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.

Snoop Dogg, one of the defendants looking to dismiss a $107 million lawsuit filed by Lydia Harris. Photo Credit: Bruce Baker

A federal court has officially ordered a stay in Lydia Harris’ $107 million lawsuit against Snoop Dogg, Universal Music, Death Row Records, and several others.

Judge David Hittner just recently signed off on the defendants’ stay request pending the resolution of their respective dismissal pushes. We covered one of those pushes in late April, when Snoop Dogg and Death Row urged the court to toss the suit and to label the pro se plaintiff a vexatious litigant.

Long story short, Harris is the ex-wife of Death Row co-founder Michael Harris and, following Snoop Dogg’s 2022 acquisition of the label, says she’s owed big for her purported stake.

That’s despite the $107 million default judgement that a court ordered Suge Knight to pay her years back. (Knight is behind bars on a voluntary manslaughter conviction.) Per Harris, strategic bankruptcy maneuvering and asset-concealment efforts prevented her from collecting the sizable sum.

As noted, however, Snoop and his team are refuting the position in no uncertain terms. Meanwhile, attorney David Kenner, also a defendant, is himself urging the court to toss the suit for failure to state a claim – as are Universal Music, Lucian Grainge, and Jimmy Iovine in a different motion yet.

And at least as of early May, Harris was looking to bring even more defendants into the fold.

“Plaintiff now seeks leave to file a Supplemental and Amended Complaint to add the following defendants: Marion ‘Suge’ Knight, [attorney] Dermont Givens [sic], and [hip-hop label exec] Alan Grunblatt,” she wrote at the time.

“These individuals are believed to have played a central role in orchestrating fraudulent Bankruptcy fraud in addition to the contrived pretrial summary judgement filings,” proceeded Harris.

It’s against this backdrop that Judge Hittner granted the above-mentioned stay request.

Though the corresponding order doesn’t dive into the precise reasons for approval, it does note that a previously scheduled pretrial conference is on ice while the dismissal motions play out.

As things stand, we’ll have to wait and see where said motions go from here; related updates hadn’t made their way into the docket at the time of writing. Also silent on the overarching suit is Harris, who has already addressed the case in lengthy interviews.

But she doesn’t seem to have publicly weighed in as of late. Plus, her Instagram profile appears to have been set to private.

A live performance from Pusha T as part of Clipse. Photo Credit: Ben Sisto

Let the Drake v. Universal Music fallout continue: According to Pusha T, execs at the major’s Def Jam subsidiary urged him to censor a Kendrick Lamar guest verse on Clipse’s forthcoming album. The ‘request’ ended up blowing up the label deal.

The decidedly interesting tidbit emerged in a new GQ interview with both Pusha T and his brother Malice, who are set to release Let God Sort Em Out as Clipse next month. The duo’s first album since 2009, this Pharrell Williams-produced project was initially expected to drop via Def Jam/UMG.

As described by Pusha, Def Jam approved of the album – save a Kendrick Lamar guest verse on “Chains & Whips.” The way Pusha tells the story, despite his public remarks about difficulties getting the touring Lamar into the studio, the recording process wrapped a while ago.

But after the Lamar-Drake showdown took center stage – and fueled an ugly lawsuit between the latter rapper as well as Universal Music – UMG was hesitant to release the track (and the album) if it contained Lamar’s lines.

How hesitant, you might ask?

Though Pusha says the relevant bars aren’t direct or even indirect shots at Drake, Def Jam allegedly pushed him to “censor” the guest appearance. Evidently, he was unwilling to do so – hence last week’s announcement that Let God Sort Em Out would become available through Roc Nation.

In fact, besides allowing Clipse to find a new professional home, Def Jam also let Pusha (who himself had a comparatively small Drake beef years ago) walk from his solo contract, per the interview.

However, “allowing” and “let” don’t necessarily paint a full picture here. In a separate sit down, Pusha manager Steven Victor elaborated that Clipse had coughed up a seven-figure sum to exit the contract.

Translation: the Drake showdown is having a very real effect on Universal Music’s releases and artist contracts. With the high-stakes battle still in full swing – Team Drake closed out May by pushing back against UMG’s dismissal motion – it’ll certainly be worth keeping the point in mind moving forward.

(Side note: Lamar reportedly removed several Drake attacks from “Euphoria” as well, Top Dawg’s Terrence “Punch” Henderson revealed earlier in 2025.)

Running with the important idea (and the possible implications for not just future diss tracks, but all rap efforts), Drake’s attorneys are adamant that “Not Like Us” actually caused the public to believe that their client is a pedophile.

“UMG’s theory is that all of this was ‘hyperbole’—a harmless joke that no reasonable person would take seriously because it was part of a ‘rap battle,’” Drake’s counsel summed up in the late-May filing.

“But UMG’s theory collides with the reality that the Recording’s false allegations of pedophilia, broadcast to the entire world via the most powerful music company, have proven to be toxic and indelible. In other words, UMG’s ‘just joking’ narrative runs headfirst into the concrete facts,” they continued.

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.

Warner Music Group has brought its catalog to karaoke platform Singa. Photo Credit: WMG

Warner Music Group (WMG) is getting in on the karaoke action under a new deal with Singa, which has already added “a vast collection of original master recordings” from the major label.

WMG and the self-described “first truly digital streaming service for karaoke” unveiled their pact today. Extending to Warner Music proper as well as Warner Chappell, the agreement is Helsinki-headquartered Singa’s first with a major, the parties emphasized.

Now, the nine-year-old karaoke service, which offers a paid tier for $9.99 per month, is bolstering its existing library of 120,000 “soundalike” renditions with WMG’s “extensive catalog.” Besides the latter detail and the initially mentioned “vast collection” particular, the companies didn’t elaborate on the tie-up’s precise scope.

However, a cursory glance at the karaoke platform points to an all-encompassing WMG-catalog integration; the “Originals” section currently features releases from Cardi B, Linkin Park, Dua Lipa, and a variety of others.

And the ADA parent Warner Music further relayed that Singa has separate contracts in place “with publishers and indie labels.”

Shifting to compensation, WMG rather unsurprisingly opted against diving into hard terms. But the major went ahead and applauded “Singa’s investment in rights management technology,” which purportedly “ensures that all music use is transparent to rights holders.”

“The company has partnered with leading back-office service providers to develop usage tracking and revenue reporting tools, setting a new standard for industry accountability,” WMG indicated here.

In any event, a new revenue stream is (at least in theory) a new revenue stream, and WMG SVP of strategy and business development John Rees in a statement touted the resulting “opportunities for our artists and songwriters.”

“With this partnership, we’re ushering in a new era of karaoke where music becomes a more dynamic experience for fans,” weighed in Rees.

“This collaboration not only enhances the way people engage with music, but also creates valuable opportunities for our artists and songwriters, enabling them to reach more fans and unlock new revenue streams. Together, we’re paving the way for continuous innovation in music,” the 15-year Warner Music vet concluded.

Time will tell whether Singa can parlay the deal into separate unions with Sony Music and Universal Music. Bigger picture, Robert Kyncl’s comparatively tech-friendly Warner Music – which didn’t consider joining Universal Music’s since-resolved TikTok standoff – is apparently pulling out the monetization stops against the backdrop of slowing revenue growth.

All that’s certainly worth keeping in mind amid rumored settlement discussions between the majors and Suno as well as Udio. If the AI platforms and the individual labels are actually racing to hammer out licensing terms as reported – and that isn’t necessarily the case, we previously noted – WMG might be the first to seize an agreement.

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: Cottonbro Studios

When it comes to Shamrock Capital’s acquisition of Taylor Swift’s recorded catalog, let’s be honest: it didn’t even seem like a good idea at the time. But is there more frothy fallout ahead when it comes to music IP?

Dialing back to late 2020, the collective industry head-scratching elevated when Shamrock Capital swooped in to buy Taylor Swift’s first six album masters for $300 million plus. The seller was none other than Scooter Braun’s Ithaca Holdings, who dropped the sullied asset after just 16 months of migraine-inducing ownership.

Of course, it’s always fun to buy the most sizzling catalog on the block. But to say there were red flags around this IP acquisition would be a drastic understatement.

For starters, Swift herself was already steam-rolling forward with her now vast catalog of Taylor’s Version remakes, complete with a fight-the-industry-oppressor narrative to fuel the Swiftie mob. Beyond the juicy targets of Scooter Braun and Scott Borchetta, Big Machine staffers were also getting harassed — and woe to any music company or investment house caught in those crosshairs.

Hence Scooter’s EJECT button — or at least part of the explanation for it. Enter Shamrock, which quickly found itself battling duplicate recorded music versions and a hostile artist. That’s tricky enough to manage, but given the edge-case nature of this calamity, building longer-term revenue projections seemed downright devilish. It was all unfortunately unprecedented, particularly for an IP asset of that size.

Then again, investment firms will tolerate almost any level of pain for the right return. This one – involving IP from one of the biggest musicians in history – apparently wasn’t worth it.

The bad math and endless headaches might explain the quick reversion sale – which may have also carried a boulder-off-shoulder post-signing high. Braun got out after 16 months — and now, Shamrock is bowing out after four-and-a-half years. None of that screams long-term portfolio jewel, but hey – now Taylor’s the proud owner of her own original recordings.

That’s great news for Taylor, but is Shamrock’s dump-off the latest episode in a protracted frothy fallout?

Hipgnosis was its own slow-motion train wreck, with execs accusing Massarsky n’ Merc of juicing up the valuations of catalogs into the stratosphere. But what about the rest of the multi-billion dollar music IP ecosystem?

That’s a tricky one, particularly in the daily rollercoaster of America’s economy du jour. Indeed, complementing the stomach-turning stock market is an ‘everything bubble’ terrain replete with endless possible ‘pops’ – including potential crashes in crypto, real estate, bonds, and maybe even music IP.

That has industry players feeling a bit nervous, according to our latest off-the-record convos. There’s still a significant amount of money ready to be deployed on catalogs, and specialized plays involving smaller catalogs and distinct rights tranches continue to emerge.

But is there a bigger correction ahead for music IP?

One problem recently outlined to DMN: even catalogs from storied artists like Bob Dylan (whose total publishing and recording catalog sold for as much as $600 million) only have so many recognizable hits—and sync-able tracks.

Indeed, b-sides blow up and get placed all the time (see Connie Francis’ ‘Pretty Little Baby’ and the Pointer Sisters ‘Hot Together’ for the latest exhibits). But how many people care about the hundreds of lesser-known tracks from legendary artists like Dylan?

In that context, perhaps the Taylor sale speaks volumes – particularly after such a short carriage period by Shamrock.

Not to harsh anyone’s mellow, though perhaps a measured cool-down is the best outcome in this terrain. Indeed, a soft landing might be the luckiest outcome we can get.

Meanwhile, music IP and other hot-button music and money concepts are on tap for next week’s Music Investor Conference, or MIC, in New York, where dealmakers will rub elbows and prognosticate on what’s next. That will be complemented by A2IM’s Indie Week confab in Times Square – with IP sure to receive healthy discussion time at both.

See ya there.

VNYL’s Nick Alt and Emily Muhoberac, who have signed on as CEO and COO of Vinyl Me, Please, respectively. Photo Credit: Virginia Harold

Less than one month after entering liquidation, Vinyl Me, Please (VMP) has officially found a new owner and relaunched with a “remastered mission.”

