not so good. We’ve cruised together through every bump in the road, and you always take me to the other side.”

But some fans aren’t as understanding. “You need to stop hiring friends as tour managers,” wrote one user on Instagram. “That’s enough cancellations for the first leg. Enough!!”

“And yet Beyoncé’s concerts are way more intricate and has a lot more production and she never has any issues,” another commented.

“Does Shakira understand how disrespectful these cancellations are to her fans and to the people who spent thousands of dollars to come see her?” asked someone else.

Shakira still has over a dozen additional tour dates scheduled through the end of June. Her next scheduled appearance is in Atlanta on June 2, followed by stops in Orlando on June 4, and Miami on June 6 and 7.

Photo Credit: Fox Broadcasting

Alf Clausen, the legendary composer who penned songs for “The Simpsons” for over 27 years, has passed away at age 84.

Alf Clausen passed away on Thursday, May 29, at his Los Angeles home. His daughter, Kaarin Clausen, told The Hollywood Reporter that her 84-year-old father was diagnosed with progressive supranuclear palsy eight years ago.

Clausen received 21 Emmy nominations for his work on “The Simpsons,” securing wins for two of them. He ranks among the most-nominated composers in the history of the Emmy Awards, with 30 across his career. Clausen also won five Annie Awards for his musical contributions to the long-running animated series.

Born in Minneapolis, Minnesota, and raised in Jamestown, North Dakota, Clausen took a correspondence course in big-bang songwriting through Boston’s Berklee College of Music. He eventually transferred to the school from North Dakota State University, where he had been studying when he signed up for the course. At Berklee, he became the school’s first French horn player.

His songwriting career began in Los Angeles, where he worked as a freelance composer, ghostwriter, and arranger. Eventually he found work on television shows, including “Donny & Marie” and “The Mary Tyler Moore Hour.”

In the 80s, he served as composer for the detective series “Moonlighting,” for which he received six Emmy nominations. Later that decade, he fittingly composed music for the sitcom “ALF.” He also composed music for some well-known films of the decade, including “Weird Science,” “Ferris Bueller’s Day Off,” and “The Naked Gun.”

Clausen joined “The Simpsons” in 1990, for the show’s second season. His role involved creating songs, music cues, and reinterpreting Danny Elfman’s theme with the help of a 35-piece orchestra. Scoring seasons 2 through 28 of the Matt Groening-created series, Clausen scored over 560 episodes.

Of the 21 Emmy nominations he received for his work on “The Simpsons,” he won twice: for 1997’s “We Put the Spring in Springfield,” and 1998’s “You’re Checkin’ In (A Musical Tribute to the Betty Ford Center).”

In 2015, during an interview with the Television Academy for their “The Interviews” series, Clausen said he was reluctant to take the job that would ultimately define his career. “I said, ‘I just got off of four years of ‘Moonlighting,’ and I really want to be a drama composer. I’m more interested in doing long-form feature films.’”

But “Simpsons” creator Matt Groening was the one who ultimately convinced the composer, telling him, “We look on our show as being not a cartoon—we look upon it as a drama where the characters are drawn.”

Clausen left the show abruptly in 2017, filing a lawsuit against Disney and Fox in 2019 with claims that he was fired because of a “perceived disability.” He revealed he had been diagnosed with Parkinson’s disease and claimed both companies had treated him unfairly since his diagnosis.

Fox producers claimed he was fired for delegating work to others without permission. Clausen ultimately dropped his wrongful termination suit in 2022. His role on “The Simpsons” was replaced by Bleeding Fingers Music, a production company co-founded by Hans Zimmer.

In a 1996 profile of Clausen published in Berklee Today, Matt Groening called the composer “one of the unacknowledged treasures of the show.”

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.

Photo Credit: PBS

PBS files a lawsuit against the Trump Administration over an executive order signed earlier this month to cut funding to the public television network and NPR.

On Friday, the Public Broadcasting Service (PBS) sued Donald Trump and his administration over the executive order signed early last month. The order aims to cut funding to public broadcasters like PBS and NPR. The lawsuit, filed in the U.S. District Court in Washington, D.C., follows NPR and three of its Colorado-based member stations suing Trump over the same order.

According to attorneys for PBS, the executive order is “blatant viewpoint discrimination and an infringement of PBS and PBS Member Stations’ private editorial discretion. Further, they assert the order is a violation of the First Amendment, as well as parts of the Public Broadcasting Act passed in 1967. Much like NPR’s separate lawsuit over the same executive order, PBS’ lawsuit argues that Trump does not have the authority to block federal funding to the public TV and radio networks over their content.

“The EO [executive order] makes no attempt to hide the fact that it is cutting off the flow of funds to PBS because of the content of PBS programming and out of a desire to alter the content of speech,” reads the filing. “The EO smacks of retaliation for, among other things, perceived political slights in news coverage.”

Trump’s executive order, signed in early May, instructed the Corporation for Public Broadcasting (CPB), the private nonprofit that serves as the point of contact for government funding to public media, to cease federal funding for PBS and NPR. The order asserts that government funding serves to “support biased and partisan news coverage.” Further, the order says indirect government funding should be stopped, including funding to local stations that connect to a national news network.

When NPR’s lawsuit was filed last week, White House spokesman Harrison Fields told CBS News: “The Corporation for Public Broadcasting is creating media to support a particular political party on the taxpayers’ dime. Therefore, the President is exercising his lawful authority to limit funding to NPR and PBS.”

Notably, the CPB also sued Trump in a separate lawsuit over attempts to fire three members of its five-member board, asserting the president was overstepping his authority.

Should the executive order stand, PBS’ lawsuit says “it would have profound impacts on the ability of PBS and PBS Member Stations to provide a rich tapestry of programming to all Americans.”

PBS CEO Paula Kerger, on Face the Nation with Margaret Brennan, said that public broadcasters have “never seen a circumstance like this,” and stressed that the Trump Administration has been “coming after us [in] many different ways.” According to Kerger, a possible revocation of previously appropriated funds, as well as an effort to challenge corporate sponsorships—the primary way that public networks are funded—through the FCC, “among other things,” were possible retaliatory measures.

“We’re going to be pushing back very hard, because what’s at risk are our stations, our public television, our public radio stations, across the country,” said Kerger, who added that PBS only receives 15% of its funding from the federal government.

Smaller stations may receive up to 50% of their funding from federal sources, which adds the risk that those stations will cease to function altogether if that funding stops.

Photo Credit: Creative Community for Peace

More than 400 prominent leaders from the music and entertainment industries—including executives from YouTube Music, Warner Music Group (WMG), Universal Music Group (UMG), VEVO, Roc Nation, and the Recording Academy—have signed a powerful open letter denouncing anti-Israel extremism and antisemitism.

The initiative, organized by the Creative Community for Peace (CCFP), marks a significant stand against the rising tide of hate speech and misinformation targeting Israel and Jewish communities since the October 7, 2023 Hamas attack on an Israeli music festival.

The open letter was released on May 28, 2025 and directly addresses the proliferation of extremist rhetoric and antisemitic incitement, which signatories say has been amplified by both ideological actors and unwitting celebrities. The letter states: “Hamas, Iran, and their allies and ideological sympathizers in the West have flooded the world with their hateful lies and antisemitic incitement since October 7—lies designed to demonize Israel, the Jewish people, and their supporters.”

“When public figures accuse Israel of genocide, call for intifada, or claim Jews are colonizers, they may not understand the history they’re invoking—but the people who act on those words do,” says Haim Saban, CEO of Saban Capital Group and the leading voice behind the letter. “This open letter is a plea for truth, for accountability, and for responsibility—especially from those with powerful platforms.”

Executives from major record labels and platforms including YouTube Music, WMG, UMG, VEVO, ROC Nation, and the Recording Academy have all endorsed the open letter. The Recording Academy has reiterated its commitment to the unifying power of music and condemned violence, hate, and antisemitism, particularly referencing the massacre at the Supernova music festival in Israel on October 7.

UMG’s statement highlighted the need for tolerance, empathy, and understanding, while WMG reaffirmed its opposition to all forms of discrimination and racism, expressing solidarity with Israel and the global Jewish community.

“For the past 600 days, the anti-Israel movement has espoused an unrelenting stream of extremist rhetoric to demonize Israel and anyone who supports the country — it’s a toxic mix of distortion, bigotry and incitement. Given the power of social media, it’s incumbent on entertainers and public figures, with their ability to influence millions around the world, to use their platforms responsibly. Without a course correction, we will only see more hate, more violence, and more innocent people targeted simply for being Jewish,” CCFP Chairman/Co-Founder David Renzer and Executive Director Ari Ingel add.

The full open letter and signatories are available here.

Photo Credit: RTR Distribution

RTR Distribution has issued a formal cease and desist letter to UnitedMasters over the use of the term ‘Real-Time Royalties’ on their website.

RTR Distribution, a platform for real-time royalty payments for content creators, has issued a formal cease and desist letter to UnitedMasters. This legal kerfuffle is over the unauthorized use of the term “Real-Time Royalties” on their website. RTR Distribution holds a pending patent for real-time royalty payment technology and has exclusive rights to the technology in the blockchain-based entertainment monetization space.

The cease and desist letter demands that UnitedMasters immediately remove the term “Real-Time Royalties” from their marketing, promotional materials, and any online references. Those references directly infringes upon RTR Distribution’s intellectual property. The company has given UnitedMasters a 14-day deadline to comply with the request.

“We have developed and have a pending patent on the technology that powers real-time payments for creators,” said Joshua D. Combs, Founder and CEO of RTR Distribution.

“Our platform enables artists, musicians, and content creators to receive instant payouts for their work, and we take great pride in the innovation we’ve brought to the industry. The use of the term ‘real-time royalties’ by UnitedMasters is not only misleading but also an infringement on the intellectual property we’ve worked tirelessly to build. If they do not comply, we will take the necessary legal steps to protect our pending patent and our business.”

The ability to provide real-time royalty payments has become increasingly important in the music and content creation industries. As the entertainment sector moves toward blockchain integration, RTR Distribution is hoping to lead the charge in ensuring that creators receive instant payouts for every stream, view, or download of their content. The patent-pending technology behind RTR Distribution’s platform ensures fair compensation for artists, producers, and content creators worldwide, without the traditional delays of legacy payment systems.

RTR Distribution is a platform built on blockchain technology that provides real-time royalty payments to content creators in the music, film, podcast, and digital media sectors. By using RLT tokens and smart contracts, RTR Distribution ensures that creators are paid immediately every time their content is consumed. RTR Distribution is working to revolutionize the way content creators are compensated, providing fairer, faster, and transparent payment solutions.

UnitedMasters is a digital music distribution company that allows independent artists to distribute their music across various streaming platforms. They offer a variety of tools to help artists manage and monetize their content independently.

Should UnitedMasters fail to comply with the cease and desist request, RTR Distribution is prepared to pursue legal action to protect its intellectual property rights. The company is committed to defending the technology that powers real-time payments and ensuring that creators receive the compensation they deserve, without compromise.

Photo Credit: Taylor Swift

Taylor Swift has bought her masters from Shamrock Capital, reclaiming the rights to her first six albums after Scooter Braun bought them in 2019.

On Friday, Taylor Swift made an announcement on her website that she had bought her masters back from Shamrock Capital. The Los Angeles-based investment firm, which acquired her masters from Scooter Braun in 2019, was founded by Roy E. Disney, a nephew of Walt Disney. Scooter Braun had acquired the masters as part of a larger acquisition of Big Machine Records.

“The best things that have ever been mine… finally actually are,” wrote Swift. “For years I asked, pleaded for a chance to own my work,” she added. “Instead, I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future.”

A note posted to Swift’s social media at the time of the Shamrock sale said she was given the opportunity to be a “partner” with the company. She turned down the offer because Braun’s deal would have enabled him to continue profiting from her work. That was when she decided to re-record her original albums, releasing them as “Taylor’s Versions.”

Swift released a re-recording of her second album, Fearless (Taylor’s Version) in 2021, followed by Taylor’s Versions of Red, Speak Now, and 1989. The release of 1989 (Taylor’s Version) enjoyed a larger opening week than the original album, debuting on the Billboard 200 with over 1.5 million sales in the US—the biggest opening week of her career at that time.

As for the final two re-releases in the project, Swift addressed them in her note to fans on Friday. The re-recorded version of her self-titled debut, she said, has already been completed, “and I really love how it sounds now.” However, her work on a re-released Reputation has hit some snags. The original album “was so specific to that time in my life,” she said, “and I kept hitting a stopping point when I tried to remake it.” Currently, the artist says there are no firm plans to release either record, but that she is leaving the option open.

Swift credited her fans’ enthusiasm for the re-recordings and the success of her record-breaking Eras Tour for enabling her to buy back her masters. Across 149 shows, the tour sold over $2 billion in tickets.

Photo Credit: Flaco2xs / reddit

Apple’s removal of the popular music streaming app Musi from the App Store has sparked a high-profile legal battle. Musi’s creators allege the tech giant engaged in collusion and ‘backroom dealings’ with major labels to force the app offline. Apple has dismissed these claims as ‘unfounded conspiracy theories.’

Musi garnered over 66 million downloads on the App Store before it was removed, serving millions of users across the globe. The app acted as a simple wrapper for YouTube music, playing music videos and enabling features like background play—which is a paid YouTube Music feature. Musi stripped YouTube’s ads and added its own or offered ad-free streaming for a price—in violation of YouTube’s API terms of service.

Following pressure from music industry organizations like the National Music Publishers’ Association (NMPA), Sony Music, and the International Federation of the Phonographic Industry (IFPI) and YouTube itself—Apple removed Musi from the App Store in September 2024.

Musi filed a lawsuit against Apple in the U.S. District Court for the Northern District of California in an attempt to force its way back onto the App Store. Musi claims that Apple’s decision was not merely a response to complaints, but was the result of ‘backroom dealings’ with major labels and YouTube. They allege that the ultimate goal it to eliminate Musi as a competitor. Musi points to internal Apple emails and meetings with music industry executives as evidence of this alleged conspiracy.

Apple has categorically denied those allegations, however. In court filings, the company argues that its developer agreement allows the company unilateral authority to remove an app at any time—with or without cause. Apple says the decision to remove the app came after numerous credible complaints of copyright infringement and violation of YouTube’s terms of service.

Apple even accused Musi of fabricating an email from a Universal Music executive in an earlier attempt to avoid removal, calling Musi’s accusations “baseless conspiracy theory.” Now Apple is seeking sanctions against the app’s creators for attempting to mislead the court. The court has denied Musi’s request for a preliminary injunction to force Apple to restore the app—finding no evidence that Apple acted in bad faith for the removal.

For now, Musi remains unavailable on the App Store. Meanwhile, hundreds of users who previously used the app flood the Musi subreddit seeking alternatives and ways to sideload the app on to their iPhones.

Photo Credit: Vijat Mohindra

TikTok launches an in-app experience and hosts a surprise album listening party for Miley Cyrus. Superfans enjoyed a live performance of her ninth studio album—Something Beautiful.

To kick things off, TikTok hosted an event for superfans of Miley Cyrus on Tuesday at the iconic Chateau Marmont. Miley personally invited fans she discovered through TikTok to join her for the event, which (unbeknownst to them) was a surprise album listening party and live performance. She sang her new tracks “End of the World,” “More to Lose,” “Easy Lover,” and her hit “Flowers,” as well as 2009’s “The Climb.” Two guests even got engaged at the event.

“Last night at the Chateau Marmont was so special,” wrote Miley on TikTok. “Every Smiler in the room was handpicked from TikTok, and it meant the world to hear you all singing along to new and unreleased music. Thank you for being there, last night really was Something Beautiful.”

Premiering in tandem with Miley’s album release on Friday, TikTok is launching an in-app experience, too. It will feature exclusive videos and a first-of-its-kind fashion section. Fans can go behind the scenes as Miley reveals the stories and inspirations behind her most iconic album looks. From bold statement pieces to personal touches, fans will learn how fashion becomes a form of storytelling in Something Beautiful.

Fans can complete special tasks just by using TikTok—such as saving the new song “Easy Lover” to their favorite music app. They can also search for Something Beautiful to unlock a custom profile frame. To join the experience, just search “Miley Cyrus” or “Something Beautiful” on TikTok.

Miley Cyrus has racked up over 5.8 million creator videos set to the tune of her hit track “Flowers.” In 2023, she took to the platform with her “Used to Be Young” series—a candid 42-part look back on her life from 1992 to present day, revisiting her childhood in the spotlight, relationships, and culture-shifting moments in her own words.

Photo Credit: Hybe Corp.

K-pop powerhouse Hybe has set up a Chinese subsidiary to support its artists’ expansion into the market.

Hybe China Co., Ltd. was launched April 2 in Beijing—Hybe’s fourth overseas branch following those in Japan, the US, and Latin America. Its new Beijing-based entity will focus on backing artists’ activities in China, notably to compete with its rival agencies, SM Entertainment, YG Entertainment, and JYP Entertainment.

According to industry insiders, Hybe’s latest move may reflect growing expectations that China will loosen its tacit ban on South Korean entertainment, which has been in place for several years. But in spite of the market’s potential, Hybe China is not expected to immediately launch a talent audition program or debut a K-pop group. Instead, the unit is likely to play a more limited role—at least initially.

Better relations between China and South Korea could result in a major uplift in concert tickets, albums, and merch sales for South Korean companies as they ride the continued buoy in K-pop’s popularity in a significant new market. It’s no coincidence that Hybe’s move to set up a new office in China comes as its flagship act, BTS, is set to reunite after its members’ military service.

Pledis China, previously launched by Pledis Entertainment in 2018 prior to its acquisition by Hybe, will continue to oversee its group activities in China—namely Seventeen, which Pledis debuted in 2015.

Confirmation of Hybe’s expansion into China closely follows news from South Korean outlet Yonhap that the K-pop company is also planning to establish an office in Mumbai.

Meanwhile, Hybe is also in the process of selling its entire 9.38% stake in rival firm SM Entertainment to Tencent Music Entertainment, China’s biggest owner of music streaming services. The transaction was worth nearly $180 million. As Tencent cozies up to SM, the two companies also announced a new partnership that will see them co-produce a new idol group and plan performances in China.

Photo Credit: Fenway Park

Two concerts at Fenway Park have been abruptly canceled. Fans eager to see Shakira tonight (May 29) and Jason Aldean and Brooks & Dunn (May 30) will now receive refunds.

The Boston ballpark made the announcement on their Instagram. “Due to unforeseen circumstances, the Shakira and Jason Aldean and Brooks & Dunn performances originally scheduled for May 29 and May 30 respectively at Fenway Park have been canceled,” the announcement reads. “Refunds will be available at your point of purchase. We apologize for the inconvenience.”

Shakira was slated to play tonight, while Jason Aldean and Brooks & Dunn were supposed to take the stage on Friday night. Both shows were canceled, with Live Nation revealing more details about why. According to them, structural elements supporting the stage were deemed potentially unsafe during a routine pre-concert check. No one was injured, but both concerts are being canceled out of an abundance of caution. Live Nation did not immediately identify who performed the pre-concert check.

Several major concerts are scheduled at Fenway Park for the summer 2025 season as part of the Nucar Fenway Concert Series. Barring these last two May performances, several upcoming performances for the Boston ballpark include:

• June 23 & 24 | Hozier: Unreal Unearth Tour
• July 17 & 18 | The Lumineers: The Automatic World Tour
• July 19 | Thomas Rhett: Better In Boots Tour
• August 23 | Jonas Brothers: Jon20 The Dream Tour
• August 25 | Chris Brown: Breezy XX Tour
• August 26 | The Who
• September 7 | My Chemical Romance

So far, just the May dates for Shakira, Jason Aldean, and Brooks & Dunn have been canceled. Presumably the park will address stage issues found during these pre-concert checks and the rest of the summer series will go off without a hitch. They’ve got nearly a month before Hozier is set to take the stage in June. The city of Boston has not responded to press requests for comment about the concert cancellations at Fenway Park.

Photo Credit: Robin Canfield

Live Nation expands its presence in Latin America through the acquisition of the Dominican Republic’s SD Concerts, a rising force in Central and South America.

Live Nation announces the acquisition of SD Concerts, the leading live entertainment company in the Dominican Republic and a rising star across Central and South America. The move bolsters Live Nation’s commitment to this fast-growing touring region and reinforces its mission to bring more live music to fans worldwide.

Founded in 2001, SD Concerts is behind many of the region’s most notable live events. The company promotes top Latin and international talent across the Dominican Republic, as well as supporting shows in Aruba, Chile, Colombia, Costa Rica, Guatemala, Panama, and Puerto Rico. SD Concerts also operates a ticketing platform, which currently services all SD events and provides a foundation for future ticketing expansion in the region. Through the acquisition, that platform will become part of the Ticketmaster ecosystem.

“Saymon and SD Concerts have built a remarkable business rooted in deep local knowledge and a passion for live music,” said Michael Rapino, CEO and President, Live Nation Entertainment. “We’re joining forces with a proven regional leader to help even more Latin artists reach global audiences and connect international acts with fans across Latin America.”

