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Drake has dropped his legal action accusing Universal Music Group (UMG) and Spotify of artificially inflating the popularity of Kendrick Lamar’s diss track “Not Like Us,” less than two months after he first filed it.
The action, filed in November, accused UMG and Spotify of an illegal “scheme” involving bots, payola and other methods to pump up Lamar’s song — a track that savagely attacked Drake amid an ongoing feud between the two stars.
But in a filing Tuesday (Jan. 14) in Manhattan court, Drake’s company Frozen Moments LLC said it would voluntarily withdraw the action “without costs to any party.” Another similar petition, filed in Texas against UMG and iHeartRadio alleging Lamar’s song was defamatory, remains pending.
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An attorney for Drake did not immediately return a request for comment on why the case was dismissed. A spokesman for UMG declined to comment. A representative for Spotify did not immediately respond to a request for comment.
Drake shocked the music industry in November when he went to court — a remarkable twist in a high-profile beef that saw Drake and Lamar exchange stinging diss tracks over a period of months earlier in the year. That a rapper would take such a dispute to court seemed almost unthinkable at the time, and Drake has been ridiculed in some corners of the hip-hop world for doing so.
The actions also represented a stunning rift between Drake and UMG, where the star has spent his entire career — first through signing a deal with Lil Wayne’s Young Money imprint, which was distributed by Republic Records, then by signing directly to Republic.
The New York petition accused UMG of violating the Racketeer Influenced and Corrupt Organizations Act, the federal “RICO” statute often used against organized crime. He accused Spotify of participating in the scheme by charging reduced licensing fees in exchange for recommending the song to users. A day later, he filed a similar action in Texas, suggesting that UMG had legally defamed him by releasing a song that “falsely” accused him of being a “sex offender.”
The filings were not full-fledged lawsuits, but rather “pre-action” petitions aimed petition seeking to secure information so that a full lawsuit can be filed.
UMG had not yet responded to either action. But in a stinging response last month, Spotify called the allegations “false” and flatly denied that it struck any deal with UMG to support Lamar’s song. And the company took aim at the unusual way he filed the allegations, saying he had done so because his allegations were too flimsy to pass muster in an actual lawsuit and would have been quickly dismissed: “This subversion of the normal judicial process should be rejected.”
In Tuesday’s filing, attorneys for Drake said they had met with both UMG and Spotify ahead of the withdrawal. Spotify had “no objection” to the dismissal, according to the filing, but the record “reserved its position” about whether it would challenge the move in some way.
R&B singer-songwriter SZA has opened up about her complicated relationship with fame.
In a candid conversation during One of Them Days alongside Issa Rae and Keke Palmer, SZA (real name Solana Imani Rowe) admitted that even after over a decade in the spotlight, she still finds being in the public eye “weird.”
“Some people are very well acclimated in being perceived and also have a different mechanism to approach that,” she explained. “Keke has this crazy network of a mechanism where it’s like, everything just kind of like flows, even when the cameras are on.”
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For SZA, who last month dropped SOS Deluxe: LANA, fame is a foreign concept. “I don’t really know what is happening. I don’t know what the hell going on,” she continued.
“I didn’t grow up famous, I grew up in the ‘burbs, I went to regular school, went to regular college, did regular odd jobs until everything popped off.”
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The four-time Grammy winner elaborated, “I’ve never been examined in this way. … I get just a comfortability with letting my shoulders down and knowing that I’m not in danger just because I’m being perceived by people that I don’t know.” She echoed Keke Palmer’s sentiment, describing fame as “weird” and admitting that people often assume she’s more at ease with it than she truly is.
SZA also reflected on her unexpected rise to superstardom: “They be like, ‘That’s what you signed up for,’ and then I’m like, ‘I didn’t even know what I was signing up for, actually.’ I just made a couple songs and I was grateful that they were liked, and then I kept going.”
In a recent social media post in January, SZA shared her intention to create two children’s albums, describing the move as a way to channel her creativity while contemplating a future outside of mainstream music.
“Every day I grapple with, ‘Am I done with music?’ Maybe I’m just not meant to be famous – I’m crashing and burning and behaving erratically,” the singer told British Vogue last year.
“It’s not for me because I have so much anxiety. But why would God put me in this position if I wasn’t supposed to be doing this? So I just keep trying to rise to the occasion. But I’m also just like, ‘Please, the occasion is beating my ass.’”
SZA’s recent accomplishments suggest otherwise. Her latest album, SOS Deluxe: LANA, released on December 20, 2024, builds upon the monumental success of SOS,” which spent multiple weeks at No. 1 on the Billboard 200 chart. SOS returned to No. 1 on the Billboard 200 in December after 22 months, thanks largely to activity generated by the album’s deluxe reissue.
In addition to her solo work, SZA’s collaboration with Kendrick Lamar on “30 for 30” from the SOS Deluxe: LANA album debuted at No. 1 on Hot R&B Songs Chart, with the two artists set to embark on a joint tour in 2025.
City and Colour frontman Dallas Green has dropped a bombshell for fans of his folk collaboration You + Me with pop icon Pink.
