Photo Credit: Karol G, Feid, DFZM ft. Ovy On The Drums, J Balvin, Maluma, Ryan Castro, Blessd – +57 (Official Music Video)

Karol G has released an apology following the backlash to the lyrics in her new single, ‘+57,’ taking full responsibility. ‘I realize that I have so much to learn.’

Karol G quickly issued an apology, taking responsibility for the negative criticism of the lyrics in her newest single, “+57.” The song, which features fellow Colombian artists Feid, Maluma, J Balvin, Ryan Castro, and Blessd, has been criticized since shortly after its November 7 debut for its lyrics that allegedly perpetuate the sexualization of minors.

On Monday, November 11, Karol G took to Instagram to apologize, adding that she felt “very affected” and that she still has “so much to learn.”

The backlash stemmed from the lyrics in a verse shared by Karol’s boyfriend Feid, along with Maluma and Castro: “A mamacita since she was 14 / When she walks into the club, you can feel her energy.”

Karol said in her response that she is “constantly searching” for ways to “positively impact the lives of many people,” and that she assumes full responsibility for the negative reaction to her song.

“As artists, we are exposed to public opinion, and to the individual interpretations of people who like us and people who differ with what we do,” she wrote in Spanish. “I feel a lot of frustration about the misinformation that has been given.”

“The lyrics in the song, with which I sought to celebrate the union between artists and put a shine to my people, were taken out of context,” Karol explained.

“None of the things said in the song are written in the way people have claimed, nor were sung with that perspective — but I hear you, and I take responsibility, and I realize that I have so much to learn,” she added. “I feel very affected and I’m sorry from the heart.”

The singer then thanked her fans for their unconditional love and support, and said she appreciated the other artists on the song. “I want to keep in my heart the beautiful energy we worked with that day.”

Feid and J Balvin have shared Karol’s response on their social channels, voicing their support for her. “You have given us so much glory, so this doesn’t reduce your greatness,” wrote Balvin. “That song is ours, so we’re going to support you unconditionally.”

Photo Credit: Beyoncé’s YouTube

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

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

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

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

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

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

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

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

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

Photo Credit: Jack White’s YouTube

The White Stripes have dropped their federal lawsuit against Donald Trump and his campaign, as well as his aide Margo Martin.

The White Stripes, Meg and Jack White, have dropped their federal lawsuit against Donald Trump, his campaign, and his aide Margo Martin. The case was dismissed without prejudice, meaning they could choose to refile.

Jack White had openly threatened to sue Trump over his campaign’s use of the White Stripes’ hit “Seven Nation Army” in videos posted on social media. In September, he and his ex-wife and former bandmate Meg White made good on that threat, filing their lawsuit in New York federal court.

The lawsuit stated the pair “vehemently oppose the policies adopted and actions taken by Defendant Trump when he was President and those he has proposed for the second term he seeks.” Jack White threatened to sue on Instagram, alongside a copy of Trump aide Margo Martin’s post of a video including the White Stripes’ track, writing “Oh, don’t even think about using my music, you fascists.”

Many musicians have publicly expressed their disdain for the Trump campaign’s use of their music in rallies and videos posted to social media. These include ABBA, Celine Dion, and Foo Fighters.

Meanwhile, a long list of musicians have put their names to an open letter by the Artist Rights Alliance calling on US political parties to establish “clear policies requiring campaigns to seek consent” for the music they want to use in their events. Musicians who have signed so far include Aerosmith, Elton John, The Rolling Stones, R.E.M., Pearl Jam, Green Day, Blondie, Elvis Costello, Sheryl Crow, Alanis Morissette, Courtney Love, Lionel Richie, and many more.

Jack White has long been an outspoken critic of Trump, and released a lengthy statement on Instagram following the outcome of the US presidential election. But whether he and Meg White will opt to refile their lawsuit against the Trump campaign remains to be seen.

Other musicians who have released statements expressing disdain for the results of the presidential election include Ariana Grande, Bruce Springsteen, Ethel Cain, Cardi B, Jack Antonoff, and King Gizzard & The Lizard Wizard.

Photo Credit: Ubisoft (Far Cry 6)

Ubisoft Entertainment has announced it has re-inked its long-standing global publishing administration partnership with BMG. Ubisoft is the game developer behind the Assassin’s Creed, Far Cry, Just Dance, and Tom Clancy game series.

Earlier this year, Ubisoft made history when composer Stephanie Economou won the first-ever Grammy Award in the new category Best Score Soundtrack for Video Games & Other Interactive Media for Assassin’s Creed Valhalla: Dawn of Ragnarok.

Throughout their partnership, BMG and Ubisoft have teamed together on a number of successful creative collaborations with BMG songwriters contributing to musical works including Einar Selvik (Assassin’s Creed Valhalla), Mothica (Rocksmith), Profi Baloa (Far Cry 6), and Domino Saints and Ayo & Teyo (Just Dance).

“Ubisoft Music is super happy to continue this journey with BMG, whose shown tremendous support over the last few years for partnerships with our major brands and unique creative collaborations,” says Alkis Argyriadis, Ubisoft’s Head of Music.

“BMG takes great pride in representing Ubisoft, one of the world’s most successful and innovative game developers, as our long-time partner,” adds Maite Bursic, BMG’s VP, Music Publishing Creative. “Their versatility as a creative leader, expanding influence in music, alongside a growing presence in film and television, closely aligns with our strategic focus and shared commitment to pushing the boundaries of what’s possible in entertainment.”

Ubisoft was founded in 1986 and has evolved into a leading game developer and publisher. With a 38-year legacy of creating blockbuster franchises and groundbreaking new IPs, Ubisoft offers one of the industry’s most diverse portfolios. The company’s global network of studios and offices across 30 countries has been instrumental in driving their role at the forefront of the gaming industry’s explosive growth.

Ubisoft’s slate of recent releases include Skull and Bones, Star Wars Outlaws, and Just Dance 2025 Edition. Other highly anticipated releases include NFL Primetime Fantasy, Assassin’s Creed Shadows, and upcoming Netflix animated series Tom Clancy’s Splinter Cell: Deathwatch.

Photo Credit: King Records

Japan’s ‘Hypnosis Mic: Divisional Rap Battle’ is getting an interactive feature film to release in February next year. The franchise was developed by King Records in 2017.

The multimedia franchise “Hypnosismic,” developed in Japan by King Records in 2017, is set to expand and release an interactive feature film, “Hypnosis Mic: Division Rap Battle,” due out in February next year.

Developed by King Records in 2017, the franchise revolves around a world where weapons have been banned and men fight for supremacy through rap battles. Currently, the franchise includes music, radio dramas, manga, stage productions, games, and an animated TV series (anime).

The new film will be directed by Tsujimoto Takanori through Polygon Pictures, with a screenplay by Momose Yuichiro, who previously developed the franchise’s story, characters, and games.

Pitched as Japan’s first interactive movie, the film involves a new rap battle, the story and winner of which can vary at each screening. The outcomes are driven by real-time polling of the audience members through their smartphones.

“Since its inception in 2017, ‘Hypnosismic’ has captivated a vast global fanbase,” said the film’s producers. “As Japan’s first interactive film, ‘Hypnosis Mic: Division Rap Battle’ not only elevates the commercial value of the IP but also enhances the viewer experience by engaging audiences in its unique interactive format.”

“Interactive movies are more than an entertainment novelty. They embody a profound integration of technology and film,” they continue. “This format introduces new business and revenue models for the film industry, moving beyond traditional cinema big screen into a multi-platform approach that includes gaming, streaming services, and location-based entertainment.”

Details of the new film were unveiled at the AGF2024 event in Tokyo’s Ikebukuro district over the weekend. Ticket pre-booking began immediately ahead of a theatrical release through Toho Next, beginning on February 21, 2025.

The first anime series premiered in October 2020, with a second season airing in 2023. These were animated by a different production house, A-1 Pictures, and featured different staff. The series ran with a simulcast on Funimation, Sony’s specialty streamer that has since merged with anime streaming platform Crunchyroll.

Photo Credit: Braxton Keith

Warner Music Nashville has signed rising honky-tonk vocalist Braxton Keith. His first major-label debut track, “Fall This Way” will feature on his upcoming EP, Blue, which is dropping on December 6.

Keith’s 80s country sound and aesthetic attracted attention to his live shows in San Antonio. He learned to play piano from his grandmother and grew up singing family-friendly tunes like “The Carroll County Accident.”

“There’s something romantic about the country music scene in Texas—it’s that connection with that crowd,” Keith said about the signing. “It doesn’t matter what day of the week it is, whether it’s an old raggedy bar or wherever the hell you are, they’re going to show up, and I fell in love with creating moments with those fans. I just try to imagine it’s a 90-minute show for me, but it’s a lifetime experience for them.”

Braxton Keith is managed by Alex Torrez and Emily Vincent at Torrez Music Group. He is represented by Andrew McWilliams at Evergreen Artist group. Keith will next take to the stage as a headliner at The Bluestone in Columbus, Ohio on November 14.

The Bluestone is a unique venue with cathedral ceilings thanks to its origins as a 115-year-old church. He’ll also open a run of dates for Cody Johnson’s Leather Tour, which kicks off on November 15 at Philadelphia’s Wells Fargo Center.

Keith says he’s planning on releasing more music in 2025. He’s been touring nationwide non-stop since 2020. His self-released singles and EPs have earned the honky-tonker a solid social media following. Keith first arrived in Nashville in 2021 and currently splits his time between Nashville and San Antonio—honing his songwriting talent. Braxton is a 23-year-old singer and is originally from Midland, Texas. He shares that his two younger brothers were extremely smart and athletic, while God gifted him with a love of music and playing instruments.

Keith says his musical heroes consist of country western legends including Marty Robbins, Merle Haggard, Brooks and Dunn, Hank Williams, Bob Wills, George Strait, and others.

Photo Credit: Beyoncé by Raph PH / CC by 2.0

Yale University is introducing a course dedicated to studying the cultural impact of Beyoncé, to kick off next spring.

A course dedicated to studying Beyoncé’s cultural impact is coming to Yale University, set to kick off next spring. Titled “Beyoncé Makes History: Back Radical Tradition History, Culture, Theory & Politics Through Music,” the course will be offered through the humanities and arts department and focus on her body of work, from her self-titled debut album to her most recent album, Cowboy Carter.

Yale’s course will also delve into Beyoncé’s performance politics and her concert films, as a lens through which students will examine black intellectualism and activism. The course will also explore scholarly works and cultural texts across black feminist theory and philosophy, performance studies, musicology, and more.

Taught by writer and black studies scholar Daphne Brooks, who co-founded Yale’s Black Sound & the Archive Working Group — faculty and students working to “explore the untapped variety of black sound archives” — the course has been in the planning stages for years.

“I’m looking forward to exploring her body of work and considering how, among other things, historical memory, black feminist politics, black liberation politics, and philosophies course through the last decade of her performance repertoire as well as the ways that her unprecedented experimentations with the album form itself, have provided her with the platform to mobilize these themes,” said Brooks in an email to NBC.

Beyoncé’s Cowboy Carter recently received 11 Grammy nominations, after being thoroughly snubbed at this year’s Country Music Association Awards. In total, this makes her the most Grammy-nominated artist in history, with 99 altogether.

Other universities have offered similar courses about Beyoncé and her cultural impact, including Rutgers University, the University of Illinois at Chicago, Cornell University, the University of Texas at San Antonio, California Polytechnic State University, and Arizona State University.

Notably, Beyoncé isn’t the first pop star to be embraced by university courses. Lady Gaga has been the subject of a 2010 University of South Carolina module, and Taylor Swift became the focus of courses at multiple colleges, including the University of Ghent in Belgium, Harvard University, UC Berkeley, and the University of Florida. Meanwhile, New York University offered a course on Lana Del Rey.

Photo Credit: YouTube (Tyler, The Creator)

Tyler, the Creator has taken to social media to reassure fans he is working to get copyright strikes against reactions to his new album ‘Chromakopia’ lifted. Here’s the latest.

‘Chromakopia’ dropped at the end of October, with fans sharing their reactions on social media like TikTok, Instagram, and YouTube. However, many of these fans said their reactions were copyright stricken and blocked—either with the sound being removed or the video removed completely.

After a fan posted their frustration about having the video removed, Tyler commented personally, “Gonna make sure the block gets lifted man, hit my squad up early this am.” The fan Tyler originally responded to replied to his comment stating, “Video is up and all blocks lifted. Appreciate you helping.”

The Instagram account SleepingonGems reported the news, “Many fans were experiencing issues when uploading videos of them listening to ‘Chromakopia,’ so Tyler decided to step in and remove the copyright strikes,” the report reads. “More artists need to do this. Kendrick did the same with ‘Not Like Us.’ Love to see it.”

Both Kendrick Lamar and Drake removed copyright strikes on their respective diss tracks, helping the rap beef explode to national attention earlier this year. The back-and-forth dropping of new diss tracks created a situation in which fans of either artist were waiting online with bated breath for the next diss track to drop. Those with a YouTube or TikTok presence covering the hidden meanings behind the lyrics made a killing—notably because artists released their copyright claims so social media posts could proliferate.

Tyler, the Creator wants to create hype online about his new album and one of the best ways to do that is to allow fans to create reaction videos discussing the lyrics. It involves snippets of the songs behind made available in YouTube videos and on TikTok—but most works discussing an album are purely reactions to a specific lyric rather than a wholesale streaming of the song or album. The distinction here is allowing people to discuss the music while sharing bits of it creates more conversation around the track and album, rather than silencing it completely with copyright strikes.

Photo Credit: Chappell Roan by Justin Higuchi / CC by 2.0

Chappell Roan has parted ways with her management team at State Of The Art, headed by Nick Bobetsky.

Hot on the heels of her first set of Grammy nominations, Chappell Roan has abruptly split with her management team. Her former management team at State Of The Art has been headed by Nick Bobetsky, who met Roan in 2018.

In 2025, the pop sensation is up for Album of the Year (The Rise and Fall of a Midwest Princess), Record of the Year, Song of the Year (both for “Good Luck, Babe!”), and Best New Artist — but her former management team didn’t mention her in their recent Instagram post congratulating their talent for their nods. That post has seemingly been removed, but the rumors were already circulating.

The news was confirmed by Nathan Hubbard, former Ticketmaster CEO, on a recent episode of the Every Single Album podcast. According to Hubbard, the news has sparked a frenzy in the industry as top managers scramble to make their bid to sign the rising star.

In addition to her Grammy nominations, Roan made her musical guest debut on Saturday Night Live, where she performed an unreleased track, the country-flavored pop track, “The Giver.” She also debuted an unreleased track, “Subway,” at her Governors Ball set over the summer. The 26-year-old has been busy writing new material.

But her rise to fame hasn’t been without its complications. Chappell Roan has been very outspoken about the “predatory” interactions she’s had with fans, and the toxic nature of fans who feel entitled to an artist’s time. “I don’t agree with the notion that I owe a mutual exchange of energy, time, or attention to people I do not know, do not trust, or who creep me out — just because they’re expressing admiration,” she said.

“I’m not afraid of the consequences for demanding respect,” she continued, explaining that the experience goes beyond just being famous. “Every woman is feeling or has felt similar to what I’m experiencing. This isn’t a new situation.”

Photo Credit: Cumulus Media

Cumulus Media starts layoffs in Indianapolis and Central Pennsylvania following iHeartMedia’s job cuts last week.

Cumulus Media has started layoffs in Indianapolis and Central Pennsylvania this week ahead of the holiday season, joining iHeartMedia who cut around 500 jobs the week prior.

In Central Pennsylvania, Cumulus parted ways with WARM Program Director Dave Russell, and radio personalities AJ Cobain, Venetia Stephenson, and Gary Sutton. In Indianapolis, the company saw the departure of multiple industry veterans, such as WZPL Program Director Jimmy Steele, who came on in 2022 after serving as Operations Manager for Cumulus in Mobile, Alabama.

Other Indianapolis mainstays to exit Cumulus include WFMS morning co-host Kevin Freeman, who leaves after three decades with the company. Freeman is joined by WJJK afternoon host Laura Steele, Promotions Coordinator Jennifer Trevino, and members of the sales team.

Meanwhile, the list of names of those affected by iHeartMedia’s round of layoffs the week of the election continues to grow, with roles including both market and regional personnel.

Bob Pittman, CEO of iHeartMedia, addressed the recent layoffs during the company’s Q3 earnings call, where he assured shareholders that radio is still going strong as it seeks to save $150 million by “eliminating redundancies.”

“What we’re not doing is getting rid of air talent. What we’re able to do now, because we’ve got technology, is we can take talent we have in any location and put them on the air in another location. So it allows us to substantially upgrade the quality of our talent in every single market we’re in,” said Pittman in response to Radio Ink.

“There’s not a slot for everybody. Just because [talent] was willing to live in the market, doesn’t assure that they’re the best person for that slot.”

The radio giant has cut long-time radio hosts and employees in major markets across Boston (Alan Chartrand), Chicago (Angie Taylor, Matt Scarano), Cleveland (Bill Squire, Mary Santora), Dallas (Patrick Davis, Cruz, Domininc ‘Zakk’ Zaccagnini), Denver (Alfred ‘Big Al’ Williams, Michael Coover, Brandon Krisztal), Houston (Karah Leigh, Stan Norfleet), Miami (Gina Ulmos, Frankie P Pagliaro, Armando Lapido, Mark Mackenzie), New York (Len Berman, Michael Riedel, Terry Trahim), Philadelphia (Mike Kaplan, Sam ‘Nugget’ Dababneh), Phoenix (Jody Oehler, Kelly Manders), Salt Lake City (Eric E. White, Erica Shea), San Francisco (Don Parker, Jerry Houston, Jason Dahlstedt, Chidi Nwachukwu), Washington, D.C. (Paul Jaxon, Lisa Berigan), and countless others.

Photo Credit: Euronext FX

Israeli soccer fans were assaulted in a series of antisemitic attacks from young people specifically targeted Jewish people. Five people were treated at hospitals, while dozens more were arrested for participating in the attacks. Now, billionaire Bill Ackman says Pershing Square will seek removal from Euronext Amsterdam and is pressuring Universal Music Group to do the same.

Amsterdam banned demonstrations over the weekend after the antisemitic attacks occurred on Friday, with the Amsterdam mayor calling the orchestrators “antisemitic hit-and-run squads.” Mayor Femke Halsema said Maccabi Tel Aviv soccer fans were “attacked, abused, and pelted” with fireworks around the city—forcing riot police to intervene and protect them from further abuse.

Videos of the attacks went viral on social media, showcasing many attackers shouting anti-Israeli slurs. Antisemitic incidents in the Netherlands have surged since the October 7 Hamas attack on a peaceful music festival and other areas. Many Jewish organizations have reported receiving threats and hate mail. Israel’s Prime Minister Benjamin Netanyahu’s government sent planes to the Netherlands to bring those soccer fans home.

Now, Bill Ackman says he is going to seek approval from the board of Pershing Square Holdings (his family owns 23%) to eliminate the Euronext listing. Ackman says he is also seeking to persuade UMG to jump ship from Amsterdam as well.

“I have also begun the conversation with UMG (on whose board I sit) which is domiciled in Amsterdam as well as listed there, about moving its domicile and its listings to the United States, which will offer similar as well as other highly material benefits,” Ackman said in a statement posted on X/Twitter.

“Pershing Square has a contractual right to cause UMG to be listed in the United States. We will exercise this right and achieve a US listing for UMG no latter than sometime next year.”

“UMG trades at a large discount to its intrinsic value with limited liquidity in significant part due to it not having its primary listing on the NYSE or NASDAQ and not being eligible for S&P 500 and other index inclusion. We are going to fix this. Now is a good and appropriate time to do so.”

UMG has been listed on the Euronext Amsterdam exchange since 2021 and Pershing Square owns 10.25% of UMG’s stock. A UMG spokesperson confirms no one from UMG spoke with Ackman before his statement.

“As disclosed in UMG’s listing prospectus, Persing has the right to reqest a listing in the U.S. subject to a Pershing entity selling at least $500 million in UMG shares as part of the listing. Pershing does not have any right to require UMG to become a US domiciled company or delist from Euronext Amsterdam.”

“While the company will endeavor in good faith to comply with its contractual obligations with respect to undertaking the process of a US listing at the request of Pershing, any actions or decisions beyond those necessary to comply {including any decisions to change the domicile of the company) will be based on an analysis taking into account what is value maximizing and in the best interests of all shareholders of the company.”

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

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

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

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

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

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

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

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

Photo Credit: Jathan Campbell

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

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

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

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

Record of the Year

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

Album of the Year

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

Song of the Year

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

Best New Artist

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

Best Pop Solo Performance

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

Best Pop Duo/Group Performance

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

Best Rap Album

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

Best Rap Performance

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

Best Country Album

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

Best Country Solo Performance

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

Best Rock Album

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

Best Rock Performance

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

Best R&B Album

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

Best R&B Performance

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

Photo Credit: Universal Music Group

UMG’s $500 million lawsuit against Believe gets ready to move ahead with a pretrial conference set for January.

Universal Music Group’s massive $500 million copyright infringement lawsuit against Believe and TuneCore over “rampant piracy” is moving forward, with a pretrial conference set for January 8. The conference will be held in person in a New York courtroom.

“Counsel are directed to confer with each other prior to the conference regarding settlement and each of the other subjects to be considered,” the filing reads. “The parties are hereby ordered to file […] a joint letter, as well as a proposed Civil Case Management Plan and Scheduling Order […] no later than January 2.”

The pretrial conference follows Believe’s vow to fight the lawsuit in court. Universal alleges Believe and its TuneCore distributor failed to vet third parties’ infringing works and distributed them to DSPs like YouTube, wrongfully collecting their royalties in the process. The infringed works include those from Post Malone, Kendrick Lamar, Lady Gaga, and many more.

Attorneys for UMG argue that Believe has caused substantial harm to their client’s business, artists, and other contributors. They seek damages of at least $500 million, as well as a permanent injunction to stop Believe from infringing further.

UMG’s complaint outlines Believe’s practice of wrongfully collecting royalties and cites several examples of infringement, which include “sped up” or “remixed” versions of popular songs. Further, Believe is accused of exploiting YouTube’s content management system to claim ownership of recordings and thereby diverting royalty payments.

“Believe is well aware that such tracks are popular on certain digital services and more likely to evade the checks that digital music services use to detect infringing material on their platforms,” says UMG.

Believe and TuneCore responded to media requests for comment by simply stating they “do not comment on pending litigation.” A Believe spokesperson told Digital Music News, “As companies that work with artists and labels around the world, we take the respect of copyright very seriously. We strongly refute these claims, and the statements made by Universal Music Group, and will fight them.”

Photo Credit: Vasilis Chatzopoulos

In a shareholder letter on Thursday, Jack Dorsey’s Block confirmed it is scaling back investment in TIDAL in favor of mining Bitcoin.

“We are scaling back our investment in TIDAL and winding down TBD,” Block told shareholders in the letter. TBD is a Bitcoin-focused arm of the company that focused on building out a new, decentralized internet. “This gives us more room to invest in our bitcoin mining initiative, which has strong product market fit and a healthy pipeline of demand, and Bitkey, our self-custody wallet for bitcoin.”

Another wrinkle in this puzzle is that Block staffers were apparently ordered by executives not to discuss prominent board member Jay-Z. Staffers received warnings from management that they should avoid mentioning Jay-Z on internal company communication like email or Slack. Jay-Z is one of Block’s nine board members after TIDAL was acquired by Block in 2021.

Last week, TIDAL experienced layoffs from its small team, while it is expected that “scaling back investment” may result in more layoffs. TBD was also impacted by those layoffs before being shuttered entirely by Block. Will that be the fate of Tidal?

The order not to mention Jay-Z on internal communications came as employees began questioning his role in Block’s board—especially as the allegations against Diddy have reached a fevered pitch. Both Jay-Z and Diddy have collaborated frequently on music and have been photographed together multiple times over the years.

Fortune reports that shortly after Block employees were warned away from mentioning Jay-Z, Jack Dorsey held a virtual all hands meeting. Block employees are usually encouraged to ask questions—even anonymously—during these meetings.

For this particular meeting however, Dorsey turned off the ability for employees to ask anonymous questions. Those present on the call said Dorsey kicked off the meeting by complaining about negativity from his staff. Dorsey told them to answer the question “why are you happy you’re here?”

Photo Credit: Earthprogram

Emerging alt-pop artist Izzy MacArthur’s debut EP drops November 8 (today) through a unique scavenger hunt with her loyal cult fanbase. The pop star mailed anyone who pre-saved her previous single “Landmines” clues that direct fans to work together via social media to solve the new mystery. The result is the title of a 5-track EP.

MacArthur says ‘Blame It On A Bad Dream’ represents Izzy’s response to a time of chaos, uncertainty, and many late nights spent ruminating on changes in her life. Those changes include exiting adolescence and discovering who she is as a newly minted young adult. Izzy MacArthur has already amassed 98,000+ streams on Spotify with just four songs under her belt. This EP release solidifies her debut as a formidable emerging artist with deliberate songwriting and storytelling skills.

The tracks on this debut EP were written in collaboration with Spencer Hattendorf, Nate Mondschein, and Fran Litterski (Danielle Bradbury, Mary Kutter), with MacArthur maintaining a close knit team to weave a thread through the collection of songs. Focus-track “Light Sleeper” is the opener, while her single “Exit Wounds” follows.

Blame It On A Bad Dream EP Track Listing

“Light Sleeper”

“Exit Wounds”

“Landmines”

“Misery Missing Company”

“Sleepwalking”

“I wanted for the EP ‘eve’ to be on my birthday because I feel like birthdays signify the beginning and end of a chapter, which is what ‘Blame It On A Bad Dream’ represents for me right now,” Izzy MacArthur tells Digital Music News about the new release. “I’m nostalgic because I wrote these songs about a period of my life where I did a lot of growing up, but also know this is just the beginning. I think birthdays have the same sentiment, where you’ve grown up another year, but at the same time, it’s not like humans are stagnant. We’re always changing and I don’t quite think we ever stop growing up.”

The ‘Blame It On A Bad Dream’ EP features all released singles up to this date, including “Exit Wounds.” That single was described by Under the Radar as “giving voice to and laying bare the hidden anxieties and unspoken truths that remain in the aftermath of heartbreak.” Izzy narrates her life with a raw sense of lyricism, balancing the fragile nature of speaking on loved ones’ mental health delicately on “Landmines” and of her own discomfort in “Light Sleeper.”

“‘Light Sleeper’ felt like a song I needed to write at the time, and when I did, it felt like a huge weight had been taken off my chest,” MacArthur says. “It’s really special to me because I named the EP after a line in it. The song somewhat represents how I felt during the period I was writing all these songs. The same specific memories would pop up in my head over and over again, and I was stuck in a quite cyclical headspace.”

“Blame It On A Bad Dream’ was the first line I wrote in my notes app when I began writing for the EP, but ironically, the last song we finished. I kept trying to sneak in other songs, and nothing stuck until we wrote ‘Light Sleeper.’”

Izzy invites listeners to immerse themselves in a vivid recount of a piece of life they feel as if they’ve lived before. Her knack for drawing together her inspirations, along with unabashed, and sometimes blunt confessional style of writing reveals her confidence and grace as she stands on her own two feet. Izzy cites current favorite artists like Lorde, Sam Fender, and the 1975, as well as artists she loved growing up like Fall Out Boy, Catfish and the Bottlemen, Matt Maeson, early Miley Cyrus, and Bon Iver as major contributors to her current sound.