The Denver-based vinyl-subscription club formally revealed the change of hands today. Now, Vinyl Me, Please is poised to keep on operating – albeit as a subsidiary of VNYL Inc., which operates a namesake vinyl subscription of its own.

Headquartered in Saint Louis and founded in 2014, VNYL curates records for its subscribers on a monthly basis. And while one vinyl-subscription service buying another seems like a solid fit, it’s also worth noting that VNYL counts Someday Capital partner Nick Alt as its founder.

Alt has signed on as CEO of VMP, with VNYL president Emily Muhoberac beginning as president and COO. As to where the just-purchased company goes from here, both execs underscored plans to start “rebuilding trust with longtime subscribers,” many of whom remain vocal about their unfulfilled orders.

“This isn’t about reinventing Vinyl Me, Please,” spelled out Alt, previously a Vimeo and Stem exec. “It’s about restoring its true form as the ‘Best Damn Record Club.’”

“Vinyl customers deserve a white glove experience and that’s far from what they’ve gotten recently,” added Muhoberac, who doubles as a partner at vinyl-focused lender Vinyl Capital Partners. “We intend to do that by getting back to the fundamentals of VMP with a great customer experience.”

Longer term, the higher-ups touched on plans to integrate VMP into their broader vinyl portfolio – with various subsidiaries zeroing in on particular consumer segments.

VMP will cater to collectors “seeking premium audio experiences,” for instance, with the VinylBox unit selling to “millennials balancing aesthetic and specific collection needs.” VNYL proper, for its part, will dial in on “Gen Z / Alpha seeking affordable curated vinyl for new turntables.”

“Our philosophy is simple: not every collector is the same,” Alt summarized of the approach. “Some customers want a Blue Note Anthology box set. Others are counting the days until the new Reneé Rapp LP drops. We’re building different clubs to serve different types of listeners—with pricing and curation that actually match their needs.”

Time will tell how the more carefully tailored model performs. Overall, despite vinyl’s years-running commercial resurgence, recent data has pointed to a possible growth slowdown.

Though it probably goes without saying, this potential slowdown is having a comparatively significant impact on smaller players like VMP and Qrates, to name a couple. The latter is still out of commission “due to unforeseen financial difficulties,” the relevant website shows.

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.

Lizzo, who’s once again firing back against a harassment lawsuit from her former touring dancers. Photo Credit: Raph_PH

Lizzo is firing back against the marathon sexual harassment lawsuit she’s facing from several former touring dancers, maintaining that the conduct in question is protected speech.

That interesting position came to light in a new appeal from Team Lizzo, which is specifically challenging a prior decision allowing some of the dancers’ claims to proceed.

By now, most are at least generally aware of the years-old allegations against the singer, who’s looking to ride a comeback out of the cancellation waters. Not helping the effort are the ongoing sexual harassment claims and a distinct case spearheaded by another ex-tour employee.

It’s worth clarifying that fashion designer Asha Daniels submitted the latter suit to a federal court in September 2023. We promptly covered the action – alleging sexual harassment, racial harassment, assault, and more.

In the complaint, Daniels also said she’d witnessed tour employees mistreating dancers while on the road with Lizzo. And long story short, this federal suit, despite a partial dismissal in December 2024 and a subsequent lack of media coverage, is still in motion.

The December order tossed the complaint against a payroll-company defendant – which wound up causing the case to be “erroneously closed” with regard to all defendants.

In mid-April, the court acknowledged the administrative misstep, underscored that the claims against Lizzo’s Big Grrrl Big Touring “remained unresolved and pending,” and tentatively teed up a December 1st jury trial.

Bearing the details in mind, the dancers themselves first sued Lizzo in 2023, and their state-level action, likewise partially dismissed last year, is currently making its way through the Los Angeles County Superior Court.

We’ve already broken down their claims – chief among them allegations of sexual harassment. This refers in large part to an alleged episode wherein Lizzo purportedly pressured her dancer employees to attend a strip-club afterparty of sorts in Amsterdam.

There, the team members were allegedly exposed to and compelled to participate in a series of decidedly work-inappropriate activities, we reported nearly two years ago.

Enter Lizzo’s initially mentioned First Amendment defense and push to dismiss the case.

As quoted by Billboard, the artist’s legal team is arguing that the suit represents “‘an attack on Lizzo’s First Amendment right to perform her music and advocate for body positivity,’” with the above-described strip-club shenanigans allegedly constituting components of “‘Lizzo’s creative process.’”

“‘There’s no disagreement that Lizzo held these outings as a necessary part of her creative process,’” the dismissal motion reportedly spells out.

It probably doesn’t need reiterating, but there’s plenty of distance between the plaintiffs’ position (the outing was both extremely inappropriate and not quite optional) and Lizzo’s stance.

As to where things go from here, the presiding judge has scheduled a status conference for July 16th. Regardless of how the legal battles play out, it’s safe to say they aren’t exactly benefiting Lizzo’s comeback, including reported plans for a fresh album later in 2025.

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

TikTok for Artists has officially launched in more than 25 countries. Photo Credit: Kelly Sikkema

TikTok for Artists, the video-sharing app’s “all-in-one music insights platform,” has officially set sail in the U.S., Brazil, Japan, and more than 20 other countries.

ByteDance-owned TikTok announced the formal rollout of Artists today, weeks after scoring a SoundCloud “Add to Music App” partnership. Available via certified Artist accounts, the newer offering is said to compile data (views, posts, engagements, etc.) down to the song level.

Additionally, one can tap Artists to monitor the performance of individual posts (including everything from likes and shares to completion rates and comments), with a collection of “daily-updated analytics dashboards” part of Artists to boot.

Perhaps most importantly, Artists further charts audience demographics, among them age, gender, and language, TikTok relayed.

In theory, the details could enable TikTok-focused acts to better tailor on-platform strategies and possibly off-platform efforts.

Running with those points, TikTok today also confirmed the worldwide launch of Pre-Release. As its name suggests, Pre-Release (which first hit TikTok’s distribution service three years ago) allows acts to promote new projects on TikTok before they officially release elsewhere; TikTokers can save previewed works directly to Apple Music or Spotify.

Still facing an uncertain stateside future, TikTok has brought the overarching Artists to 26 nations: the U.S., Canada, Mexico, Colombia, Brazil, Argentina, the U.K., Ireland, France, Germany, Spain, Italy, the Netherlands, Sweden, Norway, Denmark, Indonesia, South Korea, Japan, Australia, New Zealand, Egypt, Morocco, Lebanon, Saudi Arabia, and the United Arab Emirates.

But according to the app, TikTok for Artists will begin “rolling out in other countries soon.” In a statement, global head of music business development Tracy Gardner touted Artists’ perceived value and usefulness for talent.

“We built the platform to give artists transparent access to useful, actionable data about their music and their fans, to help them better engage with the TikTok community and supercharge their careers both on and off the platform,” the former Warner Music higher-up said in part.

In the bigger picture, despite the mentioned uncertainty surrounding TikTok’s U.S. future, the app isn’t hesitating to lean into music-world initiatives. Besides TikTok for Artists’ launch, of course, that includes pulling out the promotional stops for Miley Cyrus’ new album and moving forward with another “Global Live Fest” installment.

Nevertheless, it wasn’t too long ago that TikTok found itself embroiled in an ugly licensing showdown with today’s largest label. For this and adjacent reasons, many in the industry aren’t particularly concerned about the app’s stateside fate – especially with Reels and Shorts continuing to expand aggressively.

Rezonate Music Rights co-founders Tom Tyler (left) and Cam Blackwood. Photo Credit: Rezonate

Does the music IP arena have room for another investor? Rezonate Music Rights believes so, and it’s set sail with a $150 million war chest as well as a focus on producer catalogs.

Rezonate announced its official launch – and several already-wrapped plays – today. Founded by producer Cam Blackwood and former London Stock Exchange Group higher-up Tom Tyler, the self-described “leading solution for music producers rights acquisition” secured the $150 million tranche from Europe’s Bridgepoint Credit.

Under that investment, Bridgepoint took “a minority stake in Rezonate’s management company,” per the catalog buyer, which has offices in London and Los Angeles.

Meanwhile, having evidently started pursuing deals ahead of its formal launch, Rezonate pointed to signed-and-sealed catalog agreements with producers Lorna Blackwood, Mark Crew, James Earp, and Jussi Karvinen (aka Jussifer).

Those professionals have credits on tracks released by Lewis Capaldi, Bebe Rexha, Kelly Clarkson, The Wombats, Dua Lipa, Katy Perry, and Demi Lovato, to name just some. And as Rezonate describes things, a number of additional catalog agreements are forthcoming.

“This partnership with Bridgepoint is a strong endorsement of Rezonate’s vision and the value we bring to music producers,” Blackwood and Tyler added in a joint statement. “With such substantial firepower we can significantly accelerate our growth plans and continue to set new standards in the industry, ensuring producers are at the heart of every decision we make.

“We are excited to bring a fresh and artist-aligned approach to the royalties space, starting with an incredible day-one catalogue that includes some of the most iconic tracks of the last four decades,” concluded Tyler and Blackwood.

Beyond straight IP purchases, Rezonate also offers “funding and mentorship to emerging talent,” producer-geared networking opportunities, and “accurate and transparent music catalogue valuations,” its website shows.

(On the valuation side, worth reiterating is that HarbourView last week tapped Sweden’s Chapter Two to “facilitate” a Rodney Jerkins IP buyout. Formerly Anotherblock, Chapter Two is now touting a collection of catalog-tech solutions.)

In the bigger picture, it’s safe to say that the catalog space remains flush with capital – even if the rights-acquisition game is more specialized than ever.

On the funding front, 2025’s first five months delivered blockbuster investments in the work of Notorious B.I.G. and others – not to mention sizable capital disclosures from Intercept Music, Pophouse Entertainment, GoldState Music, Raven Music, and more.

Regarding specialization, Duetti is zeroing in on indie rights, to name one example, while a film and TV joint venture is a seemingly significant component of DJ Khaled’s Influence Media catalog sale. Different players yet are opting to spearhead multifaceted deals at the intersection of emerging markets and regionally prominent IP.

Photo Credit: OLENS Global / CC by 3.0

A Seoul court has hit K-Pop group NewJeans with an injunction, with fines for independent activity starting at $730,000 per infraction.

The Seoul Central District Court ruled on Friday that K-pop girl group NewJeans must refrain from performing without Ador’s consent or approval until a decision is made in a lawsuit over the validity of its members’ exclusive contracts.

Should the group violate the court’s order, each member will be required to pay 1 billion won ($730,000) per infraction to Ador. The court also ordered NewJeans to pay the legal costs of the filing.

NewJeans notified Ador of their request for contract termination last November after internal conflicts at the company quickly went public. Since then, the group has attempted to pursue independent activity under the name NJZ, but is now barred from doing so without repercussion.

In March, the court accepted Ador’s initial injunction request, against which NewJeans’ members quickly filed an appeal. They voiced their intent to continue promotional events and performed as NJZ at the ComplexCon event in Hong Kong.

On Friday, NewJeans responded to the court order by clarifying that the decision was related to the previous injunction issued in March. That order prohibited the members from conducting independent activities. The new ruling, they emphasized, was not part of the ongoing appeal they filed against the initial injunction.

The group’s attorneys noted that the court’s latest decision is “temporary until the appeal is resolved.” They add: “If the NewJeans members win the injunction appeal, both the original and the related indirect enforcement rulings will lose their legal effect. In practice, indirect enforcement is typically issued in conjunction with an injunction ruling.”