The Canadian musician, currently on tour in Australia with his band, revealed that the duo has completed a long-awaited follow-up to their critically acclaimed 2014 debut Rose Ave.
“We started writing and recording some songs in 2018 and recorded some more in 2022 and in April last year, we wrapped it up,” Green said, as per News.com.au. “I would hope that it comes out sooner than later but there’s a lot going on; she’s just finished the feat of doing back-to-back stadium tours and I’m just about to finish two and a half years of touring myself.”
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In another interview with The Plug podcast, Green noted that Moore also made the surprise announcement during a recent charity show.
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“She announced it on stage and I was like, ‘Oh, you’re talking about this? I’m gonna talk about it!’”
Pink first met Green through her husband Carey Hart and felt an immediate creative connection. She then invited the singer-songwriter to Los Angeles, where they recorded the majority of their debut, Rose Ave., in one week.
The two artists had worked together on one previous occasion. In 2014, Moore “sang with [Green] once at another show,” and she told Billboard she “knew that we didn’t sound horrible.” So when “the stars aligned” and both artists had some time off, they decided to try to recreate that magic.
Their album debuted at No. 4 on the Billboard 200, reached No. 1 on the Folk Albums chart peaked at No. 2 on the Digital Albums chart. It also peaked at No. 2 on the Australian charts and No. 1 in Canada. The album’s lead single “You and Me” also charted in several countries.
The announcement comes as Green navigates the emotional terrain of his latest City and Colour album, The Love Still Held Me Near, written after the tragic loss of his producer and close friend Karl Bareham in 2019.
Beyond the stage, Green told the publication he had also recently collaborated with Australian multi-instrumentalist Tash Sultana. “They had a song they wanted me to possibly help finish, so I came out early and went to the studio for two days and it was amazing, a lot of fun,” Green shared.
For Green, the parallels between his connection with Sultana and his partnership with Pink are unmistakable. “The only other time someone actively reached out to collaborate like this was Alicia [Pink],” he said.
City and Colour’s tour continues through Sydney, Melbourne, Adelaide, and Perth this January, with Green returning Down Under in March for a series of shows with his post-hardcore/screamo band Alexisonfire.
Dream Theater‘s Mike Portnoy recently ventured into unexpected territory by reimagining the drumming on Taylor Swift’s chart-topping pop anthem “Shake It Off.”
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As part of Drumeo’s popular First Time series, the legendary prog-metal drummer approached Swift’s infectiously upbeat track with his technical brilliance, creating a fascinating hybrid of pop and prog.
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After hearing a snippet of the song—stripped of its original drum tracks—Portnoy immediately immersed himself in crafting his own interpretation, quipping, “My daughter is going to get a kick out of this … It sounds like something out of Disneyland Japan or something.”
While figuring out how to approach the song, Portnoy commented on its unconventional structure: “It’s like Bob Dylan. It’s all verses, it doesn’t change keys. I don’t even know what to write. I’m just going to jam to it, I guess.” Despite the challenges, he powered through, delivering an impressive interpretation filled with his rhythmic flair.
Despite the playful mismatch of styles, Portnoy maintained his admiration for Swift, adding, “Taylor, I’m really sorry. I still would play with you in a heartbeat, but I wouldn’t do that [drum pattern].”
The unexpected crossover comes as Portnoy gears up for a major moment in his own career. Dream Theater—the iconic prog-metal band he co-founded in 1985 with John Petrucci and John Myung—is preparing to release their highly anticipated album Parasomnia on Feb. 7.
It marks the first record featuring Portnoy since his 2009 departure following Black Clouds & Silver Linings, and subsequent return in late 2023.
“There is so much shared history between us all… so many memories, so much music… to think we’re coming up on 40 years since this journey began!” Portnoy said. “The idea of creating new music together is so exciting and I absolutely cannot wait to hit the road and get to play live for a whole new generation of fans that weren’t ever able to see this lineup before…There’s no place like home!!”
Taylor Swift, meanwhile, continues to shatter records in her own right. Her Eras Tour concluded in December 2024 as the highest-grossing tour of all time, earning $2.2 billion.
Swift also made waves with The Tortured Poets Department, which debuted at No. 1 on the Billboard 200 chart, spent a career-best 17 weeks at the top, sold 2.61 million equivalent album units in its first week.
You can watch Portnoy tackle Taylor Swift’s “Shake It Off” here.
It’s four years in a row for Taylor Swift, with the U.S. pop icon dominating Australia’s year-end charts once again, according to data published by ARIA
Swift has once more found her way to the top of the ARIA Top 100 Albums Chart, this time off the back of her massively-successful eleventh album, April’s The Tortured Poets Department. With results undeniably bolstered by her seven local shows as part of the record-setting Eras Tour, Swift is a constant presence in the year-end charts, making up 40% of the top ten.