Photo Credit: Berkay Gumustekin

TikTok says it will challenge Canada’s national security ban of the app in court, but users shouldn’t have anything to worry about yet.

The Canadian government announced on Wednesday that it is banning TikTok’s operations in the country following a rigorous national security review under the Investment Canada Act. But TikTok says it will challenge the decision in court.

“Shutting down TikTok’s Canadian offices and destroying hundreds of well-paying local jobs is not in anyone’s best interest, and today’s shutdown order will do just that,” reads a statement from TikTok. “We will challenge this order in court. The TikTok platform will remain available for creators to find an audience, explore new interests, and for businesses to thrive.”

Many Canadian users of the short-form video app have worried they would be barred from using the platform, but there is currently no reason to worry. The ban mostly affects TikTok employees in Toronto and Vancouver, and does not remove or block the app from Google Play or Apple’s App store in Canada.

According to TikTok’s Canadian newsroom, hundreds of TikTok employees work at the company’s Toronto and Vancouver offices. “The government is taking action to address the specific national security risks related to ByteDance Ltd.’s operations in Canada through the establishment of TikTok Technology Canada, Inc.,” said Minister of Innovation, Science, and Industry, François-Philippe Champagne.

“The decision was based on the information and evidence collected over the course of the review and on the advice of Canada’s security and intelligence community and other government partners.”

Moreover, Champagne clarified this wouldn’t affect the average TikTok user and their access to the app. But the government doesn’t recommend using the platform at all.

“The decision to use a social media application or platform is a personal choice. It is important for Canadians to adopt good cyber security practices and assess the possible risks of using social media platforms and applications, including how their information is likely to be protected, managed, used, and shared by foreign actors, as well as to be aware of which country’s laws apply,” said Champagne.

Notably, TikTok doesn’t offer a creator fund in Canada, and many influencers have resorted to using US-based accounts in order to make money on the platform. The government’s move could therefore affect further opportunities for creators to earn funds through TikTok.

Photo Credit: Indra Projects

iHeartMedia announces its Q3 financial results, with layoffs trimming $150 million in 2025 costs to curb outstanding debt.

iHeartMedia’s third-quarter financial results spell positive news for the company amid the layoff of hundreds of employees. The company brought in $1.008 billion during the quarter, representing a 5.8% increase compared to the same period in 2023.

Revenue for the company’s Digital Audio Group rose by 13% to $301 million, with podcast revenue alone increasing by 11%. The company brought in $114 million in revenue from the category during the quarter.

Multiplatform Group revenue dropped slightly, down 1% to $620 million. The Audio & Media Services Group sector saw an impressive growth in revenue with 45%, earning $90 million.

“We’re pleased to report that our third quarter results were in line with our previously provided Adjusted EBITDA and Revenue guidance ranges,” said iHeartMedia Chairman/CEO Bob Pittman.

“We continue to see evidence that this is a recovery year for advertising revenues, and the strong momentum in our podcast business, our digital ex-podcast business, and the sequential improvement of our Multiplatform Group’s year-over-year revenue performance reflect the power of our unparalleled reach, consumer relationships, and range of assets.”

The radio giant also announced a debt restructuring that includes a $4.1 billion debt exchange, projected to extend maturities by three years.

“We’re happy to announce that we have entered into a Transaction Support Agreement with a group of debt holders representing, on an aggregate basis, approximately 80% of the Company’s outstanding debt to support an exchange of approximately $4.1 billion of debt for new notes and term loans,” adds Rich Bressler, iHeartMedia’s President, COO, and CFO.

“The exchange offers will extend maturities by three years, keep consolidated annual cash interest essentially flat, and provide debt reduction — all of which will strengthen the Company’s financial flexibility, and provide us with the runway to accelerate our strategic growth initiatives.”

The company’s good news in the realm of revenue increases comes hot on the heels of widespread layoffs at iHeartMedia, which began last week. iHeartMedia is cutting roughly 5% of its workforce, which amounts to about 500 employees losing their jobs.

Photo Credit: Denise Jans

The argument over whether Diddy’s accusers can remain anonymous in civil and criminal sex abuse cases heats up as over 13 accusers may have to refile.

As Sean “Diddy” Combs faces numerous sexual assault accusations from anonymous defendants in civil and criminal court, his lawyers argue that such anonymity impedes his right to a fair trial.

In over half of the 27 sexual abuse civil suits filed against Combs, the plaintiffs filed under Jane Doe or John Doe pseudonyms. The defense in his criminal case with charges of racketeering and sex trafficking argues that prosecutors should be forced to reveal the names of the accusers.

“Without clarity from the government, Mr. Combs has no way of knowing which allegations the government is relying on for purposes of the indictment,” his lawyers wrote in a letter to the presiding judge.

Though sexual assault victims have long sought anonymity in court, securing anonymity in civil court can be a challenge. US civil courts are more likely to grant anonymity in sexual assault cases than in other litigation, particularly when minors are involved, but judges still often decide in favor of a defendant’s right to a fair and open trial.

“The norm is that people have to sue under their own name,” said Eugene Volokh, a law professor who studies anonymity in court. “And that’s true even when there’s a very good reason for them not to.”

At least two judges in the Federal District Court in Manhattan have rejected requests from plaintiffs to remain anonymous in lawsuits against Combs. Notably, in similar sexual assault cases against Harvey Weinstein and Kevin Spacey, courts have rejected bids to proceed anonymously. Plaintiffs in both the Weinstein and Spacey cases have decided to withdraw their claims rather than reveal their identities.

But in some cases, courts have taken into account the “mental anguish” plaintiffs say they will experience if forced to reveal their identities to the public. A recent case against actor Cuba Gooding Jr. saw the judge allow the plaintiff to proceed anonymously for three years, before ruling they would have to reveal their identity publicly when the trial began.

“Most of our clients still fear retribution and have conditioned moving forward on anonymity,” said attorney Tony Buzbee, with whom most of the anonymous suits have been filed.

But judges may find that fear of retribution isn’t a solid argument, given that Combs is in custody in a Brooklyn jail awaiting trial next May. Combs and his team have denied any wrongdoing, with his lawyers referring to the lawsuits as “an onslaught of baseless allegations” focused on exacting a payoff.

Photo Credit: Orange Amplification

Orange Amplification has teamed up with Orianthi to debut a limited-edition Orianthi Crush 20RT portable app.

Orianthi partnered with Orange Amplification to release a travel-friendly amp that’s functional and reliable. The new limited-edition Orianthi Crush 20RT has been played by the respected guitarist, singer-songwriter both in the studio and at live gigs with a glowing response.

The white Tolex-clad, solid-state signature Crush 20RT offers some of the most distinctive tones available in its price range. With the gain turned down, theamp delivers a versatile crystal clean tone. The ‘dirty channel’ can be selected to unleash high levels of detailed creamy distortion to full saturation.

The Crush 20RT offers a wide range of sonic possibilities, courtesy of an 8” custom-designed ‘Voice of the World’ speaker. From modern sonic punch to vintage tones, this portable amplifier also includes a 3-band EQ, built-in ‘spring-inspired’ reverb, and a chromatic tuner.

The amp also features Orange’s innovative CabSim circuit that faithfully emulates the muscle of an Orange 4 x 12” cabinet through the Crush 20RT’s headphone/line output. At just 16 pounds, the Crush 20RT is one of the most portable guitar amps available on the market. You can check out a video of Orianthi playing while using the new Orange Crush 20RT limited-edition portable amp below.

“I wanted a portable amp I could use anywhere,” Orianthi says about the partnership. “There’s a soaring tone you get from this amp despite its small compact size. Plus this amp is really diverse — from the clean channel to the dirty channel—there’s warmth and there’s grit, it really is quite incredible. I think everyone is really going to dig it.”

The Crush 20RT was designed to offer more guitarist British-designed circuitry and authentic British tonality. For amp aficionados the world over, the recently released limited-edition ‘Oriverb’ combo amp is also offered on the Orange Amps website.

Photo Credit: Jason Hafso

The Canadian federal government is ordering the dissolution of TikTok’s Canadian business operations after a national security review. While the app is being banned from doing business in Canada, Canadians are still free to use the app.

Industry Minister François-Philippe Champagne announced the government’s ‘wind up’ demand on Wednesday. He says the order is meant to address risks related to ByteDance Ltd.’s establishment of TikTok Technology Canada Inc. “The decision was based on the information and evidence collected over the course of the review and on the advice of Canada’s security and intelligence community and other government partners,” Champagne said in a statement.

The announcement of TikTok winding up its Canadian business operations specifically mentions that Canada is not blocking access to TikTok. Canadians will still be able to create a new account and browse the app. The announcement did contain a warning for Canadians to adopt good cybersecurity practices and assess the risk of using social media platforms.

A TikTok spokesperson commenting on the wind up says the shut down of its Canadian offices will result in hundreds of job losses for Canadians. “We will challenge this order in court,” the spokesperson confirmed. “The TikTok platform will remain available for creators to find an audience, explore new interests, and for businesses to thrive.”

Meanwhile in the United States, the U.S. House of Representatives passed a bill in March 2024 that would ban TikTok if ByteDance does not divest ownership. That ban will come into effect in January 2025 unless President-elect Trump makes an effort to overturn it. Trump has signaled his support of TikTok, despite leading the charge on the initial TikTok ban from 2020.

TikTok has been banned on federal devices in the United States since 2020. Meanwhile, the federal government in Canada banned TikTok from mobile devices in February 2023 following the launch of this security investigation.

Photo Credit: Geffen / Primary Wave / BIGHIT Music

BTS’ V records a duet rendition of Bing Crosby’s timeless 1942 holiday classic, ‘White Christmas.’

K-pop icon V of BTS and the legendary Bing Crosby have announced the release of “White Christmas (with V of BTS),” a new duet rendition of Crosby’s 1942 classic holiday hit. In partnership with the Bing Crosby Estate, Primary Wave Music, and Geffen Records, the duet arrives just in time for the holiday season on December 6.

The collaboration is a testament to V’s long-standing admiration for Bing Crosby, expressed through social media posts and content that led to playful exchanges with Bing Crosby’s legacy, sparking excitement and anticipation among BTS’ fandom, the ARMY.

The collaboration brings together global icons across two eras as V continues an exciting legacy of Bing Crosby’s holiday duets, celebrating 47 years since his last cross-generational collaboration in 1977 with David Bowie.

“I’m so grateful to have had the chance to be featured in a song with my all-time favorite jazz artist, Bing Crosby,” said V. “I grew up listening to his song, ‘It’s Been a Long, Long Time,’ countless times a day, and I feel incredibly fortunate and honored to have sung along on ‘White Christmas’ with the voice of someone I consider an idol. Being a huge fan of his, I sang with the utmost sincerity and admiration for him, and I hope many people enjoy it as much as I enjoyed singing it. Lastly, I wish a lovely holiday season to everyone listening to the song.”

Mary Crosby, Bing Crosby’s daughter, said, “As a family, we are thrilled to have V and Dad singing together on this ultimate Christmas song. Their voices blend beautifully, capturing the holiday spirit in the best possible way.” Harry Crosby, his son, added, “We are incredibly excited about V joining Dad for the duet of ‘White Christmas.’ We are happy that V will help share the joy of this timeless Christmas song.”

With winter drawing near, the duet serves as a heartfelt gift to connect fans and listeners worldwide, filling them with the warmth and joy of the season. The holiday classic is accompanied by an exclusive holiday-themed vinyl, CD, and merchandise.

Fans can choose between distinct vinyl variants: a Holiday Picture Disc Vinyl and a Zoetrope Snowflake Vinyl. There are also two exclusive options for CD collectors: a Pink Picture Disc and a Snowflake CD.

Photo Credit: Roblox Clip It

Roblox is coming for short-form video apps like TikTok, Instagram Reels, and YouTube Shorts. A game developer created Clip It inside Roblox—which is a TikTok clone that operates exclusively on Roblox. It has racked up more than one billion views and has eight million monthly active users.

The Roblox ‘Clip It’ game was developed by Neura Studios and released in March 2024. It mimics many of the same features found in social media short-form apps, including a suite of editing tools to allow creators to post clips from the game or create their own by posing their avatar against different backgrounds.

Neura Studios recently added Roblox’s programmatic ad sales system—allowing Roblox to place ads inside Clip It for revenue. Neura Studios also sells content packs that pad its editing suite with exclusive backgrounds and other tools. “We’re also a really big seller of Roblox user-generated content items. If a character is wearing something people want, it’s easy for them to spend Robux and acquire it in two to three taps,” Yevheniy Shestopalko, Clip It’s lead developer told Digiday.

Clip It received a portion of Roblox’s $35 million Creator Fund and an Innovation Award from the 2024 Roblox Developers Conference held in September. While the app is limited to content inside Roblox, it perfectly simulates what it feels like to use TikTok or YouTube Shorts—just with Roblox content.

Neura Studios says it plans to incorporate full-screen video ads, custom branded integration, and more. Apparently, some brands have already signed on for upcoming ad products while other brands are still in negotiations for the social media embedded app.

“2025 is set to be our busiest year by far, and we’ve got several items on our product roadmap which will unlock new ideas that haven’t been possible before,” Ben Saraille Co-Founder of Makeshift, an ad agency Neura Studios tapped to help with its business expansion told Digiday. “As a rule of thumb, if there’s a feature you’re used to using in advertisements on TikTok, Snap, Instagram, or YouTube Shorts—it’s either there or will be soon.”

US-based recorded music revenues, all formats, inflation-adjusted, 1994-2023 (Data Source: RIAA)

Here’s a hard, inflation-adjusted look at the actual state of recording music sales in 2024 – and where things might go next.

Somewhere, in the gigantic and conflicting jumble of music industry statistics being bandied about, recorded music sales made a clean comeback. The phrase, ‘streaming saved the music industry,’ is partly true. However, when it comes to actual recorded music revenues, the latest data reveals that streaming hasn’t come close to powering an actual recorded music sales comeback, particularly in the largest recorded music market.

Report Table of Contents

I. Where Music Recordings Really Stand In 2024 – The Latest Inflation-Adjusted Data

A. A Look at the Most Important Recorded Music Formats, 1994-2023

B. How Is 2024 Likely to End? A Look at the H1 Stats

II. The Streaming Plateau: Discouraging Financials from Universal Music Group

III. What Breaks the Logjam? Streaming Music Evolution, Physical Formats, Superfan Engagement Await In 2025

Please note that this report is for DMN Pro subscribers only. Please do not redistribute. Thank you!

Photo Credit: Sal Priadi / Sony Music Publishing Indonesia

Sony Music Publishing Indonesia signs an exclusive global deal with Indonesian singer, songwriter, and actor Sal Priadi.

Sony Music Publishing Indonesia (SMPI) has announced the signing of an exclusive global publishing agreement with acclaimed Indonesian singer, songwriter, and actor Sal Priadi. The deal sees Priadi’s entire back catalog under the SMPI umbrella.

Sal Priadi’s most recent album, Markers And Such Pens Flashdisks, released in April 2024, has already surpassed 176 million Spotify streams, with the album’s track, “Gala bunga matahari” recently debuting on Spotify’s Viral 50 Global chart at #16, and Spotify’s Top 50 Indonesia chart at #1. Following the success of the album, Sal held a five-city tour from August to September 2024.

“I joined Sony Music Publishing Indonesia because I trust the people behind the company have the capability and spirit to introduce my creative works on a global level,” said Sal Priadi. “I believe SMPI will support me in exploring all the potential that exists within me.”

“We are thrilled to welcome Sal Priadi to the SMP family. His music transcends cultural boundaries, touching the hearts of listeners through relatable narratives and soulful melodies,” said Carol Ng, President, Asia, Sony Music Publishing.

“We are very glad to be Sal Priadi’s very first publishing company,” adds Anti Ariandini, General Manager, Sony Music Publishing Indonesia. “His unique talent, captivating storytelling, and undeniable charisma have resonated with audiences worldwide and we are committed to supporting his artistic vision and expanding his reach to new heights.”

Known for his captivating musical storytelling and distinctive vocal style, Sal has cultivated a dedicated fanbase across Indonesia and beyond. He has enjoyed multiple hit collaborations, including “Jangan Bertengkar Lagi Ya? OK? OK!” which was produced by renowned top independent artist Pamungkas, as well as “Amin Paling Serius” with Nadin Amizah, and boasts over 146 million streams on Spotify.

Sal first earned widespread success in 2018 with his single, “Ikat Aku di Tulang Belikatmu.” Since then, he has achieved numerous accolades, including three consecutive nominations for Best Male Pop Artist at the AMI Awards; a Billboard Indonesia Music Awards nomination for Best Collaboration / Song of the Year in 2020; and many more.

Photo Credit: TikTok

With the 2024 U.S. presidential election decided, what does this mean for the upcoming TikTok ban? Here’s what the incoming Trump administration has said about the app—and the potential for a 2025 ban to happen.

President Joe Biden signed a law requiring ByteDance to completely divest from TikTok in January 2025 or face a total ban in the U.S. But will that ban actually happen? TikTok has 170 million users in the United States alone, with politicians worried about China’s corporate laws and access to data for Chinese companies.

TikTok has argued that the proposed ban violates First Amendment rights, with TikTok’s lawyers seeking to keep the app available in America. Kamala Harris made no direct comments about what she would do with the platform if chosen as the next U.S. president—but many expected her to allow the Biden-era law to go into effect.

On the other hand, now president-elect Donald Trump publicly backtracked on his stance from 2020, when he called for a complete ban of the app. That move comes after being lobbied by billionaire ByteDance investor Jeff Yass. In a campaign video released in September, Trump told his supporters “for all of those who want to save TikTok in America, vote for Trump.” While he casually mentioned saving TikTok, the fate of the platform was not discussed heavily while on the campaign trail.

TikTok has remained neutral during the presidential campaign months, voicing support for neither candidate as the race played out. Wired interviewed some TikTok employees about the potential ban, with them confirming the ban is not something generally talked about among employees.

“There’s almost a consensus not to talk about this thing,” one product manager speaking on the condition of anonymity told Wired. “Very occasionally, some of us might say that maybe it’s time to jump ship, but those discussions rarely come up.” Employees also said they believe a court battle around the ban could take months to play out, leading to less urgency to jump ship and find another jump.

TikTok sued the federal government to appeal the ban, with the case currently being decided by the Court of Appeals in Washington D.C. If TikTok loses, the company may escalate the case to the Supreme Court. If the Supreme Court does decide to hear the case, the decision to ban the app could be delayed until summer 2025.

“The court could not take the case, and the law is upheld, but it’s such a big issue,” says Alan Rozenshtein, Associate Professor of Law at the University of Minnesota Law School. “It affects 170 million Americans. It’s a core First Amendment question. The Supreme Court has shown in the last few years that it cares about these digital First Amendment cases.”

Photo Credit: Cox Enterprises

Cox Communications has filed a reply brief in the Supreme Court ahead of a November 22nd conference in Cox’s ongoing dispute with Sony Music Entertainment.

The legal dispute between internet provider Cox Communications and Sony Music Entertainment has culminated into Cox filing a reply brief in the Supreme Court yesterday (November 4). The brief is the final docket filing related to Cox’s petition to the court ahead of the scheduled November 22 conference to determine whether the Supreme Court will review the copyright infringement case.

“Plaintiffs do not dispute that the Fourth Circuit installed a copyright regime that requires ISPs to reflexively terminate the internet access of entire households and businesses upon a couple accusations of infringement, or that innocent users could lose their internet lifelines merely because a guest downloaded a couple of songs,” reads the filing.

“And they do not dispute that to avoid liability under the Fourth Circuit’s rule, ISPs must sever connections to hospitals, universities, and regional ISPs.”

However, Cox urges the Court to “resolve the confusion — and hold that ISPs are not required to police everything that happens online — before it is too late.”

“Plaintiffs cannot persuasively reconcile the three-way circuit conflict,” the filing continues. “And tellingly, they do not even address how the Fifth Circuit’s recent opinion in UMG Recordings v. Grande Communications […] deepens the morass.”

“Plaintiffs first claim that ‘a defendant acted willfully if he materially contributed to conduct the defendant knew was against the law,’ […] is logically wrong. If that defendant knew someone else was violating the law, but reasonably believed he was a bystander with no duty to stop that conduct, that is not ‘the definition of recklessness,’” Cox continues. “A defendant’s ‘good-faith, reasonable belief in the lawfulness of its own conduct’ forecloses recklessness, as Plaintiffs themselves admit.”

The ISP posits that Sony Music and other plaintiffs assert that “to avoid liability in this case, Cox needed to kick 57,000 homes and businesses off the internet over just a two-year period the moment each received a second infringement accusation.” To that end, “the music industry has brought or threatened the same claims against nearly every major ISP,” and yet “Plaintiffs dismiss the concern about ‘mass terminations’ as ‘overblown, misplaced, and hypocritical.”

The brief concludes, “This Court has neither the luxury nor the need for further ‘percolation.’ Sony was decided 40 years ago [and] since then, the lower courts have diverged on what those foundational precedents require, and how they should apply to the modern internet. Percolation will only make it worse. And in the meantime, ISPs will have to cut entire homes and businesses off the internet any time the music industry accuses some anonymous user of downloading a song or two. Review is urgently needed.”

The scheduled conference on November 22 will determine whether the Supreme Court will review the case at Cox’s behest, or whether the ISP will remain liable for copyright infringement across its network.

Photo Credit: iHeartMedia

Radio giant iHeartMedia gears up to cut hundreds of jobs as music streaming continues to crush music radio.

The biggest broadcast company in the world, iHeartMedia, has started laying off hundreds of employees this week as the music radio giant faces debt amid the continued superiority of music streaming in the industry.

Headed by CEO Bob Pittman, the company has been quick to point out it has cut “less than 5%” of its workforce of over 10,000 employees — amounting to hundreds of job losses as the company eliminates redundancies and “streamlines” its business.

Wendy Goldberg, a spokesperson at iHeartMedia, confirmed the layoffs to the New York Post. She said the company is focusing on expanding its Gen Z audience, and that its broadcast radio audience “has more listeners than it did 10 years ago.”

“Although in a company of 10,000 people, very few jobs have been affected, there have been some and we never take this step lightly, no matter how few jobs it entails,” said Goldberg. “Every team member is important to us and has our respect and appreciation.”

But despite trying to downplay the severity of the layoffs, many iHeart employees are calling the most “sneaky” and dishonest. They point out the company’s decision to start layoffs during the week of the election.

“They want to bury the bad news during the presidential election,” said one employee. “They have to show their lenders that they are improving profits,” a top radio executive who does not work at iHeart told the NY Post. “I heard there is a lot of pressure on Pittman to stem the decline.”

Revenue in the radio industry as a whole is down 10% this year, while the most junior debt in iHeart is now reportedly trading below 60 cents on the dollar. But the company continues to boast about its place as “the No. 1 podcast publisher, bigger than the next two combined, and we’re five times the size of the next largest digital-radio service.”

Photo Credit: Microsoft Copilot

A Canadian man who is the suspected Snowflake hacker that caused Ticketmaster huge headaches earlier this year has been arrested. The news comes just months after cybersecurity experts were hot on the trail of identifying the hacker.

AT&T, Ticketmaster, and LendingTree were among the companies impacted by this massive hack—more than 165 Snowflake instances were breached. 404 Media reports they last spoke to the hacker on October 27, with the hacker going by the name Judsiche saying they were afraid they would be arrested soon. “I’ve destroyed a lot of evidence and well poisoned the stuff I can’t destroy so when/if it does happen it’s just conspiracy which I can bond out and beat,” the hacker claimed.

404 Media reports a source shared the name Connor Moucka. Searching Canadian court records for upcoming hearings reveals an entry with the same name. Another source says the name belongs to the suspected Snowflake hacker.

“We can now confirm that, following a request by the United States, Alexander Moucka (AKA Connor Moucka) was arrested on a provisional arrest warrant on October 30, 2024,” the Canadian Department of Justice shared with 404 Media. “He appeared in court later that afternoon and his case was adjourned to November 5, 2024.”

Ticketmaster suffered several extortion attempts, with one attempt resulting in the release of several Taylor Swift tickets on the internet to prove the data they have. That ticket data included shows from Indianapolis to New Orleans, with hackers saying they could generate 30 million barcodes for other high-profile concerts and sporting events.

Tickets have gone missing from so many accounts that Ticketmaster temporarily suspended the re-sale of Taylor Swift tickets until right before the event date. On October 7, Digital Music News ran a story about tickets for football games, concerts, and more disappearing from accounts. At the time, a Ticketmaster representative confirmed they’d responded to thousands of customer complaints about missing tickets.

The music market has undergone a real transformation in recent years. Faster, stronger, louder – this is how we could summarize the shift. The distribution channels, in particular, have evolved. Today, the market dances to the tune of streaming giants, especially Spotify, which controls a whopping 30% of the global market.

The following comes from Miquido, a company DMN is partnered with.

However, this may soon change. More and more artists and labels are voicing complaints about the model created by the Swedish streaming powerhouse, arguing that it benefits the largest players, while the rest only get crumbs. There is a strong possibility that new alternatives, or apps where streaming is just part of the full offering, will emerge soon.

If you’re also considering creating a music or music streaming app or incorporating this type of functionality into your application, this article is for you. Let’s examine both successful and failed projects in this niche, the biggest challenges, and the standards set by industry giants. Let’s check the pulse of the industry.

The Complexities of Building a Music Streaming App

In music streaming, there’s no room for errors. The competitiveness of this niche means that even the smallest design, UX, or functionality misstep can have serious consequences. This is compounded by issues of legal compliance, which are so critical in the music industry. What must you consider when creating such a solution?

Copyright and Music Licensing

Every streaming app must adhere to copyright regulations, which include securing the appropriate licenses from copyright owners such as labels, artists, and collective rights management organizations (e.g., ZAiKS in Poland or ASCAP in the US). Music licensing is a complex process, especially since different countries have unique copyright regulations. Streaming providers must ensure that every song is legally distributed and that royalties are paid in accordance with agreements.

Data Protection and User Privacy

Without personalized feeds and accurate recommendations, success in the streaming industry today is nearly impossible. However, this requires advanced user data processing, which is strictly regulated. In the EU, streaming apps must comply with GDPR – otherwise, they risk significant financial penalties. These regulations define how companies can collect, store, and process personal data, and specify user rights (e.g., the right to be forgotten, the right to access data).

Content Responsibility and Anti-Piracy Measures

When allowing content to be published by independent artists and creators (not affiliated with labels), a streaming app must prevent illegal music distribution and ensure it does not support piracy or intellectual property violations.

The GenAI boom has added even more complexity to this, as there is still no clear legal precedent for generative artificial intelligence and copyright. AI-generated content is based on data the model was trained on, though the original creators may not have given consent for this use. While the output isn’t an exact copy of an existing work, but a blend of millions of references, it’s challenging to determine copyright in these cases.

The same applies to “resurrecting” artists’ voices. The so-called “digital necromancy” or “posthumous art” is becoming more common among music creators. Here, too, there is no clear legal consensus, and the laws are somewhat ambiguous. In the GenAI era, a music streaming app provider must navigate these complexities, taking responsibility for potential violations.

Hitting the Wrong Note – What We Can Learn From Failed Streaming Projects

The music streaming industry is filled with stories of platforms that failed. These cautionary tales can serve as guideposts for companies entering the market. Many examples date back to when the music streaming industry was still forming.