“Live music is thriving across the region, and we’re proud of the role SD Concerts has played in that growth,” adds Saymon Diaz, Founder & CEO of SD Concerts, who will continue to lead the business. “Partnering with Live Nation gives us the global infrastructure to scale even further and supports the next generation of Latin talent. This partnership will bring bigger shows to more locations and create even more unforgettable live music experiences for fans in the Dominican Republic and across Latin America.”

The concert industry is seeing continued momentum across Latin America, with Live Nation events seeing fan attendance in the region up over 25% in the first quarter of 2025. Growing demand for live experiences is supported by the global rise of non-English language artists, who now represent twice as many of Live Nation’s top 50 tours compared to 2019. This momentum underscores Latin America’s growing role as a powerhouse in global touring, and Live Nation’s role in building more opportunities for artists and audiences to connect.

Photo Credit: Matthewc95 / CC by 4.0

Irish rap group Kneecap have confirmed they were removed from appearing at the upcoming TRNSMT music festival in Glasgow.

“Due to concerns expressed by the police about safety at the event, Kneecap can no longer perform at TRNSMT,” the band says the message they received states. Speaking to their fans, Kneecap says: “To the thousands of people who bought tickets, flights, and hotels to see us play, we are sorry… it is out of our hands.”

“Glasgow has always been a huge city for us. We’ve played there many times, with no issues—ever. Make of that what you will. To try to make up for it, we will be at your O2 Academy on Tuesday July 8.”

Police in Scotland stated last week that allowing Kneecap to perform at the Glasgow Green on July 11 would require “a significant policing operation.” The move to disallow Kneecap to perform comes after one of the members was charged with a terror offense for promoting a Hezbollah flag during a London gig. Liam Óg Ó hAnnaidh, 27, was charged by Metropolitan Police after reviewing footage of the incident at the O2 Forum in London. He performs under the name Mo Chara and is slated to appear at Westminster Magistrates’ Court on June 18.

Kneecap also received criticism for a performance in 2023 when footage showed one of the members telling the audience: “The only good Tory is a dead Tory. Kill your local MP!” Scotland’s First Minister John Swinney has backed calls for Kneecap to be removed from the TRNSMT festival over the Tory comment.

TRNSMT promoters DF Concerts said: “Due to concerns expressed by the police about safety at the event, Kneecap will no longer perform at TRNSMT on Friday, July 11.” So far, Kneecap is still listed on the lineup of the Glastonbury festival, which is happening on June 28. The group drew massive criticism after their Coachella set this year after using the stage to project pro-Palestinian messages and leading an anti-Margaret Thatcher chant.

Photo Credit: Jonathan

The Trump administration has thrown its support behind Cox Communications in the high-profile Cox v. Sony case as the case heads to potential review by the U.S. Supreme Court.

At the heart of the case is whether internet service providers (ISPs) like Cox should be held liable when subscribers use their networks to illegally download copyrighted music. If found liable, Cox would be required to boot offending customers and may face massive financial penalties for continuing to supply connection to alleged pirates.

The case was filed back in 2018 when more than 50 record labels including Sony Music Entertainment sued Cox for not terminating the accounts of subscribers accused of repeatedly pirating music. A Virginia jury initially awarded the music labels a $1 billion verdict against Cox—finding the ISP liable for both contributory and vicarious copyright infringement. However, the Fourth Circuit Court of Appeals later overturned the vicarious liability finding and the damages award. However, the appeals court upheld the contributory infringement ruling—sending the case back for a new trial on damages.

Both parties have since petitioned the Supreme Court to hear the case. Cox is seeking to overturn any liability related to continuing to platform pirates, while the music industry seeks the reinstatement of the initial fine. In response, the Supreme Court has asked the Department of Justice (DOJ) to weigh in. This week, the Trump DOJ, through Solicitor General John Sauer, filed a brief urging the court to take up Cox’s appeal and reject Sony’s.

The Trump administration’s brief argues that the Fourth Circuit’s decision threatens to expose ISPs to sweeping liability. It also argues that it could force ISPs to disconnect users after receiving a single copyright complaint. Sauer notes that such an approach could set a precedent that leads to innocent users losing internet access over unproven allegations.

Sauer writes that the 4th Circuit decision if not overturned, “subjects ISPs to potential liability for all acts of copyright infringement committed by particular subscribers as long as the music industry sends notices alleging past instances of infringement by those subscribers.” He also argues that this could “encourage providers to avoid substantial monetary liability by terminating subscribers after receiving a single notice of alleged infringement.”

Sauer continues to argue that rulings in Sony v. Universal City Studios and MGM Studios v. Grokster “make clear that contributory liability for copyright infringement requires more than knowledge that others have put the defendant’s products to infringing use. Instead, it requires ‘culpable intent’ to cause infringement.”

The DOJ further argues that simply providing access to the internet—even after receiving infringement notices—does not constitute “material contribution” to copyright infringement. The DOJ draws parallels to a recent case involving X/Twitter, where the Court found that providing a platform does not make a company liable for its users’ illegal acts unless the company is actively participating.

“If Cox had explicitly or implicitly marketed its services as being particularly useful for infringers, or if it had encouraged subscribers to use Cox’s Internet service to infringe, liability might be appropriate. But as the court of appeals acknowledged, Cox’s business model was indifferent to whether it’s subscribers used the internet for lawful or unlawful purposes.”

Saur writes that siding with Sony would “threaten liability for other service providers” like electric utilities that might be asked to cut services to customers who used the service for unlawful purposes.

“Many accounts that triggered multiple notices belonged to hotels, hospitals, universities, and regional ISPs serving hundreds of thousands of individual users,” Sauer continues. “Under the decision below, Cox would be held liable for direct infringement committed by any of those users, whose identities it does not know and with whom it has no contractual relationship.”

Saur also urged the Supreme Court to reject Sony’s petition for a review. “The court of appeals correctly held that Sony had not satisfied its burden of showing that Cox financially benefited from infringement on its network. As the court explained, Cox charges its customers a flat fee for internet service, regardless of what its users do online.”

Photo Credit: Bang Si-hyuk for Metropolitan City of Busan

Hybe chairman Bang Si-hyuk, the mastermind behind BTS, is under investigation by South Korea’s financial watchdog for allegedly fraudulent trading.

South Korean outlets report that the country’s Financial Supervisory Service has been looking into claims that Hybe chairman Bang Si-hyuk misled investors during Hybe’s pre-IPO phase in 2019. Investigators have reportedly found evidence that Bang privately informed institutional investors that a public listing was unlikely, even while taking steps to move forward with an IPO.

At the time, Bang allegedly entered into a profit-sharing agreement with private equity funds established by his acquaintances, and ultimately pocketed around 400 billion won ($289.7 million) after Hybe’s successful stock debut in 2020. That arrangement was never disclosed in Hybe’s official filings, which could spell a violation of Korea’s capital market law.

Neither Hybe nor South Korea’s financial watchdog have confirmed details of the investigation, but they have neither denied its existence. That further fuels speculation that formal legal proceedings are forthcoming. The Financial Supervisory Service (FSS) is reportedly considering referring the case to prosecutors via a fast-track process. Further, a separate police investigation is said to be underway.

Understandably, fans are concerned that the controversy may impact BTS’ comeback as a full group, following its members’ mandatory military service. The seven-member ensemble is on track to reunite perhaps later this year, as all members will have completed their mandatory service by June 21.

An official comeback date hasn’t been confirmed, but Hybe has repeatedly stated that new BTS content and performances are in the works. In March, Hybe CEO Park Ji-won told shareholders that the company was negotiating with top-tier songwriters and producers over BTS members’ need to “regroup creatively” after completing their service.

Fortunately, entertainment industry executives close to the matter say the financial scandal involving Bang is unlikely to affect BTS’ activities. “The issue centers on Bang Si-hyuk’s personal gains and doesn’t directly involve BTS,” an official said on Thursday. “Hybe operates under a multi-label system, and BTS is more than capable of making a comeback independently of Bang.”

Photo Credit: MILLION DOLLAZ WORTH OF GAME / CC by 3.0

President Trump pardons rapper YoungBoy Never Broke Again, who was sentenced last year to 23 months in prison for possession of firearms as a felon.

YoungBoy Never Broke Again had also been given 60 months of probation and was released from federal custody in March. Since then, he has been under home confinement. The rapper recently announced a headlining US tour, which is set to kick off in September.

“I want to thank President Trump for granting me a pardon and giving me the opportunity to keep building—as a man, as a father, and as an artist,” said YoungBoy Never Broke Again, who was born Kentrell DeSean Gaulden, and is also known as NBA YoungBoy. “This moment means a lot. It opens the door to a future I’ve worked hard for and I am fully prepared to step into this.”

The rapper’s tour agent, Andrew Lieber, said in a statement to The New York Times: “He’s a fully free man now, with no travel restrictions. The world is at his fingertips.”

Trump also pardoned a slew of high-profile Republicans and other supporters, donors, and friends, with the influence of Alice Marie Johnson, whom the president pardoned back in 2020. Trump has recently dubbed Johnson his “pardon czar.”

Among those pardoned in the latest round were Todd and Julie Chrisley of the reality show “Chrisley Knows Best,” who were convicted of conspiring to defraud banks in the Atlanta area. He also pardoned James Callahan, a New York union leader who pleaded guilty for failing to report $315,000 in gifts from an advertising firm.

Further, he pardoned former Connecticut governor John Rowland, a Republican who served from 1995 to 2004. Rowland was sentenced to 30 months in federal prison for charges related to concealing his involvement in two federal election campaigns. The president also pardoned Michael Grimm, a New York Republican who resigned from Congress after being convicted of tax fraud. Army Lt. Mark Bradshaw, convicted in 2022 of reporting to work without undergoing a COVID-19 test, was also pardoned.

Trump also commuted the sentence of Larry Hoover, a former Chicago gang leader serving a life sentence at Colorado’s supermax prison. Hoover was first imprisoned in connection with a 1973 murder, and was convicted of running a criminal enterprise in 1998.

In 2021, Trump pardoned Lil Wayne and commuted Kodak Black’s federal prison sentence before he left office. To celebrate his pardon, Lil Wayne released the song “Ain’t Got Time.”

Photo Credit: Chris Daughtry, lead singer of Daughtry, by Luis Blanco / CC by 2.0

Gebbia Media has acquired Big Machine Rock from Hybe America. The roster includes Daughtry, Badflower, Sammy Hagar, Olive Vox, and more.

Gebbia Media, a subsidiary of Siebert Financial Corp., has acquired Big Machine Rock, the rock imprint of Big Machine Label Group, which has played a major role in shaping the future of modern rock. The acquisition marks a new chapter in Gebbia Media’s rapid ascent within the music and media industries, where the company is focused on building an artist-first platform that blends creative storytelling with strategic investment. Big Machine Rock’s current roster includes Daughtry, Badflower, Sammy Hagar, Olive Vox, and Ryan Perdz, among others.

“Growing up with incredible music by iconic artists like Led Zeppelin, Van Halen, and The Doors, I recognize the importance of bringing rock to a new generation of listeners and fans, who are ready to embrace it,” says David Gebbia, CEO of Gebbia Media. “Big Machine Rock embodies the Gebbia Media approach: bold, cross-generational, and deeply in touch with the culture. This acquisition allows us to further our mission of empowering artists through investment in robust catalogs and cross-platform expansion.”

GM Heather Luke-Husong has led the label’s all-female team to achieve multiple No. 1 singles and Platinum-certified records in just a few years, making the indie-spirited imprint one of the most exciting labels to watch in the rock space.

Big Machine Rock has become a home for dynamic, genre-defiant acts whose influences stretch beyond traditional rock into country, alt, and metal, earning praise for its innovative approach and loyal artist base. Under Gebbia Media’s leadership, the label will prioritize artist development, immersive storytelling, and cross-platform visibility, meeting fans where they most are: onstage, online, and embedded in culture.

“This acquisition marks another step in Siebert’s commitment to innovating at the intersection of Finance and Culture. By bringing Big Machine Rock into the Gebbia Media portfolio, we’re aligning visionary talent with the resources and stability of a diversified financial platform, ensuring long-term growth and cultural impact,” says John J. Gebbia, CEO of Siebert Financial.

The move follows Siebert’s strategic partnership with GAMMA and L.A. Reid LLC for the breakout group SIMIEN, building on Gebbia Media’s growing partnership with global artist and entrepreneur Akon.

As part of the agreement, Scott Borchetta, founder of Big Machine Label Group, will continue to oversee operations and join the advisory board of Siebert Financial, parent company of Gebbia Media. Borchetta’s track record guiding dozens of top selling artists like Riley Green, Thomas Rhett, Reba, Dolly Parton, Taylor Swift, Sheryl Crow, Florida Georgia Line, and so many more, brings immediate strategic depth to Siebert’s expansion into media and entertainment, making him an invaluable addition to its advisory board.

Artists currently signed to Big Machine Rock will remain part of the label’s roster and will benefit from expanded resources, promotional capabilities, and global reach.

Photo Credit: United Musicians and Allied Workers (UMAW)

Today the NYC Council voted to pass Resolution 368, which calls for fair pay for artists in music streaming. The council also endorsed the passage of the Living Wage for Musicians Act introduced in the U.S. Congress in 2024.

“I’m thrilled the New York City Council has passed my Resolution 368 today, in support of the Living Wage for Musicians Act. In the music capital of the world, artists deserve fair pay and dignity,” shared Council Member Shahana Hanif. “As streaming platforms pay artists less than a third of a penny per play, this is a critical step toward making our city more affordable for working musicians to living and creating music here.”

The Living Wage for Musicians Act would finally ensure that artists are fairly compensated for their work on streaming services by creating a new streaming royalty paid directly to artists. The new royalty would be an additional revenue stream on top of artists’ existing royalties. The Act was originally introduced by Congresswoman Rashida Tlaib and former Congressman Jamaal Bowman, and was developed in collaboration with musician advocacy organization United Musicians and Allied Workers (UMAW).

The Resolution was introduced by Council Member Shahana Hanif and was cosponsored by Council Members De La Rosa, Ossé, Rivera, Menin, Cabán, Brannan, Louis, Brewer, Riley, Farías, and Bottcher.

“UMAW thanks Council Member Hanif and all the Council Members who voted for thos resolution for standing with NYC’s music community,” adds UMAW organizer and musician Joey La Neve DeFrancesco. “This is a huge win for NYC musicians, and musicians across the country. It proves once again that when artists stand together united, we can fight and we can win. We still have a lot of work to do to win fair pay in streaming, but this is a big step forward.”

“Over 14,000 musicians operate in our city, but still make below minimum wage while generating billions for this sector of the entertainment industry,” adds Council Member Carmen De La Rosa, Chair of the Committee on Civil Service and Labor. “The Living Wage for Musicians Act is a lifeline for musicians who must rely on an exploitative royalty structure to make ends meet and uplifts a vibrant workforce that deserve to be paid fairly for their art and talent.”

“The New York City Council taking this action shows that fair pay in streaming and the Living Wage for Musicians Act is an idea with popular support, and one that politicians can get behind. Music benefits everybody, but streaming is not benefiting musicians – the LWMA is a straightforward solution to that widely acknowledged problem,” said UMAW organizer and musician Damon Krukowski.

Photo Credit: “GigaPump” by g3ox_em

Stockholm-based label Savage Roar and Warner Music launch a new Roblox music integration deal in collaboration with The Gang Studios.

Savage Roar, a Stockholm-based label operating at the intersection of music and gaming, has announced its first major release written specifically for Roblox, “GigaPump” by g3ox_em. The track will be integrated as the primary soundtrack in two of Roblox’s most popular experiences: Strongman Simulator and Sumo Wrestling Simulator.

These two titles reach millions of Roblox players daily, offering a unique opportunity to embed music directly into the digital daily lives of players. With average play sessions exceeding 12 minutes, the integration becomes a seamless, meaningful part of how players experience and interact with the game.

The launch is the result of a unique partnership with leading Roblox developer, The Gang Studios, with distribution of the track powered by Warner Music Group’s ADA to maximize global impact beyond the gaming ecosystem. This launch is further supported by influencer and community activations across TikTok, Instagram, and Discord, bringing the track and artist in front of millions of engaged players worldwide.

Best known for his viral “GigaChad Theme,” which has amassed over a billion global impressions, g3ox_em extends his high-energy, meme-culture-infused sound into gaming. His previous accolades include placement on the official Fast & Furious: Drift Tape and a certified RIAA Gold Record.

“Engagement has changed a lot the past years with platforms like Roblox and Minecraft. For those who want to stay ahead of their competition, you need to be bold and dare to try new things. We are proud to be pushing the boundaries of the future of engagement through initiatives like this,” says Håkan Frisk, Co-Founder and Head of Roblox Production at The Gang Studios. “Special recognition goes to Jonathan Gustavii, Director of Strategic Partnerships at The Gang Studios, who has been a driving force behind this project from day one.”

“Gaming is one of the most powerful cultural channels for music distribution today. With this collaboration, we’re not just aiming to be seen—we want to be valuable to the player experience. Our goal is to integrate the music naturally, to enhance the gameplay and connect authentically with the audience. We want the music to feel like a core part of the world players already love,” says Gustav Käll, founder of Savage Roar and former Head of Gaming & Esports and Enter Records, at Universal Music Group.

This launch marks the beginning of a long-term strategy for Savage Roar: to build culturally resonant bridges between the worlds of music, gaming, and digital community life. It’s the first step in Savage Roar’s mission to redefine how music lives, breathes, and thrives in the virtual worlds millions call home.

Photo Credit: Randee St. Nicholas Photography

Executive Director of MusiCares Laura Segura has departed the role after five years, according to an email sent to staff by Recording Academy CEO Harvey Mason Jr.

The abrupt departure was announced to staff over the Memorial Day weekend, while the Recording Academy itself is not responding to press inquiries about the exit. Reports of the memo called the exit a “key leadership transition” and stated that Segura is “no longer with MusiCares.” For now, Theresa Wolters, who previously served as the organization’s head of health and human services has stepped into the role of interim executive director.

This change has already been reflected on the MusiCares website, which no longer lists Segura and now includes Wolters with her interim title. Neither the Recording Academy nor MusiCares have responded to requests for comment about the leadership change. A cursory glance at Laura Segura’s LinkedIn page shows it has not been updated to reflect this change.

MusiCares was founded in 1989 as a charitable organization and has paid out over $100 million in relief to musicians and music executives. That includes more than $30 million in relief funds due to the COVID pandemic and more than $10 million in LA wildfire relief funds due to fires earlier this year. MusicCares raised $16 million through its Fire Relief campaign and its annual Persons of the Year gala, in which the Grateful Dead were honored.

Before joining MusiCares, Segura served as Vice President of Membership and Industry Relations at the Recording Academy for seven years. She was named Pollstar’s “Women of Live” list in 2025 and appeared in their “Impact 50” list in 2021. She also received numerous name drops in Billboard’s “Women in Music Top Executive” list from 2020, 2022, and 2023. Segura is based in Santa Monica, California and is a Board Director at the Actors Fund Housing Development Corporation since January 2023.

Photo Credit: Maryland GovPics / CC by 2.0

A high-profile dispute has erupted between former Def Jam exec Kevin Liles and rapper Lady Luck. Liles has accused the rapper of attempting to extort him to the tune of $30 million through threats. He also alleges Lady Luck threatened to publish a book containing “false and damaging allegations of sexual misconduct.”

According to statements released by Liles, Lady Luck—real name Shanell Jones—and her legal team contacted him to demand a $30 million payment. They said without a payment, Liles would face a very public lawsuit and the release of a tell-all book accusing Liles of sexual assault and inappropriate conduct. Those allegations include claims that Liles ‘groomed’ Lady Luck when she signed to Def Jam in 1999 as a teenager. Other allegations include that Liles exposed himself to her and tried to force her to perform oral sex in his car.

Liles has categorically denied all of the accusations levied against him, calling them “utterly false” and “pure fabrication. “None of this ever happened,” Liles said in a public statement. “Her threatened allegations are totally false. Rather than pay her and her legal team, I am publicly addressing what I view to be an extortion attempt.”

“It seems Mrs. Jones hopes to leverage the current news environment to pressure me into writing an exorbitant check in order to avoid the negative publicity that will likely result from her false claims,” Liles continues. “I intend to vigorously fight any complaint she may file and will take whatever legal action is necessary against her and the attorneys who have participated in this attempted shakedown.”

The statement was released on the website ‘LadyLucksOwnWords.com,’ which Liles appears to have created as an archive of communication with the rapper. It details how Liles gave her a chance with a record deal after hearing her on Hot 97 and contains numerous print and web interviews of Lady Luck discussing her relationship with the rap mogul.

Liles argues that his relationship with her was always professional and supportive. He also notes her struggles, stating that her career did not reach the heights both she and Liles hoped she would achieve. Lady Luck later requested to be released from her Def Jam contract. Liles also pointed to a criminal background and referenced recent hardships, stating “I will not be extorted, nor will I pay a dollar to those that threaten to ruin my reputation.”

Lady Luck and her legal representatives thus far have not responded to the detailed denials or the website. The dispute also comes at a time when Liles is seeking the dismissal of a sexual assault lawsuit stemming from his time at Def Jam in the early 2000s—though it’s unclear if that lawsuit is related.