During the first hearing over the dispute between NewJeans and Ador last month, the group’s legal team expressed no intention of settling. Ador’s representatives, meanwhile, indicated they were open to a settlement. The next hearing is scheduled for June 5.

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.

Seated co-founders John Griffin (left) and David McKay, who’ve reacquired their company from Sofar Sounds. Photo Credit: Seated

Four years and change after selling to Sofar Sounds, Seated has officially been reacquired by its founders.

Seated co-founder and CEO David McKay, whose ticketing platform says it helps artists “gain fan insights and sell more” concert passes, announced the newly finalized deal in a brief blog post.

According to that message, the repurchase arrived as Somerville, Massachusetts-headquartered Sofar zeroes in “on their amazing global experiences business” under CEO Warren Webster, who came aboard in October 2024.

“Seated has achieved remarkable growth under Sofar Sounds’ ownership these last four years, becoming a vital partner to some of the biggest artists in the world,” Webster said in a statement to DMN. “We’re proud to have been part of that story, and as Sofar focuses on meeting the increasing demand in our communities for live experiences, we’re thrilled that Seated will continue to grow with its founders at the helm.

“At Sofar we are ramping up our efforts to bring even more people together through unforgettable live music experiences in unexpected places, as well as comedy, dance, art, food, wine and more. Our communities around the world are looking for more access to community and culture, and Sofar aims to deliver when it’s needed the most,” the former Atlas Obscura CEO concluded.

Eight-year-old Seated opted against publicly disclosing the transaction’s financials. But it did mention a number of its artist users – among them Ed Sheeran, Brandi Carlile, and Jelly Roll – and tout its operational vision as a standalone entity.

“This re-acquisition gives us the flexibility and focus to go deeper,” McKay summed up. “We’re doubling down on what we do best – building great software for artists to own their ticketing, capture and activate their fan data, and grow meaningful relationships with the people showing up to their shows.”

Of course, at the intersection of ticket-pricing concerns and a growing superfan emphasis, the highlighted objectives are even more relevant now than they were when Sofar bought Seated.

At least from the outside looking in, the process of splitting Seated from Sofar doesn’t appear to have been too involved. Worth reiterating here is that the parties at the time of their February 2021 deal clarified that Seated would “keep operating their services independently.”

On the personnel front, Billboard indicated that McKay will remain at the helm of the once-again-independent company, with CTO and fellow co-founder John Griffin also staying aboard. Per its LinkedIn profile, Seated has between two and 10 employees (with some claiming roles at both the business and Sofar).

In the bigger picture, following recent years’ avalanche of music-space acquisitions, Seated isn’t alone in selling back to its founders and original owners.

Likewise part of the list are ROSTR and Absolute Label Services (which Utopia Music offloaded in February and July 2023, respectively) as well as SoundBetter and Soundtrap (sold by Spotify in October 2021 and June 2023, respectively), to name a few.

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.

Matt Blackhouse, ATG Entertainment-operated Swansea Building Society Arena’s new venue director. Photo Credit: ATG

Here’s a recap of recent music industry hires and in-house promotions as of May 30th, 2025.

If you have a job shuffle to share, we’re all ears. Send us a note to news@digitalmusicnews.com. If you’d like to post a job on our Job Board, just send us a request to noah@digitalmusicnews.com. And, keep track of all the latest music industry hires here.

TouchTunes

TouchTunes has hired Brightcove vet Scott Levine as CEO.

SOCAN

SOCAN members have elected and re-elected six board members to three-year terms. On the writer side, that includes Darren Fung, Greg Johnston, and board chair Marc Ouellette.

Meanwhile, Peermusic’s Cheryl Link, Sony Music Publishing’s David Quilico, and YMX Media’s Jean-François Denis are confirmed as publisher members.

Wasserman

Wasserman Music has brought on New York-based Jazmyn Griffin (previously C3 Presents’ marketing manager) as global festivals director.

Additionally, LA-based Tessie Lammle (a 10-year UTA vet) has come aboard as a hip-hop-focused director and agent.

CRS

CRB has revealed the Country Radio Seminar’s 2025-26 Agenda Committee leaders and members. On the leader front, Broken Bow/BMG higher-ups Shelley Hargis (chair) and Krista Hayes-Pruitt (co-vice chair) are returning, with Pamal Broadcasting’s Kevin Callahan joining as co-vice chair.

Members, for their part, include Audacy’s Andrea Burtscher, Sarah Frazier, and Scott Roddy; Cumulus’ Jennipher Miller and Brooks O’Brian; manager Tanner Davenport; Cannon Country 107.9 host Gideon Dean; Leo33 co-founder Katie Dean; Froggy 101.7 host Paisley Dunn-Banks; Red Street regional director Bridget Herrmann; RECORDS Nashville’s Jamice Jennings; iHeart program director Jess Jennings; Megatrax’s Ileana Landon; Super Hi-Fi’s Bo Matthews; Forever Media’s Charlie Maxx; 92.5 XTU host Nicole Michalik; Urban One’s Lauren Sessions-Barker; BMG’s Jennifer Shaffer; Collective Heads partner Jimmy Steal; 97.3 The Dawg host Jude Walker; and Neil Wilson Voiceovers’ namesake founder.

Dreamliner

Entertainer Motorcoach Hall of Fame inductee Mark Larson has rejoined Dreamliner Luxury Coaches as leasing VP. Plus, tour operations VP Damian Holton is “transitioning to a new” business-development role.

Audio Chateau Records

Audio Chateau’s advisory board has welcomed Poo Bear, who’ll “co-write and produce the debut album for Randy Savvy, lead singer of the Compton Cowboys.”

Tickets for Good

Eyeing an international expansion, Tickets for Good has formally added Derek DeVeaux as global COO. And the company’s U.K. team has expanded with Aaron Taylor (new business lead), George Webb (ticketing operations and customer service lead), and Laura Harmer (community partnerships lead).

Swansea Building Society Arena

Formerly YTL Arena’s senior events project manager, Matt Blackhouse is preparing to begin as the Swansea Building Society Arena’s venue director on June 2nd.

AEG Presents

AEG Presents has upped seven-year team member Joe Jaeger to VP of integrated marketing and strategy.

Live Nation

Live Nation has elected Kennedy Center head Richard Grenell to its board.

Frontiers Label Group

Frontiers has named Earache vet Tim Bailey head of label for international.

Universal Music Group

Former Verizon CFO Matt Ellis will begin in the same role at Universal Music on June 9th.

Capitol Music Group

One reorganization later, CMG has enlisted Candice Watkins to serve as president of Capitol Records Nashville; the former Big Loud marketing exec will double as Capitol Christian’s EVP.

Armada Music Group

Priority Lane owner Maarten Steinkamp is now Armada Music’s interim president.

TikTok

TikTok has tasked creative agency Pereira O’Dell with overseeing its global-creative projects.

Washington, D.C.’s James Madison Memorial Building, which houses the U.S. Copyright Office. Photo Credit: UpstateNYer

The battle for Copyright Office control isn’t letting up: Shira Perlmutter is now seeking a high-speed summary judgement resolution, while the Trump administration is firing back against the sought “fast-track schedule.”  

Those developments might come as a surprise in light of the court’s most recent determination. Upon denying Perlmutter’s restraining order ask, the presiding judge also instructed the parties to “submit a joint proposed briefing schedule” concerning a potential preliminary injunction push on the plaintiff’s end, we reported yesterday.

Instead, Perlmutter’s legal team has opted to entreat the court to green-light an “expedited briefing schedule” on the summary judgement front.

There’s “a pressing need for both the parties and the public to obtain a speedy resolution of this matter,” the former USCO head indicated, “as the leadership of the Library of Congress and the Copyright Office will remain in dispute until the legality of Defendants’ actions is adjudicated on the merits.

“It would best serve judicial economy and the interests of the parties to proceed to final judgment,” the plaintiff summed up.

That refers specifically to a desired June 5th deadline for the actual summary judgement motion, a June 12th cutoff for the defendants’ response, and four days thereafter for Perlmutter’s reply.

However, if “expedited summary judgment is unavailable,” Perlmutter would like “an opportunity” to hammer out the aforementioned preliminary injunction schedule, per the legal document.

As highlighted, the Trump administration isn’t on board with the quick-moving schedule, which it formally opposed in a filing today.

“But there is nothing ‘pressing’ about a legal issue remaining ‘in dispute’ until an adjudication on the merits after a case has run its normal course,” the Justice Department penned.

“That is true of all litigation, but that fact does not give every plaintiff a right to expedited proceedings,” the Trump administration continued. “And it especially should not here, where this Court recognized in denying the motion for a temporary restraining order that Plaintiff has failed to show that any of the purported harms she identified are either irreparable or imminent.”

Besides rejecting the rapid-fire schedule, the court shouldn’t entertain Perlmutter’s above-described request to cement a preliminary injunction timetable, the defendants said in more words.

“This Court gave Plaintiff that opportunity already,” the DOJ wrote, “but rather than propose a schedule for preliminary injunction briefing to Defendants, Plaintiff filed her present motion. That is no doubt because Plaintiff does not believe she could obtain a preliminary injunction given this Court’s holding that she has failed to show the irreparable harm necessary for emergency injunctive relief.”

How, then, should the case proceed? According to the Trump administration, a June 5th “or later” summary judgement cutoff for the plaintiff would be suitable, followed by a three-week window for an opposition response and a cross-motion for summary judgement.

From there, Team Perlmutter would have another three weeks yet to respond, with the defendants’ reply in support of the summary judgement cross-motion due within two more weeks.

At the time of writing, the court hadn’t weighed in on the opposing views. Despite the benefit of frequent updates thus far, though, it’s possible that the case will spin out over weeks (if not months should a full legal proceeding take place).

Among other things, the window could bring with it the appointment of permanent Library and Copyright Office heads – and, in turn, fresh legal questions as well as a variety of considerations for the music space.

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.

The Financial Supervisory Service (FSS) headquarters in Seoul. Photo Credit: Wikiwater2020

The trading-focused investigations into Hybe founder Bang Si-hyuk and other execs look to be intensifying. According to regional reports, authorities have conducted a raid of the K-pop giant’s Seoul headquarters.

As things stand, we don’t know the precise extent of these investigations. However, it’s been nearly six months since local media first linked Bang to scrutiny concerning alleged private-equity side deals executed ahead of his company’s 2020 IPO.

Evidently, this scrutiny isn’t letting up. Yesterday, we broke down the status of the reported allegations – and explored the situation’s possible impact on BTS’ full-group comeback.

Long story short, the Financial Supervisory Service is reportedly considering an expedited referral of the Bang case to prosecutors. And a separate police investigation into the same matter is said to be ongoing as well.

(Regarding all the “reportedly” and “is said to be” usages: Technically, Bang and the appropriate authorities have yet to comment publicly on the subject. Related details are trickling out through anonymous sources via South Korean outlets.)

Not coincidentally, information about the initially mentioned Hybe HQ raid emerged on the heels of the media-fueled update on Bang’s case.

According to the Korea Times, Seoul Southern District prosecutors searched Hybe’s office in connection with insider-trading allegations against a different exec.

The higher-up, whose name remains undisclosed, is reportedly accused of pocketing roughly $175,000 in profits by capitalizing on knowledge of Hybe’s YG Plus investment plans in 2021. Unsurprisingly, the latter entity’s shares (KRX: 037270) spiked in value after Hybe purchased almost 18% of the business.