Consider Napster– a platform that popularized P2P sharing and paved the way for torrenting. At its peak, it became a nightmare for music labels, with its widespread, unauthorized sharing of copyrighted songs eroding traditional sales and threatening artists’ livelihoods and label revenues. Legal actions from major players like Metallica ultimately forced Napster to shut down in 2001, marking it as both a catalyst for digital music disruption and a cautionary tale for unlicensed content sharing. Later, LimeWire  followed a similar path, ultimately shutting down despite attempts at legitimacy. 

Though the turbulent era of torrenting and platforms operating without licenses or against copyright law is now over, new platforms still encounter// issues. Recently, a celebrity-backed NFT platform called OneOf was accused of selling securities without SEC approval.One thing is certain – when it comes copyright and licenses, you shouldn’t play it by the ear. One wrong move is enough for the regulatory units to blow the whistle. But worry not – with our tips, you can prepare yourself for any eventuality.

Legal and Licensing Framework: Avoiding Pitfalls

How can you avoid mistakes when navigating these legal complexities? Start by understanding the types of licenses you need to obtain before distributing music through your platform:

• Mechanical licenses allow platforms to distribute and reproduce music, ensuring that songwriters and publishers are compensated for each play or download.
• Performance licenses permit the public playback of music, which is essential for complying with rights organizations that protect artists’ earnings from public broadcasts, streams, and live performances.
• Sync licenses are required for pairing music with visual media, such as ads or videos, which is increasingly significant in multimedia marketing and social media content.

Regional laws are also crucial, as countries have unique regulations on royalties, copyright, and distribution rights. Failing to acquire these licenses and comply with local laws can lead to legal battles, hefty fines, and even platform shutdowns. Peloton, a fitness app, serves as an example.

Though not specifically a streaming app, music is an essential part of Peloton’s user experience. In 2020, the company was sued for copyright infringement for using mechanical instead of sync licenses, which are necessary for music paired with visual media. Although Peloton emerged unscathed, the National Music Publisher’s Association (NMPA) sent a clear message.

Music apps are at the highest risk, but licensing issues can also impact streaming platforms and social media. Platforms like Twitch, for example, where internet content streaming is central, highlight the importance of acquiring proper licenses and ensuring compliance with regional laws. Twitch has already had some legal issues due to improper use of licenses and despite the deal with NMPA, its case serves as a cautionary tale for other streaming giants.

Engaging Users: Features That Keep Them Coming Back

Attracting users in a monopolized niche like music streaming is an achievement in itself. Keeping them engaged, however, is like climbing Everest! Much of this depends on habits – users already have standards from popular apps. On one hand, they may be looking for something new, something better, but on the other, they don’t want to completely change their routines. Finding the balance between these two aspects is key to success in this industry. So, which elements are absolute must-haves?

Personalized Recommendations

Successful apps today must offer personalized recommendations. The best algorithms subtly combine data on listener behavior in the app and their external online activity. Play history, interactions with tracks and playlists, other app actions, ratings, and demographics – all these factors are taken into account to create personalized music suggestions in apps like Spotify. There is also data on similar users, which the algorithm uses for community modeling.

Playlists and Social Sharing

Social features are becoming increasingly important in streaming, and the lines between music streaming platforms and social media are blurring. Including social media-like features in your app is essential to its success. It should allow users to easily and intuitively create, share, and follow playlists or favorite artists.

Taking a step further could mean integrating GenAI features, allowing users to interact with music in more creative ways. Personalized visualizations, blending favorite artists’ voices with music not in their repertoire – this could be the future of streaming. Your users will shift from passive listeners to artists and curators. However, remember to keep an eye on legislative progress in the GenAI domain – otherwise, you might find yourself on shaky ground.

Community Development – Identifying and Engaging Superfans

Building community is equally essential to engagement. Accurate recommendation are a foundation of a successful music app, but don’t forget that the users want to feel a part of a bigger whole. Including these features, you will strike a chord with them!

User Profiles: Implement features that allow users to identify as superfans (badges, special status, or exclusive content).

Rewards: Offer exclusive access to content, merchandise, early ticket sales, or special events.

Influencer Collaborations: Collaborate with music influencers and artists to create exclusive playlists, livestream events, or behind-the-scenes content. Encourage them to share their music journeys, favorite tracks, or curated playlists within the app to inspire fans and promote frequent engagement.

Community Features: Introduce forums or discussion boards where users can share their thoughts on new releases, concerts, and music trends.

User-Generated Content: Encourage users to create and share content, such as reviews, concert experiences, or music challenges.

Exclusive Events: Organize virtual concerts, Q&A sessions, or listening parties hosted by popular artists or influencers.

Music Challenges: Launch music-themed challenges where users can showcase their musical skills, such as remixing a song or creating a dance challenge.

Offline Listening: Integrate offline functionality to keep users engaged even without internet access.

Designing for Users: UI/UX That Elevates Experience

Streaming apps are our everyday companions. Similarly, apps that include streaming features (such as fitness assistants or social media platforms) are designed to serve us on the go, accompanying daily situations and filling breaks. This makes impeccable UI and UX central to their success. These apps should adapt easily to different devices and function smoothly in the background.

In a nutshell, they should “dance to the user’s tune,” providing a seamless experience whether at home, at work, on public transport, or while doing sports. To achieve this, particular attention should be paid to these aspects:

Simplified Navigation

Start with intuitive wireframes and mockups that outline a clean, easy-to-use interface, focusing on smooth navigation for users to interact with the app effortlessly. This process involves creating wireframes that act as a blueprint for layout and functionalities, allowing users to quickly understand the app’s structure.

Inclusive Design

Use mood boards and standardized design systems to ensure accessibility options, such as voice control and adaptive interfaces for users with disabilities. These systems allow for the consistent implementation of accessibility features across the app, making it more inclusive to a wide range of users. Additionally, usability testing can refine the app’s design to ensure it accommodates all users effectively.

Building a Scalable Backend: Meeting Growing Demand

Even the best UI design won’t work wonders if your backend isn’t strong enough. When faced with performance issues, users may change their tune instantly, fueling your churn rate. Think big and design your backend to adapt easily to growing demand. Paying attention to these aspects will pave the way for success.

Cloud-Based Solutions

Adopt scalable cloud infrastructure, allowing the app to handle high data loads and provide fast access to large music libraries. This setup ensures that user data is stored securely while offering rapid, on-demand access to streaming content.

APIs and Third-Party Integrations

Integrate essential APIs for streaming, analytics, licensing, and payment. Using third-party APIs from established providers broadens the app’s functionality, giving users access to a comprehensive music library and seamless payment options while enhancing the overall app performance.

Load Management and Optimization

To accommodate peak usage times, distribute server loads efficiently and optimize app speed. Load balancing techniques and data caching ensure that even during high-traffic times, users experience smooth functionality and quick response times.

Business Model Planning: Finding the Right Monetization Strategy

Although the subscription model dominates today’s streaming landscape, it is not the only path available. Much depends on whether music streaming is the core of your application or simply one of its flagship features. With a subscription-based approach, acquiring users can be challenging, which may lead to financial instability. However, once you establish a solid user base, this model can yield the most benefits. You can also combine various strategies or gradually shift from one to another, depending on your needs.

Subscription and Freemium Models

Provide different subscription options, from free ad-supported versions to premium tiers offering exclusive features. This approach allows users to experience basic functionalities for free while incentivizing upgrades to ad-free, premium experiences.

In-App Purchases

Introduce exclusive content or high-definition audio upgrades to increase user spending within the app. Offering valuable content upgrades can appeal to dedicated users willing to enhance their experience.

Ad Integration

Implement an unobtrusive ad model for free-tier users to maintain engagement without disrupting their experience. This can include audio ads between songs or visual ads that appear during less active moments in the app’s interface.

👉 Get the full ebook here: Soundscapes of Tomorrow

Building the Right Team: Expertise at Every Stage

When it comes to the complexities of licensing and copyright law, it’s wise to emphasize clear communication from the outset. You don’t have to do everything on your own—on the contrary, it’s worth enlisting the support of external experts who can protect you from making costly mistakes. A software development partner with legal expertise and experience in building music applications will help you identify potential roadblocks and address them before they lead to problems. You can march to your own drum, but fulfill your vision safely and responsibly!

Key Roles

Employ experienced professionals for frontend and backend development, UX/UI design, audio streaming, and legal compliance. This diverse expertise ensures each component is developed by knowledgeable specialists.

Collaboration

Promote open communication between designers, developers, and legal advisors, as it’s essential for aligning creative and technical goals with legal requirements, particularly around music licensing and data privacy.

Outsourcing or In-House Development

An in-house team allows for tight-knit collaboration, but partnering with a software development has many advantages over it. Collaboration with an experienced development company can reduce costs and streamline the development process, while providing access to specialized expertise and resources that might be challenging to build internally. A reliable partner can also offer flexibility, efficient project management, and scalable solutions that support growth, allowing you to focus on your core business with confidence.

Marketing and Promotion: Launching Your App with Impact

Starting with a bang won’t guarantee long-term success, but it does give you a strong advantage. You only get one market launch—use it to create hype and attract users seeking something new, something better.

In music streaming, influencers and artists can be instrumental in generating buzz. What could be more convincing for a listener than knowing their favorite musician prefers a platform, perhaps due to a more favorable compensation model?

Now, with growing discontent toward the dominant streaming platform, it’s a prime opportunity to attract artists. Make your mark on social media. Choose a powerful angle and stick to it. Strike a chord with users by offering something that other platforms can’t. Tidal, for example, ensured a strong market entry by standing out with high-quality audio and exclusive content from artists.

Pre-Launch Marketing

Build anticipation with targeted social media campaigns and partnerships with artists or influencers, driving awareness before launch. Early marketing strategies can generate excitement and secure initial user interest.

User Acquisition

Use app store optimization and paid ads to boost user downloads and attract early adopters. Strategic keywords and promotional techniques in app stores enhance visibility, while advertising widens reach.

Retention Strategies

Keep users engaged with personalized emails, push notifications, and access to exclusive content. Customized notifications can remind users of app features, introduce new content, and encourage repeat usage.

Budget Management: Controlling Costs Without Compromising Quality

In music streaming, managing costs is critical, as unexpected expenses can pile up fast. Licensing fees often spike based on region, artist contracts, and streaming volume, creating unpredictable costs. Maintaining high-quality audio and smooth, buffer-free streaming demands robust infrastructure, which drives up server and bandwidth expenses. Plus, personalized features, like recommendations and adaptive streaming, need complex algorithms and data processing—both costly and resource-intensive. Balancing these demands is key to delivering a top-tier user experience without breaking the budget.

Cost Breakdown

Plan for each development stage, including app design, coding, licensing, and marketing. Having a clear cost outline allows for better budgeting across essential functions.

Scalability Considerations

Set aside funds for potential scaling, updates, and the addition of new features as the user base grows. A flexible budget enables timely updates, helping the app adapt to rising demands.

Balancing Quality and Costs

Explore cost-control strategies that maintain high quality, such as choosing the right development framework and using cross-platform solutions.

Music App Development in Tune With Your Goals and Budget

Launching a new music streaming app or an app with similar features is, in many ways, a much greater challenge than in other niches. In addition to the usual requirements of app development, there are also legal compliance issues, including copyright law. And since this niche is highly competitive, you need to carefully plan your strategy from the start, considering everything from licensing to the billing model.

Developing a music streaming app in-house is complex and costly, especially without prior experience. The process includes project planning, design, development, testing, and deployment, each needing specialized skills. Selecting the right technology stack is essential, as it impacts performance, scalability, and user experience. 

Total development costs, including hiring skilled professionals and the tech stack, can exceed $40,000 to $100,000, while marketing expenses can range from $10,000 to $50,000 or more, depending on strategy. With our expertise, we can deliver a prototype in just two weeks.

At Miquido, we streamline this process across every phase. From initial project planning to post-launch support, our team of experts ensures that each step is executed efficiently and that the technology stack aligns with your project goals. With over 12 years of experience in music and streaming app development, having delivered projects for top brands like Onkyo Music, Warner Recorded Music, and Abbey Road Studios, we help companies save significantly on both development costs and resources.

Contact Miquido today and let our experts guide your project from concept to launch. Let’s hit the right note together! Meanwhile, dive into the Soundscapes of Tomorrow, Miquido’s ebook on music app development and the future of streaming.

Photo Credit: SiriusXM

SiriusXM reports a lackluster Q3 with declining revenues and stagnating subscription levels.

SiriusXM Holdings (SIRI) reported a wider loss than expected in the third quarter of 2024, at 84 cents per share. The same quarter last year saw the company reporting earnings of 90 cents a share. Total revenues declined 4.4% year-over-year to $2.17 billion, missing the consensus mark by 0.91%.

SiriusXM completed its transaction with Liberty Media this quarter and fully emerged as an independent public company. The company is gearing up to reintroduce its business to counteract declining subscriptions and enhance free cash flow generation. SiriusXM has a long-term target of 50 million subscribers and $1.8 billion in free cash flow.

To that end, subscriber revenues — 75.77% of total revenues — declined 4.86% from the same quarter last year to $1.64 billion, which missed the Zacks Consensus Estimate by 0.14%. Advertisement revenue — 20.73% of total revenues — decreased 2.17% year-over-year to $450 million, which also missed the Zacks Consensus Estimate by 4.61%.

That decline was due to increasing new CTV supply in the market, increasing advertiser spending on performance products, a truncated election cycle, and low podcast inventory.

Self-pay subscribers decreased 0.99% year-over-year to 31.49 million, while net subscriber loss was 100k against net additions of 94k the same period last year.

Average revenue per user came to $15.16, down 3.38% year-over-year, and missing estimates by 0.53%. This reflects in the number of subscribers on promotional rates and streaming only self-pay plans.

Meanwhile, equipment revenues decreased 12.24% year-over-year to $43 million, a figure that missed the estimate by 9.37%. Other revenues remained unchanged year-over-year at $33 million and beat their estimates by 2.27%.

The company’s standalone segment’s revenues (74.94% of total revenues) were at $1.62 billion, down by 5.46% year-over-year. Its total subscriber base has declined by 2.39% year-over-year to 33.15 million, missing estimates by 0.19%. That directly contributed to subscriber revenues declining by 5.45%, amounting to $1.51 billion.

Advertising revenues were down 2.38% year-over-year to $41 million, while equipment revenues declined 12.24% year-over-year to $43 million. Other revenues remained at a flat $33 million year-over-year.

Photo Credit: Tunecore / Believe

Universal Music Group files a $500 million lawsuit against Believe and Tunecore for ‘rampant piracy’ and copyright infringement. Here’s the latest.

Universal Music Group (UMG), alongside its subsidiaries UMG Recordings, Capitol Records, and ABKCO Music & Records, with Concord Music Group, has filed a massive copyright infringement lawsuit against Believe and its distribution platform Tunecore.

The filing, shared with Digital Music News late Monday (November 4th), alleges Believe has built its business by knowingly distributing infringing copies of popular copyrighted recordings, including those owned by the plaintiffs. These include blatantly altered versions of tracks from artists including Kendrick Lamar and Lady Gaga, from which Believe is accused of pilfering royalties.

Believe’s distribution network, which includes partnerships with platforms like TikTok, YouTube, and Spotify, has allegedly enabled it to profit significantly from this unauthorized distribution.

UMG attorneys argue that Believe’s actions have caused substantial harm to their client’s business, artists, and other contributors, and are seeking damages of at least $500 million, in addition to a permanent injunction to stop Believe’s infringing activities.

“Believe’s client list is overrun with fraudulent ‘artists’ and pirate record labels who rely on Believe and its distribution network to seed infringing copies of popular sound recordings throughout their digital music ecosystem,” the lawsuit reads.

“While Believe is fully aware that its business model is fueled by rampant piracy, it has eschewed basic measures to prevent copyright violations and turned a blind eye to the fact that its music catalog was rife with copyright infringing sound recordings.”

The complaint outlines Believe’s practice of wrongfully collecting royalties rightfully owed to the plaintiffs and other copyright owners, and cites several specific examples of alleged infringement. These include the distribution of “sped up” or “remixed” versions of popular songs, for which UMG is alleging direct, contributory, and vicarious copyright infringement.

Believe is also accused of exploiting YouTube’s content management system to claim ownership of their recordings, thereby diverting or delaying royalty payments.

UMG is also claiming infringement of pre-1972 sound recordings, for which they are seeking statutory damages, injunctive relief to prevent future infringement, impoundment, and destruction of infringing copies, and recovery of attorneys’ fees and costs. They are also seeking a trial by jury.

Photo Credit: redo

The mystery surrounding a long-unknown radio-ripped clip has been solved after nearly 20 years. Here’s the band behind the internet’s most mysterious song.

An old internet mystery has finally been solved after nearly 20 years. The song was originally recorded off the radio in Germany and has long stumped internet sleuths and music aficionados. Now, “The Most Mysterious Song On the Internet” has finally been identified.

The song’s story begins in the 1980s, when a group of people in Germany recorded a song they heard on the radio onto a cassette tape. Lydia, also known as bluuely on Reddit, the sister of the person who recorded the cassette, uploaded a digital copy of the song to several online forums in 2007. She wanted to learn anything she could about the song.

Though not confirmed, it’s generally believed that the radio station the song was recorded from was NDR1, on the program Musik Für Junge Leute — “Music for Young People.” But other details remained scarce, despite several people stumbling onto Lydia’s posts over the years and trying to help.

But in 2019, Reddit got involved in the mystery. A user known as gabgaskins posted the song in 44 different music-related subreddits — which eventually culminated in the formation of mystery’s own subreddit, r/TheMysteriousSong. Later that year, the song caught the attention of a YouTuber called Just Whang, who made a video about it, further escalating online interest in the search.

Investigators even tracked down the former host of Musik Für Junge Leute, but he wasn’t able to help. Even Rolling Stone wrote about the mystery, while investigators analyzed different versions of the song from various sources, chasing down dozens of leads. But enthusiasts were met with dead ends at every turn.

Finally, the past few months took the investigation to Hörfest, an annual festival of local musicians sponsored by a Hamburg-based public broadcaster. Users compiled a list of hundreds of bands who had played at the festival and started going through them one by one.

This led to Redditor marijin1412 coming across an old newspaper article in a regional German paper. “The article was about a band called FEX from Kiel, who won a talent contest in Bremen in 1984 and their music was described as Rock with Wave and Pop influences,” wrote marijin1412.

The same user recognized one of the names in the article and reached out to a Michael Hädrich, who was a member of a Hörfest 83 band called Phret. He sent them some of the songs he made with FEX and Phret — and the mysterious song was among them, titled “Subways of Your Mind.”

Hädrich was astounded to learn the song was famous on the internet and considered a piece of lost media. He contacted the other members of the band and registered the song in the GEMA, a German organization for musicians. A full and cleaner version of the song was also uploaded to Vocaroo.

Photo Credit: Epic Games

Fortnite welcomes Chapter 2 Remix with Snoop Dogg, Eminem, Ice Spice, and Juice WRLD, following a real world and in-game music event.

Snoop Dogg and Ice Spice delivered a show-stopping performance in Times Square over the weekend in a stunning takeover serving as a prelude to their splash in the new season of Fortnite Battle Royale, Chapter 2 Remix, out now. The event streamed live in Fortnite to give players an immersive experience to dive into, featuring Snoop’s new track, “Gorgeous,” from his upcoming album.

In-game, Chapter 2 Remix arrives with some heavyweight music icons: Snoop Dogg, Eminem, Ice Spice, and Juice WRLD, bringing their fashion, music, and artistry to Fortnite alongside the popular original Fortnite gameplay from 2020. In a first for the game, players can engage with each artist through themed gameplay locations launching week by week. Players can also express themselves and rep each music legend through individual artist outfits found in the Fortnite Shop.

In Week 1, starting on November 2, Snoop Dogg enters Battle Royale and features as the Icon for Season 6 of the music-driven, rhythm-based game, Fortnite Festival. “Being part of Fortnite is all about creating, playing, and sharing my music and culture with the next generation,” says Snoop Dogg. “My son Cordell’s a big Fortnite player with me, so when we had the opportunity we jumped on it as a new way to connect with my sound and style. Anyone can be Snoop in Fortnite.”

In Week 2, starting on November 7, Eminem reappears following his original Fortnite debut in December 2023. “Guess who’s back, ready for combat, man! I’m serving all new gear along with a side of spaghetti — come and get it! Feels good to return to Fortnite for more mayhem,” says Eminem.

Week 3 kicks off on November 14, when Ice Spice arrives to take players into her experience as the Princess of New York. “Getting the chance to come to the game and remix the Chapter 2 map is unreal. It’s exciting to be a part of something so iconic, and I can’t wait for players to experience this new vibe. Fortnite is all about creativity and connection, and I’m hyped to bring my own spin to it!” shares Ice Spice.

Week 4 starts on November 21, when the legacy, music, and style of Juice WRLD is celebrated. More details are forthcoming on the celebration later this month, along with his latest posthumous album due out this year from Grade A Productions and Interscope Records.

Chapter 2 Remix will end on a special note with Remix: The Finale, a live event on November 30 at 2 PM ET, to honor Juice WRLD’s legacy and love for Fortnite. All players who log in between 1 AM ET on November 30 and 1 AM ET on December 1 will receive the cel-shaded Slayer Juice WRLD outfit.

Carmela Wallace, mother of Jarad “Juice WRLD” Higgins, shared, “Jarad always loved to play Fortnite — it was more than just entertainment for him, it was a way to connect with others. From a young age, video games were a part of how he bonded with friends and family, and being in Fortnite is an incredible tribute to that connection. I know he would be overjoyed to see how his love for games continues to bring people together across different spaces, just like his music does.”

This season also introduces Kicks, a brand new cosmetic coming to Fortnite. The initial lineup of Kicks will feature Nike and Jordan brands alongside Fortnite original designs with more brands to be announced in the future. The first pair of Jordans will be available beginning on November 12 as part of the season’s Remix Pass.

Throughout the month with Chapter 2 Remix, players can experience what made the original Chapter 2 so memorable. Chapter 2 Remix comes nearly one year after the launch of Fortnite OG, where the game saw over 100 million players in that month alone. Though long-time fans’ reactions to the takeover changes have been mixed as the remix gets underway.

Photo Credit: Instagram

Instagram upgrades its DMs to improve the experience for creators and influencers getting bombarded by incoming messages.

Instagram announced a big update to its direct messages inbox on Friday, November 1, focused on improving the experience for creators and influencers who receive a lot of inbound messages. The app is introducing tools to allow users to sort and filter their message requests (those that don’t arrive in their main inbox), based on user-set controls.

Users will be able to sort and filter message requests by follower count, verified accounts, brands, creators, and more. The idea is to help the creator better identify higher-priority messages that may require more of their time to respond due to the impact they might have on the creator’s business and relationships. A new “Story Replies” folder will also be added to make them easily accessible and in one place.

The Meta-owned company said the changes are being rolled out after lots of feedback from creators across the world who found managing their DMs to be a terrible chore.

“Now, when you go to the requests inbox, sometimes it can be really overwhelming,” said Instagram’s Adam Mosseri in a post on the platform. “So what we’ve done is added ways to filter down those requests to just see the ones that you’re looking for.”

“There’s a lot more to do to improve the inbox for creators and requests,” he continued. “But hopefully, this is one step in the right direction.”

Users can access the “Sort & Filter” options in an overlay on top of their inbox, where they can choose to sort requests by most recent or by the number of followers the sender has. From there, they can check or uncheck other options to further narrow down the scope of what they want to see in their inbox.

These changes come on the heels of other inbox-focused filtering improvements made by Meta this week in its platform WhatsApp.

Photo Credit: Hanyang Zhang

TikTok’s existing licensing deal with indie collective Merlin ended on October 31st. Now, the social media juggernaut has been busy inking deals outside of that expired deal, apparently with monetization changes in place. Here’s what’s leaking.

As a quick rewind on this imbroglio: TikTok first informed licensing collective Merlin that it would not be renewing its long-standing deal, set to expire on October 31st, back in September. At the time, Merlin went public with a statement claiming TikTok walked away from the licensing negotiation before it had even began. TikTok said it would go its own way in forging licensing deals with the labels and distributors that Merlin represents.

Merlin accused TikTok of attempting to fragment its membership and minimize payments for indie artists. TikTok released a statement calling into question Merlin’s delivered content and the inability to separate fraudulent content from Merlin. Merlin addressed those concerns by mentioning several steps it took to verify the content it delivers—but TikTok said too little, too late.

The first domino to fall came last week, when UnitedMasters announced it had secured its own licensing deal with TikTok. Now, a Billboard report interviewing twelve executives at various indie labels and distributors reveals that many are divided on what to do. Some want to make sure there is absolutely no way to move forward without Merlin, while others are forging ahead, feeling an obligation to their clients to promote them as best as possible.

“If I still thought that not signing would help Merlin get a new deal, or could help the independent music community, I would try not to sign,” one exec speaking anonymously told Billboard. “But even when Universal didn’t sign, [TikTok] didn’t care. We have no choice because our artists want to be on TikTok—perhaps too much—but for them, this is very important.”

According to those sources, the compensation terms provided under the new individual offers are not any better or worse than Merlin’s collective bargaining. But that doesn’t mean no changes at all. The big one? TikTok is not paying out music licensors based on views a song receives, rather than new creations. TikTok calculates market share based on views and the payment to the licensor is divided up from there—but that doesn’t mean there’s now a certain royalty amount per view.

“It won’t lead to a major difference in how much we are paid,” one exec told Billboard. “We are still doing the math, but it seems like there will be about a 4% difference in what we take in from TikTok, give or take.” Most executives view TikTok’s value not in compensation, calling it one of the ‘smallest revenue earners’ for a music company. Instead, they see value in the platform as a promotional avenue.

Some changes to the previous contracts also included a ‘most favored nations’ clause, giving licensors the right to the same terms and benefits as similar licensors who do business with TikTok. These new contracts do not. A new provision across these separate contracts also include a ‘know your customer’ clause, which requires verification of artists’ identities before allowing them to upload songs. That clause came out presumably to weed out bad actors who are using AI and bots to finagle music streaming services out of millions. But it also places the onus of bad actors on labels and distributors—rather than TikTok directly.

Photo Credit: Amazon Music

Both Apple Music and Amazon Music are starting the Christmas holiday season early—though Mariah Carey is dominating Amazon’s offering. Meanwhile, Apple has a selection of Christmas Carols covered by today’s artists.

Apple Music is debuting its latest Carols Covered Collection that features a fresh selection of beloved Christmas and holiday songs. The new tracks were recorded by a specially curated group of artists, hand-selected by Apple Music’s editors and all available in spatial audio.

Seasonal songs this year include selections from Alice Merton, BOYNEXTDOOR, Ditonellapiaga, Lizzy McAlpine, Luisa Almaguer, MaKenzie, MENTISSA, Lights, Pheelz, Tade Dust, Tones and I, Rachel Chinouriri, Rachel Platten, Ruel, The Linda Lindas, and Zach Top.

Apple is also debuting the Classical Carols Covered playlist, featuring a lineup of exclusive Apple Music holiday songs performed by top classical artists. This year’s collection features whimsical arrangements from Anastasia Kobekina, Daniil Trifonov, Hayato Sumino and SANSARA as they perform well-known Christmas music alongside a couple of lesser-known gems and bring their incredible musicianship to these carols.