Photo Credit: World Red Eye

DJ Alesso headlined the grand opening of downtown Miami’s Worldcenter, a $6 billion retail, dining, and entertainment hub.

Miami’s downtown lit up as global superstar DJ Alesso headlined a massive open-air block party celebrating the grand opening of Miami Worldcenter, the city’s new 27-acre, $6 billion retail, dining, and entertainment hub. Thousands turned out for the high-energy show, which transformed Miami Worldcenter’s streets into a full-sensory experience with fireworks, lasers, CO2 blasts, and live performers.

The evening also featured live performances by Shaggy and country star Lee Greenwood. Greenwood’s rendition of “God Bless the USA” was accompanied by a dramatic Red Bull base jumper stunt from the top of the 60-story Paramount Miami Worldcenter tower. Miami’s own DJ Irie served as MC throughout the night, keeping the crowd hyped between acts.

The free concert, co-hosted by DJ Scotty B, included performances by Flo Rida and Nicky Jam, as well as a fireworks spectacular, laser light show, special effects, confetti storm, and more. Guests could also enjoy food and beverage tastings from immersive street activations hosted by dozens of retail and dining tenants now open at Miami Worldcenter.

Culinary showcases included Maple & Ash, Sixty Vines, Earls Kitchen + Bar, Serafina, Go Greek Yogurt, Sweet Paris Creperie & Cafe, and Starbucks. Additionally, local favorites Juvia, Brasserie Laurel, Chug’s Express, and El Vecino Cigar & Cocktail Bar provided a further diverse mix of global flavors and formats.

Positioned within walking distance of Miami’s top cultural and entertainment landmarks, including Perez Art Museum Miami (PAMM), the Frost Museum of Science, the Adrienne Arsht Center, and the Kaseya Center—home of the Miami Heat—Miami Worldcenter is downtown’s new heartbeat.

During the course of the multi-phase development, Miami Worldcenter plans to bring over 11,000 residential units to market. Several luxury apartments and condominium towers are already completed, with thousands of additional units actively under construction or in planning. On the hospitality front, more than 1,100 hotel rooms are expected across the site, with the CitizenM Miami Worldcenter Hotel now open and additional hospitality destinations slated to debut in future phases.

Miami Worldcenter’s Grand Opening Celebration was presented by Openbank by Santander, a new digital bank that’s “simple, secure, and powered by a top global bank.” Ray-Ban was the official eyewear provider, while CitizenM was the preferred partner hotel, and Rentyl Resorts was the official hospitality sponsor. Official beverage sponsors Lucky Strike and E11even Vodka further elevated the experience, alongside Nestle, who provided complementary Essentia Ionized Alkaline Water for guests.

Photo Credit: Raph_PH / CC by 2.0

Miley Cyrus opens up about a rare medical condition that contributes to her signature whiskey-soaked voice—and makes performing a challenge.

In a recent appearance on Apple Music’s The Zane Lowe Show, Miley Cyrus revealed her struggles with a rare medical condition that contributes to the sound of her “ashtray” voice. The Grammy-winning singer has Reinke’s edema, a condition that causes swelling in the vocal chords and affects her vocal performance.

“It’s part of my unique anatomy,” she said. “This is what I look like. So I have this very large polyp on my vocal chord, which is giving me a lot of the tone and texture that has made me who I am, but it’s extremely difficult to perform with, because it’s like running a marathon with ankle weights on.”

Sometimes, she said, the condition even affects her voice in conversation. “When I’m talking, sometimes at the end of the day, I’ll call my mom, and she’ll go, ‘Oh, you sound like you’re talking through a radio.’ And that’s how you know I’m really tired, because it creates that ultimate vocal fry.”

Lifestyle choices such as drinking and smoking can exacerbate the condition, but Cyrus clarified that she has had the condition for years—thus not habit caused. “Being 21 and staying up and drinking and smoking and partying after every show does not help, but also, in my case, it does not cause it,” she explained. “So my voice always sounded like this.”

The star said she has opted against surgery due to the risk of losing her unique sound. “I’m not willing to sever it, because the chance of waking up from surgery and not sounding like myself is a probability.”

The biggest side effect of the condition, says Cyrus, is that she must prioritize her vocal health—which means staying away from touring.

“I put a tour together, like every other week, because I want to do it, but it would have to be in a way that is sustainable for me,” she said. “With what I got going on, like, I don’t lip sync. I sing live. And these songs are big.”

Cyrus has previously opened up about the strain that touring can take on a person, even before she revealed her condition. “If you’re performing at a certain level of intensity and excellence, there should be an equal amount of recovery and rest,” she said on TikTok in 2023.

“Having every day the relationship between you and other humans being ‘Subject’ and ‘Observer’ isn’t healthy for me, because it erases my humanity and my connection. And without my humanity, my connection, I can’t be a songwriter, which is my priority.”

Photo Credit: James Cridland / CC by 2.0

NPR is suing President Trump over his executive order to stop all federal funding for the nonprofit public broadcaster.

National Public Radio (NPR) is suing President Trump over his executive order to cease federal funding for nonprofit broadcasters, including NPR and the Public Broadcasting Service (PBS). The lawsuit was filed on Tuesday in federal court in Washington, D.C.

According to NPR and three other public radio stations, Trump’s May 1 order violates the First Amendment’s protections of speech and the press, and undermines Congress’ authority. The order also “threatens the existence of a public radio system that millions of Americans across the country rely on for vital news and information.”

The executive order “expressly aims to punish and control Plaintiffs’ news coverage and other speech the Administration deems ‘biased,’” wrote attorneys for NPR and three of its member stations: Colorado Public Radio, Aspen Public Radio, and KSUT Public Radio. “It cannot stand.”

The broadcasters are seeking to have Trump’s order permanently blocked and declared unconstitutional, which closely follows NPR and PBS’ previous vow to challenge the executive order. According to Trump’s order, government funding of a news outlet is “outdated and unnecessary” as well as “corrosive to the appearance of journalistic independence.”

NPR employs hundreds of journalists whose work is broadcast by more than 1,000 local stations. Founded in 1970, NPR’s initial funding was mostly allocated by Congress and delivered through the Corporation for Public Broadcasting (CPB).

That arrangement was changed in the 1980s when the Reagan Administration made cuts to public media funding. Now, the CPB sends federal money to local member stations, who then purchase NPR programming. Member station fees comprise 30% of NPR’s funding, while only 1% of its revenue comes directly from the federal government. According to NPR, the largest share of its funding—36%—comes from corporate sponsorships.

White House spokesman Harrison Fields told CNBC that the CPB is “creating media to support a particular political party on the taxpayers’ dime.” But the broadcasters’ lawsuit argues that Congress recognizes that the speech it supports with public funding “remains private—and thus fully protected from censorship, retaliation, or other forms of governmental interference.”

However, “the President—criticizing what he perceives as ‘bias’ in the award-winning journalism and cultural programming produced by NPR—has issued an executive order that thwarts Congress’ intent and the First Amendment rights of Plaintiffs to be free from the government’s attempts to control their private speech, and their rights to be free from retaliation aimed at punishing and chilling protected speech, journalistic activities, and expressive association,” wrote attorneys for the broadcasters. “The order is textbook retaliation and viewpoint-based discrimination in violation of the First Amendment.”

“It is evident from the president’s executive order, as well as statements released by the White House and prior statements by the president that we are being punished for our editorial choices,” said NPR CEO Katherine Maher in an interview with All Things Considered host Mary Louise Kelly.

“What we see is at stake here is not just funding to NPR, we also see the risk of funding to all public media, as well as broader concerns around government interference with the free press,” she continued.

“The specifics of how this executive order concerns us have to do with the viability of public media stations. They air hours of NPR programming a day and very often, that is when they have their highest number of listeners, their greatest success during donation drives. If stations are unable to air NPR, we recognize that that could be catastrophic for their ability to continue to survive both editorially and financially.”

Photo Credit: Paolo Villanueva / CC by 2.0

CGL, the company behind the biggest tours, such as Taylor Swift and Beyoncé, announces a controlling investment from Providence Equity Partners.

GCL, a worldwide leader in live events logistics, has announced a strategic investment from Providence Equity Partners. The private equity firm has significant experience investing in and supporting companies in the entertainment and media sectors.

Providence will become the majority shareholder of CGL, and ATL Partners, the current majority owner, will retain a minority equity stake in the company. GCL will continue to be led by President and CEO Daniel Rosenthal, with global headquarters in New York. The transaction is still subject to customary closing conditions. The financial terms of the transaction were not disclosed, though The Wall Street Journal reports it was more than $1 billion.

Founded in 1978, GCL is the world’s premier logistical provider in its sectors, operating in service-sensitive live events and luxury goods markets. GCL completes more than 10,000 projects annually in over 160 countries and enables some of the world’s biggest live music tours—including Taylor Swift’s record-breaking Eras tour.

“GCL is a very special company supported by an incredible family of employees, customers, and partners across its global network. Providence’s commitment validates our customer focus and growth strategy and will expand our capabilities further in the years ahead,” said Daniel Rosenthal, GCL President and CEO.

“The Providence team’s proven track record and depth of relationships in our end markets make them the ideal partner for the next chapter of serving our customers. I’m also extremely grateful to the team at ATL Partners for their deep passion to propel our growth strategy. Under ATL’s active stewardship during the last seven years, GCL has successfully expanded into several adjacent verticals and is the clear market leader in live events and luxury goods logistics.”

“For nearly 50 years, GCL has earned the trust of the world’s biggest names in the live events sector and established a leading position in all of the end markets it serves,” said Scott Marimow, Managing Director at Providence. “We have a deep appreciation for and understanding of the business, especially given our long history of investing in entertainment and sports. We look forward to partnering with Dan and the entire GCL team to help capitalize on organic and inorganic growth opportunities ahead.”

Providence has nearly three decades of experience investing in and creating value at a wide range of companies in the live event space. These include Ambassador Theatre Group, Major League Soccer, Sweetwater, Yankees Entertainment and Sports Network, and World Triathlon Corporation.

“Since ATL invested in GCL in 2018, GCL has transformed itself into a premier business focused on the high growth live event and luxury goods markets,” added Sanjay Arora, a Partner at ATL Partners. “Dan and his management team have positioned the company well for its next phase of growth by expanding into new verticals, adding operational capabilities, and executing strategic acquisitions. We look forward to supporting the next step in GCL’s journey alongside Providence and the GCL management team.”

Jefferies LLC, J.P. Morgan, Securities LLC, and Moelis & Company LLC served as financial advisors, while Gibson, Dunn & Crutcher LLP served as legal advisor to GCL. Harris Williams served as financial advisor and Kirkland & Ellis LLP served as legal advisor to Providence.

Photo Credit: Radu Lin

The New York City Council is set to vote tomorrow on Resolution 368, which expresses the city’s support for the federal Living Wage for Musicians Act.

Resolution 368 is sponsored by a coalition of council members including Shahana K. Hanif, Chi A. Osse, Carlina Rivera, Julie Menin, Tiffany Cabán, Justin Brannan, Rita Joseph Louis, Gale Brewer, Kevin Riley, and Amanda Farias. The resolution calls on Congress to pass and for the President to sign the Living Wage for Musicians Act introduced in the U.S. House in 2024.

The United Musicians and Allied Workers (UMAW) group is the driving force behind the campaign for the act. It has organized events and petitions urging the NYC council to pass this resolution, highlighting the urgent need for fair compensation in the streaming era. The act has also received support from other labor and music advocacy organizations, which reflects their broad concern over the economic precarity introduced with the advent of AI.

Streaming now accounts for 84% of total recorded music revenue in the United States. Paid subscription services generated over $10 billion in revenue for 2022. Yet artists often receive as little as $0.0033 per stream, meaning an artist would need the equivalent of 800,000 monthly streams for a musician to earn the equivalent of a $15-per hour full-time job. With over 14,000 working musicians in NYC that face economic insecurity as AI becomes a larger part of the streaming puzzle.

“I’m thrilled the New York City Council is set to pass my Resolution 368, in support of the Living Wage for Musicians Act. In the music capital of the world, artists deserve fair pay and dignity,” said Council Member Shahana Hanif. “As streaming platforms pay artists less than a third of a penny per play, this will be a critical step toward making our city more affordable for working musicians to continue living and creating music here.”

“The New York City Council taking this action shows that the Living Wage for Musicians Act is an idea with popular support, and one that politicians can get behind. Music benefits everybody, but streaming is not benefiting musicians – the LWMA is a straightforward solution to that widely acknowledged problem,” said UMAW organizer and musician Damon Krukowski.

The Living Wage for Musicians Act proposes a new royalty structure, setting a minimum payout of one cent per stream. It would tax non-subscription streaming revenue and add a fee to subscriptions, distributing the funds through a non-profit to artists based on their monthly streams. The act also includes a cap on monthly payouts per track to ensure more equitable distribution among a broad range of artists—from emerging talents to local superstars.

Photo Credit: Too Lost

Too Lost, a leading digital music distribution and rights management company, is hosting a panel at Dream Con 2025. Titled “World Building for Music Creators: Weaving It All Together,” the panel addresses the evolving landscape for today’s artists.

The following is in collaboration with Too Lost, a proud partner of Digital Music News.

Too Lost specializes in empowering independent creators by providing tools for music distribution, rights management, and monetization as a one-stop shop across digital platforms. The company’s mission is to help these creators release music and build sustainable, multi-faceted brands that thrive in today’s digital landscape.

Too Lost’s extensive distribution network includes not just traditional streaming services (Spotify, Apple Music, TikTok, Deezer, etc.) but also emerging platforms like SoundExchange, Gracenote, Shazam, Peloton, Canva, and a host of digital streaming providers (DSPs) across China, Africa, the Middle East, and Korea.

“World Building for Music Creators: Weaving It All Together” will address the evolving landscape that today’s artists must face. No longer is it enough to simply release music—creators are now expected to build entire ecosystems around the work. Superfans have become an important component of artist success and capturing their attention can mean the difference between making it or breaking it. This panel will explore how musicians can connect their passions—ranging from comedy and gaming to streaming, podcasting, and education—into a cohesive narrative.

Attendees will learn strategies for storytelling, community growth, and business development, helping them unlock new opportunities for connection, monetization, and career longevity. With active listening becoming a huge part of success in the music industry, engaging superfans goes beyond releasing compelling music on DSPs.

Meet the Panelists

Roxxy Haze — A dynamic comedian, writer, and musician who is known for blending humor with insightful commentary on pop culture and music. Her work spans stand-up, digital sketches, and content creation—making her a multi-platform talent who brings a unique perspective on creative world building.

Irv Da Phenom — With a career tooted in hip-hop and entrepreneurship, Irv Da Phenom is celebrated for his versatility as a rapper, songwriter, and brand strategist. He has collaborated with major artists and has built a loyal following by integrating music with digital content in his community initiatives.

Dende — Dende is a genre-bending rapper, songwriter, and producer whose soulful sound and storytelling have brought him critical acclaim. Beyond music, he engages his audiences through live performances, an active social media presence, and educational content—exemplifying what it means to be a multi-hyphenate content creator that spans the digital sphere.

Stockz — Stockz is an innovative artist and entrepreneur recognized for merging music with technology and finance. His approach to brand building includes leveraging digital tools and cross-industry partnerships, offering valuable insights into monetization and audience engagement.

This Too Lost panel is designed for creators looking to expand their reach beyond traditional music releases on major DSPs. Attendees will gain actionable advice on integrating multiple interests, building a unified brand, and navigating the complexities of today’s creator economy. Too Lost’s expertise and the diverse experiences of the panelists make this session a must attend for anyone who wants to elevate their creative business.

This Too Lost Dream Con panel will be hosted on May 31 at 2:30 PM. “I’m excited to moderate this panel at Dream Con because many of today’s music creators are building entire worlds beyond music—through gaming, comedy, streaming, and more,” shares Damien Ritter, Too Lost’s Director of Marketing. “This conversation is about helping artists connect it all, tell a clear story, and turn their creativity into a movement.”

Dream Con 2025 will take place from May 30 to June 1, 2025 at the George R. Brown Convention Center in Houston, Texas. This three-day event brings together fans of anime, gaming, music, and pop culture for a dynamic and inclusive celebration.

Photo Credit: Envato

Creative marketplace Envato has launched a new AI-generated music tool for creators to make custom tracks from text prompts within seconds. But what’s the human cost for artists who rely on sync placement for their income?

MusicGen leverages advanced AI models like Google Lyria 2 to deliver royalty-free, customizable music at no extra cost to Envato subscribers. The platform also expanded its partnership with PremiumBeat, adding over 40,000 studio-quality tracks and bringing its total music assets to more than 300,000.

Models like Google Lyria 2 were trained on vast datasets that included copyrighted tracks—often without explicit permission from rights holders. The ‘ask for forgiveness, not permission’ method has allowed Ai systems to learn from the creative output of hundreds of musicians, absorbing their styles and unique artistic signatures—allowing them to generate royalty-free music instantly. This gives content creators a way to bypass traditional licensing and sync placements that provide vital income for human musicians.

Industry data shows that up to 18% of all music uploaded to streaming platforms is now fully AI-generated—directly competing with human-created works. While MusicGen and similar tools allow speedy music creation without licensing headaches, the music industry is left to grapple with the consequences. Without robust labeling, traceability, and fair compensation in place, the rise of AI-generated music risks displacing human talent and collapsing the value of music as a profession for working artists.

In the past, every sync placement or commercial use of a track required a license, ensuring that artists were compensated each time their work was used commercially. With AI-generated music, that income model has drastically shifted. Models trained on vast libraries of human created music can mimic any style and endlessly produce new tracks not tied to an individual artist—eliminating the need for sync discussions, licensing, or royalty payments.

The result is that a once critical revenue stream for artists is effectively erased and replaced by a model that prioritizes unlimited, on-demand access over fair compensation for creators—who helped train these models in the first place.

Photo Credit: Blue Man Group by Léo Pinheiro / CC by 3.0

No Guarantees Productions secures the long-term lease of the historic Astor Place Theatre, with plans to give it a significant makeover.

No Guarantees Productions has announced that it has secured the long-term lease of the historic Astor Place Theatre, with plans to transform it into a dynamic cultural hub. Amplifying artists and shows outside of the traditional Broadway model, the venue’s makeover will utilize the entirety of the space and elevate the audience experience.

For over 30 years, Astor Place Theatre was home to Blue Man Group, one of New York City’s longest-running and most beloved theatrical productions. After 34 years of groundbreaking performances, Blue Man Group announced in November that it would be closing its doors, creating the opportunity for a new chapter for the iconic venue. No Guarantees aims to honor the theatre’s rich legacy while offering a fresh experience for audiences.

No Guarantees plans to transform the Astor Place Theatre into a dynamic cultural hub that amplifies shows that don’t require or benefit from the traditional Broadway model, creating space for innovative artists and distinctive voices.

In addition to reimagining the theatrical experience itself, plans are underway to utilize the full potential of the venue to introduce a West End-style evening-out experience with the future addition of a patrons’ lounge and curated special events. Over time, the goal is to cultivate a loyal community of returning guests and members, offering them early access and insider opportunities to stay engaged with the latest and most exciting experience in New York theatre.

“No Guarantees is proud to take on the long-term lease of Astor Place Theatre, a venue that has been a cornerstone of New York City’s cultural landscape for over fifty years,” said Megan O’Keefe, Executive Vice President of No Guarantees.

“No Guarantees is committed to honoring the incredible legacy of the theatre, including its iconic run with Blue Man Group, while elevating the experience for today’s audience. By investing in new technologies and drawing inspiration from the traditional West End theatre experience, we aim to create a seamless and elevated space that makes attending live performances more accessible, enjoyable, and immersive than ever before.”

With a seating capacity of 298, the famed Astor Place Theatre is located directly across the street from The Public Theater at 434 Lafayette Street in New York City. It’s an iconic off-Broadway venue situated in the historic Colonnade Row. The building’s Greek Revival architecture, with traditional, imposing marble columns, dates back to 1831, almost two centuries ago. It was also once home to the Astor and Vanderbilt families.

Astor Place Theatre opened as a performing arts venue in 1968. Since then, it has hosted many experimental, impressive, and genuinely groundbreaking performances. Until February 2025, the venue was the permanent home of the hugely popular cultural phenomenon Blue Man Group. Since 1991, the show thrilled off-Broadway crowds of nearly 300 people with its unique blend of comedy, music, and inventive scenes. Over its 34-year run at Astor Place Theatre, the show was performed nearly 18,000 times. The theatre is still owned by the three co-founders of Blue Man Group, who purchased the venue in 2001.

“I’m absolutely thrilled that Astor Place Theatre will remain a vibrant off-Broadway venue, and that No Guarantees Productions will lead it into its next chapter,” said Matt Goldman, co-founder of Blue Man Group, co-owner of Astor Place Theatre, and Executive Director of The Town Hall.

“This theatre has a rich and meaningful history, not only as the longtime home of the Blue Man Group, but as one of the most dynamic and intimate performance spaces in the country. No Guarantees is committed to is committed to honoring that legacy while expanding its potential, utilizing the entire venue and introducing a West End-style experience right here in New York. This theatre is special, not just to me, but to the neighborhood, the city, and the cultural fabric of the country. I look forward to seeing No Guarantees bring their vision to life.”