Back to the allegations against Bang, per the Korea Herald, the Seoul Metropolitan Police Agency has submitted a distinct search-warrant request to prosecutors over the IPO-fraud claims.

And while it probably doesn’t need saying, it’ll be worth keeping an eye out for this comparatively important raid and any adjacent revelations. Also more or less implied is that Hybe is cooperating with the investigations, regional outlets summed up.

In the bigger picture, though the situation appears serious, it certainly isn’t without precedent. During 2024 alone, authorities arrested Kakao’s billionaire founder on stock-manipulation charges stemming from the SM Entertainment takeover battle – after raiding the main offices of both SM and Kakao in 2023.

Meanwhile, YG founder and exec Yang Hyun-suk was indicted last year for allegedly failing to declare a pair of high-end wristwatches upon returning to Korea a decade prior.

Bearing all that in mind, Hybe investors don’t seem too bothered at present. Shares (KRX: 352820) dipped about 2% during today’s trading but, at $193/₩266,000 a pop, are still up approximately 36% since 2025’s start.

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.

Rodney Jerkins, who’s sold an interest in his work to HarbourView. Photo Credit: HarbourView

Let the IP acquisitions continue: HarbourView Equity Partners has officially purchased “select catalog assets” from veteran producer Rodney “Darkchild” Jerkins.

HarbourView disclosed the deal today – albeit without getting too specific about the precise song rights at hand or the transaction’s price tag. However, the Newark-headquartered firm in its formal release did emphasize that the play “was facilitated by” Sweden’s Chapter Two, which rebranded from Anotherblock late last year.

The still-live website homepage of Anotherblock not-so-subtly touts the producer credits under 47-year-old Jerkins’ belt. Just in passing, that includes contributions to releases from Michael Jackson, Justin Bieber, SZA, and several others.

Furthermore, in operating as Chapter Two, the business has pivoted from NFT music investments to developing catalog-acquisition tech, the appropriate site shows. In a February 2025 announcement that largely flew under the radar, Chapter Two said it’d sold songwriter interests in tracks from Lil Nas X and BTS for a total of over $6 million.

The “proprietary Royalty Engine normalizes and enriches financial data and forecasts future earnings through predictive royalty modeling, making catalog transactions quicker and more reliable for all parties,” Chapter Two summed up of its offering.

Evidently, the Engine is gaining at least some traction. Especially because HarbourView is hardly a stranger to catalog deals, it’ll be worth tracking Chapter Two’s presence in the volume-heavy space moving forward.

DMN reached out to HarbourView for additional insight here – including, in light of its dealmaking frequency, whether it has a stake in Chapter Two itself – but didn’t immediately receive a response.

In a statement, though, HarbourView head Sherrese Clarke applauded the career accomplishments of Jerkins; the “legendary” creator, for his part, had positive things to say about working with HarbourView and Chapter Two.

“HarbourView truly understands the value of music and the people who create it,” he weighed in. “Music creators deserve respect and clarity when it comes to selling their life’s work, and working with both HarbourView and Chapter Two has made that process feel seamless.”

And in remarks of his own, Chapter Two CEO Michel Traore described the perceived significance of the IP sale for the broader music sector.

“This transaction is a clear sign that creators are realizing the true value of their work faster and more transparently than ever before,” added Traore. “Rodney is setting a new benchmark in the industry, and we thank HarbourView for their vision in working with us.”

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.

The E. Barrett Prettyman Federal Courthouse, where the lawsuit filed by former USCO head Shira Perlmutter is unfolding. Photo Credit: Toohool

A federal judge has rejected a request from Shira Perlmutter for a restraining order against the Trump administration. But the fired Register of Copyrights could be preparing to push for a separate preliminary injunction.

Both developments came to light in docket updates following a related in-person hearing. Per one of the updates, Judge Timothy Kelly denied Perlmutter’s sought temporary restraining order; among different things, the former Copyright Office head is looking to be restored to the post, we previously noted.

However, if Shira Perlmutter intends to seek the aforementioned preliminary injunction, the parties should “meet, confer, and submit a joint proposed briefing schedule,” the court also ordered.

This briefing-schedule order has a 2 PM PST deadline today, but at the time of writing, the appropriate document hadn’t made its way into the docket. In other words, the dispute appears poised for additional deliberation from here.

And while it probably goes without saying, it’ll be worth closely tracking the challenge moving forward. As broken down in detail by DMN Pro, evidence (including the Supreme Court decision allowing the removal of National Labor Relations Board Chair Gwynne Wilcox) suggests that reinstatement might be unlikely for Perlmutter.

Nevertheless, it isn’t outside the realm of possibility, and high-stakes Copyright Office questions are unanswered in any event.

First, the precise views of the current acting appointees – including Deputy AG Todd Blanche at the helm of the overarching Library of Congress – remain to be seen. Though there’s quite a lot to consider in this department, most of the recent framing has concerned the government’s stance on AI.

Probably not coincidentally, Perlmutter’s dismissal arrived on the heels of a Copyright Office report pertaining to artificial intelligence training. But as DMN has noted, if their prior comments are any indication, the acting Library and Copyright Office appointees aren’t exactly Big Tech proponents.

Thus, it’ll be interesting to monitor their approach to ever-pressing questions at the intersection of AI and IP. Also far from set in stone is whether they’ll stay aboard for the foreseeable future or make way for permanent replacements.

Of course, another Copyright Office overhaul would bring with it a fresh collection of considerations for a variety of sectors, chief among them the music industry.

A live performance from Dirty Heads, which has sold “publishing and artist royalties” to Round Hill Music. Photo Credit: Constantino14

Back in “acquisition mode,” Round Hill Music has scooped up “a range of different rights and income streams,” among them interests in Rod Stewart’s “Da Ya Think I’m Sexy?” and Icona Pop’s “I Love It.”

Round Hill reached out with word of the plays today. Beginning on the compositional side, the UK-based IP investor now owns the publishing catalogs of Terry Shaddick, Linus Eklöw, and Carmine Appice.

Shaddick co-wrote Olivia Newton-John’s “Physical” (1981), which Doja Cat interpolated in “Kiss Me More.” Besides having a credit on the latter, Shaddick is billed as a songwriter on Benson Boone’s even more recent “Mystical Magical,” which also incorporated “Physical.”

Next, Swedish DJ Linus Eklöw, better known as Style of Eye, has sold his “full catalog of songs” to Round Hill. That pile of IP extends to Icona Pop’s “I Love It” as well as much-streamed dance efforts like Galantis’ “Runaway (U & I)” and “No Money,” the buyer indicated. (Eklöw was at one time a member of Galantis.)

Lastly, in terms of complete-catalog pick-ups, King Kobra and Vanilla Fudge vet Carmine Appice has drummed on a variety of commercially prominent releases.

And his work with Rod Stewart (on 1977’s Foot Loose & Fancy Free, ‘78’s Blondes Have More Fun, ‘80’s Foolish Behaviour, and ‘81’s Tonight I’m Yours) includes writing contributions to “Da Ya Think I’m Sexy?” as well as “Young Turks,” to name a couple.

Reggae rock group Dirty Heads, for its part, has cashed in on “publishing and artist royalties.” All told, the group behind “Vacation” has released eight studio albums since arriving on the scene decades back.

Finally, Scotland-born Al Stewart, most widely recognized for 1976’s “Year of the Cat,” has sold “a selection of…master rights” to Round Hill, which is managing five private funds at present.

While Round Hill didn’t come right out and disclose the transactions’ price-tag particulars, it did note that the deals boosted its portfolio’s cumulative value back past the $1 billion mark.

And in a statement, CEO Josh Gruss touted the involved IP’s perceived “potential for further monetization.”

“From timeless pop hits to reggae rock, yacht rock and electronic music, these catalogs contain songs with proven commercial success,” Gruss said in part.

“Spanning different genres and eras, these songs have huge potential for further monetization across streaming, film, advertising and much more. … Tracks like ‘Physical’ go to the very heart of Round Hill’s strategy – finding and celebrating songs which can continue to resonate with new generations long after their original release,” he proceeded.

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.”

Wannasee Limited has shut down and canceled a number of its music festivals. Photo Credit: Adrià Sánchez Roqué

The UK’s Wannasee Limited has confirmed that it “will not be able to continue” operating, and the development has resulted in nearly a dozen festival cancellations.

Wannasee announced the unfortunate news on its website and in a media statement, after pulling the plug on the namesake Wannasee Festivals last week. One of those cancellations was made official at the last minute; Wannasee South had been scheduled for May 26th, with Wannasee Penrith teed up for late August.

(Additionally, Wannasee last year put the Penrith festival on ice, explaining then that “the ground conditions are not in a fit state for this to occur without substantial damage to the site.”)

Before nixing the May event, however, organizers acknowledged “growing speculation regarding the status of this year’s festival.” And prior to putting out the 11th-hour notice, Wannasee on May 14th seemingly changed its name to 08076670 Limited upon entering receivership, Companies House docs show.

Bearing in mind the latter detail, The Northern Echo and other outlets across the pond are pointing to 11 total festival cancellations stemming from Wannasee’s implosion.

“It is with deep regret that we confirm Wannasee Ltd will not be able to continue,” the company elaborated on this front, “and we must announce the cancellation of the following festivals: Kubix and Monument Festivals in Sunderland, Wannasee Penrith and Wannasee South, Jukebox Sunderland and Jukebox Bingley, Sign of the Times, Stone Valley South, Stone Valley Midlands and Stone Valley North.

“We are hopeful, however, that positive discussions currently underway may preserve Lindisfarne Festival and Northern Kin, and we wish them all the very best,” continued Wannasee.

Lindisfarne Festival organizers, still set to deliver a late-August event featuring The Fratellis and more, took to Instagram to inform fans of “work going on behind the scenes to ensure that” the happening proceeds. And Northern Kin, booked for early August, posted the same message (albeit with the appropriate event name) on its own Instagram page.

“Although we are unable to respond to individual emails and messages at the moment, we thank you all for your patience and we hope to have a full update for you as soon as possible,” both wrote.

Meanwhile, refunds for the shelved festivals are rather unsurprisingly a big focus for the impacted customers and vendors. With Wannasee’s brief remarks here having evidently failed to assuage related concerns, a number of passholders are speaking out on social media.

“To all of our ticket holders: we are truly sorry,” Wannasee weighed in on the ticketing side. “We understand your disappointment and frustration. Please contact your ticket provider or card issuer for refund information.”

In the bigger picture, the cancellations mark the latest in a long line of axed festivals. At the intersection of continued cost considerations, consumer-spending woes, and adjacent factors, more than 170 mega-events were called off or otherwise failed to take place in 2024, DMN Pro tracked.

Signs of the disconcerting trend have carried on into the current year: Travis Kelce’s Kelce Jam festival has opted against hosting a 2025 edition in favor of “planning ahead for 2026.” And even well-entrenched festival players like Coachella are grappling with sales slowdowns.

At Coachella 2025, the Los Angeles Philharmonic performed with artists like Laufey, LL Cool J, and Zedd, highlighting the growing intersection of orchestral music with pop, hip-hop, and electronic genres. Similar collaborations are happening on stages worldwide, with some of the most prominent artists fueling the trend.

This article was written by Harry Levin in collaboration with How Music Charts. Music Trends on Digital Music News is powered by Chartmetric.

When Coachella is in full swing, surprise guest performances dominate the news cycle. But this year, Laufey, LL Cool J, Zedd, and Becky G joined a set that was surprising to be at Coachella in the first place: Gustavo Dudamel and the Los Angeles Philharmonic orchestra.