2024 Carols Covered Tracks

• Rachel Platten, “Jingle Bell Rock”
• Lizzy McAlpine, “Celebrate Me Home”
• Zach Top, “Blue Christmas”
• MaKenzie, “Let It Snow”
• The Linda Lindas, “Rockin’ Around the Christmas Tree”
• Ruel, “santa doesn’t know you like i do”
• Tones and I, “Hallelujah
• Lights, “Last Christmas”
• MENTISSA, “Shake Up Christmas”
• Alice Merton, “Sleigh Ride”
• Ditonellapiaga, “(Everybody’s Waitin’ For) The Man With The Bag”
• Tade Dust, “I Saw Three Ships”
• Luisa Almaguer, “Amarga Navidad”
• Pheelz, “The Twelve Days of Christmas”
• BOYNEXTDOOR, “It’s Beginning To Look A Lot Like Christmas”
• Rachel Chinouriri, “Christmas Lights”

2024 Classical Carols Covered Tracks

• Anastasia Kobekina, “The Coventry Carol”
• Daniil Trifonov, “Man of the House”
• Hayato Sumino, “It’s the Most Wonderful Time of the Year”
• SANSARA, “Peace on Earth”

Meanwhile, if you want to listen to the same song we’ve all heard a thousand times over, Amazon Music has you covered with a Mariah Carey partnership. The self-proclaimed ‘Queen of Christmas’ has teamed up with Amazon to offer a selection of holiday decor and tour merch that celebrates the 30th anniversary of “All I Want For Christmas Is You.”

The merch partnership comes as Mariah Carey kicks off her Christmas Time tour in Highland, CA on November 6. So whether you want a taste of something new or the same-old, same-old Christmas jingle—both Apple Music and Amazon Music have you covered.

Photo Credit: On Air

Content from the UMG-owned production studio is available to stream now.

With the emergence of concert streaming’s high-growth potential, on-stage performance streaming platform On Air is now offering new monetization opportunities for intellectual property owners and artists. The platform aims to elevate the fan experience by offering a true cinematic experience with content available in 4K UHD with Dolby Vision and Dolby Atmos technologies.

Since 2020, On Air has hosted a serious catalog of live concerts and performances from A-list artists and shows. That includes performances from the likes of Zara Larsson, Noel Gallagher’s High Flying Birds, and Years & Years from iconic music venues spanning Royal Albert Hall, OVO Arena Wembley, BBC Studios, and more.

But that’s just the beginning: expanding upon their existing on-stage video catalog, On Air recently forged a deal with Mercury Studios for concert performance footage. Mercury Studios, a division of UMG, is a multi-faceted music content studio and treasure trove of seminal concert footage. Just recently, On Air joined forces with DMN to further propel the platform.

Mercury Studios’ sizable catalog features over 2,000 hours of standout performances by the most prominent names in music — including Peter Gabriel, Lynyrd Skynrd, Duran Duran, Black Sabbath, Journey, ZZ Top, Santana, Eric Clapton, Toto, and The Who, as well as assets from legendary production company Eagle Rock. Now, that historic and important catalog is finding another outlet via On Air to reach fans – with the ingestion and dissemination process well underway.

“On Air provides an exciting opportunity to showcase the breadth of Mercury Studios’ programming, from award-winning documentaries to concerts by iconic artists like Eric Clapton, Miles Davis, Chicago, Jeff Beck, Cypress Hill, and INXS. This partnership with On Air will further expand the reach of these remarkable performances,” said Rob Gill, SVP Global Operations, Mercury Studios.

Jakub Krampl, co-founder and CEO of On Air, sat down with DMN to reveal how On Air’s latest deal with Mercury Studios expands global exposure opportunities and monetization for all IP owners, labels, and artists on the platform. For starters, Mercury Studio’s catalog is impressive, and that will draw a bigger audience interested in higher-quality live performances.

“We’re here to support the distribution of catalogs and monetization of longform content in 4K with Dolby Vision and Atmos technology,” said Krampl. “On Air provides an end-to-end service to artists, labels and rights holders — all backed by a cutting-edge tech stack.”

On Air’s vast infrastructure expertly covers every aspect of the streaming process, solving problems typically faced by IP owners when they attempt to distribute content across mainstream channels.

A sampling of On Air’s live concerts and performances from A-list artists filmed at iconic music venues. (Photo Credit: On Air)

According to Krampl, On Air offers a ‘premium streaming service for on-stage entertainment,’ handling everything from pre-production and on-site production management to an exclusive post-production process that ensures higher-quality content for its users.

On Air’s DRM-protected streaming platform plays comfortably across desktop, mobile, and TV endpoints. Stretching things further, the company also pushes engagement by marketing content and managing assets across multiple platforms, including social media with tailored campaigns.

And when the opportunity arises, On Air also helps to negotiate branding and agency partnerships to further stretch the reach of its footage.

The platform offers prime viewing experiences to fans in over 190 countries, while taking adequate measures to prevent unlawful distribution. Among the most prominent offerings available to stream are Zara Larsson’s sold-out ‘Venus Tour’ at AFAS Live in Amsterdam, Noel Gallagher’s High-Flying Birds live at Wythenshawe Park in Manchester, Yoshiki’s ‘Requiem Classical World Tour’ recorded at the Royal Albert Hall, and a pair of sold-out All Time Low shows, captured at OVO Arena Wembley (2023) and Merriweather Post Pavilion (2024).

One of On Air’s biggest differentiators is its audio and picture quality, with streams available to watch in 4K UHD with Dolby Vision and Dolby Atmos technologies.

Krampl explains that the solution, crafted by On Air’s partnership with Dolby, “provides every user with the opportunity to experience our productions with the immersive sound of Dolby Atmos and ultra-vivid pictures of Dolby Vision for a premium entertainment experience.”

“On Air has successfully achieved a live stream in Dolby Vision, which hasn’t been done before — and that’s only one of the many advanced solutions we’re capable of providing,” Krampl continued, while pointing to the company’s All Time Low OVO Arena Wembley capture. That show was delivered in 4K UHD with HDR and Dolby Atmos immersive sound, and accessed across 56 countries simultaneously over the web, mobile and TV apps.

In fact, all On Air-produced shows are filmed in close partnership with Dolby. “We’re delighted that On Air uses Dolby Atmos and Dolby Vision to give them an edge in concert streaming,” said Jane Gillard, Head of Music Partnerships Europe for Dolby. “Artists invest so much into live shows – sound, visuals, effects, lighting. In using the best in Dolby technology, On Air are able to deliver an experience that beats standard video and stereo hands down.”

The on-stage performance streaming space has a number of big competitors, though On Air’s focus strategies of Dolby-powered streams, complementary solutions, and competitive pricing could prove to be significant differentiators.

Krampl explains that On Air’s entire service infrastructure is developed in-house, which makes it ‘independent of third-party platforms and agencies.’ This self-developed tech-stack and content delivery platform, according to Krampl, allows On Air to address problems before they arise, ‘while continuing to develop and innovate’ for their stakeholders.

The On Air HD stereo service is available to viewers at $10.99 per show, with the On Air catalog available to stream on-demand with unlimited replays.

Photo Credit: On Air

Why is now the moment for concert video to expand and reach a wider audience? Krampl points out that On Air is aware of how current economic challenges have significantly shuffled audience priorities and where they want to spend their money.

Exorbitant ticket prices and the cost of travelling to venues present barriers that threaten to separate artists from their fans.

On Air aims to democratize access to live music and provide a genuine connection between audiences and performers. Their ‘cutting-edge solutions directly offer the energy and magic of live performances to audiences’ around the world.

The On Air app, available across Apple iOS, Android, and Fire TV, is designed to make viewers feel like they’re in the center of the action. Users can tune in to On Air’s cinematic show library in 4K UHD and spatial audio from anywhere, and seamlessly switch to the big screen at any time.

Photo Credit: Too Lost

Fan engagement is one of the biggest cornerstones of success in the music industry. Engagement empowers artists and their teams to harness the potential of their fan bases, cultivate superfans, and foster a strong bond between those fans and the artist. Too Lost is making it easier than ever to facilitate that connection with Fan Blast—directly from the Too Lost dashboard. Let’s take a peek at how it works.

The following was created in collaboration with Too Lost, a company DMN is proud to be partnered with.

Social media has great tools to help budding artists get discovered by more fans, but how do you contact them once they’re aware of your music? A more extensive reach method is needed to engage fans directly when new music drops as social media by design does not show your updates to everyone who follows you on the platform.

Meta has long been criticized for this, with reach happening to only 5.9% of a person’s organic followers on that platform. That’s better than the 4.3% it used to be, but the result is that artists must hope for a viral post—or pay Meta to reach 100% of their audience who expressed interest.

Email tools are far more effective at maintaining an in-the-know relationship with fans who have expressed interest in new music. That’s because emails are delivered directly to a person and when crafted with catchy headlines and tailored to music fans—they deliver more action in terms of potential sales and new streams. Even merch drop emails tend to be more successful than social media blasts—since the artist shared their email because they’re interested in the music in the first place.

Too Lost is capitalizing on the close connection that email marketing offers by offering artists and managers the ability to build and blast emails to their entire fanbase. Fan Blast allows artists to email anyone who has pre-saved one of their songs, generate early listen links to keep those fans engaged with new music, and notify fans about upcoming releases, merch drops, and more.

Artists and managers can completely customize the message, or use powerful AI tools to generate the message with listening links already inserted. Too Lost says the tool is designed to help add new fans in real-time as they engage with your music, bringing your marketing efforts closer to the fan for a strong artist-fan bond. The ability to engage superfans directly on new releases means those fans are among the first to hear your music—perhaps influencing others and growing your fanbase in the process.

“We understand the importance of owning the communication with your fans. Social media is great, but we know the reach is heavily restricted. Fan Blast makes it easy to get messages directly to your fans, right from your Too Lost dashboard.”

This new fan engagement feature, paired with Too Lost’s other features offer artists a full suite of services to identify and connect with their fans across the web.

Photo Credit: Amr Diab with his seven World Music Awards by Muhammad Rafaat / CC by 4.0

Sony Music signs an exclusive multi-album agreement with Egyptian icon Amr Diab, acquiring his catalog in the process.

Sony Music Entertainment Middle East just scored an exclusive partnership with Middle Eastern music icon Amr Diab, which includes the acquisition of his music catalog and a multi-album agreement.

The deal includes hits like “Inta El Haz,” “Zay Manty,” and “Ya Ana Ya La,” as well as introducing “a forward-looking multi-album deal set to redefine musical boundaries.”

Often referred to as “the father of Mediterranean music,” Amr Diab is a best-selling artist with a decade-spanning career full of numerous accolades, including seven World Music Awards, five Platinum Record Awards, and six African Music Awards.

Amr Diab’s collaboration with Sony Music Middle East will leverage the company’s global network to “explore innovative sounds and partnerships,” and further his international reach and appeal.

“I am thrilled to start this new chapter of my music career with Sony Music,” says Amr Diab. “Their commitment to nurturing artistic growth aligns with my vision for the future of my music. Stay tuned to new innovations coming your way!”

“Amr Diab is a musical visionary whose work transcends cultural and generational boundaries. We are proud to welcome Amr to Sony Music and share his music beyond the Middle East, propelling his musical legacy to even greater heights,” said Shridhar Subremaniam, President Asia and Middle East Sony Music. “This partnership aims to showcase the rich musical heritage of the Middle East on a global stage.”

“Amr Diab’s lasting impact on the music industry is unparalleled,” concludes Rami Mohsen, Managing Director of Sony Music Entertainment Middle East. “This strategic partnership will introduce his unique sound to broader audiences and underscores our commitment to fostering exceptional talent and creative excellence around the globe. As we expand our footprint in the rapidly growing Middle Eastern market, partnering with Amr Diab aligns perfectly with our vision for the region’s music industry.”

The partnership comes amid Sony Music Entertainment’s continued domination of the IFPI Top 200 MENA Chart, showing significant influence in the region.

Photo Credit: Pamela Neal (Brandi Carlile)

Singer-songwriter Brandi Carlile signs with CAA and Phantom Management, ditching Red Light and Wasserman in a major representation shift.

Brandi Carlile is busy making moves, announcing on Wednesday her signing with CAA for worldwide representation, and moving to an in-house management firm, Phantom Management. The Grammy-winning singer-songwriter has been represented by Red Light Management for years, with Wasserman as her agency. The move seems to be purely in the interest of “fresh blood,” with no apparent bad blood existing between Carlile and her former representation.

Notably, Phantom is led by Catherine Carlile, Brandi’s wife, who has led her fundraising organization, The Looking Out Foundation, for 13 years. Now, she takes on the role of senior manager, where she will be aided by Carolyn Snell. Carlile’s new reps at CAA have not been mentioned by name in the announcement, but insiders reveal Bryan Lourd and Rob Light are taking the lead in representing Carlile.

Carolyn Snell, who will be working closely with Catherine Carlile to manage the artist at Phantom, has both managed and coordinated global tours for artists like Janet Jackson, Reba McEntire, John Mayer, and the Indigo Girls.

The change comes as Carlile looks to further expand her reach in the realms of film, television, and publishing.

While the singer-songwriter has not yet revealed any touring or recording plans for 2025, the announcement revealed a second book is on the way, via Harper Collins’ Dey Street imprint. Carlile’s previous book, “Broken Horses: A Memoir,” topped the New York Times’ bestseller list upon its 2021 release. The subject of the follow-up book is yet to be publicly known, but those close to the situation believe “all her writing is being looked at for potential development” across other media.

Brandi Carlile remains with Low Country Sound and Elektra as her label, as well as Sack & Co. for publicity.

Photo Credit: Glassnote Records (Daniel Glass, Founder & President)

AI-powered social music app Hook has announced a partnership with Glassnote Records to add tracks from emerging acts including Tors, bby, Hayes Warner, and Dylan Cartlidge to its library. More acts from Glassnote will be added soon.

Glassnote’s roster includes chart-topping acts like Mumford & Sons, Childish Gambino, Phoenix, Two Door Cinema Club, GROUPLOVE, Silvana Estrada, CHVRCHES, AURORA, Jade Bird, Hamilton Leithauser, GRACEY, The Teskey Brothers, and more. Hook describes itself as an ‘ethically-trained AI’ social mash-up app which launched on iOS last month.

Hook allows everyday music fans to use cutting-edge, ethically-trained AI technology to realize the future of music listening in which fans become collaborators, using music to express themselves by creating sped up, slowed down, mashed-up, or different genre songs. Sped up and slowed down remixes on TikTok have exploded in popularity, leading to the creation of Hook.

“Hook also opens up a new revenue stream for artists and rights holders, enabling them to monetize the infinite derivative versions their fans create and consume on Hook and social platforms like TikTok and Instagram,” the announcement reads.

“Glassnote Records is proud to embrace progressive, open-minded, and forward-thinking ideas,” says Daniel Glass, Founder & President of Glassnote Music. “It has always been our goal to run toward what’s next, focusing on the potential of new technologies while recognizing artists’ creative integrity as the number one priority and something to be strongly protected.”

“We believe Hook does just that—providing a comprehensive solution to the use of remixed music across social platforms in a way that emphasizes artists’ control and compensation.”

As music consumption and discovery continue to shift to social media platforms, Hook provides artists and rights holders granular controls over how fans can interact with their licensed music on social media. The app also provides data about how their remixes are performing globally, bringing a consumption-based model to social media while paying artists more as fans create remixes.”

Hook Founder & CEO Gaurav Sharma previously served as Chief Operating Officer for JioSaavn, India’s largest music streaming platform. It was also one of the first platforms to secure global streaming licenses with record labels. Sharma and his team grew JioSaavn to more than 100 MAUs before he departed.

Photo Credit: Sean “Diddy” Combs by Shamsuddin Muhammad / CC by 2.0

A federal judge rules the Jane Doe who accused Sean ‘Diddy’ Combs of sexual assault can’t proceed under a pseudonym.

Federal Judge Mary Kay Vyskocil ruled that an anonymous woman who filed a sexual assault lawsuit against Sean “Diddy” Combs must file under her real name by November 13, or the lawsuit will be dismissed. The Tennessee woman filed her suit as a Jane Doe against Combs earlier this month with allegations that he raped her in 2004 when she was 19 years old.

Lawyers representing the woman have argued that the case should be allowed to proceed as-is due to the plaintiff’s fear that Combs would harm her. But the judge disagreed.

“The fundamental question is whether Plaintiff has a ‘substantial privacy’ interest that ‘outweighs the customary and constitutionally embedded presumption of openness in judicial proceedings,’” wrote Judge Vyskocil on Wednesday. “Defendants have a right to defend themselves, including by investigating Plaintiff, and the people have a right to know who is using their courts.”

“As Plaintiff’s own submissions make clear, however, Combs has had no contact with Plaintiff for the approximately twenty years since the alleged rape and Combs is currently detained pending trial,” the judge continued. “As such, counsel has not identified any present threat of physical harm to Plaintiff.”

The lawsuit is one of over a dozen that have been filed by Jane or John Does since Combs was arrested on sex trafficking and racketeering charges in September. All are represented by the same attorneys, which includes Tony Buzbee, who promised an onslaught of over 120 similar lawsuits to be filed in the coming weeks.

“The Court appreciates that Combs is a public figure, and therefore, Plaintiff is likely to face public scrutiny if she proceeds in her own name,” Judge Vyskocil pointed out. “However, Plaintiff’s interest in avoiding public scrutiny, or even embarrassment, does not outweigh the interests of both Combs and the public in ‘the customary and constitutionally embedded presumption of openness in judicial proceedings.’”

Therefore, the judge said Combs is entitled to know the identity of his accuser so his defense can investigate her claims.

Photo Credit: Yamaha Museum

Yamaha Music Innovations has announced a collaboration with Audiomack, a music streaming service primarily catering to the African market.

Audiomack does not impose any initial registration fees on artists, so artists in emerging markets can upload their music for listeners to enjoy. The service has over 100 million registered users and Yamaha views this partnership as a way to contribute to local music culture—one of its management policies aimed at market expansion.

Yamaha has previously engaged in developing digital musical instruments with enhanced sounds and auto-accompaniment features that allow enjoyment of local pop and traditional music in emerging markets such as India. In line with this policy, Yamaha says it aims to deepen its understanding of African music culture through this collaboration while simultaneously strengthening its development of digital musical instruments, other products, and content rooted in local African cultures.

The first initiative of this collaboration with Audiomack is a co-hosted Audiomack & Yamaha’s Zinoleesky “Abanikanda” Remix Contest, inviting participation from young African artists. By creating opportunities for these emerging local artists to express themselves, Yamaha aims to build relationships with artists and creators based in Africa and incorporate their voices into its offerings.

Yamaha says it will continue to actively promote initiatives that support artists’ self-expression and contribute to the sustainability of local music culture through collaborations with various partners.

Meanwhile, Audiomack recently partnered with India’s leading music label Saregama to help expand its South Asian music catalog. The alliance adds thousands of Bollywood hits and regional language tracks to the Audiomack offering, strengthening Audiomack’s position as a music streaming destination for South Asian music fans in the diaspora.

Audiomack has built a strong presence in South Asian music, generating over 160 million Punjabi streams globally each month, with Canada alone accounting for 77.5 million streams. The platform serves more than 200,000 monthly active users in India, with a substantial user base across Pakistan, Bangladesh, and other South Asian markets.

Photo Credit: Jack Dorsey by Mark Warner / CC by 2.0

Jack Dorsey tells Tidal staff they’re in for another wave of layoffs as the company builds ‘like a startup again.’

Tidal employees are about to be hit with another round of layoffs, owner Jack Dorsey told staff in a note on Wednesday morning. Dorsey explained to the team the company needs to operate “like a startup again,” which will require reorganization across the company to become “a much smaller team.”

“We’re going to part ways with a number of folks on our team,” said Dorsey in the note to Tidal staff. “We’re going to lead with engineering and design, and remove the product management and product marketing functions entirely. [Tidal is] reducing the size of our design team and foundational roles supporting Tidal, and we will consider reducing engineering over the next few weeks as we have more clarify around leadership going forward.”

Though Dorsey didn’t provide a specific number as to the amount of jobs to be affected by the cuts, speculation from company insiders estimate as many as 100 people could lose their jobs. This would amount to around a quarter of Tidal’s total staff.

“We have made some internal changes to our Tidal team to focus on serving artists in the most meaningful way,” said a Tidal spokesperson in a statement to Fortune. “This involved the elimination of some roles across our business and design teams. We are going to be smaller, focus on fewer things, and move with a relentless approach to product development.

The move is the second round of layoffs at the music streaming company in less than a year, with Tidal having cut 10% of its staff back in December. Meanwhile, Dorsey told staff at his other company Block to prepare for a similar reorganization, to go back to “how we started as a company.”

Dorsey (and Block) acquired a majority stake in Tidal in 2021 for around $300 million. Despite its roots with Jay-Z behind the wheel, Tidal has always struggled to find a solid foothold in the streaming game alongside heavyweights like Spotify and Apple Music. Those two platforms, alongside YouTube Music and Amazon Music, account for over 97% of all subscribers to music streaming providers in the United States according to DMN Pro data.

Photo Credit: Nintendo

While other gaming companies like Square Enix have uploaded their soundtracks to Spotify, Nintendo is going its own way. The company has debuted a new companion app for its Nintendo Switch Online service—bringing 40 years of music soundtracks to iOS and Android devices for subscribers.

Gamers can stream songs right from the app or download them to the app for offline listening. Soundtracks can be searched by song, game title, track name, playlist name, or even browse by screenshot. The app also allows songs to be looped 15, 30, or 60 minutes for uninterrupted background listening. Nintendo says it has included a filter that can filter soundtracks that may contain spoilers for games.

The app allows you to favorite songs and build personal playlists that you can share with others, or browse curated playlists created by Nintendo. Nintendo will also recommend playlists based on Nintendo Switch Play Activity, with new music showing up based on these recommendations.

Nintendo Music is available to download at no additional cost for members of the Nintendo Switch Online and Nintendo Switch Online + Expansion Pack subscription. Subscriptions for these services start at $3.99 for one month or $19.99 for the year, with Expansion pack access available for $49.99 a year. The Expansion pack includes a library of Nintendo 64, Game Boy Advance, and Sega Genesis games in addition to the new soundtrack app.

At launch, the soundtracks from several Nintendo franchises are available to listen including The Legend of Zelda, Super Mario, Animal Crossing, Splatoon, Metroid, Nintendogs, Kirby, Pokemon, Donkey Kong, Fire Emblem, and Mario Kart. Nintendo says more soundtracks will be added in the future.

The strategy is an interesting one, since Nintendo has heavily gone after those who upload game music to YouTube. After a massive crackdown of Nintendo music on YouTube that happened just last month, it’s clear Nintendo wants to maintain creative control over its music while offering it as a benefit for subscribers to its online service. Whereas other gaming companies seem content to monetize uploads on YouTube—Nintendo is going its own way.

Photo Credit: Aiden Craver

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

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

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

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

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

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

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

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

Photo Credit: Rock the Country Music Festival

Rock the Country Music Festival announces ‘small town’ America tour, with stops in Little Rock, Arkansas; Knoxville, Tennessee; and more.

Rock the Country Music Festival has announced the two-day event, “A Festival for We the People,” will be returning to Anderson, SC, in July 2025 as it travels to 10 cities across the United States, bringing with it massive shows with unforgettable performances in “small town America.”

“Anderson definitely rocked it last year and we can’t wait to bring the excitement and energy back,” said Nathan Baugh, CEO of Peachtree Entertainment. “The second year of Rock the Country in Anderson will expand on last year’s experiences with a jam-packed variety of music performances, amazing food, and a sense of community that only they can offer.”

Fans can sign up to be the first to receive Rock the Country news, from the full lineup to ticket details, on which more information is forthcoming.

Rock the Country Music Festival: A Festival for We The People 2025

April

• 04-05 | Livingston, LA
• 25-26 | Knoxville, TN

May

• 02-03 | Poplar Bluff, MO
• 09-10 | Ocala, FL
• 30-31 | York, PA

June

• 13-14 | Hastings, MI
• 20-21 | Little Rock, AR

July

• 11-12 | Ashland, KY
• 18-19 | Sioux Falls, SD
• 25-26 | Anderson, SC

Peachtree Entertainment is a nationally acclaimed concert promoter committed to spotlighting rising talent. With over 15 years of expertise in the music industry, Peachtree Entertainment has earned its reputation as a leader and innovator in live music.

As pioneers in identifying and nurturing new talent, Peachtree Entertainment has played a key role in launching the touring careers of artists like Luke Combs, Morgan Wallen, Luke Bryan, Gavin Adcock, and many more. Beyond tours, Peachtree’s outdoor event portfolio features iconic gatherings such as Rock The South, Rock The Country, Live At The Station, Bulls Bands and Barrels, among many others.

Peachtree Entertainment is a joint venture with LiveCo, a leading private equity-backed entertainment company producing over 3,000 live shows annually across multiple genres. Together, they contribute to shaping the live entertainment landscape, delivering unforgettable experiences nationwide and internationally. Peachtree remains dedicated to shaping the national country music scene, continuing its legacy of significant influence and success.

Photo Credit: United Way

United Way Worldwide and Paramount Global have teamed up to broadcast the United Way Benefit for Hurricane Relief. The event will air on Saturday, November 2 at 8 pm ET/PT on CBS and CMT. It will also be available to stream live on Paramount+.

The one-hour special will bring together some of the biggest names in music, television, and entertainment to mobilize communities and raise funds for relief and recovery after Hurricanes Helene and Milton. Communities in the affected states have endured an estimated $50 billion in damage.

The special was taped October 27 and 28 in Nashville and proceeds from its airing will support hurricane relief and long-term recovery efforts and benefit individuals and families across the southeastern United States.

The United Way Benefit for Hurricane Relief will include performances from Brittney Spencer, Chris Janson, Clay Aiken, Jonathan McReynolds, and Tyler Hubbard with special messages and appearances by the Backstreet Boys, Billy Bob Thornton, Billy Burke, Blake Shelton, Carly Pearce, Cedric the Entertainer, Cody Alan, Jackson Dean, JB Smoove, Kelsea Ballerini, Max Thieriot, Nate Burleson, Stephen Colbert, Taye Diggs, Zac Brown Band, and more.

“In times of crisis, United Way mobilizes the caring power of communities to help people in need,” says Angela F. Williams, president & CEO of United Way Worldwide. “United Way Benefit for Hurricane Relief is an opportunity to unite people to help the individuals and families impacted by the devastating hurricanes. Because united is the way to create long-term and lasting resiliency for individuals, families, and communities.”

Several music figures have donated to hurricane relief including Morgan Wallen and Dolly Parton. Meanwhile, country stars like Luke Combs and Eric Church played the ‘Concert for Carolina’ benefit, which raised $24.5 million for hurricane relief efforts. Fellow North Carolinians Scotty McCreery, Chase Rice, Parmalee, the Avett Brothers, and James Taylor also participated. Keith Urban, Bailey Zimmerman, and Sheryl Crow also took the stage in support of the relief effort.

In the last four years, United Way around the world have responded to more than 200 disasters, including droughts, water crises, hurricanes, fires, and floods. UWW has mobilized resources by facilitating more than $219 million in outside investments to support local recovery efforts.

Photo Credit: Sage Skolfield, Devon Spencer, Tommy Rush, Sean Solymar, Mike Dean, Jon Platt, Willie Jones

Sony Music Publishing signs a global deal with legendary producer Mike Dean and several members of his M.W.A. crew.

Sony Music Publishing has announced the signing of legendary producer Mike Dean and several members of his renowned producer collective M.W.A., including Sean Solymar, Tommy Rush, and Sage Skolfield. The company has also launched a strategic partnership with M.W.A. to foster the creative development of its new talent.