Simon Bogigian, Director of Facilities of Astor Place Theatre for over 20 years and a beloved mainstay of the neighborhood, will continue overseeing the day-to-day management of the venue. Lisbeth Barron of Barron International Group has been acting as the exclusive financial advisor to No Guarantees on the theatre transaction.

Photo Credit: DJ Bunt by Wendy Huynh

Airbnb will offer unique experiences at Lollapalooza festivals across the world, hosted by artists and music industry insiders, starting in July.

Airbnb has announced its first global live music partnership, offering unique fan experiences at Lollapalooza festivals in Berlin, Chicago, São Paulo, and Mumbai. Guests will have access to curated Airbnb Experiences, many of which will be hosted by performing artists.

Starting this summer at Lollapalooza Berlin, guests can book daily Airbnb Experiences at several Lollapalooza festivals—plus access to an exclusive onsite Airbnb lounge. Experiences range from concert photography tutorials with professional photographers and behind-the-scenes tours with festival directors to intimate artist performances and more.

“More and more guests are choosing Airbnb for big events, including concerts and festivals, because Airbnb can bring you as close to the action as possible,” said Airbnb co-founder and CEO Brian Chesky. “With our new partnership with Lollapalooza, guests can Airbnb more than an Airbnb—they can unlock once-of-a-lifetime Experiences, rooted in the magic of live music.”

The global partnership kicks off at Lollapalooza Berlin, where one of the featured Airbnb Experiences includes performing artist Bunt. Guests will have access to an exclusive post-show Experience and private performance by Bunt in a hidden spot on the festival grounds. Booking for this event begins on June 5.

At Lollapalooza festivals around the world, a significant number of attendees come from outside the host city: 75% in Berlin, 65% in São Paulo, 57% in Mumbai, and 50% in Chicago.

“Fans are traveling the world to see the artists they love, and festivals like Lollapalooza are leading that demand,” said Michael Rapino, CEO and president of Live Nation Entertainment. “Partnering with Airbnb helps us make those trips even more memorable for fans, connecting them to the culture and community around the music that makes each festival unforgettable.”

According to a recent Airbnb survey, over 70% of travelers said they often book an experience when they travel. The partnership also comes as Airbnb introduces completely reimagined Airbnb Experiences—including Airbnb Originals, “extraordinary experiences” hosted by “the world’s most interesting people” and designed exclusively for Airbnb.

The new partnership’s global rollout will continue throughout the summer, with new Airbnb Experiences at Lollapalooza Chicago (July 31 – August 3), followed by experiences at The Town 2025 in São Paulo, Lollapalooza India, and Lollapalooza Brasil.

Photo Credit: Gage Skidmore / CC by 2.0

Will Smith’s latest music video shoot became the center of a high-profile labor dispute over the weekend. The incident highlights the ongoing tensions between production companies and unionized crews working in Hollywood.

The drama unfolded on the set of a video for Will Smith’s album Based on a True Story at Quixote Studios in West Hollywood, drawing attention from both industry insiders and the public. Breathe Entertainment, the Toronto & Miami-based production company behind the shoot dismissed its entire 10-person crew after a disagreement over health and pension benefits.

The crew, represented by the International Alliance of Theatrical Stage Employees (IATSE) requested union recognition and corresponding benefits—which producers refused to grant. In response, the IATSE members formed a picket line outside the studio, halting production and attracting media attention to the dispute.

While the production was initially set up as a non-union shoot, the crew sought to ‘flip’ the job to union status so they could accrue health and pension hours. “While this music video features a globally recognized artist, it was independently financed and produced outside the scope of major studio or label backing,” Stephen Trivieri, President of Breathe Entertainment told Variety. “Like many artist-driven creative projects, this shoot was built around a clear non-union structure with transparent terms and fair compensation across all departments.”

When Breathe Entertainment declined to negotiate, they fired the entire crew, hoping to continue with non-union replacements. Many replacement workers walked off the set after learning about the shoot—causing the shoot to be further delayed.

After an entire day of picketing and public scrutiny, Breathe Entertainment and IATSE reached an agreement that included health and pension benefits for the crew. The original union crew was reinstated and returned to work the same day, allowing production on the music video to resume. The swift resolution was reportedly aided by Smith’s intervention, which allowed the music video shoot to move forward.

Photo Credit: Apple

Apple’s new HomePad might launch by the end of this year. Though rumors suggest it may have fewer features than originally planned.

Apple has been planning a smart home command center product for a long time, with a 7-inch display and support for Apple Intelligence. The product was originally meant to launch this spring, but continued issues—like the company’s failed AI push—have forced that timeline back. But now, Bloomberg’s Mark Gurman reports the so-called “HomePad” may finally launch by the end of the year.

Since the product relies heavily on (AI-powered) Siri and App Intents, both of which were supposed to come out with iOS 18.4, a spring launch wasn’t attainable. Many technical challenges have forced iOS 18.4 to launch with significantly fewer features than Apple initially envisioned. Some of these features have since been expected to release by year’s end, or by the first half of 2026.

Originally, that just meant Apple had pushed back the product’s timeline. But now it sounds as if, thanks to the company’s OpenAI deal, Apple has been facing mounting pressure to find the “next big thing.” In order to do that, the company needs to push its more robust AI-laden devices out quickly. The pressure is on after OpenAI acquired former Apple designer Jony Ive’s start-up focused on building AI-first devices.

Unfortunately, in order to push the smart home hub out faster, the device will be lacking some of its “bolder features.” Some of these may reappear in subsequent models, according to Gurman. Previously, Gurman said the device would be “Apple’s most significant release” of 2025—and it’s difficult to tell if that will still be the case.

According to rumors, Apple’s HomePad is expected to be similar to a HomePod with a screen, with features including a 7-inch display, an A18 chip, and Apple Intelligence support. Those who have seen the device, including Gurman, say it can be attached to a tabletop base with a speaker, or mounted on a wall.

Apple is also facing tariff pressure, as President Trump has threatened to impose a 25% tariff on iPhones if the company manufactures them in India, rather than the US. Meanwhile, Apple supply chain analyst Ming-Chi Kuo said back in March that the device would enter mass production at some point after WWDC 2025, which kicks off June 9. It’s unknown if tariffs might impact that timeline.

However, the timing makes sense, as Gurman also reports that Apple’s new UI overhaul, codenamed “Solarium,” will be unveiled at WWDC. The UI overhaul will also be applied to all of Apple’s operating systems—not just iOS or macOS. That includes tvOS and watchOS “to ensure consistency.”

Notably, while Apple is working to catch up its AI components to those of the rest of the sector, the company’s approach to change—and its WWDC presentation—will focus primarily on design and appearance, rather than AI. That’s a drastic difference from its competitors, like Google and Samsung, who are all-in on the latest AI trends and aim to make that a selling point in presentations and advertising.

Photo Credit: Foreign, Commonwealth & Development Office / CC by 2.0

Former Meta executive Nick Clegg says that a law requiring tech companies to ask permission to train AI on copyrighted work would ‘kill’ the industry.

Sir Nick Clegg, former deputy prime minister and Meta executive, believes making tech companies ask artists’ permission before using their copyrighted material to train AI will “basically kill the AI industry.” The reason? Because AI systems are already training on the vast amounts of data scraped online, without permission. “It’s out there already,” says Clegg.

Those who work in the UK’s creative sector, such as Sir Elton John and Sir Paul McCartney, have urged the government not to “give our work away” to big tech. But Clegg has doubled down on his assertion that artists’ demands that companies ask permission before using their work are “implausible.”

“You can already create art of a sort [using AI], whether it’s a poem, a ditty, an essay, a short story, a picture. You can already do that,” said Clegg.

When asked whether artists should be able to withhold their content from tech companies and their AI models, Clegg admitted he understood the artists’ motivation. “On the one hand, yeah, I think it seems to be as a matter of natural justice, to say to people that they should be able to opt out of having their creativity, their products, what they’ve worked on indefinitely modeled. That seems to me to be not unreasonable to opt out.”

But that doesn’t mean it’s reasonable in practice, he says. “I just don’t know how you go around asking everyone first. I just don’t see how that would work. And by the way, if you did it in Britain and no one else did it, you would basically kill the AI industry in this country overnight.”

“So, I think people should have clear, easy to use ways of saying, ‘no, I don’t [give permission]. I want out of this,’” he explained. “But I think expecting the industry, technologically or otherwise, to preemptively ask before they even start training—I just don’t see. I’m afraid that just collides with the physics of the technology itself.”

Clegg was speaking at the Charleston Festival in East Sussex at an event to promote his book, How to Save the Internet, which is due out in September. He stepped down from his position at Meta as president of global affairs earlier this year, just weeks before Trump’s second term in the White House began.

On Thursday, Parliament heard from both sectors (creative and tech) about whether copyright holders should be able to see when their work had been used to train AI, and by whom. MPs voted 195 to 124, majority 71, against the proposed transparency amendment to the Data (Use and Access) Bill.

Photo Credit: Google

Android Auto is getting a slew of new features, including a Spotify experience with a brand new app that includes support for its “Jam” feature.

Google has announced a series of car-related updates for Google I/O, including an overhaul to the Spotify experience for Android Auto. The updated app will rely on Google’s “Car App Library” for Android Auto and Android Automotive OS, with additional flexibility in how apps can be developed for this platforms.

For Spotify, this brings major changes in the form of support for Spotify Jam on Android Auto. Spotify Jam allows other Spotify users to connect to someone’s ongoing playlist without pairing to another device. Users scan a code, which enables them to contribute songs to what’s already playing through a friend’s device.

This will soon be possible through Android Auto with the use of a “Jam” button, which will appear in the corner of the Now Playing interface. The button brings up a QR code for others to scan, and the display can show who is in the current Jam session, as well as allow them to be removed.

According to Google, Spotify’s new app is coming to Android Auto “in the coming months.” Additionally, updates to YouTube Music and Amazon Music are on the way, thanks to the new flexibility in media apps on the platform.

Google is also adding support for Quick Share to cars with Google built in, enabling users to do things such as adding stops to a Google Maps route. Additionally, the platform is implementing a light mode (which has been in the works for years), as well as web browsers and more robust support for video apps. Notably, Google says video apps and gaming features will only be available when the car is in park; video apps will utilize audio-only features while the car is in motion.

Photo Credit: Justin Higuchi / CC by 2.0

A new TikTok trend is turning the concept of ‘propaganda’ on its head — and singer-songwriter Gracie Abrams finds herself squarely in its crosshairs.

The trend is known as ‘propaganda I’m not falling for’ and sees Gen Z TikTok users creating lists of things, people, or concepts they’ve labeled propaganda—or things they refuse to buy into. The lists are often set to a remix of Charli XCX’s single “I think about it all the time” featuring Bon Iver and can be mundane things like oat milk, Teslas, or even marriage.

The trend is less about the literal definition of propaganda and more about expressing skepticism or ironic detachment from mainstream tastes, cultural norms, or internet hype. The word ‘propaganda’ has thus become a Gen Z codeword for anything that is over-hyped or simply not for them. Whereas older generations would use the term ‘industry plant’ to describe an artist they feel is foisted upon them in popular culture—Gen Z have created their own label.

Much of the Gen Z cohort feels as though Gracie Abrams’ music and branding represents a certain ‘mainstream indie’ aesthetic that is widely promoted and inorganic. They’re labeling her ‘propaganda’ to describe the concept of an industry plant—a way to resist what they perceive as algorithm-driven popularity. For Gen Z, it’s a way to label things cringe while poking fun at the mainstream for enjoying the music.

Some Gen Z users have admitted that placing Gracie Abrams in their lists of ‘propaganda’ items is a way to poke fun at the trend itself. Abrams’ status as widely discussed figure in pop culture has led to her being in the crosshairs for Gen Z—though the effort isn’t necessarily a coordinated campaign of genuine dislike against the singer-songwriter. Nearly anything that the Gen Z cohort feels is over popularized can receive the label—Gracie Abrams just happens to be the current target.

Gracie Abrams herself has not directly commented on the trend, though she has defended herself against haters and addressed rumors on TikTok.

Photo Credit: Parkwood Entertainment

Superfans who dished out thousands to secure Beyoncé tickets during the pre-sale are experiencing buyer’s remorse that on-sale prices have been significantly less.

Tickets for major acts like Lady Gaga, Kendrick Lamar, and Beyoncé are known to go fast, so fans are accustomed to acting accordingly during pre-sales in order to avoid being shut out. But things have been different for Queen Bey’s Cowboy Carter tour, in which many tickets are winding up available for the general on-sale or the resale market—often for a fraction of the pre-sale prices.

That’s a far cry from how things were during Taylor Swift’s Eras Tour, where fans didn’t even get a chance at the general on-sale, with tickets long gone by the time the pre-sales dissipated. The whiplash in pricing is frustrating fans who paid top dollar for tickets to see Beyoncé during the Beehive pre-sale, only to find the same seats available for a third of that price after the fact.

“I bought Cowboy Carter pre-sale tickets for $1700 for Sweet Honey Bucket Pit at MetLife on the 22nd,” one fan complained on social media. “The same tickets are now $600. I’m f—ing pissed.”

“F Ticketmaster, the tickets that are right next to me are now $1500 cheaper!!!” lamented another. “Hell, I could go to a different city and see another show for less than that. I’m thankful for getting to see Beyoncé front row, but damn my wallet hurts.”

“I’ve gotten to a point that I’m no longer going to compete in a pre-sale,” said Annie Rodriguez, a concertgoer who paid around $860 for her ticket, after which seats fell as low as $500. “As a fan who is signing up for the pre-sale so that you can guarantee a seat, you’re hoping that the artist will be kind to their true fans.”

Rodriguez doesn’t blame Bey for her buyer’s remorse. As a veteran concertgoer, she blames “dynamic pricing,” in which face value fluctuates based on demand. But despite artists like Oasis claiming ignorance over the use of dynamic pricing for their tickets, conventional wisdom in the industry is that artists choose to utilize the feature—and should be well aware they’ve done so.

In general, fans are quick to blame Live Nation and Ticketmaster, the merger of which has come under additional scrutiny by federal lawmakers. That’s largely thanks to the debacle with Swift’s Eras Tour ticketing two years ago. Last year, the Justice Department sued Live Nation over its monopoly in the live entertainment industry, asking a court to break up the conglomerate.

But the broader resale market is under scrutiny too, and has been for a while now. “The Coalition for Ticket Fairness believes that a transparent and open resale market is essential to restoring balance and fairness in the ticketing ecosystem,” begins a statement from Jason Berger of the Coalition for Ticket Fairness. “When fans are allowed to freely buy, sell, or transfer tickets across platforms, it creates competition, drives prices down, and gives fans the flexibility they deserve.”

“During recent high-demand events, including Beyoncé’s Cowboy Carter tour, many fans discovered that secondary marketplaces offered tickets at prices substantially lower than the so-called ‘presale’ prices on primary platforms,” Berger explains. “These real-world examples prove that an open market doesn’t hurt fans—it helps them. It introduces real choice and breaks the monopoly that often drives up prices under the guise of exclusivity.”

“Restricting resale or locking tickets to a single platform only benefits a few dominant players—not the fans. An open and transparent resale market ensures fairness, affordability, and freedom for consumers,” he concludes. “Fans want choice. Choice drives competition, and competition drives fairness.”

Ultimately, so-called superfans who pay top dollar for first dibs on tickets shouldn’t be too surprised when tickets beyond the pre-sale drop in value. The industry has made clear that as long as superfans are willing to pay any price to secure tickets, pre-sales for the hottest shows will continue to cost a pretty penny. Buyer’s remorse in this case isn’t applicable to you since the jacked up prices were the cost for first dibs on tickets rather than attending at all.

Photo Credit: Lilly Raye Music / Warner Chappell Music

Warner Chappell Music extends its strategic partnership with management company and publisher Lilly Raye Music.

Warner Chappell Music, the publishing arm of Warner Music Group, has extended its strategic joint venture partnership with Lilly Raye Music, the management company and publisher run by founder Edward Matthew and A&R Manager Justin Martinez.

Established in 2020 and expanded in 2023, the partnership is focused on supporting collaborations between creatives across Asia, Europe, and the US. Lilly Raye Music has continued to gain industry recognition for its growing influence. It was nominated for Publisher of the Year at the MMF Awards Sweden 2024.

The partnership is stepping up activity in Germany and the Netherlands with a sharp focus on the dance and electronic scenes. Further, it’s building its A&R firepower in the UK to support the careers of talent in that market.

Recent successes include: Grammy recognition for their work on Summer Walker’s CLEAR 2: SOFT LIFE EP and Janelle Monáe’s The Age of Pleasure; elevating local talent in Sweden, helping deliver 10 No. 1 singles in the market over the last three years; and artist collaborations, including Doechii, GloRilla, and FLO. Achieving major global sync placements and growing their presence in Asia by 40% are also among the partnership’s successes.

The Lilly Raye management team also continues to make waves behind the scenes, contributing to breakout successes for artists like Ayra Starr, Cian Ducrot, RAYE, and Renee Rapp.

“We’re delighted to renew our deal with Warner Chappell, which has expanded so much in scope over the past few years,” said Edward Matthew and Justin Martinez. “Connecting creative talent across three continents is as exhilarating and inspirational as ever, and Warner Chappell’s combination of global firepower, local knowledge, and cultural curiosity makes it an essential partner for us.”

“I’m so pleased that we’re renewing our collaboration with Edward, Justin, and the whole Lilly Raye crew,” added Lars Karlsson, Managing Director, Warner Chappell Music Nordics. “They bring a passion and an energy to their work that is unrivalled, and they have an uncanny ability to spot talent and partner compatible creatives together.”

Guy Moot, Co-Chair and CEO of Warner Chappell Music, concludes, “We’re built a really solid relationship with Edward and Justin over the past few years. I trust their A&R instincts and their strategic nous. They have an infectious enthusiasm for forging cultural connections between writers and producers from different parts of the world. The amazing results speak for themselves, so I’m excited that we’re extending our partnership.”

Photo Credit: Chief Fashionista / CC by 2.0

Young Thug has ignited controversy over his take on Kid Cudi’s testimony during Diddy’s sex trafficking and racketeering trial in New York.

The Atlanta rapper posted “Dam cudi a rat lol” on X/Twitter shortly after Kid Cudi’s appearance in court. The rapper quickly deleted the message, but it has sparked controversy in the hip-hop community over the ethics of testifying in criminal cases involving fellow artists. Kid Cudi—real name Scott Mescudi—took the stand yesterday to deliver testimony about Diddy’s actions.

Prosecutors believe Cudi’s testimony was necessary in seeking to establish a pattern of violence and intimidation by Sean ‘Diddy’ Combs. During his testimony, Cudi spoke of several events involving the rap mogul. He testified that in 2012, his Porsche was destroyed in a Molotov cocktail attack that he believed to be a warning from Diddy. Cudi says the warning was due to his brief relationship with Cassie Ventura, Diddy’s ex-girlfriend and another witness at the trial.

Kid Cudi described receiving a call from his dog sitter about the car being on fire and later saw photos showing the top of the Porsche had been cut into for the Molotov cocktail to be placed. Cudi also alleges that Diddy broke into his Los Angeles home in 2011 after discovering that Cudi was dating Cassie Ventura. During that break-in, Cudi said his dog was confined to the bathroom and Christmas presents were left opened in the kitchen.

Young Thug’s ‘rat’ comments underscores ongoing tensions in the hip-hop community over the code of silence and what is perceived as ‘snitching.’ The rapper himself was recently released from prison after a RICO case and has previously criticized artists who co-operate with the authorities in any capacity. Young Thug also criticized fellow rapper Gunna for co-operating with authorities during the YSL RICO case, in which Gunna accepted a plea deal.

Photo Credit: Billy Joel by slgckgc / CC by 2.0

Billy Joel cancels all scheduled concerts in North America and England due to a diagnosis of a brain disorder, normal pressure hydrocephalus (NPH).

Billy Joel has been diagnosed with normal pressure hydrocephalus (NPH), a brain disorder in which excess fluid accumulates in the brain’s ventricles. As a result, the star has cancelled all concerts on his itinerary—17 shows in total, across stadiums in North America and England.

“I’m sincerely sorry to disappoint our audience, and thank you for understanding,” said Joel, whose last concert took place on February 22 in Connecticut. Near the end of the performance, after throwing his microphone stand to a crew member, Joel fell flat on his back. But he quickly stood up and was able to finish the set.

A month later, he announced that he was taking a four-month break from touring due to a “medical condition” that he said required surgery and physical therapy. Joel planned to return to the stage on July 5 in Pittsburgh.

“While I regret postponing any shows, my health must come first,” he said in a statement at the time. “I look forward to getting back on stage and sharing the joy of live music with our amazing fans. Thank you for your understanding.”

It’s unknown if his medical issues at the time were related to his NPH diagnosis, though that seems likely. NPH affects around 0.2 percent of people in their seventies (Joel is 76), and can cause walking issues, bladder control issues, and cognitive problems. Most commonly, it’s addressed with a surgery where a device is implanted to remove the excess fluid.