Coachella is a symbol of pop culture known for hosting superstar headliners. This year three of them are Lady Gaga, Post Malone, and Travis Scott. In between those massive shows, a group of musicians are performing in a musical format that first came to fruition thousands of years ago: the orchestra. They played the works of classical masters such as Beethoven and Wagner…along with orchestral pop renditions from the aforementioned roster of guests.

“My dream was always to mix the worlds of classical and orchestra and pop and fun music festivals like this,” Laufey said during the first weekend of the festival before performing the live debut of her new song, “Silver Lining.”

Well, by every indication, Laufey’s dream is closer and closer to coming true. Pop artists of all genres, including Dua Lipa, Louis Cole, Anderson .Paak, Pete Tong, Billie Eilish, Nas, Willow, deadmau5, and Florence + The Machine have all either performed or recorded with full orchestras in recent years.

Dua Lipa took the stage at Royal Albert Hall in London with the Heritage Orchestra back in December for the television special, An Evening with Dua Lipa. Louis Cole’s most recent album, nothing, was a collaboration between the Dutch Pops orchestra Metropole Orkest and the composer and arranger Jules Buckley. Anderson .Paak performed his lauded 2016 album, Malibu, at the Hollywood Bowl alongside Derrick Hodge’s Color of Noize Orchestra.

“One thing drives the other. Artists are seeing it done more. Then they’re seeing it realized more in a way that feels like the original intent. It’s taking it to a different dimension without it having to be something that feels like a whole other expression that no longer belongs to them. I know firsthand that’s a big thing for them,” Hodge tells Chartmetric. In addition to .Paak, he has arranged orchestral parts for Yasiin Bey, Nas, and Common. “It’s something that I always knew was a possibility. So I was trying to write and speak to it even before the opportunities came, so that when they came I could be really efficient and act on them fast.”

Hodge has worked a lot in hip-hop with and without orchestras (he wrote and recorded the iconic bassline on “Be” by Common). However, he also arranged orchestral parts for all of the LA Phil’s guests for their Coachella set. These days, artists within every genre, from alternative jazz via Louis Cole to dance music via Pete Tong, are experimenting with the format. Now these orchestras are performing in the most popular forums in the world. Clearly, the value of orchestras is both historical and universal, and artists reap the benefits. 

Every Audience Loves An Orchestra

“It broadens their audience reach,” says Karen Garrity, owner of Karen Garrity Music, an orchestra contracting service based in Southern California. She has hired musicians to record and perform with pop artists like deadmau5 for his album, Where’s The Drop, and the ska band Streetlight Manifesto. When Garrity attended one of Streetlight Manifesto’s orchestral performances last year, she saw the broadening with her own eyes:

“I stood in line for probably an hour as we were going in, and it was so cool to see the vast age range. There were kids as young as school age. And then there were people in their eighties,” Garrity says. “I was asking them why they were there, and Streetlight Manifesto was on the periphery of their interest range, but when they brought in the orchestral element, it brought it home to the older ones, and then the older ones wanted to share that with the younger ones.”

More than bringing in new fans, the orchestra expanded the interest of the current fans as well. “They have an intense fan base that is just doggedly loyal to them. They follow the band all over the world. They know every word to every song and sing and chant and cheer. They chase the orchestral musicians out the back door, asking for autographs. You don’t experience that coming out of a symphony hall,” Garrity says.

The visual element is certainly a reason why the orchestra persists today. Seeing 50-100 musicians in action is a spectacle to behold, and fans appreciate it both live and on YouTube. 

In the case of Dua Lipa, the live video of her performing “Training Season” at Royal Albert Hall has reached 26.9 million views, which is more than any of the 65 videos she’s shared in the Radical Optimism album cycle besides the official music videos for the album singles.

The video of Nas performing “One Love” at the Kennedy Center has the 16th highest number of views on the “PBS Great Performances” YouTube channel. While that is not generally a top mark, there are over 500 videos on the channel in total. Plus, the videos with more views than Nas feature artists traditionally revered by an orchestral audience, such as the famous Italian tenor, Andrea Bocelli, and the celebrated Broadway actress, Sutton Foster.

Considering Nas’s turn was the first time a rap artist performed with an orchestra at the Kennedy Center (which had been open for over 40 years at that point), this amount of views demonstrates how these two worlds are coming together in a public manner after hip-hop has sampled symphonic music for decades. 

“Rappers and hip-hop producers were hearing that sound often in the samples they use. What Pete Rock sampled all the way to Timbaland. So the curiosity was always there from that side. You couldn’t listen to Tupac’s music and not think, ‘Oh, man, there’s a symphonic element to it. I can imagine that happening.’ It was more, will it be accepted?” Hodge says.

Hodge has been a major player in helping classical music become accepted in the world of rap, and Jules Buckley has been equally important in introducing orchestras into the world of dance music. 

Orchestras At The Rave

Pete Tong, the legendary BBC Radio 1 DJ and dance music pioneer, first curated an orchestra performance of dance classics during the 2015 BBC Proms season with the help of Buckley, and the two have been partners in the project ever since. Now entitled “Ibiza Classics,” Tong and Buckley are touring the newest rendition of the show throughout this year.

In furthering how Ibiza Classics has brought together dance music and classical music, dance titan Tiësto remixed the orchestral version of “You Got The Love” from Ibiza Classics. This brought Buckley Tiësto’s 40 million monthly listeners that he had when the track was released in May 2022. Beyond Tiësto’s individual audience, his remix was added to Spotify’s premier playlist for dance music, mint, which had 5.9 million saves at the time.

Buckley’s audience has seen marked benefits with this kind of exposure. Before the release of the 2021 Ibiza Classics album, his Spotify monthly listeners were at 301.6k. That album brought them up to 521.6k, and the Tiësto remix launched them up to their peak of 1.5 million. Since then, Buckley hasn’t dropped below 586k, spiking up to 1.4 million again upon the release of the Florence + The Machine album, Symphony of Lungs, Buckley’s orchestra arrangement of the band’s debut, Lungs.

Buckley’s widespread experience demonstrates how orchestras are adapting with the times. When Garrity was in college studying cello, her 20th-century music professor told her class that their jobs would be obsolete by the time they graduated. Yet, in 2017, Garrity hired an orchestra to perform a piece composed by an AI program called AIVA, Artificial Intelligence Virtual Artist.

“The smart orchestral musicians are the ones who realized that they had to make a shift at some point in their career and expand beyond just the orchestral repertoire. The ones that are working constantly are the ones who can play any genre, whether it’s in a recording session or on a live concert stage or in a rock band,” Garrity says.

The Power of Special Guests

These players populate the prominent orchestras that are backing artists like Dua Lipa and Laufey. Before Laufey joined the LA Phil at Coachella, she recorded the live album, A Night At The Symphony: Live at the Hollywood Bowl, with them back in 2024. Prior to this album, the orchestra’s monthly listeners fluctuated around 450k. The album with Laufey saw them reach 730.2k, and they have yet to drop below 600k. The album version of “Bewitched” also brought the orchestra into Spotify’s Women of Jazz playlist, which currently has 875.5k saves.

To further demonstrate how these collaborations increase the reach of orchestras, Laufey also recorded her 2023 album, A Night At The Symphony, with the Iceland Symphony Orchestra. Their monthly listeners were in the 33k range before this album, rising as high as 802.3k upon release.

While it is easy to relate this success to Laufey, who currently has 15.5 million monthly listeners, there are other pieces spread throughout the Iceland Symphony Orchestra’s discography that have millions of plays on their own. This suggests that there was already interest in the music; Laufey simply expanded it just as she surely did for the LA Phil at Coachella. 

Coachella has said that 125k people attend the festival per day, and in 2018, 41 million people reportedly watched the live streams on YouTube. While there is no way to measure exactly how many people saw the LA Phil perform at Coachella either live or on their computers, it is a fact that they broke into an entirely new audience with the help of the festival, and their Wikipedia views tripled on the day of their set. 

Another artist who has performed at Coachella throughout the years is deadmau5, and Garrity still remembers the audience’s reaction to his orchestral performance of Where’s The Drop:

“I was back in the booth, watching the show, watching the orchestra, and looking around the audience. They were so into it, and they were mostly young people. They were all pretty standard deadmau5 fans, but just watching them react and interact with a symphony orchestra was really cool,” Garrity says.

And then, according to Hodge, the result of more audiences loving it is more artists exploring the format:

“Artists’ managers and friends are bringing to their attention examples of live performances.  As they see the possibility of it live, it’s affecting how they approach the studio process,” Hodge says. “One side is impressing the other.”

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.

(l to r) Warner Chappell France senior A&R exec Valentin Zucca, Bob Sinclar, and Warner Chappell France MD Matthieu Tessier. Photo Credit: Warner Music

Bob Sinclar (real name Christophe Le Friant), the DJ behind perennial dance hit “World Hold On,” has inked a global admin and sub-publishing deal with Warner Chappell.

The publisher and the Paris-born “dance legend” announced their agreement today. As described by those parties, the tie-up extends to north of “350 works written or composed by Sinclar, and published or co-published by Mighty Bop Sessions.”

Besides the aforementioned “World Hold On” – which released in 2006 and has racked up somewhere in the ballpark of one billion Spotify streams across all versions – these efforts include “Love Generation,” “The Beat Goes On,” and “Rock This Party (Everybody Dance Now),” to name a few.

“I’m very excited about this new journey with Warner Chappell Music,” added 56-year-old Sinclar, who last week dropped a new EP via his Yellow Productions label. “Their entire team has been incredibly motivated and I’m sure we will do great things together!”

And in remarks of his own, Warner Chappell France A&R higher-up Valentin Zucca touted Sinclar as “representative of the French Touch.”

“Bob Sinclar is a fervent representative of the French Touch, a true tastemaker who has always made a point of crossing borders,” indicated the six-year Warner Chappell exec, whose company scored a deal with Diplo one month back. “His music, and what he did for the dance culture, had a major influence on a whole generation of listeners and artists.”

Rounding out the remarks, Warner Chappell France MD Matthieu Tessier summed up: “Warner Chappell Music is proud to become his publishing partner and to represent worldwide such an iconic catalog.”

In the bigger picture, Warner Chappell’s Sinclar signing represents the latest in a long line of moves in and around the evidently lucrative dance space.

During the past year or so, said moves have included Reservoir’s acquisition of the U.K.’s New State (complete with a massive recorded catalog) and Create Music’s purchase of 50% of Enhanced Music.

Meanwhile, Believe last year bought 25% of Global Records, with not-so-subtle plans to build the Romanian label into “a global leader in dance music.”

And Armada Music’s BEAT continues to close all manner of investments. In March, for instance, the self-billed “world’s first dance music investment company” confirmed it’d acquired “a large portion of masters from Tiga.”

A live performance from Metallica, which has achieved 20x Platinum certification with The Black Album. Photo Credit: Raph_PH

Metallica’s self-titled 1991 album (aka The Black Album) has officially moved 20 million units in the U.S., achieving 20x Platinum certification – and 2x Diamond certification – in the process.

The Recording Industry Association of America (RIAA) officially logged those certifications today, a couple months short of the 34th anniversary of Metallica’s release. Unsurprisingly, given that the 12-track effort debuted as the CD era was picking up steam, a substantial portion of its sales derived from physical units shipped during the prior century.