Grammy winner Mike Dean is one of the most influential figures in contemporary music, renowned for his work as a producer, engineer, mixer, and multi-instrumentalist. With a body of work spanning across hip-hop, pop, experimental rock and soul, Dean’s career began in the early ‘90s with his pioneering work alongside southern rap icons like Scarface, Ugk, and Devin The Dude. Since then, he has continued to achieve critical acclaim as a key collaborator with an extensive range of artists, including Travis Scott, Beyoncé, Frank Ocean, Ye, The Weeknd, and many more.

As an artist, Dean has sold out headlining shows at the Wiltern in Los Angeles and toured with The Weeknd as an opening act on his sold-out After Hours Till Dawn stadium tour in the US. He also scored the entirety of HBO’s The Idol alongside The Weeknd and Sam Levinson, and starred as himself in the series.

“I’m thrilled to have Tommy Rush, Sean Solymar, and Sage Skolfield join MWA Publishing and Sony,” said Mike Dean. “We’re excited to create some incredible hits together.”

Sony Music Publishing Chairman & CEO Jon Platt said, “I am a longtime fan of Mike and his music. Not only has he consistently transformed Hip-Hop, but his creative influence extends across modern music, inspiring new talent through his work with M.W.A. We are pleased to partner with Mike and M.W.A.’s Sean Solymar, Tommy Rush, and Sage Skolfield as they continue to shape music’s future.”

Launched in 2017, Dean’s producer collective, M.W.A. is known for its innovative production, having worked with many of the biggest names in music. Sean Solymar has worked with Nas, Latto, 070 Shake, Teyana Taylor, Madonna, Ye, Travis Scott, and more, with production credits including the Grammy-winning hit song, “Jail.”

Tommy Rush is known for his collaborations with renowned artists including Beyoncé, Travis Scott, and Ye, as well as writing and production contributions across Christine and The Queen’s Paranoia, Mike Dean’s 4:23, and the Platinum-certified “Popular ft. Playboy Carti” by The Weeknd and Madonna.

Sage Skolfield has achieved success with recent collaborations with The Weeknd, including “Dancing in the Flames,” “We Still Don’t Trust You” with Metro Boomin and Future, “Wheelie” with Latto, as well as “World Class Sinner / I’m a Freak” and “One of the Girls” from HBO’s The Idol.

Photo Credit: Sacem & ASCAP

ASCAP and Sacem broker a strategic alliance to deliver more income to music creators and publishers.

The American Society of Composers, Authors, and Publishers (ASCAP) and La Société des Auteurs, Compositeurs et Editeurs de Musique (Sacem), two of the world’s premiere collective management organizations, have announced a strategic alliance. The two societies will leverage their investments in state-of-the-art data infrastructure and human expertise by collaborating in a myriad of ways to benefit their music creator and publisher members.

“I am excited to strengthen the transatlantic partnership between ASCAP and Sacem and work closely with Cécile [Rap-Veber] on innovative ways to protect and maximize the value of musical works on behalf of our songwriter, composer, and publisher members,” said ASCAP CEO Elizabeth Matthews. “France and the United States have a long history of recognizing the best in one another, from the democratic ideals of liberty, solidarity and equality to celebrating the diverse musical traditions brought into our repertoires from around the world.”

“This strategic alliance is a natural fit for our two not-for-profit collective management organizations and strengthens the solid relationship of trust between Sacem and ASCAP. At a time when the music ecosystem is undergoing profound transformation, Beth and I are convinced that our shared values and our commitments to innovation, data optimization and our joint work on AI, will be essential levers for creating ever greater value for the works and the rightsholders we protect, in the most cost-efficient manner,” added Sacem CEO Cécile Rap-Veber.

Both ASCAP and Sacem delivered record-breaking financial results for their members in 2023. As member-governed organizations that operate on a not-for-profit basis, ASCAP and Sacem share a commitment to supporting creators and have already collaborated on innovative projects.

They prototyped new technology approaches to distributing ISWC/ISRC links to enable better work identification in the digital field in 2017, and entered into a digital licensing partnership in 2022, under which Sacem represents the ASCAP repertory in negotiating with — and collecting from — major DSPs in Europe, the Middle East, and Africa. The societies are deeply committed to protecting creators’ rights in the rapidly evolving digital age, and to experimenting with the next generation of technology to innovate for their members through the ASCAP Lab and Sacem Lab.

The new strategic alliance is based on four pillars:

• Innovating to deliver more income to songwriters: The alliance will enable the two societies to inject new value and efficiencies into their processes, and minimize their costs by sharing investments for scale across both organizations, with a common goal of delivering accurate services, more income, and quicker distribution to their members.
• Extending their digital partnership in more markets: This collaboration will build upon a successful track record of delivering more efficient monetization and faster distributions to ASCAP’s members from ex-US digital audio services in Europe, the Middle East, and Africa, and going forward, extending into Asia.
• Launching joint AI task force to navigate the challenges and opportunities of AI for music creators: In a complex digital landscape, business, technology, and legal experts from ASCAP and Sacem will work together to educate members, advocate for increased transparency and fair compensation for creators, and explore business opportunities for using AI to enhance infrastructure and business efficiencies.
• Bringing music creators together on the global stage: ASCAP and Sacem are committed to providing their songwriters and composers with opportunities to collaborate and create together for the global music market. The two societies will launch a series of song camps, networking events, and educational programs to help their members succeed on the global stage.

To kick off this new partnership, Matthews and Rap-Veber co-hosted an exclusive evening reception on Monday, October 28 in Los Angeles ahead of The American French Film Festival. The reception celebrated the harmonious partnership between the two organizations and brought together ASCAP’s top women film composers and Sacem members.

Photo Credit: Possessed Photography

More than 24 organizations representing creators and rights holders have signed a joint statement seeking ‘meaningful implementation of the AI Act.’

Organizations like GESAC, IMPALA, IFPI, and several others seek the ability for creators and rights holders to enforce their rights when it comes to ingesting and copying copyright-protected works for training by AI models. The open letter is addressed to the European Parliament in support of the AI Act.

“The AI Act is a pioneering model of ethical and responsible AI regulation that sets the basis for best practice at global level,” the joint statement begins. “If implemented and applied effectively it will foster an environment in the EU where AI innovation can develop in an ethical and accountable way alongside flourishing cultural and creative industries across the EU.”

The EU Artificial Intelligence Act aims to set a global standard for AI regulation, much the same way the GDPR did for consumer data privacy. An artificial intelligence system is defined in the AI Act as any machine-based system that operates autonomously to generate outputs such as predictions, recommendations, or decisions affecting physical or virtual environments. The broad definition chosen was inspired by OECD guidelines and is designed to be future-proof and cover a wide range of technologies, from generative AI, deep learning, and more conventional data analysis techniques.

Creator societies and rights holder organizations say they’re dealing with a seriously detrimental situation of generative AI companies taking content without authorization “on an industrial scale.” This open letter states, “Their actions result in illegal commercial gains and unfair competitive advantages for their AI models, services, and products—in violation of European copyright laws.”

“The implementation and application of the EU’s new AI Act provides a crucial opportunity to address such malpractices and ensure accountability in the AI industry. It should aim at achieving a healthy and sustainable licensing market that encourages responsible AI innovation and complies with core principles of fair market competition and remuneration for creators and rights holders, while effectively preventing unauthorized uses of their works.”

“To achieve this, the rules provided in the AI Act—from the obligation for general purpose AI model providers to make publicly available a sufficiently detailed summary of the content used for training of their models to the obligation for such providers to demonstrate that they have put in place policies to respect EU copyright law—must be made meaningful.”

“As is made clear under the AI Act, these measures should enable creators and rights holders to exercise and enforce their rights when it comes to ingesting and copying copyright-protected works for training by AI models. This is not only essential for safeguarding the value of Europe’s world-renowned creative content in a global marketplace, but also for ensuring that AI services generate outputs based on high-quality, diverse, and trust-worthy inputs.”

“We support the standards you have set in the AI Act that should enable the cultural and creative industries to evolve and thrive. We now ask for your continued support in translating them into concrete steps in the forthcoming implementation phase to ensure a fair and equitable framework, where AI and innovation in the EU also safeguards and strengthens cultural and creative industries.”

Photo Credit: Alvaro Reyes

YouTube has reported its second best ever quarter in terms of sales—$8.92 billion in Q3 2024 revenue. Alphabet CEO Sundar Pichai attributes this to YouTube Music helping grow subscription revenue and AI doing a better job of recommending videos to people.

YouTube revenue grew 12.1% year-over-year to $8.92 billion, marking the second straight quarter of decline. YouTube’s total ads and subscription revenue surpassed $50 billion over the past four quarters for the first time. Meanwhile, Google subscription revenue driven by YouTube TV, Premium, Music and NFL Sunday Ticket climbed 27.7% year-over-year to $10.66 billion.

Pichai says “YouTube TV, NFL Sunday Ticket, and YouTube Music are driving subscription growth” for the company, but did not offer further details on the breakdown of those individual services. YouTube reportedly pays the NFL $2 billion a year for the Sunday Ticket football subscription, which seems to be paying off for both parties. In September 2023, the NFL said the Sunday Ticket package had more subscribers on YouTube than it had on DirecTV last year.

Alphabet says AI has been key in helping drive subscription growth, too. Chief Business Officer Philipp Schindler said, “Driven by Gemini, our large language models have a deeper understanding of video content and viewer preferences. As a result, they can recommend more relevant, fresher, and personalized content to the viewer.”

Alphabet’s overall sales increased 15% year-over-year to $88.3 billion, with Google Services accounting for the bulk of Alphabet’s sales. Shares of Alphabet stock closed 1.66% higher on the news at $171.14 per share, which rose more than 5.5% in after hours trading. Alphabet stock is up 22.6% on the year.

Alphabet has kept its YouTube Music subscription numbers close to its chest, but we know the service cracked 100 million subscribers in March 2024. At the time, that was an increase of 20 million subscribers from numbers reported in 2022. Along with the subscriber numbers, YouTube revealed that Content ID claims were up 25% year-over-year, with most rights holders choosing to monetize content rather than rip it down.

Photo Credit: TikTok

Long live the album: TikTok is seemingly expanding its Add to Music App feature, through which users can save music to standalone services like Spotify, to include album pre-saves.

The Add to Music App buildout was first spotted by Music Ally, and TikTok subsequently confirmed ongoing tests of a full-album pre-save option. Add to Music App itself is now approaching its one-year anniversary; late 2023 saw the tool roll out in additional markets, and TikTokers in another 163 nations gained access this past February.

Now, evidently looking to capitalize on the across-the-board availability and to underscore its marketing capabilities, TikTok is reportedly enabling users to pre-save whole albums. As laid out by the mentioned outlet, a portion of these users can already add forthcoming albums (like Rosie, which Blackpink’s Rosé is set to drop in December) to Spotify and Apple Music.

From there, added full-length projects will automatically appear in one’s library upon release, per the available description. Though album pre-saves’ precise promotional effectiveness remains to be seen for some acts, certain well-established artists are presumably poised to enjoy commercial bumps from the tool.

Of course, that’s assuming album pre-saves ultimately receive a full-scale release. And that’s also assuming the popular video-sharing app isn’t forced to cease operating in the world’s biggest music market and economy this coming January.

As things stand, the January 19th sale-or-shutdown deadline established under the Protecting Americans from Foreign Adversary Controlled Applications Act is still in place.

Meanwhile, the controversial platform is grappling with several other operational obstacles. Keeping the focus on litigation and regulatory scrutiny for a moment, closer to October’s beginning, over a dozen U.S. states sued the ByteDance-owned app over its alleged “perilous effects on children.”

Today, Reuters reported that Brazil’s Collective Defense Institute had filed a pair of lawsuits, alleging data-protection shortcomings and undisclosed mental-health risks for minors who use the app, against TikTok. Those complaints are reportedly seeking nearly $530 million in damages.

And on the licensing side, amid an abrupt TikTok-Merlin split, far-reaching questions remain about the platform’s relationship with the indie music community moving forward.

While time will tell how these challenges play out for TikTok, the short-form giant is hardly without competition at present. This growing list includes not only prominent rivals like YouTube’s Shorts and Instagram’s Reels, but lesser-discussed players such as a revamped Triller, Loops, and Connyct, to name a few.

Photo Credit: Vanessa Bumbeers

Meta and TikTok are facing hot water in Brazil for failing to protect minors on their platform. The Brazilian consumer rights group The Collective Defense Institute has launched two lawsuits against Meta, TikTok, and Kwai—another Chinese owned short-video platform. The lawsuit seeks three billion Brazilian reals ($525.8 million).

The lawsuits allege that all three social media platforms failed to create mechanisms to prevent “indiscriminate use” of the platforms by minors. The suits also demand that each of these companies create clear data protection mechanisms and issue warnings about the risks to children’s and teenager’s mental health due to addiction.

“It is urgent that the measures be adopted in order to change the way the algorithms work, the processing of data from users under 18, and the way in which teenagers aged 13 and over are supervised and their accounts created, in order to ensure a safer, healthier experience… as is already the case in developed countries,” Plaintiff lawyer Lillian Salgado told Reuters.

Both TikTok and Meta have found themselves in hot water in several jurisdictions over minor safety on their platforms. New Mexico sued Meta and Snap Inc. for not protecting children on Facebook, Instagram, and Snapchat in 2023. During discovery in that case, a memo from 2021 revealed that Meta had discovered more than 100,000 instances of harassment faced by children on the platform. Despite the discovery, Meta executives have rejected efforts to redesign the algorithm.

Meanwhile, 15 state attorneys general have sued TikTok for “falsely claiming its platform is safe for young people.” TikTok owner ByteDance introduced child protection controls for accounts under 13, but that feature was more intended to reduce regulatory pressure than to actually protect kids. Meta has announced a new ‘Teen Account’ feature on Instagram, which automatically limits the accounts teenagers see and who can contact them. TikTok told Reuters it had not been notified of the pending lawsuit by Brazil.

Photo Credit: David Bergman

Concert for Carolina has raised over $24.5 million for Hurricane Helene relief efforts, as fundraising continues with a silent auction.

The Concert for Carolina led by Luke Combs, Eric Church, Billy Strings, and James Taylor has raised $24,513,185 and counting for Hurricane Helene relief efforts.

Taking place this past Saturday at Charlotte’s Bank of America Stadium, the record-breaking event welcomed 82,193 in-person attendees and is the largest concert ever for the venue. Additionally, the VEEPS livestream garnered 7.1 million total views, which came from across all 50 US states and 30 different countries.

“A montage of incredible performances, one-off collaborations, and awe-inspiring selections,” according to Rolling Stone, Concert for Carolina also featured performances from Sheryl Crow, Keith Urban, Bailey Zimmerman, The Avett Brothers, Scotty McCreery, Chase Rice, Parmalee and Wesko, with surprise appearances from Nicole Kidman and Randy Travis. The show was hosted by ESPN’s Marty Smith and Barstool Sports’ Caleb Pressley.

Even after the show, the Concert for Carolina team is still working to raise as much money as possible for hurricane relief efforts, including a special silent auction, which is open now. Auction items include the signed guitar and shirt that Combs used during the show, a meet and greet with Church at an upcoming concert, signed NFL, NBA, NCAA, and NASCAR gear, signed instruments, a variety of concert and game tickets, a selection of artwork, Yeti coolers, and much more.

All proceeds from the auction, benefit show, and livestream will go to the organizations selected by Combs and Church — Samaritan’s Purse, Manna Food Bank, Second Harvest Food Bank of Northwest NC, Eblen Charities, and the organizations supported by Chief Cares.

Concert for Carolina was made possible due to the support and extreme generosity of David and Nicole Tepper and Tepper Sports & Entertainment, Explore Asheville, Biltmore Estate, T-Mobile, Jack Daniel’s, Whataburger, Miller Lite, Blue Cross and Blue Shield of North Carolina, Belk, Lowe’s, Atrium Health, Tractor Supply Company, Bank of America, American Airlines, Food Lion, Duke’s Mayo, GE Aerospace, Harris Teeter, Pinnacle Financial Partners, United Healthcare, Bud Light, Preferred Parking, Gildan, and AshBritt.

Photo Credit: Live Nation

Ghost announces its largest world tour to date, with 55+ shows across the Europe, the UK, and North America next year.

Swedish theatrical rock band Ghost announced its biggest world tour to date, beginning with 55-plus shows across the US, Europe, the UK, and Mexico next year. The band will travel from Manchester on April 15 to some of the world’s most notable arenas — including their first ever show at Madison Square Garden on July 22. Further dates will be announced as they are confirmed.

The 2025 tour will be Ghost’s first outing since its RE-IMPERATOUR 2023 wrapped up its North American run with two sold-out shows at the Kia Forum in Los Angeles. Those performances were immortalized in the band’s debut feature film, “RITE HERE RITE NOW,” available now for pre-order on DVD, to stream at VEEPS, and to purchase or rent via iTunes or Amazon, and its accompanying soundtrack album.

News of the latest tour first broke via a new installment of Ghost’s long-running Chapters webisode series, which picks up immediately following the events at the conclusion of “RITE HERE RITE NOW.”

Tickets for the US dates will be available, starting with a Citi presale beginning today (October 29) at 10 AM local time, with the artist presale beginning just a couple hours later at noon. Additional presales will run throughout the week ahead of the general onsale beginning Friday, November 1 at 10 AM local time.

Citi cardmembers will have access to presale tickets for US markets until Thursday, October 31 at 10 PM local time through the Citi Entertainment program.

Europe and UK tickets are available starting with a Mastercard presale in select markets today, with the artist presale kicking off two hours later. Additional presales will run throughout the week ahead of the general onsale beginning Thursday, October 31 at 10 AM in Germany, France, Poland, Spain, Italy, Belgium, and at Friday, November 1 at 10 AM in the UK, Portugal, Switzerland, Czech Republic, Netherlands, Denmark, Finland, Sweden, and Norway.

Like Citi cardmembers in the US, Mastercard holders have special access to presale tickets in Belgium, Finland, Sweden, Norway, Italy, France, Netherlands, and Denmark. Preferred ticket access is available in the UK from Friday, November 1, at 10 AM local time.

Finally, tickets for Mexico are available starting today, with additional presales running throughout the week ahead of the general onsale beginning Monday, November 4 at 11 AM local time.

Ghost World Tour 2025 Dates — North America & Europe

April

• 15 | AO Arena — Manchester, UK
• 16 | OVO Hydro — Glasgow, UK
• 19 | The O2 — London, UK
• 20 | Utilita Arena — Birmingham, UK
• 22 | Sportpaleis — Antwerp, BE
• 23 | Festhalle Frankfurt — Frankfurt, DE
• 24 | Olympiahalle — Munich, DE
• 26 | LDLC Arena — Lyon, FR
• 27 | Zénith Toulouse Métropole — Toulouse, FR
• 29 | MEO Arena — Lisbon, PT
• 30 | Palacio Vistalegre — Madrid, ES

May

• 03 | Hallenstadion Zürich — Zürich, CH
• 04 | Unipol Forum — Milan, IT
• 07 | Uber Arena — Berlin, DE
• 08 | Ziggo Dome — Amsterdam, NL
• 10 | Atlas Arena — Lodz, PL
• 11 | O2 Arena — Prague, CZ
• 13 | Accor Arena — Paris, FR
• 14 | Rudolf Weber-ARENA — Oberhausen, DE
• 15 | ZAG Arena — Hannover, DE
• 17 | Royal Arena — Copenhagen, DK
• 20 | Nokia Arena — Tampere, FI
• 22 | Saab Arena — Linköping, SE
• 23 | Göransson Arena — Sandviken, SE
• 24 | Oslo Spektrum — Oslo, NO

July

• 09 | CFG Bank Arena — Baltimore, MD
• 11 | State Farm Arena — Atlanta, GA
• 12 | Amalie Arena — Tampa, FL
• 13 | Kaseya Center — Miami, FL
• 15 | Lenovo Center — Raleigh, NC
• 17 | Rocket Mortgage FieldHouse — Cleveland, OH
• 18 | PPG Paints Arena — Pittsburgh, PA
• 19 | Wells Fargo Center — Philadelphia, PA
• 21 | TD Garden — Boston, MA
• 22 | Madison Square Garden — New York, NY
• 24 | Little Caesars Arena — Detroit, MI
• 25 | KFC Yum! Center — Louisville, KY
• 26 | Bridgestone Arena — Nashville, TN
• 28 | Van Andel Arena — Grand Rapids, MI
• 29 | Fiserv Forum — Milwaukee, WI
• 30 | Enterprise Center — St. Louis, MO

August

• 01 | Allstate Arena — Rosemont, IL
• 02 | Xcel Energy Center — Saint Paul, MN
• 03 | CHI Health Center — Omaha, NE
• 05 | T-Mobile Center — Kansas City, MO
• 07 | Ball Arena — Denver, CO
• 09 | MGM Grand Garden Arena — Las Vegas, NV
• 10 | Viejas Arena — San Diego, CA
• 11 | Footprint Center — Phoenix, AZ
• 14 | Moody Center — Austin, TX
• 15 | Dickies Arena — Fort Worth, TX
• 16 | Toyota Center — Houston, TX

September

• 24 | Palacio de los Deportes — Mexico City, MX

Photo Credit: Dena Flows / CC by 3.0

Earlier this year, Forbes announced Bruce Springsteen is a billionaire after his $500 million catalog sale. But The Boss disputes that claim, saying the outlet “got that real wrong.”

In a report back in July 2024, Forbes “conservatively” estimated The Bosses’ six-decades of work to be worth $1.1 billion. Forbes says that figure accounts for his 21 studio albums, seven live albums, and five EPs, which have collectively sold over 140 million albums globally. The accounting includes his bestselling memoir and 236 sold-out Broadway performances. The $500 million catalog sale to Sony in 2021 is part of the foundation, but Springsteen’s world tour in 2023 sold 1.6 million tickets and generated $380 million in revenue, per Pollstar data.

“I’m not a billionaire,” Bruce Springsteen recently told The Telegraph, directly refuting claims made by Forbes’ estimates. “I wish I was, but they got that real wrong. I’ve spent too much money on superfluous things.” Springsteen says he wanted to enjoy his good fortune because he put the work in across several decades.

“That’s usually where people go south,” Springsteen says of those who laud money as the end goal. “If I had failed at that, I would have failed at everything, in my opinion.” Springsteen says part of his reasoning for not being a billionaire on paper as Forbes estimates is that he compensates his E Street Band very well.

“I pay them a tremendous amount of money,” Springsteen said at a recent showing of his new documentary in London. “That greases the wheels pretty good. And then I’m a pretty nice boss. The truth is you need to cast your band well. If you get the art right, the music right, and the band right, you go out and play every night like it’s your last night on Earth. That was the serial philosophy of the band, and we’re sticking to it.”

So while The Boss may be being modest about his net worth here, it’s probably no surprise that he’s not exactly clocking the billionaire marker for himself. He’s bought properties, kept the E Street Band happy, and continues to tour. A biopic about his life will be released sometime in 2025 with Jeremy Allen White tapped to portray the New Jersey native.

Photo Credit: Chris Brown – No Guidance (Official Video) ft. Drake / Vevo

Chris Brown, Drake, Sony Music, and YouTube face a copyright infringement and defamation lawsuit over the track ‘No Guidance.’

Chris Brown has been slapped with a $5 million copyright infringement and defamation suit over his track “No Guidance,” featuring Drake, who is also named in the filing, alongside Sony Music and YouTube.

Filed by Tykeiya Dore and Marc A. Stephens, who allege that Chris Brown’s song infringes on Dore’s copyrighted track, “I Got It,” which they say they have tried to have addressed in the past. Stephens, acting on behalf of Dore, submitted multiple notices of copyright infringement with YouTube and Sony Music Entertainment, demanding the removal of Brown’s song.

Allegedly, Brown’s team responded, arguing that the claim “lacks merit” as it stands, based on unprotectable ideas, and asserting there is no substantial similarity between the two songs. Further, they argue Dore cannot prove Brown had access to her song, which is necessary to prove that purposeful infringement occurred.

YouTube initially suspended Stephens’ account and ultimately declined to remove Brown’s music video. The parties are still involved in an ongoing dispute, with YouTube denying Stephens’ takedown requests. “We’ve reviewed this matter and found that you haven’t identified a work that is subject to copyright,” YouTube wrote in an email to Stephens. “For this reason, we can’t process your request.”

YouTube is named in the lawsuit, alongside its parent companies, Alphabet Inc. and Google, for alleged defamations against Marc Stephens in the ongoing dispute over the takedown notice, when YouTube is said to have called Stephens’ claims “fraudulent.” The suit seeks damages amounting to at least $5 million.

Other issues outlined in the suit include exhibits involving copyright registrations, comparison videos, and email correspondence between litigants and YouTube. Chris Brown is also the subject of an upcoming documentary highlighted his abuse allegations with a new victim, who has finally come forward after years.

Photo Credit: Spotify

It’s getting close to the end of the year which means a new Spotify Wrapped drop is upon us—if you’re an artist, is your page ready? For users, here’s what you need to know about the upcoming Spotify Wrapped 2024.

Spotify tells Digital Music News that more than 225 million listeners engaged with Spotify Wrapped content in 2024—making it a great place to foster engagement for artists. There was a 40% increase in engagement with 2023 Wrapped content compared to 2022, which showcases how the end-of-year audio wrap-up inspires users to review their listening history.

The company is encouraging artists with a Spotify page to prepare for the Wrapped 2024 experience by uploading a new clip by November 15. “Speak directly to the fans who’ve had you on repeat all year. Record an under-30-second clip for the opportunity to be featured within the main Wrapped data story, and in a Wrapped video feed for your top fans,” Spotify tells artists.

“After Wrapped, uploaded Clips will be featured across Spotify—on your artist profile, the Now Playing view, Release Pages, and Home for listeners to continue enjoying.” For artists interested in participating, the Clip needs to be shot vertically (like TikTok) feature no music, singing or lyrics, no explicit content, no logos or brands, and no added text, graphics, or filters.

So when does Spotify Wrapped 2024 drop? While Spotify hasn’t shared any specific dates, we can take a peek at past releases to get an idea. When Wrapped first started in 2016 it dropped in December, with subsequent years moving the date up sooner.

• 2018 | December 6
• 2019 | December 5
• 2020 | December 1
• 2021 | December 1
• 2022 | November 30
• 2023 | November 30

Our best guess? Get ready to see your full Wrapped history around November 30. Spotify tracking for the Wrapped history doesn’t account for November or December, since tracking usually stops on October 31. So get all of your listening in the next few days—because Wrapped 2024’s tracking dates are almost over.

Photo Credit: Apple

After Apple removed the YouTube wrapper app Musi from the App Store, several other apps have popped up to take its place. Musi fans lament the loss and share new apps as Musi developers sue Apple for the removal.

Apple took action against Musi in September 2024, removing the app for download due to violating YouTube’s terms of service. The YouTube ToS states that developers are not allowed to develop wrapper apps that bypass advertising—which is exactly what Musi did. Musi first launched in 2016 and could play YouTube videos while serving Musi ads that benefit the developer. An in-app purchase offered total removal of ads.

Some 66 million people downloaded Musi while it was available, with several of them joining the subreddit to discuss the app. In Musi’s recently announced lawsuit against Apple, it claims that it does not violate YouTube’s terms of service because it does not utilize the API provided by YouTube to developers. Instead, developers claim they designed their own “augmentative interface” to deliver publicly available content from YouTube.

Musi says the interface does not “store, process, or transmit YouTube videos” and instead that it “plays or displays content based on the user’s own interactions with YouTube and enhances the user experience via Musi’s proprietary technology.”