“This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision, and balance,” his team explained in a statement. “Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period. Billy is thankful for the excellent care is he receiving and is fully committed to prioritizing his health.”

Normal pressure hydrocephalus (NPH) “can affect several brain-related abilities, including thinking and concentrating, memory, movement, and more,” reads a description from the Cleveland Clinic. “The symptoms of NPH look very much like those of dementia, but NPH is sometimes reversible.”

“NPH is unusual among dementia-like conditions because it’s often reversible,” the clinic explains. “However, the chances of reversing this condition are highest with early diagnosis and fast treatment. Delays in diagnosis and treatment make it more likely that the damage to your brain from the pressure will be permanent, severe, or both.”

Billy Joel finished his decade-long residency at Madison Square Garden in July last year. Afterward, he continued to tour across America and England with around two shows a month.

Photo Credit: Kid Cudi by Sellahremy / CC by 3.0

Kid Cudi was called to testify at Diddy’s federal trial over an attack in which his Porsche was allegedly blown up by the disgraced music mogul.

Scott Mescudi, better known as Kid Cudi, was called as a witness to testify during day nine of Sean “Diddy” Combs’ federal sex trafficking and racketeering trial. Cudi described his reaction when a Molotov cocktail blew up his Porsche convertible, which prosecutors say was at the direction of Combs.

“What the f—,” the rapper recalled, after he received a call from his dog-sitter in 2012. “She told me my car was on fire,” he said. “I immediately went to my house.”

Cudi said that while on his way home, he received a text from his friend with a picture of the damaged Porsche. “The top of my Porsche was cut open, and that’s where they inserted the Molotov cocktail,” he said, explaining that the car was beyond repair.

Cassie Ventura, the trial’s star witness and Combs’ ex-girlfriend, was dating Mescudi at the time the rapper’s car was destroyed. She previously testified that Combs became jealous and allegedly threatened to have the car blown up. Mescudi did not mention Combs in connection with the car’s destruction during his testimony.

Ventura’s troubled on-again, off-again relationship with Combs was at the heart of Mescudi’s testimony. He also recalled an incident in which he received a phone call from a “scared” Ventura in the early hours of the morning in December 2011. She asked Mescudi to pick her up, and that Combs had found out about their relationship.

Combs had allegedly obtained Mescudi’s home address, and she was afraid he would show up or send someone to cause problems at her new boyfriend’s house. Mescudi said he was confused, because he believed Combs was no longer a part of Ventura’s life. Nevertheless, he said he picked her up as requested and took her to a hotel.

At the hotel, Mescudi received a phone call from Combs’ employee and Ventura’s friend, Capricorn Clark. Clark told him Combs and an associate physically forced her into a car and drove to Mescudi’s home. Allegedly, Clark said she was calling from the car, while Combs was actively inside his house.

Mescudi said he rushed home and called Combs on the way. Combs allegedly said they needed to talk, and that he would be waiting for Mescudi when he arrived. But when he got home, Mescudi said no one was there. Mescudi then told the court during cross-examination that he left his front door unlocked and there were no signs of forced entry, nor any damages to his property. The only signs someone had been there were Mescudi’s dog locked in the bathroom and unwrapped Christmas presents on the kitchen counter.

The rapper said he filed a police report about the break-in. He told the court he spent the holiday with Ventura’s family, and Combs tried to contact him several times. Mescudi said he would not take Combs’ calls, simply telling him, “You broke into my house. You messed with my dog. I don’t want to talk to you.”

Mescudi’s relationship with Ventura ended shortly after the holidays in 2011, mostly because he said he was concerned for his safety. Then, in January 2012, he received the phone call from his dog-sitter about his Porsche being on fire. Although DNA was taken from the scene, no one was ever charged with setting the car on fire. Nevertheless, Mescudi told the court he believed Combs was involved.

Combs and Mescudi eventually met to discuss their differences at SoHo House in Los Angeles, where the latter says the former maintained a calm demeanor. Mescudi said Combs denied knowing anything about the car, but that he didn’t believe him.

Combs is charged with sex trafficking, racketeering, and transportation to engage in prostitution. He has pleaded not guilty, and his federal trial continues.

Photo Credit: Myriam Zilles

Senator Maggie Hassan is seeking more information from Spotify into the handling of recently discovered fake podcasts peddling real drugs on the platform.

Spotify removed dozens of podcasts earlier this week that blatantly promoted online illegal pharmacies selling drugs like Adderall and Oxycontin without a prescription. More than 200 podcasts were removed from the platform, but only after a media frenzy highlighting just how prolific the practice of drug-peddling had become.

Spotify says the podcasts violated its rules and threatened to direct users to spammy and potentially illegal websites. U.S. law prohibits the selling of controlled substances online without a prescription. Hassan (D-NH) is a ranking member of the Joint Economic Committee and is seeking information about how these fake podcasts were able to proliferate on Spotify to the point that several dozen were removed in the action.

She is also seeking more information about how Spotify plans to stop fraudsters from continuing to upload podcasts advertising drugs to young people. “Far too many parents have experienced the unimaginable pain of losing their child to an accidental overdose,” Hassan said in a statement to CNN.

“These tragedies can often occur when a teen buys online a counterfeit pill—like Xanax or Adderall—that is actually laced with fentanyl, leading to devastating consequences. Spotify has a responsibility to significantly ramp up its efforts to stop criminals from using the platform to facilitate deadly drug sales to anyone—especially teens.”

Hassan’s letter to the media giant seeks more information about the content that it has taken down, how many users interacted with Spotify’s drug podcasts before their removal, and whether the company earned revenue from these podcasts appearing on the digital service provider (DSP).

It also seeks more information about Spotify’s moderation tools and practices to identify drug-related content and whether it will make any updates to these practices following reports of the illicit content. Spotify must respond by June 12.

“We are constantly working to detect and remove violating content across our service,” a Spotify spokesperson said last week after media reports.

Photo Credit: Daniel Williams’ Instagram

Dave Shapiro, agent for bands like Sum 41, and former Devil Wears Prada drummer Daniel Williams, were killed in a plane crash in San Diego on Thursday.

Dave Shapiro, 42, and Daniel Williams, 39, were among those killed in a plane crash in San Diego on Thursday morning. Shapiro was the co-founder of Sound Talent Group (STG), whose clients include Sum 41, Story of the Year, and Parkway Drive. Daniel Williams was the former drummer of The Devil Wears Prada. At least two other STG employees also died in the crash.

“We are devastated by the loss of our co-founder, colleagues, and friends,” STG shared in a statement. “Thank you so much for respecting their privacy at this time.”

The private jet, flying from Teterboro, New Jersey, crashed into a San Diego neighborhood housing military families as they slept at around 4 AM on Thursday. Eight people in the neighborhood have been confirmed to be injured, and no one aboard the plane is believed to have survived.

Shortly before the flight took off, Williams posted to his Instagram Stories photos from inside the plane, and seemed excited to be sitting in the co-pilot seat. The Devil Wears Prada, his former band, posted old photos on Instagram and wrote of his passing, “No words. We owe you everything. Love you forever.”

In addition to his music career, Shapiro was an avid pilot and certified flying instructor who had over 15 years of experience. The plane, a Cessna 550, had a capacity of up to 10 people; the FAA confirmed that six people were on board. The cause of the crash has not yet been established—but it occurred during intense morning fog near the Montgomery-Gibbs Executive Airport.

Dave Shapiro was a pillar in launching the careers of numerous artists through his work as an agent and advocate for independent touring. “Dave was a visionary in the music industry,” reads a statement from the National Independent Talent Organization (NITO), of which Shapiro is a founding member. “His passion, dedication, and unwavering support for artists shaped the careers of countless musicians.”

Daniel Williams played with The Devil Wears Prada through their biggest successes on the charts and from their early days in Dayton, Ohio. During his time with them, the band had two Top 10 albums on the Billboard 200 and were instrumental in shaping the sound of 2010s metalcore. He left the group in 2016.

Photo Credit: All-American Rejects TikTok

The All-American Rejects are making headlines with a series of surprise pop-up concerts across the United States. Dubbed the ‘house party’ tour, the group is building anticipation for their upcoming comeback tour and their first full-length album in over a decade.

The band kicked off their spontaneous tour on April 30 at the University of Southern California, following the release of their new single “Sandbox.” Since then, they’ve hit the road and criss-crossed the Midwest, bringing their energetic performances to unconventional venues suggested by fans on social media.

So far, the band has played a backyard house party in Los Angeles, at a farm in Ames, Iowa, for a graduation party in Columbia, Missouri, a backyard in Chicago, a bowling alley in Minneapolis, and more. Crowd sizes for these events range between 120 in Chicago to a massive 5,000-person audience at the farm in Ames. Each show has been announced with minimal notice, while fans are encouraged to suggest new locations. Requests have been pouring in from across the country including fans hopeful of stops in Arkansas, Michigan, Tennessee, and Texas.

The pop-up tour is a brilliant marketing move for a rock band that has been out of the public spotlight for several years. They’re generating a huge viral buzz on TikTok while simultaneously engaging a new generation of fans alongside followers. Lead singer Tyson Ritter says the pop-up tour was born from a desire to recapture the raw energy of the band’s beginnings while creating memorable moments outside of traditional venues.

Videos of these pop-up appearances are racking up millions of views on TikTok, while their social media channels are flooded with fans suggesting their hometowns. As the group continues their pop-up spree across the United States, the built-up momentum for their comeback tour and upcoming album reaches a fever pitch.

Photo Credit: Kneecap

A member of Irish hip-hop group Kneecap has been charged with a terror offense for actions allegedly performed at a London gig.

Liam Óg Ó hAnnaidh, who performs under the name Mo Chara, has been charged by Metropolitan Police after a November 21st incident at the O2 Forum in London. He is scheduled to appear at Westminster Magistrates’ Court on June 18th. Mo Chara has been charged with a terror offense after allegedly displaying a flag in support of Lebanese Shia Islam political and military organization Hezbollah during a performance back in November.

Kneecap released a statement on social media, denying the alleged offense and vowing to vehemently defend themselves: “This is political policing. This is a carnival of distraction. We are not the story. Genocide is. As [the British government] profit[s] from genocide, they use an ‘anti-terror law’ against us for displaying a flag thrown on stage. A charge not serious enough to even warrant their ‘crown court,’ instead a court that doesn’t have a jury.”

“What’s the objective? To restrict our ability to travel, to prevent us speaking to young people across the world. To silence voices of compassion, to prosecute artists who dare speak out,” they continue.

“Instead of defending innocent people, or the principles of international law they claim to uphold, the powerful in Britain have abetted slaughter and famine in Gaza, just as they did in Ireland for centuries. Then, like now, they claim justification.”

“We stand proudly with the people. You stand complicit with the war criminals. We are on the right side of history. You are not. We will fight you in your court. We will win,” their message concludes.

Officers from the Metropolitan counter terrorism command were made aware on April 22nd of an online video from the November 21st concert. An investigation was carried out, which led to the authorization of the criminal charge. Both Hamas and Hezbollah are banned in the UK, and it is a crime to express support for them.

Kneecap claim they have never supported Hamas or Hezbollah, and would not incite violence against anyone. They further assert the video of their concert was taken out of context, that a fan threw the offending flag on stage and the band had nothing to do with it.

Regardless, a number of the band’s shows have been cancelled since the allegations emerged. Their next scheduled performance is a headlining spot at Wide Awake Festival in Brockwell Park, South London, this Friday.

Photo Credit: All About Us Festival

Mario and Jadakiss headline the All About Us Festival this Juneteenth, now in its third year, in Jersey City’s Liberty State Park.

R&B superstar Mario is hitting the stage this Juneteenth at the All About Us Festival alongside hip-hop legend Jadakiss and house music icon Robin S. Their performances will bring timeless hits and undeniable energy to a day curated for love, music, and multi-generational joy.

Now in its third year, the All About Us Festival at historic Liberty State Park in Jersey City is a feel-good celebration of Black culture, family, and community—with something for everyone. The festival pairs nostalgia-laced performances with fresh, curated experiences across music, art, food, and fun.

“From the moment you walk in, it’s going to feel like joy,” said Shannon Mitchell, founder of the All About Us Festival. “We created this space to remind us of what freedom looks like—being together, being seen, and celebrating who we are. Black history is American history, and this day is for all of us.”

Baltimore native Mario will be performing some of his biggest hits, including “Let Me Love You,” “Just a Friend,” and more. Yonkers-based Jadakiss is expected to perform popular hits like “Why” and “Knock Yourself Out.” House favorites like “Show Me Love” and “You Are My Friend” are expected to crop up during DJ sets from Robin S and Kenny Bobien.

In addition to Mario and Jadakiss’ headline performances, and DJ sets from Robin S and Kenny Bobien, guests can expect additional musical acts from all genres. There will be food trucks, kid-friendly fun, art activations, and curated shopping from Black-owned brands.

“Whether you’re showing up with your crew or dancing with your little ones, All About Us is where freedom meets joy, and where memories are made,” reads the festival’s tagline.

Attendees can get tickets now, mark June 19 on their calendar, and ready their picnic blanket for an unforgettable love letter to Black joy and pride.

Photo Credit: Darren Halstead

The U.S. House of Representatives has narrowly passed the sweeping ‘One Big, Beautiful Bill’ which includes a controversial 10-year moratorium on state-level regulation for AI.

This measure, if enacted, would prevent states from passing or enforcing any laws governing AI models, systems, or automated decision-making processes for a decade. The provision has drawn fierce opposition from a bipartisan coalition of 40 state attorneys general and more than 140 organizations representing civil society, technologists, and creative workers who would be impacted by such a moratorium.

State attorneys general argue that the moratorium would be “sweeping and wholly destructive of reasonable state efforts to prevent known harms associated with AI.” In their open letter to Congress, they point out that the absence of federal protections means states are often a first line of defense against technological harms—including those impacting personal identity, privacy, and creative rights.

“This bill does not propose any regulatory scheme to replace or supplement the laws enacted or currently under consideration by the states, leaving Americans entirely unprotected from the potential harms of AI,” the letter reads. “Moreover, this bill purports to wipe away any state-level frameworks already in place. Imposing a broad moratorium on all state action while Congress fails to act in this area is irresponsible and deprives consumers of reasonable protections.”

The proposed federal freeze would not only block new state laws but also nullify hundreds of existing and pending measures designed to address measures like deepfakes, unauthorized use of likeness, and AI-enabled impersonation—all of which directly threaten those working in creative industries. State-level laws have been crucial in criminalizing the creation of explicit AI-generated images without consent and requiring transparency when consumers interact with AI rather than an actual human.

Without the ability to enact or enforce such protections, states would be powerless to stop companies from deploying AI tools that can copy, manipulate, or exploit creative works and identities. More than 100 organizations have also sounded the alarm on the provision, stating that any company that “intentionally creates an algorithm that inflicts foreseeable harm, the company responsible would evade accountability.”

Despite the outcry, the moratorium remains in the House-passed bill and now moves to the Senate—where its fate is uncertain. If enacted as-is, the bill would strip states of their ability to respond quickly to new threats, leaving creatives with fewer tools to protect their work and livelihoods from the rapidly evolving risks posed by AI.

Photo Credit: Rod Wave by Michealjordan45 / CC by 4.0

Rapper Rod Wave was arrested in Georgia on 14 counts, including aggravated assault, possession of a firearm, and felony tampering with evidence.

Rod Wave, known for hits like “Street Runner” and “Tombstone,” was arrested in Fulton County, Georgia, and released on $50,000 bond yesterday, according to court records.

The musician, whose real name is Rodarius Green, was arrested in connection to an incident back in April when he returned to his home following a burglary. An argument ensued, and a pistol was fired 14 times, striking several cars and a wall in the house.

According to Drew Findling, Rod Wave’s attorney, “There is no truth to these charges. Rod Green was a victim of a burglary and committed no crimes. How he was even charged as a result of this situation is incomprehensible. This will absolutely be resolved favorably to Mr. Green.”

An initial police report obtained by the Associated Press says that officers found a large safe in the basement of the home that had been “dragged across the floor, opened, and emptied.” They also found a gold Mercedes SUV on the property with multiple bullet holes in it. Near the swimming pool, police also found a broken window and a hammer in a bush next to it, and a black Glock handgun was also discovered at the scene.

Rod’s girlfriend told officers that she found that the house appeared to have been burglarized when she returned home. The initial report does not list any suspects that may have broken in, nor does it accuse the rapper of committing any crimes.

Rod Wave was previously arrested for possession of ammunition or a weapon in Florida back in April 2024. That arrest was made on suspicion that he was involved in a gang-related shooting following an argument that left four injured.

Photo Credit: Hoàng Anh Nguyễn

The live entertainment sector is in decline according to data gathered by Chartmetric. Rising costs, low ticket sales, and strict visa rules are reshaping what the touring landscape looks like in 2025.

Artists across the globe are facing new barriers to touring, with data showing that there just aren’t as many touring artists on the road anymore. Chartmetric looked at both mid-level and superstar-level artists from 2022 and 2024, comparing how many were still touring. 44% of superstar-level artists were touring in 2022, while only 36% were in 2024. That decline is even more dramatic in mid-level artists, which declined from 19% touring in 2022 to just 12% in 2024.

Photo Credit: Chartmetric

Chartmetric’s methodology was an analysis of the top 1,000 artists from each career stage in both years. Touring artists are defined as those who performed at least ten shows in the span of a year—highlighting the steep decline for both mid-level and superstar-level artists. The data seems to indicate that star power alone is no longer enough to guarantee a successful tour.

High profile acts like Jennifer Lopez, The Black Keys, and Lauryn Hill & the Fugees cancelled shows due to low ticket sales last year. Meanwhile, larger festivals are also feeling the pinch as this is the second year that Coachella did not achieve sell-out status within days of tickets going on sale. Coachella took nearly a month to sell out in 2024 and data shows that nearly half of the general admission attendees this year used payment plans to buy their tickets.

Another mounting challenge for international artists is the strict via situation in countries like the United States and the United Kingdom. The cost of artist visas nearly quadrupled from $460 to $1,615 per musician last year—the first bump in price since 2016.

Governments interested in helping protect the live sector can support touring infrastructure so smaller venues don’t close down. That’s something the UK is doing with UK Live Trust, which reallocates money from stadium and arena tours to smaller venues by donating £1 per ticket sold at larger venues.

The globalization of live touring is also becoming more prevalent as big acts include Asia in their touring plans. Lady Gaga, Tyler, the Creator, Blackpink, Coldplay, Oasis, and Billie Eilish all have Asian dates planned for their upcoming tours.

Photo Credit: Poo Bear

Producer Poo Bear is diving into “street country” with Randy Savvy’s debut album, drawing inspiration from Shaboozey’s Where I’ve Been Isn’t Where I’m Going and Beyoncé’s Cowboy Carter.

Randy Savvy of the Compton Cowboys is gearing up to release his first studio album with producer Poo Bear, best known for his work with Justin Bieber. On the heels of the release of the first part of his four-part EP, which debuted last month, Savvy is inspired by his own equestrian roots, as well as “Black country” star Shaboozey and Beyoncé’s Cowboy Carter.

Working with Randy Savvy marks a bold move for producer Poo Bear—his first foray into “street country,” the genre-bending fusion of country and West Coast hip-hop that has been taking the music world by storm. Poo Bear will also debut new music at Been Country: Black Roots and Rhythm, the National Museum of African American Music’s CMA Fest activation celebrating Black cowboy culture and the rising wave of Black country artists.

“We’re in a place now where the American West, country music, Black culture, popular culture, hip-hop, these things are all starting to converge,” said Savvy. Specifically, he pointed to Shaboozey, who blends hip-hop, country, rock, and Americana sounds in his music, such as the hit “A Bar Song (Tipsy).” Even white contemporary country stars like Morgan Wallen have been known to blend trap beats into their music.

“Both of those worlds starting to converge and create this really interesting middle ground is where I live. This is my stomping ground, this is my home, it’s been my life since the beginning,” Savvy explained.

As a native of Richland Farms in Compton, Savvy grew up “as an equestrian with a thing for cowboy hats, country, and rap music.” He founded Compton Cowboys in 2017, which has allowed him to work with at-risk youth and offer them a positive outlet. He’s also been honing his own unique musical style, a mixture of country and hip-hop that many didn’t think would ever catch on in the mainstream.

The Compton Cowboys hit the Stagecoach country music festival last month, which Savvy called “a highlight of our year every year.” The group also teamed up with Beyoncé for her Christmas halftime show, where she debuted live performances of her Cowboy Carter album ahead of her latest tour.

Photo Credit: Kesha “Delusional” AI Artwork

Kesha unveiled the cover art for her single “Delusional” in November 2024—with fans causing a firestorm of backlash over the use of generative AI.

The generated image features a pile of handbags with the word ‘delusional’ spray-painted on them, but many instances of the word are misspelled. Fans quickly identified the work as an AI generated piece, with many criticizing the artists’ use of a genAI image with no modifications.