However, The Black Album – including “Enter Sandman” and “Nothing Else Matters” – continues to ride a wave of consumption success in the streaming era. Certified 12x Platinum in late 1999, Metallica achieved 15x Platinum certification in November 2009 and 16x in December 2012 before cracking double Diamond today.

(Of course, the project’s recent sales aren’t confined to digital. The remastered 30th anniversary edition of The Black Album definitely contributed to the total, including but not solely with a $240 boxset that remains available for purchase on Metallica’s website.)

Thanks to today’s milestone, Metallica is now close to ranking among the top-10 bestselling albums in U.S. history. As things stand, the work is sharing the 12th spot with Green Day’s Dookie (1994), behind a handful of releases from Billy Joel, the Beatles, AC/DC, the Eagles, and other decidedly well-established legacy acts.

Meanwhile, the RIAA today confirmed 8x Platinum certification for Metallica’s Master of Puppets (1986), which initially made its way into the Platinum category 37 years ago en route to hitting 6x Platinum in 2003.

Taken as a whole, these and different commercial feats tie back to still-strong fan interest for Metallica, which is on the road as part of its M72 World Tour.

Currently proceeding through the States, the concert series will arrive in Oceania later in 2025 before a number of European stops (non-presale tickets will become available this Friday) take place in 2026. (Already touring with Metallica, Pantera will also play the M72 Tour’s European leg, the group recently announced.)

With ample superfan support comes the opportunity to move ultra-VIP packages. Passes for the “Nothing Else Matters” Snake Pit Experience, offering meet-and-greet opportunities as well as a variety of other perks, are priced at an astonishing $4,400 a pop not including fees, Metallica’s website shows.

Per the same source, the band has sold through the expensive passes (which are presumably far more resistant to scalping than their non-VIP counterparts) for several dates.

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.

The Trump administration is firing back against a lawsuit filed by axed Register of Copyrights Shira Perlmutter. Photo Credit: Tabrez Syed

An intensifying battle for USCO control: The Trump administration is firing back against the lawsuit filed by axed Register of Copyrights Shira Perlmutter.  

We first covered that lawsuit (including a push for reinstatement) last week, and DMN Pro yesterday took an in-depth look at Perlmutter’s largely procedural action. Long story short: the former Copyright Office head maintains that the Library of Congress is part of the legislative, not the executive, branch, and is therefore off limits to the President.

Consequently, per Perlmutter’s complaint, President Trump’s dismissal of Librarian of Congress Carla Hayden is “unlawful.” (Among other things, said Librarian is tasked with appointing the Register of Copyrights.)

And in Perlmutter’s view, since Hayden’s firing is allegedly unlawful, the acting replacement (Deputy Attorney General Todd Blanche) lacks the authority to boot her (Perlmutter) at all.

Perlmutter’s complaint contains several relief requests, the most noteworthy being a sought injunction declaring that she “may not be removed from her office as Register of Copyrights and Director of the U.S. Copyright Office, or in any way be treated as having been removed.”

Enter the Trump administration’s initially highlighted opposition to Perlmutter’s requested restraining order.

As described by the newer legal document, because the Library of Congress “is part of the Executive Branch and is subject to presidential control” under the Federal Vacancies Reform Act (FVRA), “[t]he President had the power to remove the Librarian and designate an acting replacement.”

But even in the absence of the FVRA, “the President’s power to designate Mr. Blanche comes from the Constitution, not any statute,” per the defendants.

Following the idea to its logical conclusion, Perlmutter’s firing was lawful, and the presiding judge should deny the restraining order motion, according to the Trump administration.

“Because Mr. Blanche is properly serving as acting Librarian,” the legal text reads, “he had clear authority to remove the Register of Copyrights, as he did in designating Paul Perkins as acting Register. In addition, the President removed the Register directly—a removal that likewise is within his constitutional power where, as at that time, there is no Librarian.”

On cue, Perlmutter’s legal team submitted a reply supporting the restraining order motion and opposing the defendants’ above-described arguments. In brief, the follow-up mainly builds on the existing central position that the executive branch lacks the authority to dismiss the Librarian.

“Historical practice confirms that the President lacks any inherent authority to fill vacancies in principal offices,” the retort claims.

“Because the FVRA does not confer authority on the President to appoint an officer to temporarily perform the functions of the Librarian of Congress, the President’s appointment of Mr. Blanche was ultra vires,” the filing proceeds.

Suffice to say that it’ll be worth closely monitoring the courtroom confrontation – and especially the near-term trajectory of Perlmutter’s crack at reinstatement.

As explored in detail by DMN Pro’s aforementioned report, while evidence points to longshot odds of Perlmutter’s taking the USCO reins once again, the music industry may still be able to record IP wins under the new Copyright Office guard.

Also important is the “acting” nature of this guard; it remains to be seen who will serve as Librarian and Register on a permanent basis and when they’ll begin doing so.

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.

Stockholm, Sweden, where MAIA Universe (previously Freshsound) is headquartered. Photo Credit: Anna Hunko

Stockholm-based sync platform MAIA Universe (formerly Freshsound) has scored north of $1.13 million in funding from backers including Max Martin.

MAIA Universe CEO David Wille confirmed the €1 million raise — and the MxM owner Martin’s support — on LinkedIn. According to that disclosure, Stockholm VC Zenith Ventures, another existing stakeholder in Aligned Ventures, and several others yet likewise participated.

The Kobalt vet Wille – who joined MAIA shortly following the exit of co-founder and COO Sara Larsson – also touted his current company’s agreements with Sony Music UK, Warner Chappell, and self-described “leading independent” Playground Music.

(Per her LinkedIn profile, Larsson is currently CEO of Northfork, which says it makes “recipes and meal plans shoppable through customized technology solutions.” Separately, MAIA’s board has added former Netflix Nordics comms higher-up Malin Cumzelius.)

As things stand, MAIA Universe’s licensing offering is said to feature over 9,000 songs recorded by more than 2,200 artists. Recent placements include Alphaville’s “A Victory of Love” in a Polestar spot as well as Gabriels’ “Remember Me” in an advert for David Beckham’s BOSS collection, the website indicates.

With today’s funding influx, Freshsound/MAIA Universe has secured the better part of $5 million in publicly confirmed capital, data from DMN Pro’s Music Industry Funding Tracker shows.

And in the bigger picture, against the backdrop of AI’s rapid ascent, it probably goes without saying that competition is stiffer than ever in the sync arena. For prolific musicians smartly matching their music against placement opportunities, however, organization is key — especially given the tight turnaround times and quick changes often demanded by music supervisors.

“Managing files should never be a barrier to creativity,” explains Vivek Patel, CEO of OmMuse, a platform that enables artists to securely manage track versions, collaborate with anyone across the globe, and easily distribute their tracks. “A well-structured storage system prevents lost tracks, endless file versions, and workflow interruptions—allowing artists to stay focused on making music.”

Back to the financial picture at MAIA: in its coverage of MAIA Universe’s newly obtained capital, Sweden’s Breakit pointed to 2023 turnover of SEK 800,000 (currently $83,085) for the platform.

That same year, the startup is said to have experienced “a negative result of just over SEK 9 million” ($934,748 at present).

Bearing in mind these numbers and the well-entrenched positioning of certain sync players, Amsterdam’s Ringo earlier in May rolled out a fresh beta version. As summed up by execs, the improved product includes a “Sync Search Assistant button” that is acting as a “precursor to an upcoming recommendation engine.”

Meanwhile, Lickd is apparently pulling out all the stops with a “Brand New Affiliate Scheme” under which it says one can “earn $25 for every successful referral.” A cursory glance at the appropriate terms shows that “successful referral” does, in fact, refer to any instance when creators sign up and pay for the service via one of the relevant links.

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.

A live performance from SM Entertainment act Aespa. Photo Credit: Plumflower Snow

Hybe has officially moved to sell its remaining SM Entertainment stake – encompassing almost 10% of the rival K-pop agency – to Tencent for north of $175 million.

The Big Hit parent disclosed the sizable selloff in a regulatory filing, which regional outlets promptly covered. According to the document, Hybe intends to exit its SM position altogether, exchanging 2.21 million remaining shares for a cool ₩243.35 billion (currently $176.85 million).

Per Google’s translation of the same text, the trade will take place after the market closes this coming Friday, May 30th. While Hybe doesn’t appear to have identified the precise reasons behind the selloff – its second such divestment in a year – the writing has been on the wall for some time.

To be sure, the Belift Lab owner only secured an interest in SM as part of an ugly takeover battle. Kakao, itself partially owned by Tencent, ultimately emerged victorious in that much-publicized showdown.

Post-takeover confrontation, there doesn’t seem to be a compelling reason for Hybe to possess a piece of SM. Notably, the forthcoming stock sale will bring a per-share price of $79.94/₩110,000, up from $65.40/₩90,000 or so when Hybe shaved about 3% of its SM position in May 2024.

(Earlier in 2024, however, Hybe had purchased close to 900,000 different SM shares from founder Lee Soo Man.)

On the opposite side of the transaction, Tencent Music’s latest earnings report emphasized the company’s growing number of tie-ups and artist-specific initiatives in K-pop. Among those initiatives are Babymonster’s “debut pop-up store in mainland China” and Aespa’s “first-ever exhibition” in China, to name a couple.

Against this backdrop – and bearing in mind the relevant talent’s global appeal – it’s not a bad idea for Tencent proper to pick up an SM interest. And the investment may well be indicative of the Universal Music stakeholder’s music-space strategy moving forward.

(Plus, maintaining a positive professional relationship with Tencent won’t hurt Hybe, which is continuing to push into gaming. As something of an aside, it’s worth noting that Hybe chairman Bang Si-hyuk’s cousin Bang Jun-hyuk is the founder of South Korean mobile-gaming giant Netmarble, about 18% of which belongs to Tencent.)

When trading wrapped today, SM Entertainment stock (KOSDAQ: 041510) was down 2.1% at $94.40/₩129,900 per share; the price still represents a nearly 82% boost from 2025’s beginning. Hybe stock (KRX: 352820), in part due to the expansion-minded business’s strong Q1 financials, is also up big on the year.

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.

Downtown Music Publishing Africa managing director Thando Makhunga. Photo Credit: Seventwo Creative Agency

Another high-profile expansion in Africa – this time from Downtown, which has rebranded its Sheer Publishing Africa subsidiary as Downtown Music Publishing Africa (DMP Africa).

Downtown reached out with word of South Africa-based Sheer’s new identity and broader operational scope. On the former front, the name change is said to be indicative of “a deeper alignment with the global vision of Downtown,” which bought 29-year-old Sheer in 2020.

“Our new name reflects our ability to plug directly into Downtown’s global expertise,” added DMP Africa MD Thando Makhunga, “while staying rooted in the nuances of the African music landscape. We’re expanding our scope and partnering with major global companies to deliver tailored, transparent, and future-forward services.”

Among DMP Africa’s existing partners are Warner Chappell, Concord, and Saregama, besides a number of indie publishers operating throughout Africa, the company relayed.

Per higher-ups, the transition from Sheer to Downtown Music Publishing Africa (which will retain its “same dedicated local team”) is also “more than a visual refresh.”

Here, DMP Africa is teeing up “an expanded suite of services,” among them neighboring rights admin and the implementation of Downtown’s Curve royalty accounting system.

Furthermore, the newly named division will “be moving away from outdated contracts to build agreements designed around each creator’s unique goals,” Downtown confirmed. Though time will tell exactly what this transition entails, CEO Pieter van Rijn drove home plans to double down on “long-term, equitable partnerships.”