YouTube insists that the app violates its terms of service by accessing and using non-public interfaces and provides a commercial use of YouTube’s service. “The Musi app violated YouTube’s prohibition on the sale of advertising ‘on any page of any website or application that only contains content from the service or where content from the service is the primary basis for such sales.” To sum up that answer, you’re not allowed to slap advertisements on a YouTube wrapper that has no additional content beyond the video.

YouTube complained directly to the developers of Musi in 2023 before getting Apple involved, complaining that the app violates YouTube’s terms of service. Musi alleges that Apple has improperly sided with YouTube in the dispute, ripping down the app and making it unavailable except for those who already have it downloaded on their devices. But even those with the app installed are finding their playlists blocked and they’re unable to play songs in Musi—likely a result of YouTube blocking access for Musi’s servers.

But hardcore Musi fans are sharing alternatives for the app in the Musi subreddit, suggesting those seeking a similar experience download an app called Music Si. The app is from a completely different developer and was originally designed to cater to iPad users, but the Musi row brought about an iPhone interface for Musi fans seeking an alternative.

Music Si is a wrapper for both YouTube and SoundCloud and performs much the same as Musi, offering content from these services while serving up ads that benefit the developer only. It even followed Musi’s model of offering in-app purchases for ad removal either monthly ($2.99/month) or yearly ($9.99/year). What remains to be seen is if YouTube will be taking the same action against these Musi clones. Already Music Si is rising up the charts for the App Store—last week it was #244 in the Music category, this week it is up to #120.

Photo Credit: Michael Nash / UMG

UMG partners with ethical AI music company KLAY in a strategic deal to pioneer a commercial, ethical foundational model for AI generated music.

Los Angeles-based AI music company KLAY has announced a partnership with Universal Music Group (UMG) on a pioneering commercial, ethical foundational model for AI generated music that works in collaboration with the music industry and its creators. KLAY aims to be the backbone to power a new era in products and experiences, committed to the premise that AI can bolster and grow musical creativity and human artistry.

At the core of UMG and KLAY’s shared vision is the conviction that state-of-the-art foundational AI models are best built and scaled ethically through constructive dialog and consensus with those responsible for the artistry that shapes global culture. Building generative AI music models ethically and fully respectful of copyright, as well as name and likeness rights, will dramatically lessen the threat to human creators and stand the greatest opportunity to be transformational, creating significant new avenues for creativity and future monetization of copyrights.

Led by accomplished executives from the fields of music and technology, including Ary Attie (music and tech visionary), Thomas Hesse (former President of Sony Music Entertainment), and Björn Winckler (joining soon from Google Deepmind), KLAY is committed to serving artists and songwriters and those who support them, including music publishers and labels, distributors, and other rights holders across the Major and Indie label landscape. KLAY is developing a global ecosystem to host AI-driven experiences and content, including accurate attribution and will not compete with artists’ catalogs in traditional music services.

“We are excited to partner with entrepreneurs like the team leading KLAY, to explore new opportunities and ethical solutions for artists and the wider music ecosystem, advancing generative AI technology in ways that are both respectful of copyright and have the potential to profoundly impact human creativity,” said Michael Nash, Executive Vice President and Chief Digital Officer of Universal Music. “UMG has always endeavored to lead the music industry in driving innovation, embracing new technologies, and supporting entrepreneurship while protecting human artistry.”

“Research is critical to building the foundations for AI music, but the tech is only an empty vessel when it doesn’t engage with the culture it is meant to serve,” added Ary Attie, founder and CEO of KLAY. “KLAY’s obsession is not just to showcase its research innovation but to make it invisible and mission-critical to people’s daily lives. Only then can music AI become more than a short-lived gimmick. Our great artists have always embraced the newest technologies — we believe the next Beatles will play with KLAY.”

KLAY is developing a new Large Music Model (KLAYMM) that will significantly advance state-of-the-art Music AI. The company is currently in stealth but plans to launch in the coming months with a product that will revolutionize the way people think about music, presenting a new, intuitive music experience.

Photo Credit: Live Nation

Live Nation Urban and Amazon Music join forces to livestream Lil’ WeezyAna Fest, available on Prime Video and the Amazon Music channel on Twitch.

Live Nation Urban and Amazon Music have joined forces to livestream the sold-out Lil’ WeezyAna Fest exclusively on Prime Video and the Amazon Music channel on Twitch. The highly anticipated event kicks off on Saturday, November 2, broadcast live from Smoothie King Center in Lil Wayne’s hometown of New Orleans, starting at 7:30 PM CT.

Presented by Rotation, the hip-hop and R&B brand from Amazon Music, the festival’s livestream will be hosted by influential hip-hop commentators Loren Lorosa, Mouse Jones, and Wayno.

Following its announcement in September, Lil’ WeezyAna Fest sold out instantly. The lineup includes a Hot Boys reunion with Lil Wayne, Juvenile, B.G., and Turk, plus sets from Big Tymers (Birdman and Mannie Fresh), Rob49, and more. Through the livestream, Amazon Music and Live Nation Urban will provide fans with the unique opportunity to take part in the festivities from the comfort of their homes, sharing a taste of New Orleans with the rest of the world.

In addition to Lil’ WeezyAna Fest, Live Nation Urban and Lil Wayne have an exciting weekend in store for New Orleans, beginning with the DJ Drama & Friends Pre-Party at 7:00 PM CT on Friday, November 1. The following day, Lil Wayne brings Weezycon, which will run from 9:00 AM to 5:00 PM CT at The Fillmore.

The free event will be hosted by Culture Creators and feature inspiring conversations from the likes of HaSizzle, Tarionna Tank Ball (Tank of “Tank and The Bangas”), Sony Digital, and more. Capping off the weekend will be a special Thank You Brunch on Sunday, November 3, hosted by Cita and Reginae Carter with Rude Jude.

Since 2015, Lil Wayne has hosted one of the most dynamic events for his hometown of New Orleans. Lil’ WeezyAna Fest has cemented itself as an annual homecoming for Wayne that celebrates the city’s musical history and is a way for him to give back to the community.

Photo Credit: Mohamed Sadek for The New York Times

Hot on the heels of a new Mozart discovery in Leipzig, the Morgan Library & Museum in Manhattan has unearthed a nearly 200-year-old Frédéric Chopin piece.

The New York Times reports on the museum’s curator discovering the new piece in a collection of cultural memorabilia. Among postcards signed by Picasso and letters from Brahms and Tchaikovsky was a short musical scrap “about the size of an index card.”

Curator Robinson McClellan tells The NY Times he had his doubts about the origins of the piece after playing it himself. The manuscript’s ink and paper were tested, alongside the handwriting and musical style by consulting experts. The conclusion? The work is very likely a previously unknown waltz by Frédéric Chopin. The piece was dated between 1830 and 1835 and has unique properties not present in any of Chopin’s other works.

While it is believed the piece is complete, it is shorter than Chopin’s other waltzes. The piece in key A minor features a triple forte near the start—an unusual choice for the classical composer. But curator McClellan says he has confidence in calling the piece a Chopin because the ink and paper are consistent with what the composer used at the time. The penmanship of the music notation also matches previously known handwritten examples of Chopin’s pieces—particularly the bass clef symbol.

“We have total confidence in our conclusion,” McClellan told The New York Times. “Now it’s time to put it out there for the world to take a look and form its own opinions.”

The New York Times asked pianist Lang Lang to perform the piece, which you can hear above. Lang Lang says the piece felt like Chopin, with the harsh opening intended to evoke harsh winters in the Polish country side. “This is not the most complicated music by Chopin,” Lang Lang says. “But it is one of the most authentic Chopin styles that you can imagine.”

The waltz was never published and remained hidden, potentially in the hands of collectors. It was acquired at some point by A. Sherrill Whiton Jr., a director of the New York School of Interior Design who died in 1972—a life-long classical music lover and Chopin fan. Whiton’s collection was given to the Morgan in 2019 by a friend who purchased them from Whiton’s wife, Jean. The collection went uncataloged for five years, partially due to the pandemic.

Photo Credit: Loops.Video

TikTok is facing increasing scrutiny in the United States—both for its China-owned origins and the harm it can do to young minds. Will something else replace it if the United States does ban the platform? Loops is hoping to be in the position to absorb migrating users if a TikTok ban does happen.

We’ve already seen how quickly traditional social media can shed users after Elon Musk bought Twitter. The newly renamed X/Twitter was blocked in Brazil from August 30, 2024 to October 8, 2024 amid a dispute. Musk refused to appoint a legal representative for X/Twitter (a requirement for businesses in Brazil) and so it was suspended in the country. Twitter’s fediverse competitor Bluesky gained over one million new Brazilian users during that legal row.

The creators of Loops may be hoping to capitalize on a similar situation if TikTok ends up banned in the United States. The platform began accepting signups last week, allowing users to share short, looping videos. While Loops is not currently open source or integrated with the ActivityPub protocol that powers other fediverse apps like Mastodon and Threads—the process is in motion.

TechCrunch reports that the new app was developed by Daniel Supernault, the same developer behind the federated Instagram rival Pixelfed. Loops is running as a sub-project under Pixelfed, making it similar to Instagram’s Reels feature. While not reliant on investor financing, Loops says it will seek user donations via Patreon and other platforms to keep it funded in its early days, with a potential grant funding the first year of development. The app is aimed at users who are 13 and older who want to post short, looping videos (think Vine and TikTok before it became a YouTube competitor) as well as like and comment on them.

So how will Loops solve the moderation problem that TikTok currently has? According to the developer, videos published on Loops will be held for moderation if the poster has a low trust score. Users who post videos regularly and earn a high trust score from their videos will be able to skip this queue immediately. The trust score is also used to hide problematic comments on videos and apply content warnings.

Users who are interested can sign-up to be invited, though it may take a while. As for apps, the developer says an APK for Android is coming (bypassing the Google Play Store), while an iOS app will be available on Apple’s TestFlight service when it is approved. No web interface is planned for now—which is exactly how TikTok got its start before blowing up.

Photo Credit: Lily Allen by Justin Higuchi / CC by 2.0

Lily Allen says she makes more money by posting pictures of her feet on OnlyFans than she does through her Spotify streams.

Singer Lily Allen has revealed that she makes more money per month by posting pictures of her feet on her OnlyFans account than she does through her Spotify streams.

The English pop star only started her OnlyFans account over the summer after a pedicurist told her she had nice feet and could make some decent money selling pictures of them. On an episode of her podcast, “Miss Me,” Allen shared she has a perfect five-star rating on WikiFeet, the foot fetish website that rates pictures of celebrity feet.

When she posted pictures of her feet and a link to her OnlyFans account on the former Twitter, a fan criticized her by saying, “Imagine being one of the biggest pop stars/musicians in Europe and then being reduced to this.”

To this, Allen replied, “Imagine being an artist and having nearly 8 million monthly listeners on Spotify, but earning more money from having 1,000 people subscribe to pictures of your feet. Don’t hate the player, hate the game.”

Lily Allen’s OnlyFans account costs $10 per month, which comes out to a cool $10,000 monthly based on her subscriber count. Compare that with her 7.5 million monthly Spotify listeners, which earns her around $0.003 and $0.005 per stream.

While OnlyFans is not exclusively a creator platform for sexually charged content, it is notably very porn-friendly, and has paid over $20 billion to content creators since its debut in 2016.

“Everyone assumes it’s sexy content,” said CEO Keily Blair at the Bloomberg Screentime conference in Los Angeles. “Some of it is sexy content — and we’re very happy with that; we’re an inclusive platform, and we’re that way for a reason.”

“We believe it’s very important for adult content creators to have a safe space, to be able to monetize and also to be able to do that alongside other content creators,” added Blair.

The 39-year-old Allen first broke onto the pop music scene back in 2005 when she signed to Regal Recordings and published her songs on Myspace. Her first commercial single, “Smile,” debuted in 2006, and reached #1 on the UK Singles Chart that summer. She released her fourth album, No Shame, in 2018.

Photo Credit: Mark Zuckerberg by Anthony Quintano / CC by 2.0

Facebook parent company Meta inks a deal with Reuters to include their news content in responses from its AI chatbot.

Facebook’s parent company Meta has announced a multi-year deal with Reuters to include the news platform’s content in responses from its AI chatbot. Starting today, users of Meta’s AI chatbot in the US will have access to “real-time news and information from Reuters when they ask questions about news or current events,” according to an initial report from Axios.

The company’s AI chatbot is integrated into the search and messaging features across its apps, including Facebook, Instagram, Messenger, and WhatsApp.

According to a response from the chatbot when asked by TheWrap about the deal, “The partnership is a significant move for Meta, marking its first major AI news deal, and will enable users to access trustworthy information directly within the chatbot.”

“While most people use Meta AI for creative tasks, deep dives on new topics, or how-to assistance, this partnership will help ensure a more useful experience for those seeking information on current events,” said a Meta spokesperson.

According to Axios, Meta’s AI chatbot will cite Reuters’ stories in its answers and provide links to the outlet’s content. Reuters will be compensated for its reports.

The deal comes on the heels of Meta CEO Mark Zuckerberg saying his company would strike up partnerships to bolster its AI responses. This includes an expanded global agreement with Universal Music Group earlier this year, which included framework for addressing “unauthorized AI-generated content.”

Meta has also been in talks with Apple for a generative AI partnership despite the two companies’ longstanding rivalry. While those discussions are not concrete, it’s notable that several companies are also courting Apple as the EU continues its battle to open the company’s “walled garden” approach to managing its App Store.

Photo Credit: Perplexity

After being slapped with a lawsuit from Dow Jones & Company and NYP Holdings over copyright infringement, AI search engine Perplexity has responded.

That lawsuit alleges that Perplexity owes its success to a “brazen scheme to compete for readers while simultaneously free-riding on the valuable content” produced by outlets like the New York Post and the Wall Street Journal. Plaintiffs in the case said they reached out to Perplexity for a potential licensing agreement, but never received a response. Now, Perplexity is responding publicly.

Perplexity says the ‘common theme’ among lawsuits against generative AI companies is that these media companies “wish this technology didn’t exist.” “They prefer to live in a world where publicly reported facts are owned by corporations, and no one can do anything with those publicly reported facts without paying a toll,” Perplexity says.

“We believe that tools like Perplexity provide a fundamentally transformative way for people to learn facts about the world. Perplexity not only does so in a way that the law has always recognized but is essential for the sound functioning of a cultural ecosystem in which people can efficiently and effectively obtain and engage with knowledge created by others,” the statement reads.

Perplexity lists sources for the information it provides as in-line citations for every part of the provided answer. Many other AI chatbots have copied this citation presentation wholesale—providing the source of information so it can be viewed by the person seeking knowledge.

“The lawsuit reflects an adversarial posture between media and tech that is fundamentally shortsighted, unnecessary, and self-defeating,” Perplexity writes. “Perplexity is proud to have launched a first-of-its-kind revenue-sharing program with leading publishers like TIME, Fortune, and Der Spiegel, which have already signed on. And our door is always open if and when the Post and the Journal decide to work with us in good faith, just as numerous others already have.”

Perplexity calls the facts cited in the original 42-page complaint “misleading.” It says examples of the lawsuit alleging ‘regurgitated’ output mis-characterize the description of the source material. It also alleges that it did respond to News Corp. “They reached out; we responded the very same day; instead of continuing the dialogue, they filed this lawsuit,” says Perplexity. “AI-enhanced search engines are not going away.”

Photo Credit: Jerry Jeff Walker / Primary Wave Music

Primary Wave Music announces a partnership with the estate of legendary country and folk singer-songwriter, Jerry Jeff Walker.

Leading independent publisher Primary Wave Music has announced a new partnership with the estate of legendary country and folk singer-songwriter, Jerry Jeff Walker. Terms of the deal include partnering with the estate on Walker’s music publishing catalog, as well as his recording copyrights and artist royalties.

The new relationship will also provide access to the estate to Primary Wave’s marketing team and publishing infrastructure, working closely on new marketing, branding, digital, and synch opportunities, as well as film and television projects.

Included in the deal are some of Jerry Jeff’s biggest hits across his 50-plus decades in music, such as “Mr. Bojangles,” “Sangria Wine,” “Railroad Lady,” “Trashy Women,” and more. Perhaps his best known song, “Mr. Bojangles,” was released in 1968 and went on to become an American pop standard. It garnered Walker a Grammy nomination for Best Country Vocal Performance (Male), and would go on to be covered by a number of heavy hitting artists, including Bob Dylan, Harry Belafonte, Nina Simone, and Sammy Davis, Jr.

The deal also includes an agreement for Jerry Jeff Walker’s recorded masters, in partnership with his label Tried & True Music, to be released and distributed through the legendary Sun Records. For future releases, Sun Records will provide overall catalog marketing strategy, including streaming, social media marketing, and physical releases.

“When JJ passed, Jimmy Buffett was first at my door asking what he could do,” said Susan Walker, Jerry Jeff’s wife and longtime manager. “‘Help me find the perfect home for JJ’s catalog and label,’ I asked. And he did. May both their words and songs be remembered and cherished forever. Bubbles up!”

“A friend of mine had one final wish before he passed away — a big party with his favorite artist, Jerry Jeff Walker, performing live,” shared Samantha Rhulen, SVP of Business and Legal Affairs. “He got his wish. I will always remember that night and what Jerry Jeff’s music did for him and all of our friends. Primary Wave is honored to partner with the Walker family and will ensure that Jerry Jeff is remembered for the impact his music has made on so many people.”

In the early 1970s, Jerry Jeff Walker became one of the arbiters of the internationally famous Austin musical community alongside Willie Nelson. His songs are “the way he makes the world make sense, how he passed on stories of the people he met, the way he felt on a given morning.” He has celebrated the music of peers like Guy Clark and Townes Van Zandt, and served as a fountainhead and inspiration to younger musicians like Robert Earl Keen, Pat Green, Jack Ingram, and Garth Brooks.

Photo Credit: Michal Mrozek

X/Twitter rival Bluesky has announced a $15 million Series A funding raise, with a promise to provide a ‘path to monetization’ for creators. That’s a stark difference from the Elon Musk-owned platform currently fighting not to pay music publishers.

The funding round was led by Blockchain Capital with participation from Alumni Ventures, True Ventures, SevenX, Amir Shevat of Darkmode, co-creator of Kubernetes Joe Beda, and others. Bluesky says its investors share their philosophy that technology should serve the user, not the reverse.

“This does not change the fact that the Bluesky app and the AT Protocol do not use blockchains or cryptocurrency, and we will not hyperfinancialize the social experience through tokens, crypto-trading, NFTs,” the announcement reads. Bluesky says the fundraise will help it to continue supporting and growing the Bluesky community, investing in Trust and Safety, and supporting the ATmosphere developer ecosystem.

Bluesky also plans to develop a subscription model for features like higher-quality video uploads, profile customization, and more. The platform will always be free to use and Bluesky commits to not upranking accounts who subscribe to a payment tier just because they pay (unlike Elon Musk’s X/Twitter).

“We’re proud of our vibrant community of creators, including artists, writers, developers, and more and we want to establish a voluntary monetization path for them as well. Part of our plan includes building payment services for people to support their favorite creators and projects,” Bluesky says. Think of it like an in-platform Patreon, where subscribers to creators can pay them directly for the content they create on the platform.

Bluesky now has more than 13 million users and has been rapidly growing as entire countries experience an exodus from X/Twitter. Elon Musk’s row with Brazil over the platform caused Bluesky membership to surge during the brief period that X/Twitter was banned in Brazil.

Photo Credit: Qobuz

Qobuz launches in Japan, the second-largest music market worldwide, as the region’s first hi-res streamer and download store.

French pioneer of high-quality music streaming, Qobuz, takes a major step with its launch in Japan, the world’s second-largest music market. This strategic expansion marks a major turning point in the international development of the platform, reinforcing its trajectory towards profitability and its commitment to a musical experience that combines quality and discovery.

After establishing a presence in 25 countries, Qobuz now enters its 26th territory with its expansion into Japan. Since its launch in the United States in 2019, Qobuz has opened in 15 new markets in just four years. Its move into Japan, following the acquisition of e-onkyo music in 2021, marks its commitment to a high-potential market.

Streaming dominates the global music market with over 67% of revenue, but Japan presents a unique landscape where the physical market still accounts for over 50% of sales. Paid streaming is showing remarkable growth in the region, where the offering remains limited and dominated by a few major players.

“Our move into Japan marks a major turning point, bringing us closer to our goal of profitability,” says Georges Fornay, Deputy Chief Executive Officer of Qobuz. “We are proud to offer Japanese music lovers a valuable musical experience combining exceptional sound quality, editorial richness, and musical discovery. This expansion into the world’s second-largest music market, where streaming is booming, comes at an ideal time and strengthens our position as the undisputed benchmark for high-quality streaming and downloading.”

A pioneer and global benchmark in high-quality sound, Qobuz stands out for its singular approach. Dedicated exclusively to music, the platform offers a unique experience combining three fundamental pillars: high-resolution streaming, high-resolution downloads, and cutting-edge editorial content.

The platform offers an incomparable listening experience thanks to its uncompressed audio quality, ranging from 16-bit CD quality to 24-bit/up to 192 kHz, and now DXD and DSD, faithfully reproducing artists’ and engineers’ original intent in the studio, and setting new standards for the streaming industry.

Qobuz also offers a dedicated community of music enthusiasts an environment conducive to rich and varied music discovery. Qobuz Magazine features a plethora of editorial content, including artist interviews, in-depth articles diving deep into genres, labels, and music history, and a section dedicated to Hi-Fi gear reviews.

The platform enriches its catalog of over 100 million titles by integrating high-resolution tracks from e-onkyo music and a repertoire of Japanese music, including specialized genres like J-pop for its launch in Japan.

Photo Credit: Live Nation

Live Nation announces Lil’ WeezyCon at Lil’ WeezyAna Fest to provide young people a unique platform of panels, networking, and community engagement.

Live Nation Urban announces a new partnership with the Culture Creators Foundation to launch Lil’ WeezyCon, a dynamic addition to Lil’ WeezyAna Fest in New Orleans. Lil’ WeezyCon will kick off on November 2 at The Fillmore from 10 AM to 5 PM, offering a unique platform for thought leaders, creators, artists, and young professionals to come together for a day of panels, networking, and community engagement.

In a collaborative effort to uplift the local community, Lil’ WeezyCon will actively engage college students, local community organizations, and high school seniors. This initiative aims to provide young with valuable opportunities to connect with top industry professionals and learn about career paths in entertainment and entrepreneurship. Students from Dillard University will help produce the event, while volunteers from LSU, Xavier University, and other local schools will contribute their skills and support.

Tickets to Lil’ WeezyCon are free, making the event accessible to the general public. Additionally, college students with valid student IDs will receive VIP access, offering them exclusive opportunities to network with speakers and industry professionals throughout the day. Registration is available on the Lil’ WeezyAna Fest website.

“We knew we wanted to do something special with this year’s festival, and tapping the Culture Creators Foundation to help us create Li’ WeezyCon felt like the perfect way to engage the community and bring college students into the mix,” said Brandon Pankey, Vice President of Live Nation Urban. “This partnership allows us to expand beyond music and create an experience that leaves a lasting impact on young professionals and emerging creators.”

“We’re thrilled to collaborate with Live Nation Urban to create Lil’ WeezyCon, where we can bring together the brightest minds and most influential voices from across the industry to inspire and uplift future generations,” said Joi Brown, Founder and CEO of Culture Creators Foundation. “This is an incredible opportunity for our community to connect, share knowledge, and build meaningful relationships while celebrating the culture that drives us all.”

Lil’ WeezyCon will feature an impressive lineup of speakers, artists, and thought leaders from across the entertainment and creative industries, from companies and organizations including Udio, Afro Unicorn, Live Nation, Amazon Music, SoundExchange, and many more.

These influential figures will engage in panel discussions, workshops, and networking sessions designed to inspire and empower attendees. Topics range from music industry trends and creative entrepreneurship to media representation and social impact.

Lil’ WeezyAna Fest kicks off with a pre-party on Friday, November 1, at 7 PM at The Fillmore New Orleans with special guests, followed by Lil’ WeezyCon on Saturday, November 2. The weekend wraps up with the Lil’ WeezyAna Fest Thank You Brunch on Sunday, November 3, at 10 AM at the House of Blues New Orleans, hosted by Cita and Reginae with special guest Rude Jude.

Photo Credit: UnitedMasters

After stating it would not renew its current agreement with independent collective Merlin, TikTok has forged forward with a direct deal with UnitedMasters—a Merlin member.

The multi-year agreement will provide TikTok with UnitedMasters’ full, expansive catalog of music while providing additional commercial opportunities for UnitedMasters artists through TikTok’s Commercial Music Library.

TikTok announced it would not seek to re-negotiate its Merlin deal, which expires on October 31. This partnership with UnitedMasters is one of the first inked with a Merlin member outside of the now-expiring deal. TikTok says it chose not to re-negotiate its licensing agreements with Merlin because of past “operational challenges with Merlin where music that is not quality controlled for copyright is delivered.”

“Our partnership with TikTok provides UnitedMasters artists unparalleled access to a vast global audience, while TikTok creators and users gain early exposure to some of the most impactful independent music today,” states Steve Stoute, Founder & CEO of UnitedMasters. “TikTok recognizes the power of music and creativity, which is why we are excited to formalize this partnership.”

TikTok says it shares the vision with UnitedMasters that commercial use of music on platforms like TikTok offer significant revenue and promotional opportunities for artists. TikTok’s commercial music library gives artists unparalleled access to the 70+ million brands on the platform, creating net new revenue and promotional streams for artists. Meanwhile, indie collective IMPALA says the split with Merlin is an attempt to pay artists less while striking deals individually, calling it a ‘smoke screen.’

“TikTok’s ability to propel a track to success has been demonstrated time and time again, as songs that find popularity on the platform cross over and experience mainstream success on the charts,” Stoute adds. “Thanks to this partnership, I look forward to watching our artists continue to build their careers on TikTok and beyond.”

TikTok was instrumental in propelling Chilean artist FloyyMenor (a UnitedMasters artist) to the top of the charts with the reggaetón hit “Gata Only,” which has gained over a billion streams since being released in February 2024. Floyy is currently working on an EP, with plans to record his debut album in the United States.

Photo Credit: Naxos / Recreational Music

The world’s largest classical music label, Naxos, partners with Reactional Music to personalize music for gaming.

Interactive music personalization engine and delivery platform for gaming, Reactional Music, has agreed to a global licensing partnership with the world’s largest classical and regional music rights holder, Naxos. The partnership brings the world’s biggest classical music catalog to game developers and gamers.

Founded in 1987 by Klaus Heymann, Naxos comprises numerous companies, divisions, imprints, and labels covering classical, world, folk, jazz, and cultural music from across the world.

The Reactional Platform allows game developers to create interactive music soundtracks in games. It also enables music to be personalized within a game in real time by the gamer, becoming the soundtrack to the game, in key and in time with gameplay. Notably, it does not affect the master recording.

Naxos and Reactional have also confirmed that they are exploring a collaboration on the composition of interactive soundtracks, allowing composed music to be generated in real time around the gamer and gameplay.

The partnership significantly expands and diversifies Reactional’s music delivery portfolio for game developers around the world, while Naxos becomes the latest in a growing network of rights holder partners who will gain deeper access to game developers and the global gaming market.

“With 14,000 games released on PC, 8,000 on console, and thousands more on mobile each year, the diversity of games development across five continents is huge. The partnership with Naxos is important as it brings music scores from every region of the world together along with an incredible catalog of classical music,” says Reactional Music President David Knox. “Naxos has a vision and understanding of the transformations that are taking place and the new opportunities that now exist for creative and commercial use and consumption of music.”