Fans pointed out the awkward, error-laden visuals and accused the singer of disrespecting designers and visual artists. The cover featured at least three misspellings of the word and another mash-up that looks like DELUSHIAL—a huge tell that the image is AI generated. Kesha said her intent was meant to be a statement on how ‘delusional’ it is for society to expect artists to continually produce work while being undervalued.

“When making the single art for my song ‘Delusional,’ I wanted to make the point that it’s delusional that the world expects artists to continue making art when we are so undervalued,” the post reads. “I tried to echo my ideas in the form of a political single cover. I’ve realized that living in alignment with my integrity is more important than proving a point. So I’ve decided to change the cover art for this song.”

Now Kesha has replaced the artwork just weeks ahead of the full album release. The updated artwork features a photograph of herself zip-tied to a chair, set against a stark white background—a clear departure from the use of generative AI. Kesha thanked her creative team in a social media post featuring the new artwork, stating that she considers AI a “Pandora’s Box” that society must learn to use responsibly.

The upcoming album Period is her first release as an independent artist. She fulfilled her contract with RCA and Kemosabe Records in December 2023, then launched her own label, Kesha Records. Period will release on July 4, 2025 and follows an intense legal battle, with Kesha stating this is the first time she’s been “fully in charge” of her career.

Photo Credit: Pelpa Time Production / CC by 3.0

Chris Brown was granted bail by a London court for $6.7 million over an assault charge, paving the way for his world tour to begin next month.

Chris Brown is out on bail after his arrest in the UK last week after returning to the country for the first time since an alleged assault two years ago. He was initially refused bail on Friday, but a London court granted him bail on Wednesday after he promised to pay 5 million pounds ($6.7 million) in a security fee.

“From the cage to the stage!” wrote Brown on Instagram after Wednesday’s bail hearing.

The US singer was charged with inflicting grievous bodily harm in an “unprovoked attack” on music producer Abraham Diaw with a tequila bottle in a London nightclub in 2023. He has not yet been asked to enter a plea to the charge, and he was not present when Judge Tony Baumgartner granted him bail. Brown will next appear at London’s Southwark Crown Court on June 20.

The 36-year-old Brown is set to kick off his Breezy Bowl XX Tour on June 8 in the Netherlands, but his arrest left fans concerned the tour would be postponed. The court also required him to surrender his passport, with exceptions for when he is traveling for his tour.

A security fee is a financial guarantee to ensure a defendant returns to court; Brown could be asked to forfeit the money should he breach his bail conditions. Other conditions of his bail include living at a specific address known to the court, not contacting the alleged victim, not visiting the nightclub where the incident occurred, and not applying for international travel documents.

Chris Brown’s tour is scheduled to kick off in Amsterdam on June 8, with stadium and arena dates in Manchester, London, Cardiff, Birmingham, and Glasgow through June and July.

Photo Credit: Krishta Abruzzini

Foreigner’s long-time vocalist Kelly Hansen has announced he’s stepping down from the position after the band’s summer tour concludes. Guitarist Luis Maldonado will step into the role.

Hansen announced the news during a special appearance on the NBC reality show, ‘The Voice.’ “Being the voice of Foreigner has been one of the greatest honors of my life,” Hansen said about stepping down. “But it’s time to pass the mic. Luis has the voice, the energy, and the soul to carry these songs into the future. I couldn’t be prouder to hand this off to him.”

Foreigner Leader & Founder Mick Jones also commented on the passing of the torch, sharing his approval of the move. “In 1976, my goal was to assemble the finest group of musicians I could find. Results have shown that it worked! About thirty years later, Jason Bonham encourages me to do it all over again and create a brand-new Foreigner, and the magic is still there.”

“I was especially fortunate in the choice of lead singer. Kelly Hansen is one of the best front men in our business and over the last twenty years he has breathed new life into our songs. His boundless energy and flawless talent have helped us climb the mountain and set up the opportunity for Foreigner vocalist and guitarist Luis Maldonado to bring us home.”

“I wish Kelly great happiness in his next endeavors after our summer tour and I look forward to welcoming Luis to his new position. Luis was my choice as a guitarist and he has already shown us what he can do on lead vocals by fronting the band in South America to incredible reviews. He will soon lead the charge and carry us forward to new heights,” Jones concludes.

Before Luis joined Foreigner, he was best known as the guitarist for Train and for his work with Lisa Marie Presley. He now steps into the spotlight as the lead singer of Foreigner, bringing a rich blend of vocal power, stage charisma, and musical versatility. “This music has been part of my life for as long as I can remember,” says Maldonado. “I’m ready to honor Foreigner’s legacy and bring my heart to every performance.”

Kelly Hansen joined Foreigner in 2005 and helped revitalize the band’s live presence. Their current tour continues through 2025 and will feature both Hansen and Maldonado on stage in the symbolic handoff. Next year is the band’s 50th anniversary of its formation in New York in 1976.

Photo Credit: SoundCloud

SoundCloud and TikTok have announced a new partnership that will add SoundCloud to TikTok’s new music discovery feature, ‘Add to Music App.’

The ‘Add to Music App’ feature gives music fans the ability to save the songs they discover on TikTok to their preferred music streaming service. Since its global roll out in 2024, the feature has generated over a billion track saves on supported music streaming services, per TikTok’s data.

The new integration begins rolling out today, making it simple to save TikTok tracks to a playlist on SoundCloud. The launch coincides with the debut of ‘Move Your Music,’ a new SoundCloud feature that makes it easy to transfer music libraries including liked songs and playlists.

That feature allows SoundCloud users to import their favorites from Spotify, Apple Music, YouTube Music, Tidal, Deezer, and Amazon Music. Now with ‘Add to Music App’ on TikTok, music discovery centered around social media can also be added to SoundCloud.

The ‘Add to Music App’ feature was designed for music fans to capture the songs they love in the moment of discovery. From the latest TikTok trend to the ultimate in personal music discovery, all music can be saved in one step.

“SoundCloud has always been the go-to platform for discovering what’s next in music, from emerging artists to breakout genres,” says Emmy Lovell, SoundCloud’s Global Head of Music. “Partnering with TikTok makes it easier than ever for fans to save the songs they love and stay connected with the artists behind them. This integration helps turn casual listeners into lifelong superfans while strengthening our commitment to fueling the next generation of music culture.”

‘Add to Music App’ appears as a button that says ‘Add Song’ next to a track name at the bottom of any TikTok video on the ‘For You’ feed. It invites users to save the track to the digital streaming provider (DSP) of their choice. The first time a user presses the button, they can choose to save it to SoundCloud or other supported services. Users can choose to switch their preferred music streaming service at any times in the Settings of TikTok.

Photo Credit: Penn 2 by Vornado Realty Trust

Universal Music Group is relocating its New York offices to The Penn District in the heart of Manhattan. As first tipped by Digital Music News earlier this year, UMG has now signed a 22-year lease in the newly renovated Penn 2 building.

Universal Music Group (UMG) has officially announced the leasing of new office space at Penn 2, Vornado Realty Trust’s recently completed office tower along Seventh Avenue in The Penn District, one of the busiest hubs in the city.

The building will serve as the headquarters of labels Def Jam Recordings, Island Records, Mercury Records, and Republic Records—all part of the Republic Collective—as well as Bravado, UMG’s merch company, and Verve Label Group. The building will also serve as the East Coast offices for leading global music publisher Universal Music Publishing Group as well as several UMG corporate functions.

UMG will occupy the entire fourth through seventh floors of Penn 2 as part of a 22-year lease. The company will also occupy a ground-floor space along Seventh Avenue for a future premium retail experience dedicated to serving music superfans in the heart of Manhattan, and a private lobby on 33rd Street. The lobby will feature a visitor center and direct elevator access to its floors. In addition, UMG will have the ability to showcase its artists on a large-scale LED signage within The Penn District.

The new headquarters will be located within The Bustle, a 430-foot-wide expanse of office space stretching from 31st to 33rd Street on Seventh Avenue. A dramatic centerpiece of the Penn 2 redevelopment, it includes 88,000 square feet of double-height, 23-foot-high, column-free office space. There, UMG will build its New York offices and state-of-the-art studio production facilities complemented by exclusive access to more than 3,500 square feet of landscaped outdoor space.

The new production facilities will bolster UMG’s global network of the world’s leading recording studios that already includes the iconic Abbey Road Studios in London, Capitol Studios in LA, and East Iris Studios in Nashville.

“UMG’s relocation of its New York offices to the new Penn 2 Tower reflects our vision and ambition,” said Boyd Muir, UMG’s Chief Operating Officer. “Located in the heart of Midtown Manhattan and literally adjacent to Madison Square Garden, one of music’s most storied venues where so many of our artists perform to a packed house, Penn 2 will serve as an ideal nexus for our employees, artists, and songwriters. Beyond office space, Penn 2 will house music studios and retail spaces, featuring a range of artist merchandise and exclusive products. We look forward to working with the team at Vornado as we work towards a 2027 move in date.”

“We are delighted to welcome Universal Music Group to The Penn District, which has firmly established itself as the epicenter of Manhattan’s new West Side,” added Glen Weiss, Executive Vice President, Office Leasing & Co-Head of Real Estate at Vornado Realty Trust. “Universal Music’s commitment to Penn 2 is further evidence of the district’s appeal to the world’s most iconic brands in business, lifestyle, and entertainment.”

As part of its recently completed $750-million redevelopment of Penn 2, Vornado installed a highly efficient modern glass curtain wall; a striking triple-height lobby; 16 distinctive double-height outdoor tenant loggias; and The Bustle. Penn 2 will incorporate 30,000 square feet of curated retail, including the Dynamo Room, a 7,100 square foot full-service restaurant and bar from Sunday Hospitality.

The building also features 72,000 square feet of outdoor green spaces; The Perch, a rooftop glass pavilion and event space that opens onto a lushly landscaped 17,000 square-foot private green space available to all tenants; and a 280-seat Town Hall suspended above Plaza33. Penn 2 is also the headquarters for Madison Square Garden and Major League Soccer.

The Penn District campus is situated directly above North America’s most accessible and active mass transit hub. A total of 15 subway lines, along with Long Island Railroad, New Jersey Transit, PATH, and Amtrak all converge in the district. They will be joined by Metro-North commuters beginning in 2027.

Photo Credit: Solen Feyissa

The digital app landscape is forever shifting—TikTok has been dethroned by ChatGPT as the most downloaded app worldwide. ChatGPT was downloaded 52 million times in April 2025 across both Google Play and iOS.

This milestone marks a dramatic change in app dominance, especially among the younger Gen Z cohort—who often drive trends in both music and technology. TikTok has held the crown of most downloaded app for several years now. The short-form video format has fueled music trends, launched careers, and continues to shape global listening habits. But ChatGPT recently outpaced TikTok’s 39 million downloads last month to claim the most downloaded app title.

OpenAI rolled out several major updates in March, including a significant upgrade to image generation and improvements to AI voice features. The app’s flexibility and creative potential has resonated with Gen Z, who prioritize tools that enable rapid content creation and personalized interaction. That’s one reason TikTok sister app CapCut gained such popularity—it makes editing videos for the platform much easier.

Photo Credit: Backlinko

ChatGPT’s conversational interface, image tools, and generation features align with Gen Z’s demand for instant, interactive experiences. The app saw a 12% increase in downloads from March to April—and a whopping 38% jump since January 2025. This growth reflects the broader shift in how young creators are engaging with technology. While TikTok’s influence remains strong, it’s no longer the top dog when it comes to downloads.

Both TikTok and Instagram are neck-and-neck, reflecting the latter’s efforts to woo younger audiences with short-form content. Instagram enhanced its ‘Explore’ page to more accurately feel like TikTok’s ‘For You’ page. It has also included several interactive features for Reels, including polls, questions, and group chat capabilities. While both TikTok and Instagram vie for attention from Gen Z—ChatGPT is dominating downloads with several new updates intended to make AI-guided content creation even easier for the younger generation.

Photo Credit: Taylor Swift by Paolo Villanueva / CC by 2.0

Taylor Swift’s re-recorded version of “Look What You Made Me Do,” featured in an episode of Hulu’s The Handmaid’s Tale.

Is Reputation (Taylor’s Version) on the way? Swifties have been theorizing that an announcement of the album is fast approaching. That theory was given further credence on Monday night, when “Look What You Made Me Do (Taylor’s Version)” featured prominently in a new episode of Hulu’s The Handmaid’s Tale.

Taylor Swift’s most devoted fans have been anticipating the announcement from the star since Reputation became eligible for her to re-record in late 2022. This has been the longest stretch between re-records in the megastar’s discography. She released 1989 (Taylor’s Version) in October 2023. Alongside Taylor Swift (Taylor’s Version), Reputation will be one of the last albums up for re-recording from her previous contract with Big Machine Records.

Fans noticed potential Easter eggs on Swift’s official merch site, with the home page reorganized as Apparel, Music, Accessories, and Sale—the first letters of which spell out AMAs. Swifties are therefore theorizing that Taylor could be gearing up to announce Reputation (Taylor’s Version) at the American Music Awards on May 26.

Swift previously spoke about revisiting the album in an interview with Time in 2023. The magazine selected her as the publication’s Person of the Year. “It’s a goth-punk moment of female rage at being gaslit by an entire social structure,” she said of the original album. “I think a lot of people see it and they’re just like, ‘sick, snakes, and strobe lights.’” Further, she referred to the unreleased vault tracks from the project as “fire.”

Taylor Swift’s sixth studio album, Reputation was originally released in November 2017. The project contained a slew of hits for the prolific star. They include “Look What You Made Me Do,” “Ready For It?,” “End Game,” “Delicate,” “Gorgeous,” and more.

Photo Credit: Amazon Music

Amazon Music announces the beta of its new AI-powered search, designed to help fans learn more about their music.

Select Amazon Music Unlimited subscribers in the US can take a sneak peek at Amazon’s new AI-powered search. The idea is to enhance music discovery and help fans learn more about their favorite artists.

To use this beta feature, users can tap the “Find” button at the bottom of the screen and enter an artist’s name in the search bar. By selecting the “Explore” tab at the top left, users can discover information about the artist. That info includes collaborations, similar artists, and highlights from their discography.

For example, a search for Jelly Roll can highlight not only his solo work but his collaborations.  Collabs like “Save Me” with Lainey Wilson, or “Should’ve Been a Cowboy” with T-Pain will appear—notably an Amazon Music Original.

Users can also create AI-generated playlists. Last year, Amazon Music launched Maestro, its answer to Spotify’s AI DJ. That move came as part of continuing efforts to compete with the streaming giant. By incorporating Maestro into the new Explore feature, Amazon is hoping to encourage more users to try its AI playlisting.

“This new feature is about transforming each search into a journey of musical discovery, and we’re thrilled to start introducing it to customers,” said Ryan Redington, General Manager at Amazon Music.

“By leveraging AI to enhance search and discovery features, we’re making it easier for fans to dive deeper into the worlds of their favorite artists and find new ones they’ll love. This beta builds on our previous AI innovations and represents our ongoing commitment to connecting artists and fans in meaningful ways. We can’t wait to see how fans will use it to enhance how they’re enjoying music on our service.”

Notably, Explore is rolling out today for select US subscribers in the iOS app. Currently, the beta feature is limited to 10,000 artists, including Bad Bunny, Blackpink, and Jelly Roll.

Photo Credit: Jenna Ortega in Hurry Up Tomorrow / Lionsgate

The Weeknd’s Hurry Up Tomorrow, a psychological thriller co-starring Jenna Ortega, bombed at the box office in its opening weekend.

The Weeknd’s first feature film, Hurry Up Tomorrow, didn’t get off to the best start during its opening weekend. The R-rated film co-stars Jenna Ortega and features The Weeknd, who goes by his real name, Abel Tesfaye, in the credits. It’s his first major acting role since the controversial HBO Max series, The Idol, with Lily-Rose Depp.

Tesfaye plays a fictionalized version of himself, also named Abel, while Ortega plays a stranger named Anima. The film is directed by Trey Edward Shults, based on a screenplay by Reza Fahim, Shults, and Tesfaye. The logline for the film reads, “A musician plagued by insomnia is pulled into an odyssey with a stranger who begins to unravel the very core of his existence.”

Hurry Up Tomorrow opened in 2,020 theaters across North America on Friday. That evening, it was projected to see a mere $3.3 million to $4.7 million in its opening weekend. According to Lionsgate in an email on Saturday, the film was looking at an opening weekend pull of $3 million to $3.6 million, which still “makes it profitable for the studio.” On Sunday, Lionsgate projected the film would earn $3.3 million by the end of the week.

Notably, Lionsgate is only distributing the film and is not responsible for its production cost, which was around $15 million.

The film is part of a three-pronged project from The Weeknd, alongside the artist’s new album and tour. “Hurry Up Tomorrow was conceived as part of The Weeknd’s broader creative ecosystem, anchored by the artist’s new album and tour, with creative alignment across music, film, and live performance,” said Lionsgate. Its release fell on the same day that The Weeknd’s After Hours Til Dawn Tour kicked off in Glendale, Arizona.

One factor undeniably hurting the film’s box office numbers is a series of negative reviews from critics on Rotten Tomatoes. As of Saturday, the film had a 14% “rotten” rating, based on 52 reviews. Among those, viewers have called the film an “ego-stroke of monumental hubris,” “vapid,” and “meandering.” One reviewer wrote that the film will easily secure the position for the year’s worst movie.

According to The Weeknd, the film unsurprisingly means something personal to him. “I look in the mirror and feel both old and new, stuck in limbo and unable to move,” he wrote earlier this year. “I still haven’t faced myself.”

Photo Credit: CA.gov

California Governor Gavin Newsom’s recent budget proposal sent shockwaves through the arts sector with a targeted $11.5 million cut. The budget cuts could have far-reaching consequences for music funding and the broader creative community.

While the headline figure for the cut is $11.5 million, critics argue that the true impact could be much larger. Arts advocates are estimating up to 58% cuts for certain arts programs. The $11.5 million slated for elimination comes from the Performing Arts Equitable Payroll Fund (PAEPF), a program designed to support non-profit arts organizations. That includes orchestras, music groups, and theaters with a budget of less than $2 million.

This fund was created from leftover pandemic relief money and helps these smaller organizations comply with California’s AB5 gig worker law—requiring many freelance roles to be reclassified as employees. The elimination of the PAEPF will disproportionately affect small and medium-sized organizations. Many of them rely on these funds to pay musicians, technicians, and their administrative staff.

The San Francisco Bay Area Theatre company says it expected to receive over $150,000 from the fund. Meanwhile, groups like Dance Mission Theater and Hillbarn Theatre anticipate losing six-figure grants. Arts advocates warn that the combined effect of the PAEPF budget cut and a proposed $10 million reduction to the California Arts Council’s Local Assistance Funding could result in a 58% decrease in state support for small non-profit arts organizations. They point out that this would move California’s per capita arts spending near the bottom nationally, ranking 45th out of 50 states.

These cuts are part of a broader response to California’s projected $12 billion budget deficit for 2025/26. These cuts are driven by declining revenues and increased social services costs. Governor Newsom says these reductions are necessary across the board—but the arts sector is among the hardest hit. California was doubly hit when the National Endowment for the Arts withdrew an estimated $25 million in grants across the nation.

Photo Credit: AllHipHop

An entire Kanye West album leaked onto the internet yesterday, prompting the rapper to respond. The announced album was once called WW3, but the rapper took to Twitter to say he renamed it to CUCK. Leakers say the benefit from the sale of the files went to the U.S. Holocaust Museum—with proof provided.

The leak originated on Discord, a meassaging and community platform popular with gamers and music fans of specific artists. A folder containing the full CUCK album and other unreleased Kanye West songs began circulating in private Discord groups. From there, the files quickly spread to YouTube and other social media platforms—though YouTube was quick to remove them.

The leak was part of a ‘group buy’ model, in which fans and critics pooled money (in this case $999) to obtain and release the files themselves. Those responsible for the leak said the funds were donated to the U.S. Holocaust Memorial Museum.

The leak’s metadata and public statements included explicit criticism of Kanye West, referencing his recent controversies and antisemitic remarks. The files themselves contained derogatory messages about the rapper, and the album art was altered to include a picture of the young rapper wearing a ‘no nazis’ shirt. The original album art featured Ku Klux Klan members on its cover art.

“Fuck Nazis. 50-year-old loser promoting fascism and hate speech. All proceeds from this group buy were donated to the U.S. Holocaust Memorial Museum,” the leakers wrote alongside the full track list. The album contains songs like “WW3,” “Cosby,” “Diddy Free,” “Dirty Magazines,” “Jesus,” “Bianca,” “Cousins,” “Uncle,” “Free My Kids,” “Heil Hitler,” “Gas Chambers,” “Hitler Ye Jesus,” “Jared,” and “Nitrous.”

The tracks including “Diddy Free,” “Free My Kids,” and “Dirty Magazines” were never before released ahead of this leak. The song “Heil Hitler” was released by Kanye himself as a single, but several digital streaming providers (DSPs) removed the song due to its controversial nature and TOS violations promoting hate speech.

“Shout out to the leakers but also Kanye music in 2025 ain’t worth being leaked,” wrote one user on X/Twitter. Kanye himself responded to the leak on X/Twitter, writing: “Somebody got a drive and threw it on YouTube and said this is CUCK. What I love about getting blocked on DSPs and having songs leaked and shows cancelled is it proves everything I’m saying and why I’m saying.”