“This marks an important new chapter in our presence across Africa, a region rich in creativity, culture, and talent,” van Rijn specified. “DMP Africa reflects our belief in the region’s creative power and our responsibility to support its continued expansion.

“By partnering local expertise with global access and investing in long-term, equitable partnerships, we will ensure that talent from across the African diaspora is rewarded on a global scale,” the Downtown head concluded.

Moving forward, it’ll be worth keeping an eye on the commercial byproducts of those partnerships – especially given the growth behind several African music markets and the often-discussed sales potential of promoting domestic releases globally.

Of course, Downtown isn’t alone in looking to capitalize on this growth by bolstering its reach in Africa. Earlier in 2025, Warner Music Group opted to scoop up the remainder of Africori (in which it already had majority ownership), and Universal Music Group in 2024 took a controlling interest in Lagos’ Mavin Global.

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.

Producer Deezle (Darius Harrison), who’s filed a missing-royalties lawsuit against Universal Music, posing with his Grammys from Lil Wayne’s Tha Carter III. Photo Credit: Claudio Ch Zayas

Lil Wayne producer Deezle (real name Darius Harrison) is suing Universal Music for allegedly failing to pay him millions in due royalties from Tha Carter III (2008) and more.

Deezle and his Drum Major Music Entertainment company just recently submitted the multifaceted lawsuit to a New York federal court. This time around, Universal Music Group (UMG) is the only defendant.

14 years back, however, Deezle levied a similar action against Lil Wayne himself; the involved parties settled in 2012. Despite the resolution – more on this in a moment – the producer is evidently unready to put his royalty qualms in the rearview.

As recapped in the newly filed lawsuit, after scoring a 2004 Cash Money Records producer deal and producing “Weezy Baby” on Tha Carter II (2005), Deezle went on to ink a producer agreement with Lil Wayne-founded Young Money Entertainment in late 2007.

Under the newer contract, the producer then contributed to six Tha Carter III tracks, among them “Lollipop.”

Per the plaintiffs, Young Money agreed to provide “no less than semi-annual accounting statements reflecting all royalties accrued” as part of the tie-up. Plus, Young Money’s distributor, Cash Money, was said to be compelled to account to the filing parties “directly and at the same time it” accounted to Young Money.

In terms of where Universal Music fits into the picture, stated concisely, the major has long handled Cash Money’s distribution. And Lil Wayne reportedly sold the Young Money catalog to UMG for $100 million in 2020.

Consequently, Young Money (as well as Cash Money and, in turn, UMG) is allegedly compelled to forward to Deezle and his company the appropriate “4 percent royalty rate” on the above-outlined Tha Carter III efforts.

Unsurprisingly, in light of the just-levied complaint, these payments have purportedly failed to come through.

“In a shocking, willful and intentional breach of the YME Producer Agreement,” the plaintiffs summed up, “YME failed to [account to] Harrison pursuant to the YME Producer Agreement and UMG has breached the agreement by failing to report and pay royalites [sic] for over a decade.”

Additionally, regarding the aforesaid 2004 Cash Money producer pact, Deezle has pointed to allegedly unpaid royalties for his six credits on Birdman’s Fast Money (2005), besides the “Shorty Bounce” track Lil Wayne recorded for The Longest Yard.

Back to the previously highlighted settlement, Universal Music is said to have started “sending royalty statements to” Deezle after the prior suit’s 2012 resolution. But the major allegedly “ceased sending” those statements “[a]lmost immediately” thereafter.

“UMG administers the payments to producers, artists and songwriters relating to the masters at issue and has failed to pay Plaintiffs,” the filing parties summed up. “Plaintiffs have not been paid any producer royalites [sic] associated with the YME Producer Agreement or CMR Producer Agreement for over a decade.”

While this suit’s timing is likely to take center stage as the legal battle plays out, Deezle is seeking at least $6 million in damages for the allegedly missing royalties. And in the bigger picture, the producer has joined the likes of Iggy Azalea and Limp Bizkit in formally accusing the major of failing to pay royalties.

An Eras Tour performance from Taylor Swift, whose original catalog might be changing hands once again. Photo Credit: Paolo V

Shamrock Capital is actively looking to offload Taylor Swift’s original masters – at least according to one new report, which is attaching an astonishing price tag to the possible deal.

Page Six’s Jeanette Settembre provided an overview of the rumored catalog divestment, though at the time of this writing, Shamrock didn’t seem to have commented publicly on the matter. Nor had the billionaire Swift, to whom the investment firm is reportedly being encouraged to sell the IP, weighed in.

However, judging by the mentioned piece’s framing and pricing details, it isn’t too difficult to guess which parties are forwarding related information to the media. As laid out by the report, none other than Scooter Braun is encouraging Shamrock (in which RidgeLake and Bonaccord took a stake in 2022) to sell the masters to Swift.

That refers to the recordings behind Swift’s first six albums, which, as described by the report, would carry a “price tag…in the ballpark of $600 million to $1 billion.”

Even the low end here, many will recognize at once, is substantially more than the $300 million or so that Shamrock reportedly paid Braun and Carlyle Group for the recordings back in November 2020.

Runaway inflation and sustained career success or not, it’s unclear whether the massive return is a realistic objective or a means of setting the negotiating tone, particularly given Swift’s “Taylor’s Version” re-recordings of the same works.

Not only are those re-recordings doing huge numbers on streaming, but thanks to Swift’s reach and professional connections, they’re the renditions making their way into programs like The Handmaid’s Tale, trailers, high-profile ad campaigns, and more.

(Per reports, Universal Music didn’t hesitate to modify its artist agreements to avoid re-recording fiascos down the line.)

On the ownership front, the competing catalogs tie back to a collection of complications that don’t exactly scream “billion-dollar deal” – especially since Swift herself is presumably far from eager to cough up the high-end sum for the recordings.

(Shifting the focus to the opposite side of the potential transaction once more, the commercial possibilities associated with authorizing AI training on the original masters is worth considering as well.)

Price-tag questions aside, it seems plausible that Shamrock, mainly for the above-outlined reasons but also in light of its increasingly varied song-rights holdings, may be receptive to selling. And as Swift certainly isn’t hard up for cash, it’ll be interesting to see whether she’s open to a deal and, assuming so, whether the parties can hammer out mutually satisfactory terms.

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.

A nighttime shot of Seoul, South Korea. Photo Credit: Yohan Cho

YouTube looks to have resolved a bundling-focused investigation in South Korea, where the platform reportedly intends to launch its Premium Lite subscription.

Local outlets shed light on the resolution, which will seemingly end a years-long Korea Fair Trade Commission (KFTC) probe. As we reported last month, the investigation centered on YouTube Premium’s music streaming market impact.

At present, Premium (offering ad-free access to YouTube proper and Music) is available for $10.87/₩14,900⁠ per month in South Korea, where close to 90% of the population actively uses YouTube. That’s compared to $8.75/₩11,990⁠ per month for Music, and unsurprisingly, many have opted to pay the extra $2 monthly for across-the-board viewing without ads.

But according to critics and the KFTC, this model means YouTube’s leveraging its video-sharing dominance at the expense of on-demand streaming platforms. With little incentive for Premium subscribers to utilize different music services, the likes of Melon and more have reportedly suffered material market-share slips in recent years.

And it’s safe to say that the competitive landscape is also compelling international players to adapt. Having previously offered only paid plans in South Korea, Spotify embraced an ad-supported tier in October 2024.

Now, however, the YouTube Music rivals may catch something of a break with the rollout of Premium Lite.

Per BusinessKorea, the KFTC has signed off on a YouTube proposal under which Lite would go live in the nation of 52 million. Technically resurrected last year, Lite costs less than Premium but excludes Music and doesn’t afford ad-free access to music videos on YouTube itself, to name a couple differences.

According to the same outlet, Lite will operate alongside Premium; at least in theory, YouTube diehards might migrate from Premium to Lite and then turn elsewhere for music streaming if so inclined.

On the other hand, some have acknowledged the distinct possibility that the cheaper plan will help YouTube entrench its already-advantageous position in South Korea. And as described by The Chosun Daily, certain domestic streaming players are criticizing the resolution as ineffective when it comes to reversing the above-outlined market-share trends.

In any event, this resolution will further see YouTube put up $21.89 million (₩30 billion) for a fund benefiting “consumer welfare” as well as the South Korean music industry.

Separately, the aforementioned Spotify is among the platforms still grappling with KFTC investigations of their own.

Ticketing platform XP has announced a $6.2 million raise. Photo Credit: Jessica Christian

Web3 ticketing platform XP has announced a $6.2 million raise and doubled down on plans “to build the most fulfilling ticketing experience for fans.”

The year-old ticket-resale marketplace unveiled the funding in a blog post as well as a formal release. Founded and led by former Grubhub exec Michael Saunders, XP says it “puts fans first with transparent, fair-market prices and tech-forward ticketing innovations.”

Now, the company has a cool $6.2 million at its disposal to continue expanding those innovations, among them an AI-powered price-comparison extension.

New York City-based Blockchange Ventures, which per its website backs “founders with visions as big and bold as the Blockchain itself,” led XP’s latest raise. Additionally, the round drew support from crypto-minded investment manager L1D and David Kalk’s Reflexive Capital.

Addressing his business’s raise, the XP head Saunders called out the many competitors operating in the evidently lucrative ticketing space.

“Buying tickets shouldn’t feel like you’re getting taken advantage of,” said Saunders, who’s also at the helm of Captain Labs, the Solana-focused tech studio behind XP.

“Fandom is an integral part of a person’s identity, and yet most platforms treat fans like transactions. We believe fans deserve better—and that starts with recognizing and rewarding fans’ loyalty and passion,” concluded Saunders, whose platform is said to boast “millions of dollars in annualized ticket sales.”

While there’s certainly something to be said for rewarding fans, logic suggests that lowering prices is the best way to stand out in the increasingly crowded live-entertainment arena. On this front, XP indicated that its model means customers can “save up to 30%…compared to the same seats listed on other resale marketplaces.”

As things stand, these resale marketplaces aren’t limited to well-entrenched players like Live Nation’s Ticketmaster, SeatGeek, the possibly-for-sale Vivid Seats, and StubHub.

Back in August 2024, TickPick scored a cool quarter of a billion dollars in funding, and the U.K.’s Seat Unique announced a close to $20 million extended Series A. Then, Amsterdam’s Celebratix in November pulled down about $1.2 million and emphasized a goal of bringing its blockchain tech to several international markets.

In other words, competition is fiercer than ever in ticketing, where regulatory scrutiny isn’t letting up. Most conspicuously, that refers to the DOJ’s apparently ongoing antitrust lawsuit against Live Nation and Ticketmaster.

But the same companies are also the subject of at least one government crackdown across the pond. Returning to the States, a DOJ inquiry into “unfair and anticompetitive” live/ticketing practices is in full swing, and not-so-subtle anonymous sources have pointed to a possible criminal antitrust probe targeting Live Nation and AEG alike.

YouTube Content ID payouts crossed the $12 billion mark in December 2024, according to a new report. Photo Credit: ilgmyzin

After cracking 125 million Music and Premium subscribers, YouTube has reported making a cumulative $12 billion in Content ID payouts as of December 2024.

The multibillion-dollar figure emerged in the video platform’s newly released “YouTube Copyright Transparency Report.” As laid out in the concise document, the sum reflects advert “revenue paid to rightsholders as of December 2024 from content claimed and monetized through Content ID.”