“Our partnership with Reactional Music is incredibly exciting,” added Håkan Lagerqvist, CEO of Naxos Digital Services. “Reach and access into interactive and game developers and their customers and gamers is an important step for Naxos.”

“Game developers are everywhere. They should be able to more easily access music scores and tracks that are creatively and culturally diverse so they can create and explore without limitation,” Lagerqvist continues. “For gamers, Naxos brings a pallet of ideas and choice that can work in so many different worlds and interactive experiences.”

“Naxos will also explore how our composers’ work and our music catalogs can be enabled as full interactive game soundtracks. This is potentially incredible exciting. It is also a step towards enabling music to be used under license by creators, developers, and enablers in all areas of interactive.”

Reactional is pioneering commercial music to be enabled as an in-game purchase at scale for the first time. In a global games market worth $223.1 billion in 2023, in-game purchases totalled $125.7 billion, of which $72.5 billion was spent on cosmetic content and in-game personalization.

But music has so far only accounted for less than 0.01% of this spend. Changing consumption habits and an increase in personalization in all digital worlds means that spending on in-game personalization is predicted to grow to $100 billion by 2029, according to MIDiA Research Global Games Forecast.

Reactional Music has partnered with over 50 music rights holders worldwide over the past three years as it grows its music delivery platform catalog. This includes Beggars Group, Defected Records, Cherry Red Records, Hopeless Records, Hipgnosis Song Management, and leading production music groups like APM Music, Soundstripe, and Alibi.

Photo Credit: Ryan Born

SESAC Music Group acquires HAAWK, a media software and services company specializing in copyright management and monetization for independent catalogs.

SESAC Music Group announces its acquisition of HAAWK, a media software and services company that specializes in copyright management and monetization for independent music, film, television, and video catalogs.

HAAWK (Helping All Assets With Knowledge) provides full-service administration of YouTube’s Content ID system and Facebook’s Rights Manager platforms (including Instagram), serving a broad range of record labels, publishers, and music rights holder clients. HAAWK will operate alongside Audio Salad as part of the artist and label distribution services segment of SESAC Music Group’s Music Services division.

“This is truly a dream come true,” says Ryan Born, Founder & CEO of HAAWK. “HAAWK already leads the way in providing unmatched opportunities and increased royalty revenue for our clients across YouTube, Facebook, and social video platforms. By partnering with SESAC Music Group, we’re opening the door to even greater possibilities, enabling us to scale globally and offer more advanced royalty collection and administration services to our clients.”

“HAAWK’s mission aligns with SESAC Music Group in delivering maximum value and transparency to music creators. Their leadership and technology strengthen our services for independent labels and publishers worldwide,” shared John Josephson, Chairman and CEO of SESAC Music Group.

“We’re thrilled to welcome HAAWK to our Music Services portfolio, enhancing our comprehensive asset management and royalty collection services for independent labels and publishers globally,” added Malcolm Hawker, EVP and COO of SESAC Music Group.

HAAWK’s headquarters will remain in Los Angeles under the leadership of Ryan Born, who founded the company in 2017. The company has earned repeated recognitions on the Inc. 5000 and Deloitte Fast 500 rankings for its rapid growth in media and technology.

A global, multi-line music company, SESAC Music Group provides a wide range of data, technology, and services to publishers, songwriters, composers, and creators across every corner of the music industry. With its four divisions, including Performing Rights, Music Services, Audiovisual Music, and Church Resources, SESAC Music Group drives efficiency in licensing for music users and is home to a wide array of world-class music companies.

HAAWK provides copyright monitoring and monetization tools to assist creators in maximizing earnings on YouTube, Facebook, Instagram, TikTok, and more. Signature services include YouTube Content ID and Facebook Rights Manager administration, SaaS products for independent video creators to legally and affordably access micro-sync music, publishing administration, and digital music distribution.

Photo Credit: Google

Google has partnered with Grammy Award-winning singer, songwriter, and producer Jacob Collier on its latest AI project, MusicFX DJ. It’s a generative music creation tool that can mix prompts for instruments, genres, and even emotions to steer the flow of a continuous live music stream.

Jacob’s work with the research team was geared towards the user flow state of asking, “What am I dreaming up today?” Collier says that question has always inspired his workflow. “You answering that question give you access to a kind of flow—once you’re in that flow you’re off, you’re going,” he says.

MusicFX DJ can accept multiple prompts with the ability to fine-tune how much emphasis each prompt has on the final continuous stream. Collier’s perspective helped inform the team’s approach to offering creative control and tools for musical collaboration and artistic innovation. The controls offer the ability to make the music fast or slow, bright or dark, or feature specific sounds from prompts that can be adjusted to be heavily influenced or only lightly present.

Creations made with the MusicFX DJ can be shared with others to use as a creative jumping off point. People can watch a 60 second playback of the performance and remix it by taking over controls, adding their own prompts, and continuously building upon the track from their initial creations.

“Our collaboration with Jacob demonstrated the importance of experimentation in the creative process, and how working closely with artists can push the boundaries of creative tools,” Google says about MusicFX DJ. Generating a continuous stream of music that can be influenced with prompts makes it possible to create music with little know-how.

The new interface is much more intuitive than the interface for MusicFX DJ that Google debuted back in May 2024—highlighting Collier’s influence on the process. Alongside the new interface update for MusicFX DJ, Google also released updates for its Music AI Sandbox and YouTube’s Dream Track, giving Shorts creators the ability to generate high quality instrumentals for their YouTube Shorts.

Photo Credit: Odessey and Oracle Album Cover (1968)

British invasion pioneers The Zombies have entered into an agreement with Q Prime to provide label services and distribution for the band’s iconic ‘60s studio recordings.

Plans are underway for series of four definitive physical re-issues in 2025, remastered from original tapes and compiling all the band’s studio output. The first will be a remastered Odessey & Oracle to hit the shelves early next year. This re-issue will include the classic songs “Time Of The Season,” “Care of Cell 44,” and “This Will Be Our Year.” The album is a regular entry in the Best Albums of All Time lists from publications including Rolling Stone and Mojo Magazine.

The album will be released in its original mono mix, to coincide with the release of The Zombies’ documentary, ‘Hung Up On A Dream.’ The documentary is directed by musician and filmmaker Robert Schwartzman and is co-produced by Schwartzman’s Utopia Films, The Ranch Productions, and Tom Hanks’ Playtone.

Q Prime will manage all aspects of marketing, managing, distribution, and licensing for The Zombies’ new label imprint Beechwood Park Records. The catalog includes the hit singles “She’s Not There,” “Tell Her No,” and “I Want You Back Again.”

The Zombies’ four surviving founding members, lead singer Colin Blunstone, keyboardist Rod Argent, bassist Chris White, and drummer Hugh Grundy, along with Helen Atkinson—the widow and Estate Trustee of late guitarist Paul Atkinson—acquired the rights to their catalog last year from Marquis Enterprises Ltd. The group originally signed with Marquis Enterprises as teens in 1964.

Marquis produced their early recordings, granting limited-term licenses to the labels that released their hits (Decca and CBS Records) and later turned over the production reins to primary songwriters Argent and White. The group recorded Odessey & Oracle at Abbey Road Studios in London with a shoestring budget of just £1,000.

The deal was overseen by Chris Tuthill and Cindy da Silva of The Rocks Management, who together have represented the band for the past 11 years, along with attorney Monika Tashman of Loeb & Loeb. “We went through a painstaking process to find a strategic partner who would truly understand the unique qualities of these beloved recordings,” says Chris Tuthill.

“Ultimately, we knew we had to stay true to the band’s history. They have always benefited from a non-traditional and independent approach to both music and businesses, which is one of the reasons their songs are continually rediscovered by a new generation of fans.”

Q Prime boasts full label creative and digital marketing teams have offices in New York City, Los Angeles, Nashville and London.

Photo Credit: HOTSPOTATL // CC by 3.0

Mounting sexual assault allegations against Diddy haven’t dissuaded listeners from his music, as listenership on Spotify surges 36% since his arrest.

The ever-increasing sexual misconduct allegations against Sean “Diddy” Combs haven’t hurt listenership for his music in the slightest. It turns out Spotify listenership for his music has surged by 36% since his arrest last month.

According to data from Chartmetric, acquired by The Wrap, Diddy’s Spotify listeners increased 36% between the day he was arrested in New York on September 16, and October 16. Diddy had 13.2 million Spotify listeners in the past month — about 3.5 million more monthly listeners than he had the three previous months, where his listenership remained relatively static.

His most streamed song in the past month was “Gotta Move On” featuring Bryson Tiller, from his most recent album, 2023’s The Love Album: Off the Grid. Other popular songs include “Another One of Me” from the same album, and 1997’s “I’ll Be Missing You,” his ode to Notorious B.I.G. following the rapper’s murder.

Sean Combs was arrested in New York City last month after being indicted by a grand jury on charges including kidnapping, bribery, and sex trafficking. Combs has pleaded not guilty to all charges.

Meanwhile, Combs’ adult children have rallied behind him amid the scandal as he awaits a trial in May of next year. Breaking their silence since the 54-year-old was arrested, Quincy Brown (33), Justin Combs (30), King Combs (26), Chance Combs (18), and twins Jessie and D’Lila Combs (17), said they support their dad in the face of what they call false charges.

“The past month has devastated our family,” the Combs family’s message begins. “Many have judged both him and us based on accusations, conspiracy theories, and false narratives that have spiraled into absurdity on social media.”

“We stand united, supporting you every step of the way,” their message continues. “We hold onto the truth, knowing it will prevail, and nothing will break the strength of our family. We miss you & love you, Dad.”

The music and media mogul has been accused by multiple men and women of sexual assault and rape, some of whom were underage when the alleged assaults took place.

Photo Credit: Spotify

Spotify is bringing custom playlist art creation to mobile with a new feature in beta. Both Free and Premium users can now generate custom art for their playlist creations on mobile.

The cover art can feature unique images, colors, text effects, graphic elements, and more—allowing more creativity for those custom playlists. The new feature is available on both iOS and Android as long as you’ve updated to the latest version of Spotify. Ready to create a new look for your custom playlists? Here’s a quick guide on how to do so using this new feature.

How to Create Custom Playlist Cover Art on Spotify

1. Open the Spotify app on your iOS or Android device.
2. Select a playlist that you personally created—or start creating a new one.
3. Tap the three-dot menu on the playlist page and select ‘Create Cover Art.’
4. Upload an original photo of your own, or choose a variety of custom options.
5. Text styles, colors, and effects can be added to the image.
6. You can also change the background color and gradients or use image masking and visual effects.
7. Spotify also included exclusive stickers from artists to use in this new feature.
8. Once complete, the playlist will be updated with your newly created cover art.

Spotify says you can only save one custom cover art per playlist at a time and each new cover you create will override the previous cover created for that specific playlist. In order to create a playlist with multiple cover arts, you’ll have to make a copy of the playlist first. This new custom playlist cover art feature on mobile is currently in beta across 65 English markets.

As part of the feature launch, Spotify has partnered with music artists, visual creators, and artists behind some of the most iconic album art. Music artists in on the partnership include Clairo, Jamie xx, and Arlo Parks. Album artwork experts include creative director Imogene Strauss; Adrian Hernandez; and Cey Adams.

Photo Credit: WeVerse CEO Joon Choi at the National Assembly in Yeouido, Seoul, on October 7 / Yonhap News Agency

WeVerse faces blowback after forcing labels to pay for membership and taking up to 60% of subscription revenue.

Hybe’s fan platform WeVerse is under fire for allegedly forcing partner labels to pay for a membership service, leading to accusations of monopolistic practices.

The digital membership service, which is set to launch on December 1, requires over 130 music labels to participate in order for their musicians to use the platform, sparking concerns about unfair revenue sharing and exploiting fans for profit.

WeVerse emailed 130 partner labels on September 26, according to Rep. Lee Jung-mun of the Democratic Party of Korea, informing them of the new subscription service which is currently being called “digital membership.”

“Digital membership is a service offering fans exclusive digital benefits primarily accessible through WeVerse. This membership is mandatory for all artist communities hosted on WeVerse, allowing fans to subscribe to individual community memberships on a monthly basis and selectively across digital membership services,” said WeVerse in an email obtained by The Korea Herald on October 7.

The platform already offers a paid community membership option at about $24 annually, which offers perks such as early ticket access and exclusive content. But the new “digital membership” adds more features like offline access, ad-free video streaming, and higher-quality videos, not unlike YouTube’s premium subscription service.

In order to make use of these benefits, labels are forced into a revenue-sharing arrangement with WeVerse — which many labels find reportedly unfavorable. An anonymous source tells The Korea Herald that labels receive between 40 and 70 percent of profits, while WeVerse retains 30 to 60 percent.

Depending on the subscription tier, which ranges between about $2 and $4 for users, the split has created unrest among WeVerse’s partner labels. Many of them believe the portion WeVerse keeps is disproportionate for the privilege of having a label’s artists on the platform.

But abandoning WeVerse is simply not an option for most labels, with the platform holding a thus far unchallenged position in the K-pop fandom space. WeVerse boasted 10 million monthly active users as of June, and of the 152 teams hosted on the platform, 137 of those are not Hybe-affiliated.

Therefore, labels feel pressured to comply with the membership program, though so far no details have emerged about what might happen if a label chooses not to participate. Still, the prevalence of WeVerse in the K-pop world makes participation all but mandatory for the vast majority of labels.

“Labels have become so dependent on WeVerse that they can no longer conduct fan marketing without it,” says Rep. Lee. “The Fair Trade Commission needs to thoroughly investigate these new forms of monopolistic practices and determine whether unfair treatment is occurring against affiliated companies using the platform.”

Photo Credit: BMG x Tomorrowland Music

Tomorrowland Music has announced an exclusive deal with BMG to manage and administer the company’s music publishing rights. BMG will also co-sign new songwriters and producers. The partnership marks a significant step in Tomorrowland Music’s growth as a full-service music company.

The collaboration with BMG enhances Tomorrowland Music’s ability to offer more comprehensive services to the electronic music industry. Building on its recorded music division the label has seen steady releases from top global electronic music artists including Vintage Culture, Martin Garrix, Alok, Timmy Trumpet, Jengi, Denis Sulta, and many more.

Tomorrow Music has expanded its operation into a full-service music operation that includes a team of A&Rs, marketing and DSP specialists, a sync manager, and finance and legal support. With the addition of a dedicated publishing team through this new partnership with BMG, Tomorrowland Music is set to offer even stronger support to the global electronic music community—particularly in music creation and sync opportunities.

“Tomorrowland Music aims to collaborate with the world’s best electronic music producers and writers, helping them create exceptional music that resonates globally,” says Michel Van Buyten, Head of Tomorrowland Music. “Leveraging the power of the broader Tomorrowland and CORE ecosystems, the partnership with BMG will push the boundaries of what electronic music can achieve.”

“Our first Lab of Tomorrow songwriting camp brought together 32 artists and songwriters in three studios, resulting in amazingly creative collaborations and unforgettable moments,” adds Erroll Antonie, BMG Senior Director of A&R. “Goodboys and Blazey performed a song they wrote during the camp on the Tomorrowland main stage; Henri PFR, Repiet and Julia Kleijn, performed a song they wrote and recorded in just two days at The Gathering, Tomorrowland’s campsite. Tomorrowland Music and BMG have the capability to bring the most inspiring people together at exactly the right time.”

Photo Credit: jelly Roll testifying before U.S. Congress / C-SPAN

Jelly Roll puts the music world on blast, vowing to expose the “slimy” music business, accusing major companies of buying fake streams. “This whole thing is smoke and mirrors, y’all,” the star says on social media.

Jelly Roll recently took to the former Twitter to announce his intentions to expose “how slimy the music business is.” His message asserts that fellow rapper and songwriter Russ, who took the internet by storm earlier this year for his claims about the music industry, was entirely correct.

“Learned a lot about how slimy the music business is this week,” wrote Jelly Roll. “Don’t worry — y’all know I’m going to expose it soon. This whole thing is smoke and mirrors, y’all. All that s—t Russ be talking about is real!”

Earlier this year, New Jersey native Russ spoke on Andrew Schulz’s podcast “Flagrant,” accusing major record labels and companies of buying fake streams.

“I learned that the whole industry is ran by […] a couple people,” said Russ. “You know that guy at Spotify, that guy at Apple; you know this person at Rhythm Radio and this person at Urban Radio… Between four people, you can run the whole s—t.”

“Album goes #1, but then they can’t fill up a show,” Russ explained. “So the math is not mathing. […] The reality is the labels are spending money [to fake streams] — devil’s advocate, they’re treating it like a marketing expense.”

Russ said that although he had asked certain music industry elites about the logistics, none had disclosed to him “the mechanics of how they actually fake the streams.”

Jelly Roll, whose real name is Jason Bradley DeFord, previously collaborated with Russ on the song “Really Gone.” In what capacity the rapper-turned-singer intends to expose the claims about the music industry made by Russ remains to be seen.

Photo Credit: Sand in my Boots

Country superstar Morgan Wallen is throwing his own music festival in Gulf Shores, Alabama—borrowing the title of one of his hits. The ‘Sand In My Boots’ Festival will be produced in conjunction with AEG.

Hitting the beach in Gulf Shores from May 16-18, the festival will be a multi-genre bash featuring some of Wallen’s closest friends and favorite artists. Headliners for the three-day festival include Morgan Wallen, Post Malone, Brooks & Dunn, and Hardy—with performances by many other artists from several different genres.

“Creating a festival with Morgan has been a dream come true, and some of the most fun I have ever had booking a show,” adds Stacey Vee, EVP of Goldenvoice and Producer of Stagecoach. “I can’t wait for fans to come and experience one of the most eclectic and electric lineups and on-site experiences the world has ever seen.

While the Morgan Wallen-led festival is new, it takes the place of the Hangout Festival, which was slated to take place at the same time. The former music festival will not take place in 2025 and its future is unclear. For fans who want to attend the Sand In My Boots festival, access passes are available via the official website. Fans can reserve tickets for 25% down and hotel packages are available. General admission and VIP tickets will go on sale starting October 25 at 10 am CST.

So far, the announced line-up for Sand in My Boots includes:

• Riley Green
• Bailey Zimmerman
• T-Pain
• Diplo
• Wiz Khalifa
• The War on Drugs
• 2 Chainz
• Chase Rice
• Three 6 Mafia
• 3 Doors Down
• Paul Cauthen
• Future Islands
• Ernest
• Ian Munsick
• Nate Smith
• Moneybagg Yo
• Treaty Oak Revival
• Ella Langley
• Kameron Marlowe
• 49 Winchester
• Josh Ross
• Morgan Wade
• Hailey Whitters
• Ole 60
• Bigxthaplug
• Real Estate
• Lauren Watkins
• Wild Nothing
• John Morgan
• Laci Kaye Booth

Photo Credit: Cindy Charles LinkedIn

Twitch Head of Music Cindy Charles has passed away after injuries sustained during a traffic accident in the Netherlands. She was 69.

Her husband Ricky Fishman confirmed the news. Charles was instrumental in helping Twitch build its DJ category, which established the platform as the first place online for DJs to livestream legally. The DJ deal includes licensing deals with all three major labels and independent labels represented by Merlin. Charles was in the Netherlands for a speaking engagement at the Amsterdam Dance Event.

Twitch CEO Daniel Clancy honored Charles’ work with the company saying, “Anyone who uses music on Twitch owes a debt of gratitude to Cindy’s work. She always had a bright smile on her face, even as she negotiated unprecedented music licensing agreements.”

Cindy Charles was also a supportive reader and friend of Digital Music News. We’ll always remember her enthusiastic and boundless energy, which most recently powered transformative changes at Twitch that resulted in meaningful music IP monetization and additional royalties for artists. The music industry has clearly suffered a big loss.

Cindy Charles joined Twitch in 2018 in charge of partnerships and operations principal. She was promoted to Head of Music at Twitch in April 2022, where she took a leading role in music licensing deals with labels and publishers. Before joining Twitch, Charles served as Head of Business Development for Amazon Tickets and the Amazon video shorts initiative.

She served as a Senior Vice President and general counsel at MediaNet from 2002-2010 and as a VP of law and business affairs at Viacom from 1995-2002. Charles helped lead the digital legal and business affairs for several divisions within MTV Networks including the interactive divisions of MTV, VH1, and CMT. Charles ran her own digital consulting firm for many years.

Cindy Charles was a native of Queens, New York and attended the State University of New York at Buffalo, majoring in political science. She decided to follow in her father’s footsteps and became an entertainment lawyer after receiving her juris doctor from Elisabeth Haub School of Law at Pace University.

Charles served on the Board of Governors of the Recording Academy and is survived by her husband, Ricky Fishman, and her son Ben Charles and stepson Sam Fishman.

Photo Credit: Cleveland Browns

The Cleveland Browns are continuing the celebration of Induction Week with the first-ever Rock & Roll Hall of Fame Game. They will face-off against the Cincinnati Bengals later today.

During the game, there will be a number of Rock & Roll Hall of Fame branded takeover elements as well as activations and surprises celebrating Cleveland’s very own Rock & Roll Hall of Fame Inductees. There will also be inclusion of a number of artists from this year’s Hall of Fame Class as well as past Inductees throughout the game.

The Rock & Roll Hall of Fame Class of 2024 will be highlighted through in-game music at Huntington Bank Field as well as videos highlighting this year’s Inductees. There will also be a number of themed giveaways throughout the game. During Halftime, 2024 Inductee Foreigner will perform, while at the end of the 3rd quarter, Zakk Wylde will join guitarist Max Stak for a special performance.

Dawg Pound Drive will have a complete, two-time Rock & Roll Hall of Fame Inductee Ozzy Osbourne “Bark At The Moon” takeover. This takeover will include opportunities for fans such as a guitar smash photo opportunity, similar to the pre-game Dawg Pound Captain tradition of smashing the guitar. There will also be a photo opportunity with a 25-foot inflatable Ozzy Osbourne.

“We are thrilled to partner with the Cleveland Browns to highlight the massive impact and influence of our Inductees on rock & roll, the music that connects us all,” adds Greg Harris, President & CEO, Rock & Roll Hall of Fame & Museum. “The first ever Cleveland Browns Rock & Roll Hall of Fame Game will be an exciting feature of our 2024 Induction Week when the national spotlight shines on Cleveland.”

“The Rock & Roll Hall of Fame and the Cleveland Browns together embody the passion of our city,” adds Brent Rossi, Senior Vice President, Marketing & Media at Haslam Sports Group. “Before and throughout the game, we will highlight this year’s Inductees in a number of different ways, connecting our fans with the history of rock & roll in Cleveland through football.”

Photo Credit: Vans Warped Tour / Insomniac

The Vans Warped Tour makes its triumphant return in 2025 for its 30th anniversary with stops in three cities.

The Vans Warped Tour is making a return in 2025, after having shuttered in 2018. To mark its 30th anniversary and to catalyze the platform for the future, Warped Tour is making three two-day festival stops in Washington, D.C., Long Beach, CA, and Orlando, FL.

The iconic festival makes its return in partnership with Insomniac, behind some of the world’s largest music festivals and live events, to revive the magic for longtime fans and newcomers alike.

After concluding its final cross-country tour in 2018 and hosting a memorable 25th anniversary event, the festival will have a continued focus on community and nurturing the next generation of artists, musicians, and skateboarders.

Each stop will showcase 70 to 100 bands, reflecting a wide range of genres, including but not limited to rock, punk rock, alternative, pop punk, emo, and more. The return of Warped Tour will combine beloved festival favorites from the last 30 years of Warped Tour as well as a diverse lineup of newer acts.

Warped Tour 2025’s full weekend passes start at an all-inclusive price of $149.98 ($119.99 for the ticket and $29.99 in fees), available for presale beginning October 24 at 9AM PT / 12 PM ET.

Fans in Washington, D.C. can kick off the summer at the Festival Grounds at RFK Campus on June 14 and 15. Then, the festival heads to Long Beach, CA, where it will take place on July 26 and 27 at Downtown Long Beach Shoreline Waterfront. Finally, the tour will wrap up the year in Orlando, FL, with performances at Camping World Stadium Campus on November 15 and 16. Each location promises an unforgettable experience filled with music, community, and nostalgia.

Confirmed brand sponsors include Vans, BeatBox Beverages, Ernie Ball, hiyo, and 805 Beer, with additional sponsors to be revealed. Ghost Energy will also take center stage as the official energy and hydration drink partner.

The 30th anniversary edition of the tour will combine the festival’s rich history with new immersive elements, creating a vibrant, community-driven atmosphere that will engage both longtime fans and newcomers.

Photo Credit: 9to5Mac

Instagram has partnered with Spotify to make it easier than ever to add songs you hear on the social media service directly to Spotify. Here’s a peek at how to do it.

Both Instagram and Spotify announced the update giving Instagram users a quick and easy way to add songs to their Spotify library. “We know that music is all around you and sometimes that means right on your social media feed,” Spotify said in a statement about the feature. “That’s why beginning today, Spotify is excited to unveil a new integration with Instagram that makes it even easier to capture and instantly add songs to Spotify from Instagram with just one simple tap.”

When a user is watching videos on Instagram Reels, they can now tap on it to get more information about the song or to add it to Spotify. The new button shows up next to the player for listening to a preview of the song on Instagram. Simply tapping the button will instantly add the song to your Spotify library. You’ll have to link your Spotify account to Instagram for the feature to work.

Songs that are added to Spotify in this way will appear in the ‘Liked Songs’ playlist and in the ‘Your Library’ tab. The experience is available on both iOS and Android—just make sure you have the latest versions of both Instagram and Spotify before trying to use the new feature.

The feature mimics the same functionality from TikTok, which makes it easy to add new songs to Spotify playlists, Apple Music playlists, or even Amazon Music playlists. Perhaps Instagram is still building out functionality for other digital service providers (DSPs), but for now the inaugural launch of the feature is Spotify-only.

“At Spotify, we’re always looking for new ways to create a deeper connection between artist and fans, and with this Instagram integration we’re introducing new ways for users to discover more of their favorite artists and tracks,” Spotify told 9to5Mac about the new feature.

Washington, D.C.’s Apex Building, which serves as the headquarters of the FTC. Photo Credit: Harrison Keely

It’s about to get easier to cancel subscriptions in the U.S. – at least according to three of the FTC’s five commissioners, who have voted in favor of a “click to cancel” rule that will purportedly “make it as easy for consumers to cancel their enrollment as it was to sign up.”

Said rule represents one component of a modification to the FTC’s broader negative option rule. The latter dates back to 1973 and, in a nutshell, concerns products and services delivered automatically under a prior agreement in the absence of a proactive cancellation from the consumer.

That was, of course, long before digital subscriptions and even the internet had arrived on the scene – meaning that the measure allegedly stops short of reaching contemporary streaming offerings and other negative option services.

Moreover, according to critics, newer regulatory efforts in this department failed to adequately protect consumers, referring in part to blind spots affecting “continuity plans, automatic renewals, and free-to-pay conversions,” per the FTC’s final negative option rule.

Though heavy in footnotes, said final rule spans an appalling 230 pages in total, including an analysis of public comments in the leadup to the corresponding vote as well as a whole lot else. Needless to say, covering each involved element would require a substantial amount of time and space.

In the interest of relative brevity, then, the retooled negative option rule, expected to (largely) go into effect 180 days following its publication in the Federal Register, will as laid out by the FTC (or at least the three commissioners who passed it) compel sellers to display pertinent purchase information and terms upfront.