“Glorifying fascism is not ‘art,’” the original leaker wrote on Discord. “‘Speech of Love’ is just an excuse to say outrageous nonsense for attention. Kanye West is a 50-year-old spineless, brainless, drug addict, porn-addicted Nazi bitch,” the message continues.

Photo Credit: Big Loud

Morgan Wallen’s latest album I’m the Problem has set new records on Spotify—just two years after the country singer was shadow banned from editorial playlists.

The 2021 racial slur incident led to Spotify and several country music awards bowing out of platforming the singer. The industry fallout was pretty universal, with radio stations stopping spins of his tracks, his label put him on ice, and Spotify refused to feature his songs on their country editorial playlists. Now in 2025, Wallen is setting new records.

Spotify began reintegrating and even promoting Morgan Wallen’s music in 2023. His album One Thing at a Time dominated the charts that year and now he’s back with his fourth studio album I’m the Problem. That album has shattered records on Spotify, becoming the most-streamed country album of 2025 in just 24 hours. Spotify officially recognized the achievement, declaring that Wallen made country history yet again.

I’m the Problem features 37 tracks, cut down from 50, Wallen reveals. “There were three styles on the last album that I had in my head, and I went with that same approach with this album,” Wallen says. “We had straight up country songs, which I always do, and then we had more of an alternative-indie approach on a few of them. Those songs end up being a little bit countrified, just because that’s who we are and that’s how we do them.”

“And then the more cross-genre approach might end up on a multi-genre ratio station, just because of all the influences that I’ve had throughout my life, listening to every single type of music. I think I’ve stuck to that approach with I’m the Problem, getting an anchor song for each style and once we have those anchor songs dialed in, we fill up those buckets.”

“We recorded around 50 songs for this album and ended up cutting 13,” Wallen reveals. “I feel like we accomplished what I had in mind, and a huge shout out to my close collaborators on this too. They came in ready and fired up every single day, and they inspire me as much as anything else.”

I’m the Problem features 37 tracks including collaborations with notable artists including Tate McRae, Eric Church, HARDY, and Post Malone.

Photo Credit: David Burke / CC by 2.0

Salt-N-Pepa is suing Universal Music Group for the rights to their catalog, claiming the label is holding their music hostage.

Cheryl James and Sandra Denton of the legendary hip-hop group Salt-N-Pepa are suing Universal Music Group (UMG) for the rights to their catalog, which includes hits like “Push It,” “Shoop,” and “Whatta Man” featuring En Vogue. The duo claim the label is holding their music “hostage” and will not acquiesce to their request to invoke termination rights, by which songwriters can end their publishing agreements and regain their copyrights.

In a 166-page lawsuit filed Monday in New York, Denton and James state they “will not tolerate disrespect” from the label. The pair assert that they “not only transformed the genre but created, recorded, and performed some of the most famous hits of the twentieth century.” As the “First Females of Rap,” they were instrumental in “paving the way for subsequent generations of powerful and commercially successful female rap and hip-hop artists.”

According to the lawsuit, Salt-N-Pepa’s catalog has generated an estimated $1 million in the past five months in synchronization licenses alone, despite “little to no marketing efforts” on the part of UMG. The label has held a copyright grant since 1986, which has “given UMG the right to exploit Plaintiffs’ master recordings and retain a portion of all monies earned by Plaintiffs from the commercial exploitation of their work.”

Denton and James attempted to exercise their rights to termination of their contract with UMG under Section 203 of the Copyright Act of 1976, which allows songwriters to terminate copyright grants after 35 years.

But UMG has “refused to honor Plaintiffs’ Notices of Termination.” Instead, “UMG has indicated that it will hold Plaintiffs’ rights hostage even if it means tanking the value of Plaintiffs’ music catalog and depriving their fans of access to their work.” The lawsuit cites instances in which UMG removed Salt-N-Pepa songs from streaming platforms and made their music “unavailable for commercial exploitation in the US.”

Denton and James are seeking a jury trial. The duo is seeking both actual damages for money lost and punitive damages to be determined at trial. According to the filing, the actual damages alone could “well exceed $1 million.” They are also asking the court for a permanent injunction confirming their rights to their catalog.

UMG’s attorneys, in letters included as exhibits in the lawsuit, that they have pushed for mediation in order to reach a “mutually acceptable resolution.” However, lawyers for UMG also claim that Denton and James were not personally parties in the 1986 agreement that covered their initial albums. Further, there is “no evidence” that they ever granted the label copyright that could now be reclaimed.

According to UMG, the recordings were “works made for hire,” which would make them ineligible for the rights to be reclaimed. But Salt-N-Pepa’s lawsuit asserts that the pair’s agreements with the label very clearly state that they were not.

The lawsuit comes ahead of Salt-N-Pepa’s induction into the Rock N’ Roll Hall of Fame on November 8. The group was the first female rap ensemble to win a Grammy in 1995, and in 2021, they received a lifetime achievement Grammy award.

Photo Credit: DiFronzo / CC by 2.0

In a significant ruling for the music industry and artists’ social media practices, the Ninth Circuit Court of Appeals has definitively dismissed a copyright infringement case levied against Lil Nas X over Instagram photos.

The lawsuit was brought forth by photographer Rodney Woodland, who alleged that Lil Nas X had posed similarly to several of his copyrighted images on Instagram. The case initially survived a motion to dismiss in district court, raising concerns across the industry about the legal risks associated with sharing images on social media accounts.

Woodland’s photos were posted between August 2018 and July 2021 and received between eight and seventy-five likes. Meanwhile, Lil Nas X’s photos were posted between March and October 2021 and received hundreds of thousands of likes on the platform.

The United States District Court for the Central District of California dismissed Woodland’s claims, including copyright infringement, declaratory relief, accounting, and unjust enrichment. The court found that Woodland failed to prove that Lil Nas X had previously viewed his photos on Instagram and that the photos Lil Nas X posted were not substantially similar to Woodland’s photos.

The appeals court reviewed the case and affirmed the district court’s dismissal, putting the issue to bed. Judges agreed that Woodland did not plausibly allege that Lil Nas X had viewed Woodland’s content and the mere fact that they shared a platform (Instagram) was not enough evidence.

Additionally, the court found that Woodland failed to show that Lil Nas X appropriated the poses and composition of the photos from Woodland. The Copyright Act only protects the selection and arrangement of individual elements in photos—with the court finding that the photos in question were not similar enough to be considered copyright violations. Many of the poses featured in both photographs are common photo poses used by hundreds of photographers who pose subjects for their work.

Photo Credit: Connie Francis for ABC Television, 1961

Connie Francis reacts to her 1962 song “Pretty Little Baby” becoming a viral hit on TikTok, 63 years after she recorded it.

Connie Francis, 87, was surprised to learn her 1962 song “Pretty Little Baby” is having a massive resurgence, going viral on TikTok—even if she had to ask what exactly that meant.

Sixty-three years after she recorded the track, it’s become a huge hit on TikTok, where even celebrities like Kylie Jenner have recorded lip-sync videos. Overall, “Pretty Little Baby” has been used in nearly 15 million TikToks this year, and has been streamed over 20 million times on Spotify.

“My thanks to TikTok and its members for the wonderful, and oh so unexpected, reception given to my 1961 recording ‘Pretty Little Baby,’” said Francis in a statement posted to her Facebook page. “The first I learned of it was when Ron [Roberts] called to advise me that I had a ‘viral hit.’ Clearly out of touch with present day music statistic terminology, my initial response was to ask: ‘What’s that?’ Thank you everyone!”

Francis was only 23 when the song came out as a B-side to her single, “I’m Gonna Be Warm This Winter.” The track was featured on her 1962 album, Connie Francis Sings Second Hand Love & Other Hits, but the record failed to make the Top 100 on the Billboard Top LPs chart. Nonetheless, Francis enjoyed a highly successful career in the late 1950s and early 1960s. Her hit “Everybody’s Somebody’s Fool” made her the first woman to top the Billboard Hot 100.

Now, with such renewed interest in the track, “Pretty Little Baby” has been streamed more than 20 million times on Spotify, and it currently sits at No. 67 on the streaming platform’s Global Top 100. The song has also topped TikTok’s Viral 50 and Shazam’s new Viral Charts, and hit No. 2 on Spotify’s Global Daily Viral Songs chart. Over 600,000 daily TikTok creations use the track, and a new version of the song is in the works in six different languages.

Connie Francis also features as a character in the new Broadway musical, Just In Time, based on the life of Bobby Darin. Francis had a brief relationship with Darin before he went on to marry Sandra Dee. Francis is played by Gracie Lawrence, while Darin is played by Jonathan Groff.

Photo Credit: Epic Games

SAG-AFTRA has filed an unfair labor practice charge against Epic Games, alleging that use of AI to voice Darth Vader infringes on the union’s rights.

SAG-AFTRA has released a statement about Fortnite’s use of an AI-powered James Earl Jones Darth Vader voice, claiming the game’s production company, Epic Games’ Llama Productions, infringed on the union’s right to negotiate major changes to its collective bargaining agreement. The union also filed an unfair labor practices charge against the company.

According to the union’s statement, Llama Productions—a signatory to its collective bargaining agreement—made “unilateral” changes to terms and conditions of employment when Fortnite began using an AI-powered Darth Vader voice without notifying the union or giving it a chance to negotiate. SAG-AFTRA argues using this generative AI voice displaces “bargaining unit work,” suggesting actors could have been employed to play the Star Wars character in the game since James Earl Jones’ passing last year.

“We celebrate the right of our members and their estates to control the use of their digital replicas and welcome the use of new technologies to allow new generations to share in the enjoyment of those legacies and renowned roles,” wrote the union. “However, we must protect our right to bargain terms and conditions around uses of voices that replace the work of our members, including those who previously did the work of matching Darth Vader’s iconic rhythm and tone in video games.”

“Fortnite’s signatory company, Llama Productions, chose to replace the work of human performers with AI technology. Unfortunately, they did so without providing any notice of their intent to do this and without bargaining with us over appropriate terms,” SAG-AFTRA’s statement continues. “As such, we have filed an unfair labor practice charge with the NLRB [National Labor Relations Board] against Llama Productions.”

Epic Games announced last week that Fortnite players would be able to “recruit and chat” with the Darth Vader character, and that the use of Jones’ iconic voice in the AI model was done “in close consultation” with the late actor’s estate.

But not only does the use of AI run afoul of the union, it’s causing some issues for players too. As the voice of the character is provided not just by AI, but by a generative AI chatbot, players have reported getting it to say all kinds of silly—and sometimes inappropriate—comments.

If you’re under the age of 13, you’re not supposed to talk to Darth Vader without your parents’ permission. If the Darth Vader AI says anything offensive, players are supposed to report it to Epic Games. Reportedly, the AI’s use of swear words has already been patched out. “We pushed a hot fix within 30 minutes of this happening in-game, so this shouldn’t happen again,” said the company.

Notably, SAG-AFTRA members are not forbidden from working on Fortnite during the union’s ongoing Interactive Media Agreement strike. That strike is based on enforcing protections against AI for voice actors in video games. The union’s contract allows performers to work during a strike on titles that were in production prior to a certain date, of which Fortnite qualifies.

Photo Credit: Live Nation

Billie Eilish announces 23 additional dates for her Hit Me Hard And Soft Tour in Japan and North America this year.

Since launching last September, Billie Eilish’s Hit Me Hard And Soft arena tour has brought sold-out shows across North America and Australia. The tour is currently traveling across Europe, the UK, and Ireland, and has featured multiple-night stops in several cities. Now, Billie has announced 23 additional dates in Japan and North America.

The newly added shows include two nights at Tokyo’s Saitama Super Arena on August 16 and 17, followed by a second US leg this fall with stops in Miami, Orlando, Raleigh, New Orleans, Austin, and more. Now with 106 dates in total, the tour will conclude on November 23 at Chase Center in San Francisco, more than a year after it first kicked off in the fall of 2024.

The current tour leg continues Thursday, May 29 with two shows in Cologne, followed by stops in Prague, Vienna, Paris, Barcelona, and more. This July, she’ll also headline an impressive six sold-out nights at The O2 in London.

US tickets for Billie Eilish’s 2025 dates will be available starting with an American Express Presale beginning Tuesday, May 20 at 12 PM local time, while supplies last. Tickets for Japan dates will be available starting with an American Express Presale beginning Thursday, May 22 at 12 PM local time, also while supplies last.

Notably, Billie Eilish is using Ticketmaster’s Face Value Exchange to give fans—not scalpers—the best chance to buy tickets at face value. To make this work, tickets will be non-transferable and the tour may cancel tickets posted elsewhere for more than face value. In New York, where resale can’t legally be restricted, tickets will be transferable, and fans can still buy and sell their tickets at the original price paid on Ticketmaster.

Hit Me Hard And Soft: The Tour 2025 Japan Dates

• 16 | Saitama Super Arena – Tokyo, Japan
• 17 | Saitama Super Arena – Tokyo, Japan

Hit Me Hard And Soft: The Tour 2025 US Dates

October

• 09 | Kaseya Center – Miami, FL
• 11 | Kaseya Center – Miami, FL
• 12 | Kaseya Center – Miami, FL
• 14 | Kia Center – Orlando, FL
• 16 | Lenovo Center – Raleigh, NC
• 17 | Lenovo Center – Raleigh, NC
• 19 | Spectrum Center – Charlotte, NC
• 20 | Spectrum Center – Charlotte, NC
• 23 | Wells Fargo Center – Philadelphia, PA
• 25 | UBS Arena – Long Island, NY
• 26 | UBS Arena – Long Island, NY

November

• 07 | Smoothie King Center – New Orleans, LA
• 08 | Smoothie King Center – New Orleans, LA
• 10 | BOK Center – Tulsa, OK
• 11 | BOK Center – Tulsa, OK
• 13 | Moody Center ATX – Austin, TX
• 14 | Moody Center ATX – Austin, TX
• 18 | PHX Arena – Phoenix, AZ
• 19 | PHX Arena – Phoenix, AZ
• 22 | Chase Center – San Francisco, CA
• 23 | Chase Center – San Francisco, CA

Photo Credit: Eurovision

Austrian artist JJ has won Eurovision Song Contest 2025 with his powerful single, “Wasted Love.” The track is a break-up inspired pop-opera track, featuring explosive techno beats. The track captivated international audiences and propelled JJ to victory—but Spotify data reveals other favorites among competitors.

Born in Vienna and raised in Dubai, the 24-year-old JJ returned to Austria in 2016. Known for his soprano-range voice, JJ has performed at the Vienna State Opera and gained national attention through his appearance on Austria’s casting show Starmania. With his landmark win, JJ now joins the ranks of Eurovision legends, marking a new chapter in his career. His label Warner Music congratulated him.

“JJ’s incredible talent, combined with his innovative sound, has truly resonated with audiences across Europe and beyond, attracting new fans with every performance,” says Dorren Schimk and Fabian Debres, Co-Presidents of Warner Music Central Europe. “Eurovision is the world’s most-watched music television show, and we are thrilled to see him shine on such a global stage. We are proud to be a part of JJ’s journey.”

JJ’s win for Austria with “Wasted Love” was the country’s third-ever Eurovision victory. Previous Austrian winners include Udo Jürgens in 1966 and Conchita Wurst in 2014. You can see the full placement of participants here.

While JJ took home the prize, Spotify data reveals some interesting insights into the other contestants. Swedish singer KAJ sang “Bara Badu Bastu” and was the unofficial Eurovision fan favorite, receiving over 5.6 million global streams during Eurovision week.

Hot on Sweden’s heels was Estonia’s Tommy Cash, whose Europop hit “Espresso Macchiato” saw over 3.4 million streams throughout the week of the final. The Netherlands’ Claude followed in third place with “C’est La Vie” which saw 3.1 million streams in the final week, while Germany’s Abor & Tynna ranked fourth with “Baller” at 2.7 million streams. Rounding out the top five was Norway’s Kyle Alessandro with “Lighter” which also saw over 2.7 million streams during Eurovision week.

Celine Dion’s 1988 Eurovision classic “Ne Partez Pas Sans Moi” also saw a 55% jump in global streams as the contest returned to Switzerland. That track brought Switzerland to victory 37 years ago, and now it has achieved a 610% spike in streaming numbers across Europe.

Photo Credit: Library of Congress by Tomasz Zielonka

Music organizations pen a letter about maintaining the Library of Congress and US Copyright Office under the control of the Legislative Branch.

The Songwriters Guild of America, the Society of Composers & Lyricists, and Music Creators North America have banded together to pen a letter to members of Congress regarding the importance of maintaining the Library of Congress and the US Copyright Office under the jurisdiction of the Legislative Branch. The letter follows a string of firings orchestrated by President Trump and Elon Musk’s DOGE at the Library of Congress and US Copyright Office.

“This is yet another existential matter for the American and global music industries, and one about which the independent music creator cannot remain silent,” said attorney Charles J. Sanders in a statement to Digital Music News.

The music organizations’ letter begins by applauding the letter recently sent by members of the House Committee on Administration earlier in the week, requesting that the Inspector General of the Library of Congress investigate the firings orchestrated by the Executive Branch without cause.

“At roughly the same time that House of Representatives letter was being drafted and delivered to the Library of Congress […], Senate Majority Leader John Thune was expressing concern over the need for greater consultation with the Executive Branch over the issue, hinting that the firings could potentially represent overreach by the Executive Branch into sacrosanct areas of Article I Congressional authority, duties, and responsibilities,” the letter reads.

“Respectfully, it is our belief that a matter that engenders this level of bi-partisan and bi-cameral Congressional concern over separation of powers also calls for timely hearings to examine the various, complex issues raised by these actions. Moreover, while the motivations for the firings remain unclear, the circumstances surrounding them are acutely troubling to the creative community.

“It has been widely and plausibly speculated, based upon the statements and actions of the principals involved, that the discharges of the Librarian and Register were orchestrated by the newly formed Department of Government Efficiency (DOGE), and seemingly designed to set the stage for weakening copyright protection in the era of generative artificial intelligence (GenAI).

“More specifically, DOGE’s policies in this regard appear clearly to be an overreach of its intended authority, influenced by those who stand to financially benefit from the substantial elimination of copyright protections in the United States, starting with the debasement of the Library of Congress (LOC) and the US Copyright Office (USCO).

“By way of illustration, technology industry leader Jack Dorsey recently issued a statement urging that American and global IP protection laws be ‘deleted,’ presumably in favor of free access to copyrighted works for GenAI uses such as preparing and distributing derivative musical compositions and recordings in direct competition with the original creators.

“Unfortunately for America’s creators and copyright holders, DOGE’s leadership actually appears sympathetic to Dorsey’s calls, choosing to discount the facts that private, multi-national tech companies would thereby stand to benefit to the tune of billions of dollars in windfall profits by avoiding fair market value licensing fees, and stripping copyrighted works of protections in GenAI contexts that would make them freely available to all foreign GenAI competitors, not provide American tech firms with competitive advantages.

“In sum, such a strategy of copyright dilution pushed by anti-property tech privateers, including a take-over of American IP policy through the LOC and USCO, would cause catastrophic damage primarily to US culture and commerce without benefit to anyone but multinational tech corporations seeking to evade royalty obligations.

“In evaluating whether such actions truly pose a significant danger to the American creative community and to the US economy, we ask on behalf of those most skeptical whether it is mere coincidence that the attempted firing at the USCO occurred almost immediately after a draft version of a USCO report was issued concluding that the unauthorized ‘training’ of GenAI systems on existing copyrighted works will likely not qualify as ‘fair use.’

“We need not belabor the point that these events were almost certainly linked, and potentially intended to send a message that there will be negative ramifications for future, pro-copyright government policy and decision-makers. One might also inquire under such circumstances what the total value of the music and entertainment industries is to the United States economy, and whether it is a sector worth protecting.

“In answer to that question, it should be noted that over the past century and a half, American composers, songwriters, and recording artists have not just led the world in musical creativity. They have utterly dominated that space during a golden era of excellence that continues to this day.”

The letter concludes by urging all Members of Congress to take steps to preserve creative incentivizations under the protection of the Legislative Branch. Further, the letter stresses the importance of not permitting the technology sector, via Musk’s DOGE, to endanger “one of America’s most important streams of export income.”

Photo Credit: Kelsea Ballerini by Jack Strutz

SoFi’s Rising Stars program provides post-secondary students with financial skills and resources they need to achieve their ambitions.

SoFi Technologies has teamed up with Kelsea Ballerini and tnAchieves, a nationally recognized nonprofit dedicated to college access and success, to launch the Rising Stars Program. This $2 million initiative is aimed at helping the next generation of Tennessee students achieve financial independence.

SoFi will provide tnAchieves with over $500,000 in grants to expand its COMPLETE program. SoFi’s contributions will fund students’ 1:1 coaching and financial support as they prepare for a high-skill, high-wage career, as well as a specialized financial readiness curriculum for the 60,000 students across their programs.

In addition, to help people start investing early, SoFi is offering every Tennessee resident between 18-24 the opportunity to receive a minimum of $5 in stock of their choosing, at no cost, with a chance to receive up to $1,000 in stock, with no minimum deposit or fees required.