As a whole, YouTube indicated that these rightsholders (Content ID is said to have “over 7,700 partners”) in 2024 “chose to monetize over 90% of all Content ID claims.” And while the IP owners don’t solely deal in music, it’s safe to say that a significant portion of the monetization stemmed from songs.

“Over 99% of Content ID claims made in 2024 were made through automated detection,” YouTube added, “with partners’ usage of manual options being exceedingly rare (fewer than 0.5% of total claims).”

Next, looking at “the 3 years prior to January 2024,” YouTube said it’d paid north of $70 billion “to creators, artists, and media companies.”

A substantial piece of that payout pie – including both ad revenue and contributions from the aforementioned Music and Premium subs – presumably reached the music world as well.

With all that said, on an individual basis as opposed to a top-level view, one needn’t look hard to find compensation criticism of YouTube, which has long faced complaints pertaining to its per-view rates. And specifically in the music arena, the Google-owned platform has grappled with musician-spearheaded litigation centering on Content ID accessibility qualms.

(“Smaller, independent creators who do not meet the eligibility criteria for Content ID can still access these features through a number of service providers,” YouTube wrote in the report, perhaps with previous courtroom confrontations in mind.)

But the massive payout disclosures are interesting given that plenty of the relevant content wasn’t monetized at all in the not-so-distant past.

In the bigger picture, the data underscores that Spotify, despite its reach and comparatively robust subscriber base, certainly isn’t the only music-monetization player in town.

Keeping the focus on advertising, YouTube ad revenue growth (10.3% year over year to $8.9 billion) once again outpaced its Spotify counterpart (up about 8% year over year to $475.3 million) during Q1 2025.

There are several factors (some adjacent to the music space) at play here – with Spotify’s ongoing video buildout and advertising recalibration worth keeping in mind. Taken as a whole, though, the numbers seemingly attest to YouTube’s inherently advantageous positioning in a video-crazed entertainment landscape.

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: US Copyright Office

It looked like a quick solution to a nagging roadblock for AI’s tech bros. But gutting the US Copyright Office and its IP protections is proving trickier than originally planned. Here’s the latest in the fast-moving and quickly-shifting battle over control of IP’s most important government agency.

Just one week after a shocking shakedown at the US Copyright Office and Library of Congress, things might be going sideways for the tech bros. Suddenly, the premise that Register of Copyrights Shira Perlmutter was fired at the whim of tech bros is coming under question. Or, perhaps Elon Musk and associates – including White House AI and Crypto Czar David Sacks – are exerting far less influence over this situation than originally imagined.

Enter the appointed replacements, none of whom are ardently pro-AI, to say the least. According to details now confirmed by the Department of Justice, Trump allies Paul Perkins, Brian Nieves, and Todd Blanche are filling key roles at the Library of Congress and USCO – at least for now.

A huge question is whether these appointees will stick around, or whether they are merely transitional figures. But aside from the Constitutional questions surrounding Trump’s appointed replacements, an interesting question surrounds the philosophies of all three — in particular their tough attitudes towards tech.

A small sampling of 7digital-powered platforms (Photo: 7digital/Songtradr)

When it’s not Spotify, Apple Music, or YouTube playing your music, chances are it’s powered by someone else — and often, that someone is 7digital. While the biggest platforms dominate headlines, a vast ecosystem of music services is thriving behind the scenes, many of them built on 7digital’s infrastructure.

The following comes from Samantha Sawyer, the General Manager of Licensing and Technology Solutions at 7digital parent Songtradr, a company DMN is thrilled to be partnering with.

As the industry shifts its focus from scale to superfans, 7digital’s multi-product, cross-category, and global expertise positions it to help fuel the next phase of higher-value, higher-engagement music experiences.

With streaming growth plateauing and casual listening on autopilot, the push toward deeper fan relationships is gaining urgency. So what does Superfan 2.0 actually look like, and how can platforms get there faster?

Suddenly, the music industry is rethinking the one-size-fits-all streaming model, shifting its focus to deeper, more meaningful engagement with devoted fans. The momentum is real: Universal Music Group is already channeling hundreds of millions into superfan-first platforms and experiences. But despite the headlines, this movement is still in its early days.

So where will the next wave of superfan growth come from? It’s likely to emerge through bold experimentation, and 7digital is well-positioned to help lead the charge. As the engine behind a diverse array of music experiences across categories and markets, 7digital has the flexibility, global reach, and product depth to support the emerging needs of a superfan-driven economy.

If you’re unfamiliar with 7digital, there’s a reason for that.

The company has been powering a wide range of music platforms and experiences for years, but remains a behind-the-scenes player, and that’s by design. Now operating under parent company Songtradr, 7digital continues to expand its B2B footprint.

We’ve spent over two decades helping businesses navigate the complexities associated  with music technology infrastructure and music licensing, ensuring they can deliver incredible music experiences while staying fully compliant. Throughout these implementations, grabbing the spotlight has never been our focus.

Instead, 7digital’s role has always been clear: to provide the critical, often invisible infrastructure that powers music platforms at scale, helping them innovate, grow, and connect more deeply with their audiences.

As the engine behind many of today’s music experiences, 7digital provides fully licensed commercial music while navigating the complexities of rights management and ensuring proper compensation for rightsholders. It’s a notoriously tangled space, one that demands a backend partner with deep technical and legal expertise.

Once integrated, 7digital’s infrastructure supports a wide range of front-end experiences: from streaming and downloads to gaming integrations, background music, user-generated content, and more. It’s also built to flex — enabling platforms designed for niche communities, power users, and high-ARPU audiences alike.

The list of quietly-powered clients includes platforms like Canva and Connyct, fitness apps such as ApexRides, and wellness platforms including Grandpad, MedRhythms, and Resparke. Other platforms, like Triller and Pinterest, previously tapped 7digital’s backend to get their music offerings going.

Beyond that, 7digital also powers background music services for global retail and hospitality brands such as Moodmedia, Nightlife, Audalize, Qsic, and services offering in-flight entertainment to global airlines.

At the heart of these relationships is a robust network of content licensing partnerships that spans major labels, independent music rights holders (including Merlin members), and music publishing licensors.

With a catalog of around 150 million tracks, 7digital ingests an impressive 750,000 tracks per week, with three new independent suppliers joining monthly. This expansive catalog is a key asset in attracting clients who need access to comprehensive independent collections or those focused on specific genre niches.

As the industry continues its shift towards superfan-driven models, 7digital’s catalog depth could play a pivotal role in supporting the experimentation and innovation required to build this new landscape. Universal Music Group, for example, is already pouring significant resources into artist web pages designed to foster direct fan engagement and monetization. Meanwhile, Warner Music Group is experimenting with a Weverse-style fan platform, with Ed Sheeran at the helm.

7digital has already begun to support some fan-focused initiatives with its client Stationhead, a service which allows for collective licensing and engagement around album launches and artist-hosted, artist-led livestreams, with 7digital serving chart eligible download sales of the featured artist recordings.

And what about social media platforms?

As the industry evolves, many are now viewing platforms like TikTok through a different lens; not as opportunities to engage superfans, but as lower-ARPU challenges, fraught with licensing hurdles. This shift has led to a noticeable trend: a growing demand for compliant music solutions in user-generated content (UGC) platforms and emerging digital spaces.

The risks are real. The number of companies facing lawsuits for unlicensed social media content is on the rise, with major brands like Chili’s, Crumbl, Johnson & Johnson, and even the University of Southern California (USC) embroiled in legal battles over alleged licensing violations. Navigating this complex landscape requires expertise, and for the unprepared, the consequences can be severe, and they’re only escalating.

As platforms continue to integrate music into their offerings, the complexities of licensing and rights management have escalated significantly. This is where 7digital’s expertise in legal compliance and infrastructure shines.

Many companies underestimate the intricacies of music licensing and the legal risks associated with using music without proper clearance. 7digital’s solutions provide platforms with a way to navigate those challenges by offering fully licensed music catalogs and handling the often-overlooked reporting obligations that ensure compliance with copyright laws.

While these solutions are essential for the general music ecosystem, they’re especially critical for platforms that aren’t necessarily focused on superfan engagement. For platforms experimenting with niche audiences and higher-ARPU opportunities, 7digital’s flexible infrastructure and expertise in music licensing create a foundation for rapid experimentation and innovation.

That said, Superfan 2.0 presents its own set of complexities. While 7digital doesn’t hold the rights to every artist drawing a cult following, its capabilities can still support platforms built around superfans, particularly those already focused on fan-first models.

Take Bandcamp, for instance. Now part of the broader Songtradr ecosystem, it stands as a compelling example of where 7digital’s licensing and technology could amplify an already superfan-centric approach.

As the industry shifts and grows, the need for seamless, compliant solutions will only intensify. The way companies integrate music is evolving rapidly, and the demand for scalable, compliant solutions to power the next generation of music-driven platforms and superfan engagement has never been greater.

In the evolving landscape of music engagement, 7digital is quietly leading the charge; supporting the infrastructure that enables more meaningful, innovative, and legally sound music experiences.

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.

Jony Ive, who’s sold a company called io to OpenAI at a reportedly $6.5 billion valuation. Photo Credit: Marcus Dawes

Welcome to the hardware world, OpenAI: The artificial intelligence giant has acquired a startup, reportedly valued at $6.5 billion, founded by Apple vet Jony Ive. But is the play indicative of an AI bubble?

Ive and OpenAI head Sam Altman announced the agreement in a brief release as well as a 10-minute video. Described by some as one of the iPhone’s main designers, Ive (and his LoveFrom “creative collective”) “quietly began collaborating” with OpenAI and Altman two years back, the parties indicated.

As those involved tell the story, the talks set the stage for Ive to launch a hardware-focused venture called io last year. (Not directly mentioned is the 23% io interest OpenAI promptly scooped up, with today’s deal covering the remaining stake, per the Wall Street Journal.)

“It became clear that our ambitions to develop, engineer and manufacture a new family of products demanded an entirely new company,” Altman and Ive explained of io’s conception.

Now, Ive and his approximately 55-person io staff will come aboard OpenAI, with the mentioned LoveFrom taking a stake in the ChatGPT developer but remaining independent, per the Journal.

The same outlet and OpenAI itself didn’t shed too much light on what’s in the cards for io post-purchase; the Journal, citing anonymous sources, only noted that Ive will have a hand in “all” OpenAI’s ventures, from ChatGPT to the app and more.

But that probably doesn’t need saying given the astonishing $6.5 billion io valuation floating around. Also implied are the decidedly high expectations associated with OpenAI’s forthcoming hardware, which could include headphones and cameras.

While far from impartial, the above-noted video saw Altman disclose that he’d already tested one of the upcoming physical products. Part of a “family” of hardware, this device represents “the coolest piece of technology that the world will have ever seen,” he touted.

In any event, the purchase announcement underscores the ample capital floating around the AI sector – and raises questions about the initially mentioned possibility of a bubble. For better or worse, the rapidly evolving technology appears here to stay.

As is often the case, however, two things can simultaneously be true; AI’s quick-improving features and long-term relevance don’t mean there isn’t a bubble in the space.

Though time will tell how the well-financed episode plays out, OpenAI’s gargantuan valuation, Perplexity’s $14 billion value, the $5 billion at which legal-focused Harvey AI may raise capital, and a whole lot else are certainly worth keeping in mind.

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.