(In her dissenting statement, Commissioner Melissa Holyoak claimed the “overbroad” and “likely unlawful” rule exceeded the FTC’s authority and, in terms of its timing, was politically motivated. On the opposite side of the aisle, Commissioner Rebecca Kelly Slaughter, who voted to pass, lamented the absence in the final rule of a provision that would have “required annual reminders of subscriptions that do not involve the delivery of physical goods.” The other dissenting commissioner’s statement is said to be forthcoming.)

But the main attraction here appears to be the initially highlighted FTC click to cancel rule. Diving directly into the relevant regulatory text, the rule says a “simple cancellation mechanism must be easy to find when the consumer seeks to cancel” a negative option service via an “interactive electronic medium.”

That includes barring customer-service-rep conversations as a mandatory precursor to canceling (unless reps had been contacted as part of the initial signup process, that is).

It’s a violation of the rule and “an unfair or deceptive act or practice” under the FTC Act for negative option sellers “to fail to provide a simple mechanism for a consumer to cancel,” the regulation spells out. Also prohibited is preventing consumers from avoiding charges (including for an increased amount) or taking steps to “immediately stop any recurring” charges.

Exemptions are available for certain businesses, and penalties are in place for infractions, per the rule. Concluding by bringing the focus back to the music space, cancellations don’t seem to be too big an issue for consumers when it comes to axing on-demand streaming services. But in the satellite radio world, SiriusXM is still facing a lawsuit over its “US music royalty fee” surcharge.

Furthermore, as many know, there are plenty of consumer complaints in and around the live entertainment sphere – meaning big regulation-fueled changes could potentially be forthcoming.

Photo Credit: Raysonho / CC by 1.0

Apple has formed a partnership with China Mobile to offer its more than one billion subscribers in Mainland China access to Apple Music.

China Mobile users in mainland China can activate the service through their China Mobile app or by visiting a China Mobile retail store. Apple Music currently offers three subscription plans in mainland China—Students (6 yuan), Individual (11 yuan), and Family (17 yuan). The partnership between the telecom and Apple could be budding, as reports from June 2024 suggest Apple held talks to bring Apple TV+ to the telecom’s large subscriber base.

The Cupertino giant is no stranger to forming partnerships to help boost its activations in new countries. In 2018, Apple tapped China’s version of TikTok—Douyin—to help boost its subscriber base in mainland China. Douyin was the most downloaded iOS app that year and the partnership has likely been a fruitful one for Apple.

The Douyin partnership saw mainland China Douyin users who already subscribe to Apple Music receive further integration between the two apps. Users can access their full music library directly from the Douyin app. For Douyin users who are not yet subscribed to Apple Music, they receive a three-month trial. Douyin was the first Chinese short-form video app to join the Apple Music partnership program.

Meanwhile, outside of China, Apple inked partnerships with Airtel to bring both Apple TV+ and Apple Music to India. The deal sees Airtel’s Xstream platform feature Apple TV+ and the shut down of Airtel’s Wynk music service in favor of offering subscribers access to Apple Music. The streaming service is bundled with Airtel WiFi and Postpaid plans.

Airtel’s Wynk music platform is now rolled into Apple Music, which absorbed Wynk’s staff and subscribers. Wynk subscribers gained access to Apple’s global collection of music and playlist, as well as Apple Music Radio.

Photo Credit: Tencent Music Entertainment

Tencent Music Entertainment Group has announced a strategic partnership with Galaxy Corporation, the agency representing South Korean rapper and songwriter G-Dragon.

As part of this agreement, TME will act as the proprietary tour partner for G-Dragon’s concerts across various markets, including most of Southeast Asia, the Middle East, Hong Kong, Macao, Taiwan, Australia, and New Zealand. TME has been making efforts to broaden its international footprint through a range of initiatives like its Global Music Outreach Program, which seeks to showcase Chinese music artists on international platforms and facilitate cross-border collaborations. Tencent also operates the JOOX streaming service throughout Southeast Asia.

“Collaborating with a renowned global musician like G-Dragon aligns perfectly with TME’s vision of connecting International audiences with exceptional music experiences,” says Mr. TC Pan, Group Vice President of Tencent Music Entertainment. “This partnership not only strengthens our presence in the global market, but also underscores our commitment to empowering music partners and artists to reach their full potential on the world stage.”

“We are delighted to partner with Tencent Music Entertainment, a global entertainment-tech company listed on NYSE and the Hong Kong Stock Exchange,” adds Yongho Choi, CEO of Galaxy Corporation. “Building on this strategic partnership, we plan to integrate AI, AR, mixed reality, and robotics into entertainment to create a new kind of concert experience for global audiences.”

With this strategic partnership, TME aims to elevate G-Dragon’s overseas tour experience by expanding its reach and providing fans with new opportunities to connect with his music and brand, while reinforcing TME’s growing influence in the global music industry.”

G-Dragon made his debut in 2006 and rose to prominence as the leader of K-pop boy band BigBang, which became one of the best-selling boy bands in the world. He released his first solo album Heartbreaker in 2009, earning him Album of the Year at the 2009 Mnet Asian Music Awards. In 2013, he embarked on his first worldwide tour as a solo artist, making him the first Korean soloist to tour Japanese arenas. He left YG Entertainment after 20 years and signed with Galaxy Corporation in 2023.

Photo Credit: 2 Live Crew for Luke Records

A jury had ruled that 2 Live Crew should benefit from a copyright ‘termination right’ to win back their music from a label that bought them out of bankruptcy.

Classic hip-hop group 2 Live Crew have won a jury verdict allowing them to regain legal control of the majority of their catalog from a small record label that has owned their copyrights for decades. On Wednesday, a federal jury in Florida that members of the group and their heirs were entitled to invoke copyright “termination rights,” which effectively allow creators to take back their works decades after they were sold to another company.

Attorneys for Lil Joe Records, which bought the band’s catalog out of bankruptcy back in 1996, insisted that termination shouldn’t apply to 2 Live Crew’s albums, arguing the catalog was “work for hire,” meaning no copyright was assigned in the first place. But 2 Live Crew’s attorneys countered that the right to terminate was “inalienable” and couldn’t be forfeited, with which the jury agreed.

Termination rights enable the original owner of a copyright to regain their rights after a set period of time, usually after 35 years depending on the specific statute in play. The hotly-contested clause has been batted around for decades, and 2 Live Crew’s victory could spark similar actions by other artists.

As a result of the jury’s verdict, 2 Live Crew’s Uncle Luke (Luther Campbell) and the heirs of Fresh Kid Ice (Christopher Wong Won) and Brother Marquis (Mark Ross) are entitled to invoke the termination right to regain lawful control of their five albums. This includes their risque 1989 album, As Nasty As They Wanna Be.

Lead counsel for Lil Joe Records, Richard Wolfe, as well as the label’s owner, Joe Weinberger, vowed to appeal the verdict, saying it introduced “novel legal questions about the interplay between termination rights and federal bankruptcy law.”

“The bankruptcy code is clear that all assets of a bankruptcy party are part of the bankruptcy estate,” Wolf said. “All means all.”

2 Live Crew’s case first kicked off in late 2020, when they notified Lil Joe they planned to invoke termination and take back ownership of their music. The two sides could not reach an agreement, leading to Lil Joe suing the group in federal court.

Photo Credit: Blake Wisz

Payment processor Stripe continues to withhold nearly $6.5 million in Festicket sales more than two years after the latter’s collapse.

Payment processor Stripe still holds around $6.5 million (£5 million) relating to Festicket sales more than two years since the company stopped trading, according to administrators. Stripe has not yet honored a request for the return of Festicket funds since the company went into administration in 2022 and was acquired by US company Lyte, which itself ceased trading just last month.

Stripe says it holds a lien and security interest regarding the funds it holds in relation to things like customer chargebacks. Festicket’s administration asserts they have received claims from potential unsecured creditors of around $30 million, $23 million of which is related to amounts claimed by event promoters.

The payment processor holds just shy of £6 million across multiple currencies relating to ticket and event related sales made by Festicket, compared to the £7.6 million it held when administrators were appointed in 2022. They report that processing by Stripe of chargeback requests received from ticket buyers has “largely ceased.”

Stripe reportedly advised that it is not currently prepared to return any funds as it does not have visibility of the claims that creditors of the company may bring against it in relation to trust claims. Stripe also stated that certain accounts used by the company are actually held under the name of Ticket Arena Limited.

A court ruled earlier this year that Festicket does not hold money on trust for dozens of ticketing agencies and promoters. This enables administrators to apply for directions to make distributions to creditors after two years in limbo — but there are certain contracts amounting to $5 million (£3.9 million) with AEG Presents Limited and other promoters making claims under German law. Those contracts could result in claims for funds held in the administration that could still be subject to trust claims.

Photo Credit: Mark Zuckerberg by Anurag R Dubey / CC by 4.0

Multiple teams at Meta have been hit with layoffs, across WhatsApp, Instagram, Reality Labs, and more.

Meta has started laying off multiple employees across various teams on Wednesday, including Instagram, WhatsApp, and Reality Labs, among others. The company confirmed these changes to TechCrunch and The Verge, noting the changes were made in order to reallocate resources.

Employees who worked on Facebook, recruiting, legal operations, and design took to social media to announce they were laid off. A Meta spokesperson clarified to TechCrunch that the company’s recruiting, legal operations, and Threads teams were unaffected by the layoffs, despite what some former employees were saying online.

Among those laid off is Jane Manchun Wong, best known for reporting on unannounced features across Meta’s various apps, before she was hired by the Threads team last year.

“Today, a few teams at Meta are making changes to ensure resources are aligned with their long-term strategic goals and location strategy,” a spokesperson for the company said in an emailed statement. “This includes moving some teams to different locations, and moving some employees to different roles. In situations like this, when a role is eliminated, we work hard to find other opportunities for impacted employees.”

A former Meta employee told TechCrunch that some employees were offered different positions under new contracts, or a severance package instead. Many opted to take the severance package.

According to a rumor circulating on workplace app Blind and reported by The Financial Times, some employees were fired for using their $25 meal credits to buy non-food items, such as household necessities.

Meta has laid off a significant swath of its workforce in an effort to “rightsize” the company following aggressive hiring during the pandemic. In 2022, the company laid off approximately 13% of its workforce (11,000 employees), and in 2023, Meta laid off another 10,000 workers while withdrawing about 5,000 open roles that remained unfilled.

Photo Credit: YouTube Circa 2021

Google debuted a YouTube Premium Lite plan in 2021 for limited testing in some countries. Last year, it axed that plan—but now it looks like a version of it is coming back for more testing.

Google has confirmed it is testing a ‘different version’ of YouTube Premium Lite in Australia, Germany, and Thailand. YouTube may present users in these regions with an option to sign up for a YouTube Premium Lite plan, though there are scarce details on what makes this version of Google’s test different from the first time around.

When it debuted in 2021, YouTube Premium Lite offered a scaled-back version of the full Premium subscription. It only removes ads from videos, does not offer YouTube Music access, offline downloads, or background play. Google says the new Premium Lite may not remove ads entirely—rather it will show ‘limited ads’ as compared to the original which eliminated them entirely.

When it debuted, YouTube Premium Lite was half the cost of a YouTube Premium subscription. For the new version, Australian users have reported seeing prices listed at AUD 11.99 per month (YouTube Premium is AUD 22.99), while others have reported seeing a price as low as AUD 8.99. It appears Google is doing some A/B testing on pricing to see which price points get users to fork over dosh for ‘limited ads and no features.’

YouTube Premium Lite’s first trip around the globe never made it to the United States before Google gave the plan the axe. So it’s unclear if this newly revived version of the plan will ever launch in the United States. It’s also unclear if it will fully roll-out in the countries where Google is testing the new feature. For now, Google appears to be gathering data about people’s ad tolerances and the price Google can ask for a ‘limited ad’ experience without backlash.

Removing ads from streaming services has become an expensive endeavor for customers over the years. For video streaming services like Amazon Prime and Max, offering an ad-supported tier and then ratcheting up the amount of ads you see for the lower price creates new income sources for the streamer. Streamers generally prefer users to sign-up for an ad-supported plan which generates more money through multiple revenue streams.

A general breakdown of services that offer both an ad-supported tier and a ‘Premium’ ad-free tier highlight that most subscribers will go for the ad-supported version. That’s especially true with video streaming subscriptions were 84% of Peacock subscribers, 65% of Hulu subscribers, and 40% of Disney+ subscribers embrace the ad-supported tiers on offer.

Apple Music has launched a playlist-powered concert-promotion feature called ‘Set List.’ Photo Credit: Brett Jordan

Apple Music has rolled out a “Set List” feature with which artists can make dedicated playlists to promote their shows.

The Spotify rival just recently unveiled Set List, noting at the outset that acts must have an artist image (which will double as the playlists’ cover art) uploaded to Apple Music in order to utilize the tool.

Connecting one’s artist page to Bandsintown is also recommended due to the concert-discovery advantages at hand, the platform explained in more words. (Advisable as well is creating an optimal Apple Music artist page; we took an in-depth look at that process earlier in 2024.)

As for the steps associated with generating Set List playlists, professionals can simply click the relevant button in the Artist Playlists section, select an event type (concert, entire tour, or residency), connect a forthcoming concert or concerts (manually or automatically via the Bandsintown integration), and add the desired tracks to seal the deal.

Per Apple Music, the playlists can be scheduled to go live on certain dates (so long as said dates are “no earlier than one day in the future”), and artists can make “as many Set List playlists as shows you have played or will play.”

Notably, on the aforementioned discovery front, these Set List playlists will also populate one’s Shazam profile, the streaming service relayed. Over the summer, the Apple-owned song-identification app started integrating Ticketmaster tickets.

Shifting from these technical details to the possible advantages associated with mapping out shows’ performed tracks via dedicated playlists, the latter can presumably help promote carefully planned gigs ahead of time.

Perhaps just as beneficially, the feature will seemingly make it easier for attendees to identify songs after the fact; the Super Bowl Halftime Show sponsor pointed as well to a potential upside in reaching “fans who couldn’t make the live experience.”

Bigger picture, Set List playlists mark the newest in a line of Apple Music (and Apple Music for Artists) feature additions on the year – including, on the Artists side, the ability to track worldwide radio spins.

Meanwhile, Apple Music flipped the script in late August by enabling subscribers to export playlists to YouTube Music (but not Spotify). Speaking of Spotify, the longtime Apple nemesis hasn’t lacked technical improvements on the year, referring in part to auto-generated offline playlists (kicking in when listeners lose internet connectivity) and various AI offerings.

Not to be left out, Amazon Music is continuing to leverage exclusive content (remixes, performances, and more) and lean into partnerships with the likes of Discord, which now supports the “Amazon Music Listening Party” activity.

Photo Credit: Sony Pictures Post Production Services

Sony Pictures Post Production Services has acquired more than four dozen licenses for Harrison’s MPC Channel Strip software across 14 mix stages.

The Sony Pictures Post Production Services sound team installed the first of many Harrison MPC film re-recording consoles back in 1992 — the product of a design collaboration between the manufacturer and Jeff Taylor, chief engineer at the studio’s Culver City facility.

Thirty years later, post-production workflows have evolved significantly, but Sony Pictures’ engineers continue to utilize Harrison’s powerful audio processing tools, with more than four dozen licenses for Harrison’s MPC Channel Strip software in place across 14 mix stages.

“We have a lot of mix stages here at Sony Pictures Post Production Services, and cover both feature film and episodic television,” says Mark Onks, Post Production Sound Engineer, who has been a witness to those changing workflows since he arrived at Sony Pictures Post Production 26 years ago.

Back then, mag machines and analog consoles were the standard. But these days, Sony’s stages are largely standardized on a DAW workflow, or hybrid configurations with the MPC consoles.

“We are using the Harrison MPC Channel Strip plug-ins to emulate how mixers in the past have shaped and contoured their sound sources and elements with familiar tools,” Onks continues. “They are rebuilding a Harrison console in the software world.”

“The MPC Channel Strip plug-in primarily is used to do EQ, dynamics, de-noising, de-essing, and other things with a great deal of similarity and feel as the old MPC consoles,” he says. “They work the same way and the response of the filters, the equalizers and the dynamics control is similar in feel and function to the original hardware version. The consoles have been around for eons, and a lot of big movies have been made using that signal flow.”

The MPC Channel Strip plug-in, which combines six components derived from the advanced DSP of Harrison’s MPC 5 ‘motion picture’ digital mixing console, offers a parametric eight-band EQ with RTA, a pair of multi-pole filters, a two-band de-esser, a two-band de-noiser, a compressor and control of routing, trim and polarity.

“It’s convenient that all of those functions are in one window, as opposed to having a de-esser here, a compressor there,” says Onks. “Plus, it’s fast, and the visual feedback shows you what’s happening to the sound. It’s like an extension of the MPC console in many ways.”

One feature of the Harrison MPC Channel Strip is especially useful to mix engineers, Onks explains. “I think one of the things that makes this particular plug-in very powerful is the fact that you can change the order in which the signal flows through the various functions. You could put the compressor before the EQ, or the de-noiser after; you can slide them around and make your own choices. That’s not often offered in software intended for mixing motion-picture sound, so we really appreciate that.” This flexibility was also a feature of the MPC console.

The ongoing relationship between Harrison and Sony Pictures Post Production Facilities resulted in the installation of numerous MPC models over the years. In 2013, Sony Pictures was one of the first studios to install the new MPC5 digital film console on the lot’s recently renovated Stage 17. The following year, the William Holden Theater was upgraded with a new Harrison Xrange processing system.

During the 25-year period following the launch of the MPC, through the introduction of the MPC3-D and MPC4-D consoles, followed by the Xrange DSP platform, Harrison came to dominate the motion picture sound post-production market worldwide.

Sony Pictures may have embraced Harrison software, but there is no shortage of hardware on the lot. “We still have some Harrison MPC consoles active in the music sections of the bigger stages,” says Onks, including the Burt Lancaster Theater, Kim Novak Theater, and William Holden Theater, where 32-fader sections are available.

“We also rely heavily on the backend of the Harrison Xrange system,” he says. “Xrange is a very powerful backbone for us to use with the more current workflows in the digital audio workstations. It does all the routing and speaker management prior to the processors for the speaker systems in the rooms, now that we are Atmos everywhere. The Novak and the Holden both do Auro3D as well. We cover all the formats: Atmos, Auro, IMAX; you name it.”

The MPC plug-in is also not the only Harrison software in use on the Sony lot, Onks reports. “Some of the other plug-ins, like the AVA De-esser, are used on their own in a few cases in a few of the TV stages. But the MPC Channel Strip is the one that’s used in most of the features stages here.”

Harrison has been designing, manufacturing, and marketing audio mixing consoles in Music City (Nashville, Tennessee) since 1975. Over 1,500 Harrison consoles have been installed worldwide, constituting a significant share of the overall world market for high-end audio consoles.

Photo Credit: NBC News

While the live music festival scene is not exactly booming, arena tours are having plenty of problems keeping unruly crowds in their place. Nick Jonas is the latest victim of crowd disrespect after a laser pointer forced him off stage.

Video of the Jonas Brothers member running off-stage mid-performance while making the ‘time-out’ gesture from sports went viral online. Nick Jonas was performing at the O2 Arena in Prague on October 15 when the event happened. In the clip, which you can view below, the 32-year-old singer can be seen sprinting away from the secondary stage while gesturing to his crew.

“We can confirm that the Jonas Brothers’ performance had to be interrupted for several minutes due to the use of a prohibited laser pointer by the person,” a spokesperson for O2 Arena confirmed. “The organizing service responded to this fact immediately. After a few minutes, the band continued their performance and went back on the stage.”

These tour dates are part of the Jonas Brothers’ rescheduled European dates for their ongoing world tour. The final show was tonight at the Tauron Arena in Krakow, Poland. While a laser pointer may seem benign, it can blind people and touring artists are on high-alert after several incidents this year.

Green Day were recently ushered off-stage after an unauthorized drone flew over the stage in Detroit. Meanwhile, the terrorist threat that shut down several Taylor Swift Vienna concert dates still looms in concert-goers minds. The plot was foiled before it could seriously injure several thousand people, but the result has been tightened security at all major arena events in Europe since.

Harry Styles, Bebe Rexha, and Kelsea Ballerini have all had things thrown at them while on stage—sometimes with serious damage caused. Adele spoke out on crowds not respecting the artists, thanking her crowd for not “forgetting f*cking show etiquette.” But the singer added—”I f*cking dare you. Dare you to throw something at me and I’ll f*cking kill you.”

Photo Credit: Aniket Deole

California’s music festival scene is deflating like a punctured raft in river rapids. So what happened, and why are music festivals sinking?

There was plenty of reason to feel optimistic about the music festival scene in the “post-early-pandemic” return. Eager to get out after lockdown, festivalgoers went out in droves, and early-bird ticket sales in 2023 were “gangbusters,” according to a spokesperson for Sierra Nevada World Music Festival.

But over the summer, things took a turn for the worse. Usually, ticket sales for the Sierra Nevada World Music Festival see a surge in June, but in 2024, that never happened. Between slowing sales and mounting bills to arrange the festival (deposits, talent, security, etc.) things were looking grim.

Just days before its planned start date, the festival announced its cancellation. To avoid issuing cash refunds, ticketholders were told their festival passes would be honored at Humboldt County’s Reggae on the River.

And Sierra Nevada’s story isn’t unique: a new deep-dive by SFGate has explored the tumult surrounding California music festivals, with many quietly dying out.

Many a beloved event in California has been canceled at the last minute, citing financial strain, while fans may or may not get refunds. Events like Desert Daze, Lucidity Festival, the Grateful Dead-themed Skull & Roses Festival — even events outside of California felt the pinch, such as Float Fest in Austin, with cancellation just days before the festival was slated to kick off.

Notably, even Coachella, reliably sold out year after year, saw tickets move at a snail’s pace they hadn’t seen for well over a decade. Beyond the US, the problem proliferates: over 60 UK music festivals have been canceled or postponed this year.

So what the heck is going on?

For independent promoters, throwing a music festival has always been about risk. “I always joke that we’re professional gamblers,” says Amy Sheehan, co-owner of Good Vibez Presents, which promotes California Roots and several other West Coast music festivals. “We are in the business of risk and we are well aware of that.”

Sheehan explains to SFGate that independent promoters work on very thin margins, lacking the “robust financial war chests” of their corporate competitors. Without financial backing from generous donors or wealthy sponsors, festivals rely on ticket sales and sometimes loans to pay their bills as they go.

“If independent promoters had to wait until they had all of their money to produce the festival, they would never do the festival,” she continues. “That’s just not the way it works.”

And that business model has been increasingly difficult to sustain in 2024. Last year, Good Vibez paid $10,000 for portable toilets for California Roots Music and Arts Festival, but this year that price had increased to $16,000 for the same service.

“Inflation is f—ing real,” says Sheehan. The price tags for amenities continue to climb as the costs of labor, gas, and transportation rise. According to Sheehan, the cost of insuring the Lake Tahoe Reggae Festival has more than doubled over the last two years, even when the scope of the festival remains largely the same.

Inflation, naturally, affects would-be festivalgoers too. People who had saved up money during the pandemic already spent those funds on festivals in 2022 and 2023. The costs associated with travel and lodging — not to mention ticket prices — have continued to rise, while wages and personal savings have not. It simply isn’t financially feasible for people to attend the festivals that are themselves becoming financially unfeasible to arrange in the first place.

“I’m probably not the best businessperson because I could raise prices, but I can’t do that,” says Scott Stoughton of Bonfire Entertainment. Last month, he canceled next year’s WinterWonderGrass Tahoe, an annual bluegrass festival at the Palisades Tahoe Resort. “I can’t in good conscience constantly say, ‘Well, let’s just pass it off to the consumer.’ I would rather just take a pause and reevaluate and see who comes to the table to help me subsidize in the future.”

The outlook was much brighter two years ago as the COVID lockdowns were ending. But in 2024, festivals that managed to go ahead often lost money. And independent promoters in particular are looking to 2025 with similar trepidation.

“They’ll survive,” said Stoughton of the major festivals. “The question is, will we?”

Photo Credit: Warner Bros.

Lady Gaga reportedly made $12 million to portray Harleen Quinzel in the box office flop, ‘Joker: Folie À Deux.’ Reactions to the musical format have been less than stellar, with many critics saying Gaga was underutilized in her role as Harley Quinn.

The decision to make the sequel to 2019’s Joker a musical is a strange one that seemingly has not landed with viewing audiences. Variety reports that the Joker sequel has earned $51.5 million domestically and $165 million globally since release two weeks ago. Those numbers handily under perform the first movie, which raked in $96.2 million domestically and $248.4 million globally after just three days. Variety reports that ticket sales are projected to stall around $65 million domestically and $210-215 million globally when the film concludes its theater run.

It’s unclear if Warner Bros. will make its money back on the investment, as the sequel reportedly cost $200 million to produce and $100 million to market and distribute. Sources at Warner Bros. say the film needs to earn $375 million to break even—but with a 33% rotten rating from critics on Rotten Tomatoes, it’s unclear who is left to see one of the biggest box office flops this year. The film will hit streaming platforms on October 29 which could generate more interest from home viewers uninterested in attending a theater showing for a critically-panned movie.

So why the big price tag on producing the sequel? Reports suggest the high price is from fees to director Todd Phillips, Joaquin Phoenix, and Lady Gaga. Both Todd Phillips and Joaquin Phoenix pocketed $20 million to return to their respective roles, while Lady Gaga pocketed a cool $12 million to portray Arkham inmate Harleen ‘Lee’ Quinzel.

Musicals have traditionally performed poorly at the box office for a variety of reasons. Casual movie-goers are more interested in seeing action and thriller movies, while Hollywood itself tends to hide the fact that a movie may be a musical in its marketing and promotional materials.

Photo Credit: John Lennon by Tony Barnard, Los Angeles Times / UCLA / CC by 4.0

John Lennon’s estate appoints PPL to manage neighboring rights collections for Lennon’s solo music and the estate’s interests in Yoko Ono and The Beatles.

UK-based collective management organization PPL has been appointed to collect neighboring rights for John Lennon, as well as his estate’s interest in Yoko Ono and The Beatles. The deal will see PPL collect broadcast and public performance royalties worldwide on sound recordings in which Lennon or Ono are listed as performers in markets where such rights exist.

John Lennon released 11 solo albums, including John Lennon/Plastic Ono Band with Yoko Ono. He achieved 25 #1 singles on the Billboard Hot 100 chart as a performer, songwriter, or co-writer, both as a member of The Beatles and as a solo artist. Three of his solo albums also landed at #1 on the Billboard 200 album chart. Yoko Ono has landed 13 #1 singles on Billboard’s Dance Club Songs chart, as well as releasing 14 studio albums.

“PPL has shown they are the leaders in advocating for neighboring rights globally,” said the estate in a statement. “We have the utmost respect for the team and look forward to working with them.”

“It is an honor to be appointed by the John Lennon Estate for neighboring rights collections,” said Peter Leathem, CEO of PPL. “Our team works hard to ensure no stone is left unturned in the collection of neighboring rights royalties around the world. It is a privilege to advocate for and collect public performance and broadcast rights globally for such a revered catalog of recorded music.”

PPL is a global leader in royalty collections, with 111 agreements in place with other collective management organizations (CMOs) around the world. The organization is celebrating its 90th anniversary this year.

In 2023, the Beatles released their “final” song, “Now and Then,” which was completed with the help of machine-learning audio restoration using an old demo recorded by Lennon. The song landed at #7 on the Billboard Hot 100, and at #1 on the UK’s Official Singles Charts.