“It has taken me years of hard work to reach my ambitions, and I’ve been lucky to have the support of so many people along the way,” said Kelsea Ballerini. “I’m incredibly proud to be working with SoFi to give students in Tennessee the financial tools and education they need to succeed. Investing even small amounts of money in your 20s will go further than larger amounts invested later in life. Building true financial independence starts by investing in your future early… in all the ways!”

The Rising Stars Program will enable tnAchieves’ COMPLETE to expand its support for students across Tennessee to help them meet college enrollment requirements and successfully earn a college credential, from 1:1 coaching to financial assistance for food, housing, laptops, textbooks, and emergency funds. SoFi will also equip all tnAchieves students with a financial planning curriculum covering topics like budgeting, investing, and saving for future life milestones. The organization’s impact is significant: students who participate in the COMPLETE program are six times more likely to graduate than their peers.

“tnAchieves could not be more excited to partner with SoFi to bring financial literacy resources to our students and families, helping more Tennesseans achieve their ambitions of going to college and earning a high-quality degree,” said Krissy DeAlejandro, President and CEO of tnAchieves. “The Rising Stars Program will provide our students with the critical support and mentorship they need to get into college, pursue meaningful careers, and build generational wealth. We are grateful for their support as tnAchieves executes programs designed to build Tennessee’s future workforce by meeting each student where they are—at scale.”

“At SoFi, we’re committed to helping people achieve financial independence to realize their ambitions. And we know access to financial education, coaching, and investment tools can drive generational wealth and long-term success,” said Lauren Stafford Webb, CMO at SoFi. “This partnership is about creating real opportunity for young people to get their money right and build the foundation for their financial future. As a mother and a Tennessean, I care deeply about investing in the state’s next generation, and SoFi is honored to work alongside Kelsea Ballerini and tnAchieves to make an impact.”

SoFi is also making it easier for people to get started with investing and on the path to financial independence. To participate, students can register for an Active SoFi Invest brokerage account, with no minimum deposit required. Once their account is set up, they will be directed to a promotion where they can select stock values ranging from $5, $10, $50, $100, or $1,000. This offer is available to Tennessee residents between the ages of 18-24 who do not have an Active Investing brokerage account with SoFi. Registration is open from June 6 through July 31.

The Rising Stars Program is part of the SoFi Generational Wealth Fund, which has contributed millions of dollars across multiple initiatives to help underserved communities build wealth for the next generation. These programs have made a meaningful impact by helping low-income families purchase their first home, funding high school athletic programs, providing financial aid for family planning, and empowering women’s financial independence.

Kelsea Ballerini joins SoFi’s inspiring roster of Generational Wealth Fund partners, which includes NBA All-Star and Celtics forward Jayson Tatum, tennis champion and best-selling author Venus Williams, Los Angeles Chargers quarterback Justin Herbert, and Los Angeles Sparks forward and WNBA star Cameron Brink.

Photo Credit: Joshua Hoehne

Apple has one again blocked the return of Fortnite to the iOS App Store—also impacting the game’s availability in Europe. The game could be installed on iOS devices through the Epic Games Store on European iOS devices, but no longer.

This move marks the latest escalation in an ongoing legal and regulatory battle between Apple and Epic Games, developer of Fortnite. Fortnite was originally banned from the App Store in 2020 after Epic Games included a direct payment system to bypass Apple’s 30% commission fee—which the industry has dubbed the Apple Tax. Regulatory pressure from the European Union’s Digital Markets Act forced Apple to allow third-party app stores, enabling Fortnite’s return via the Epic Games Store in 2024 for European iPhones and iPads.

However, after Epic Games attempted to resubmit Fortnite to the U.S. App Store in May 2025, Apple summarily rejected the submission. That move continues a streak of what U.S. District Court Judge Yvonne Gonzalez Rogers has characterized as ‘malicious compliance’ on Apple’s part. The official Fortnite account on X/Twitter announced that Fortnite was no longer available anywhere thanks to Apple’s rejection.

“Apple has blocked our Fortnite submission so we cannot release to the US App Store or to the Epic Games Store for iOS in the European Union. Now, sadly, Fortnite on iOS will be offline worldwide until Apple unblocks it,” the statement reads.

Apple has clarified that it did not block Fortnite in the European Union specifically, but rather requested that Epic resubmit the app update without tying it to the U.S. App Store submission. Apple says Epic’s decision to link the two led to the block, but Epic maintains that this is yet more ‘malicious compliance’ on Apple’s behalf.

The latest standoff comes amid a recent court ruling that would force Apple to allow external payment options for developers in the United States. Despite the legal victory for Epic, the company’s attempt to return Fortnite to the App Store was met with silence and delays before the ultimate rejection.

For now, Fortnite remains inaccessible on iOS devices across the globe. Epic Games has signaled that the game will stay offline until Apple reverses its decision. Both companies have yet to reach a resolution—so fans must wait while Apple appeals the recent court ruling in an attempt to overturn allowing third-party payment systems.

Appfigures estimates that Apple earned $27 billion globally from iOS App Store commissions in 2024. In the United States alone, that figure is $10 billion—which highlights why Apple wants desperately to preserve that revenue stream.

Photo Credit: Frances Gladney and Smokey Robinson by Gage Skidmore / CC by 2.0

A criminal investigation has been launched into the sexual assault allegations against Smokey Robinson in a lawsuit filed by his former housekeepers.

Legendary singer-songwriter Smokey Robinson was sued last week by former employees who allege assault, sexual battery, and false imprisonment. The four Jane Does, who worked for the singer between 2006 and 2024, filed a lawsuit against the Motown legend and his wife Frances in Los Angeles Superior Court with similar claims that Robinson sexually assaulted and harassed them during their employment.

Now, a criminal investigation has been launched into the allegations, according to the Los Angeles County Sheriff’s Department. “The Los Angeles County Sheriff’s Department Special Victims Bureau is actively investigating criminal allegations involving William Robinson, AKA Smokey Robinson,” reads a statement from the sheriff’s office. “The investigation is in the early stages, and we have no further comment.”

The four women in the lawsuit also claim that Robinson’s wife contributed to a hostile work environment by using “ethnically pejorative words and language” while yelling at them. Further, they allege she was aware of her husband’s misconduct, but did not take proper action to prevent it despite knowledge that the 85-year-old had settled cases from other women with similar allegations.

The former housekeepers in the lawsuit state they did not take action against Robinson sooner for fear of losing their jobs, or of familial shame and embarrassment. Some were also afraid it could affect their immigration status.

“We are aware that a police report has now been filed by the Plaintiffs in the civil lawsuit. It is clear to us what is happening here,” said the singer’s attorney in a statement. “Plaintiffs filed a police report only after they filed a $50 million lawsuit. This means only that the police are now required to investigate. We welcome that investigation, which involves Plaintiffs who continue to hide their identities, because exposure to the truth is a powerful thing.”

“We feel confident that a determination will be made that Mr. Robinson did nothing wrong, and that this is a desperate attempt to prejudice public opinion and make even more of a media circus than the Plaintiffs were previously able to create,” the statement continues. “The record will ultimately demonstrate that this is nothing more than a manufactured lawsuit intended to tarnish the good names of Smokey and Francis Robinson, for no other reason than unadulterated avarice.”

Photo Credit: YouTube Shorts

YouTube Shorts has reached a pivotal milestone—it’s revenue per watch-hour now matches that of regular long-form YouTube videos in the United States and other countries.

YouTube CEO Neal Mohan shared the news at the MoffettNathanson investor conference, stating, “It’s something that we have been working on for a while and it’s a testament to both the viewer side, but also the quality of the ad products that we build for our advertisers.” The news signals a major shift in the economics of short-form video for the largest video service in the United States. It also signals trouble for TikTok, should the service not be able to strike a deal should President Trump tire of kicking the ban can down the road.

In Q1 2025, Shorts viewership jumped 20% year-over-year, likely thanks to the widely publicized TikTok ban that went into effect on January 19. While TikTok’s unavailability was short-lived, many users (both viewers and creatives) sought different platforms to avoid interruptions from a potential platform ban. Around 70% of YouTube channels now upload Shorts content.

In some countries, Shorts’ monetization rate exceeds that of YouTube’s core business, thanks to more ad impressions, AI-powered ad targeting, and higher general usage compared to long-form videos. With Short-form video becoming a primary discovery tool for new tracks, artists, and trends—YouTube Shorts is poised to become a trendsetter that surpasses TikTok. Overall music watch time on YouTube is growing 10% year-over-year since December, with Shorts driving a significant portion of that engagement.

TikTok’s dominance in short-form video was built on the back of its viral discovery engine and creator-friendly ecosystem. However, YouTube’s ability to offer equivalent or even superior monetization, combined with its robust rights management and established music partnerships, presents a formidable challenge for the embattled Chinese-owned social media site.

With YouTube’s massive reach now surpassing mobile on connected TVs and its ongoing investment in music and podcasting—the platform is positioned to capture even more of the lucrative short-form video market. YouTube Music and Premium now has over 125 million subscribers, including free trials.

Photo Credit: Daniel Cañibano

Apple Music has introduced a highly anticipated feature—a built-in music tool to make transferring from another digital service provider (DSP) like Spotify much easier. The tool will help users import their libraries and playlists from other music services directly into Apple Music.

The only caveat is that the tool is currently in a testing phase and is only available to Apple Music subscribers in Australia and New Zealand. Switching music streaming services is not a painless process, it’s why paid services like SongShift have existed for years. But this tool would take a lot of the pain out of shifting over to Apple Music for users unsatisfied with their current streaming service.

Users must be an active Apple Music subscriber and on the latest version of the Apple Music app on their iPhone, iPad, or Android device to use the feature. The process of transferring music is pretty straight forward.

How to Transfer Music to Apple Music

• On an iOS device, tap the Settings > Apps > Music.
• On an Android device, open the app and tap Settings > ‘Transfer Music from Other Music Services.’
• On the web, sign in at music.apple.com and click your profile, then choose ‘Transfer Music.’

After selecting the source music service and signing in, users can pick which songs, albums, and playlists to transfer. Apple Music then matches the selections with its own catalog and adds them to a user’s library. This new tool supports transferring content you’ve saved or playlists you’ve personally created. Playlists generated by the music service itself are not eligible for the transfer—so no re-creating Rap Caviar on Apple Music.

Apple says if it can’t find an exact match for a particular song or album, it will suggest similar alternatives. Users have up to 30 days to review and approve these alternate versions before the transfer is finalized. Currently there’s no word on when the feature will be expanded to other countries, but anyone in AUS & NZ looking to make the switch now has an easier time doing so. This tool arrives at a time when Spotify’s premium subscriber growth appears to be stalling in the United States.

Photo Credit: Justin Bieber by Jakub Janecki / CC by 4.0

Justin Bieber’s camp denies allegations that he sold his catalog for $200 million because he was “on the verge of financial collapse.”

Justin Bieber sold his catalog for $200 million to Hipgnosis back in December 2022—a strange move for such a young artist. According to a new documentary from TMZ, the 31-year-old R&B star made between $500 million and $1 billion during his ascension to fame, but poor financial decisions left him in dire straits just a few years later.

TMZ claims people close to the matter confirmed Bieber’s financial destitution back in 2022, which led to him selling the rights to his music that December. Scooter Braun, longtime manager to Bieber, allegedly tried to dissuade him from selling so early in his career—to at least wait until January 2023 to get a tax break. But Justin couldn’t be talked out of the decision.

Further, an independent audit conducted by accounting firm PricewaterhouseCoopers (PWC) and completed in April found that Bieber still owes Braun nearly $9 million. Sources say the money stems from a loan Braun made to Bieber to cover debt accrued over his cancelled 2022 tour.

Rumors swirled last October that Bieber was considering suing his financial managers for allegedly blowing $300 million of his fortune. But insiders revealed the blame lied more with Justin and his “out of control” spending habits.

“He spends eye-watering amounts per month,” a source told Page Six. “At one point, he couldn’t even get a credit card. […] Justin is surrounded by a lot of people that do not have his best interests at heart.”

Nonetheless, TMZ said that Bieber’s business manager, Lou Taylor, said Bieber was originally thought to be in debt by around $20 million after his cancelled tour—but that figure was found to be inaccurate. He claimed Braun had actually been overpaid in commissions by $26 million. Braun performed his own audit through Hybe, of which he is the CEO of the American branch, and claimed Bieber owed him $1 million, but that he “waived that amount.”

Bieber reportedly felt Braun’s audit was inaccurate, which led to PWC being brought in. Their audit resulted in the star actually owing over $8 million. Reps for Bieber deny the financial issues and call such reports “ill-informed clickbait.”

Photo Credit: Sony

Sony has tapped Post Malone to launch its WH-1000XM6 noise canceling headphones. Posty is now a big face in Sony’s ‘For the Music’ campaign.

“Great sound is essential for me when I’m making and listening to music,” says Post Malone. “These new noise canceling headphones make you feel completely inside the music.” And so the well-priced sponsorship pitch begins.

Apparently there’s lots of room for improvement in headphone tech. Sony has enhanced the adaptive noise cancellation optimizer on this refresh of its popular ANC headphones—covering a broader range of frequencies to minimize ambient noise.

The WH-1000XM6 headphones are powered by Sony’s new HD Noise Canceling Processor QN3, which the electronics giant says is seven times faster than its predecessor. It also works in tandem with a 12-microphone array—up from eight in the previous model.

This updated system delivers real-time adaptive noise cancellation, precisely tuning out distractions from a bustling street, noisy office, or the hum of the airplane while in flight. The headphones also feature a new driver unit for richer detail, clearer vocals, and improved balance.

The WH-1000XM6 offers up to 30 days of battery life with ANC enabled and a quick-charge feature that provides three hours of playback with just three minutes of charge time. At launch, this new model is available in three colorways including Black, Midnight Blue, and Platinum Silver. The design is also more compact and portable, featuring a foldable structure and a newly designed, asymmetrical headband for improved comfort during long listening sessions. With foldable earcups, the XM6 is already improved as part of an everyday carry kit compared to the XM5’s fixed design.

Sony also refined the shape of the buttons on the side of the earcup based on user feedback. The power button is now round, which helps distinguish it from other buttons by feel alone. One common complaint about the XM5 series is that the similarly shaped buttons were not easy to tell apart when wearing them. The XM6 refresh also includes physical + and – buttons for volume control, rather than relying on touch swipes as previous models did.

Photo Credit: Chris Brown by Pelpa Time Production / CC by 3.0

Chris Brown was arrested at a hotel in Manchester on suspicion of causing bodily harm to producer Abe Diaw at a London nightclub in 2023.

Police arrested Chris Brown on suspicion of causing “grievous bodily harm” to music producer Abe Diaw at the Tape nightclub in London back in February 2023. Brown was arrested just after 2 AM at the Lowry Hotel.

The 36-year-old flew into Manchester Airport on a private jet on Wednesday afternoon, likely to begin rehearsals for his tour. The tour is slated to begin its UK leg on June 15 in Manchester. British tabloid The Sun contacted authorities after confirming Brown was in the country, asking if he would be placed under arrest for the 2023 incident. After receiving the tip, detectives travelled to Manchester to place the R&B star under arrest.

According to Diaw, Brown attacked him unprovoked at around 3 AM on the night in question. Brown was attending a Dirty Martini club night at the Tape nightclub with his entourage, when Diaw claims Brown broke a bottle over his head and punched him. He said Brown continued attacking him with kicks after he fell to the ground, and he sustained injuries that saw him taken to the hospital to recover.

Diaw launched a civil suit against Brown for £12 million ($16 million) in damages for injuries and losses suffered as a result of the attack. Brown remains in custody since his arrest. The investigation into the incident is being led by detectives from the Central West Area Basic Command Unit.

That leaves the future of Brown’s upcoming tour—Breezy Bowl XX, a celebration of his 20-year career—uncertain. The tour is scheduled to kick off on June 8 in Amsterdam, before heading to the UK, with dates in Glasgow, Manchester, Cardiff, London, and Birmingham.

Photo Credit: Taco Bell

Taco Bell announces the launch of the Feed the Beat Record Club, bringing vinyl records from Feed the Beat artists to 300 Taco Bell Loyalty Members.

On the heels of announcing its Feed the Beat Class of 2025 artists—100 artists across the globe whose content will be featured in Taco Bell content—Taco Bell unveils the launch of its Feed the Beat Record Club. The program provides 300 Loyalty Members with the opportunity to claim a package that includes a vinyl from one of three Feed the Beat artists and more goodies.

Featured Feed the Beat artists for the inaugural Record Club drop include Anxious, Magdalena Bay, and Frankie and the Witch Fingers. Packages in the first drop include a vinyl from one of the aforementioned artists, a Feed the Beat vinyl slipmat, a unique insert with artist information, and Feed the Beat stickers. The Record Club launches as a Tuesday Drop in the Taco Bell app, on a first come, first serve basis, next Tuesday, May 20 at 2 PM PST.

“Since its start in 2006, Feed the Beat has been Taco Bell’s driving force for artist discovery,” reads Taco Bell’s announcement. “The program has backed over 2,000 artists, feeding them on the road and in the studio, so they can focus on what’s post important to them: their music.”

Taco Bell gives Feed the Beat artists the chance to have their music featured in Taco Bell content and provides amplification through Taco Bell’s social presence. Music enthusiasts may have already discovered previous artists to join the program, such as Tanner Adell, who picked up the Breakthrough Feed the Beat Artist Award at Taco Bell’s Live Mas Live event in New York back in March.

This year’s Feed the Beat class highlights a wide array of musicians and musical genres, including The Altons, Die Spitz, Tanner Usrey, Tiny Habits, and End It.

Feed the Beat Class of 2025

54 Ultra

Abby Anderson

Aidan Bissett

Alexandra Savior

ALEXSUCKS

Ally Evenson

Archetypes Collide

Arts Fishing Club

The Altons

Anella

ARIEL

The Beaches

Been Stellar

BEL

Caleb Calloway

CARLIAN

Certainly So

CHESCA

Clover County

Common Sage

Courting

The Criticals

Damaris Bojor

Daya

Deante Hitchcock

Debbii Dawson

Die Spitz

Dizzy Fae

The Droptines

End It

Evann McIntosh

Famous Friend

Felly

Frost Children

Getdown Services

Good Neighbours

Gouge Away

Gridiron

half-alive

Hannah Bahng

hemlocke springs

Improvement Movement

J Verse

Joe P

Jojo Lorenzo

Juan Wauters

judith

Julia Wolf

Kasey Tyndall

King Isis

L.S. Dunes

Lauren Sanderson

Levity

Little Image

Luke Tyler Shelton

Lyn Lapid

Magnolia Park

Mamalarky

Man/Woman/Chainsaw

Master Peace

Medium Build

mmeadows

Momma

Naked Giants

Noah Floersch

Pain of Truth

People R Ugly

PUNCHING BAG

Rae Khalil

Ray Bull

Restraining Order

Rocket

SAILORR

Shallow Alcove

Sheer Mag

Shuba

Sitting on Saturn

Skegss

South Arcade

Spaced

Stacey Ryan

Stateside

Stray View

Sub Urban

Tanner Usrey

Teen Mortgage

Teenage Priest

Telescreens

Tiny Habits

TEED

Trousdale

Um, Jennifer?

VALÉ

Water From Your Eyes

Wavedash

Wine Lips

Wishy

Photo Credit: Ian Hutchinson

The Federal Trade Commission (FTC) has issued a formal warning to StubHub over the secondary ticket market’s slow rollout of all-in pricing.

The FTC’s rule requiring ticket sellers to display the total price of tickets upfront went into effect on May 12. The regulation applies to all ticket sellers, both primary and secondary. Ticketmaster was compliant on the rollout date, while secondary market SeatGeek issued its update on May 9 ahead of the deadline. But StubHub dragged its feet—with the mobile app only—to take advantage of the NFL 2025 schedule.

StubHub updated its website to comply with the all-in pricing requirement, but 48 hours after the deadline the mobile app failed to show the total price. The FTC notes that a significant portion of customers purchase tickets for upcoming events on their mobile devices—meaning StubHub was taking advantage of its mobile user base.

The FTC highlighted how StubHub’s non-compliance came at a time when the NFL’s 2025 schedule dropped. That always results in a high volume of traffic and sales. By not including all fees upfront, StubHub gained an unfair competitive advantage during one of the busiest ticket-buying periods of the year. Chris Mufarrige, Director of the FTC’s Bureau of Consumer Protection doesn’t buy the excuse that the mobile roll-out took longer.

“Companies have had sufficient time to prepare for these changes and update their advertising to ensure the total price of each product or service is appropriately disclosed,” Mufarrige said. “As this letter shows, the Commission will not allow companies to circumvent the rule to gain a competitive advantage.”

While the FTC did not issue an immediate penalty for the slow-walked rollout, it did put StubHub on notice that further non-compliance could result in enforcement action—including fines. The FTC also took this opportunity to alert other ticketing platforms that it would be monitoring them to ensure industry-wide adherence to the new transparency rules. Violations of the all-in pricing rule could result in civil penalties of up to $53,088 per violation.