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While The Tortured Poets Department sits at No. 1, 1989 (Taylor’s Version) appears at No. 5, with Lover at No. 7, and Midnights rounding it out at No. 10. Overall, she makes up 11% of the entire Top 100, with original or re-recorded versions of her entire discography (save for her self-titled debut) placed across the top 68 positions. Her 2014 album 1989 doubles up thanks to its original version placing at No. 68.
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It’s not a far cry from the results of last year either, where 1989 (Taylor’s Version) reigned supreme and was joined by the likes of The Weeknd, Morgan Wallen, SZA, and Harry Styles. In 2024, the top ten is rounded out by Billie Eilish‘s Hit Me Hard And Soft, Sabrina Carpenter‘s Short n’ Sweet, The Weeknd’s The Highlights, SZA’s SOS, Wallen’s One Thing At A Time, and Olivia Rodrigo‘s Guts.
The singles chart, however, belongs to U.S. singer-songwriter Benson Boone, whose “Beautiful Things” spent six weeks at No. 1 and has rarely been absent from the top ten since it first debuted. Boone’s success isn’t limited to Australia, with the track having topped numerous charts globally, and peaking at No. 2 on the Billboard Hot 100.
Shaboozey‘s “A Bar Song (Tipsy)” holds the silver medal position, with Carpenter’s “Espresso” closing out the podium finishes. Noah Kahan‘s “Stick Season” and Teddy Swims‘ “Lose Control” round out the top five, with Eilish’s “Birds Of A Feather” following closely behind. Irish musician Hozier‘s “Too Sweet” prevents a clean sweep for American artists, however, with his single hitting No. 8.
Swift’s influence also extends to the Singles Chart, with 2019’s “Cruel Summer” hitting No. 9 off the back of its 2023 viral success and single release. Miley Cyrus‘ “Flowers”, which topped the chart last year, also makes a return appearance, albeit relegated to a respectable No. 39.
Of note, however, is the lack of Australian artists that make up the Albums and Singles Charts. In the latter category, just 5% are home-grown, with Vance Joy’s 2013 single “Riptide” leading the charge at No. 24. Cyril’s reimagining of Suzi Quatro’s “Stumblin’ In” can be found at No. 29, while DJ and producer Dom Dolla‘s “Saving Up” splits the field at No. 50. The Kid LAROI closes out the local representation with “Nights Like This” featuring at No. 84, and his 2021 Justin Bieber collaboration “Stay” in at No. 96.
The Albums Charts, however, boasts only three Australian names – with only one being a studio release. While South Australian veterans Cold Chisel can be found at No. 44 with their 50 Years – The Best Of compilation, so too can INXS‘ Diamond-certified The Very Best be located down at No. 81. The Kid LAROI is once again the only point of difference, with his debut album – 2023’s The First Time – hitting No. 67.
Check out ARIA’s year-end singles and albums charts.
Stephen Schwartz, the composer of the Broadway and film juggernaut Wicked, and music supervisor Bonnie Greenberg are set to receive honorary awards at the 15th Guild of Music Supervisors Awards. The ceremony will take place on Sunday, Feb. 23 at The Wiltern Theatre in Los Angeles.
Schwartz is set to receive the Icon Award, which celebrates those who have made legendary contributions to the music and film industries. Previous recipients include Robbie Robertson, Paul Williams, Diane Warren, Quincy Jones, Burt Bacharach, Kenny Loggins and Marc Shaiman.
Schwartz, 76, has won three Oscars, four Grammys, four Drama Desk Awards and a Golden Globe. He has received six Tony nominations, in addition to receiving their Isabelle Stevenson Award in 2015. Schwartz was inducted into the Songwriters Hall of Fame in 2009. In addition to Wicked, Schwartz’s other credits include Godspell and Enchanted and the animated classics Pocahontas, The Hunchback of Notre Dame and The Prince of Egypt.
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The Legacy Award will be presented to music supervisor Bonnie Greenberg, known for her work on such films as My Best Friend’s Wedding, The Mask and The Hunting Ground. The Legacy Award is bestowed to a music supervisor who has made an impact within the industry over the course of their career. Previous recipients include Allan Mason, Pilar McCurry, Mitchell Leib, Maureen Crowe, Bob Hunka, Joel Sill, Gary Lemel and Chris Montan.
Greenberg began her career as an entertainment attorney. She was a business affairs executive at MCA Records and Paramount Pictures, then pivoted to become a sought-after music supervisor. After getting a master’s degree in clinical psychology, Greenberg pivoted again, turning her attention to documentaries and films that shed a light on issues. She is one of the founding members of the Guild of Music Supervisors.
“The Guild of Music Supervisors Awards is a night of coming together in our community, and we need this more than ever,” GMS president Lindsay Wolfington and vice president Heather Guibert said in a joint statement.
Further information and details about tickets can be found at www.gmsawards.com.
More than 40 years after the formation of New Jersey rock outfit Bon Jovi, the group’s namesake is set to trace the band’s history in an upcoming book.
Fittingly titled Bon Jovi: Anthology, the forthcoming volume is an extensive look into the history of the band, with frontman Jon Bon Jovi penning a 35,000 word account of their four decades of fame, complete with hundred of photographs and memorabilia items from the band’s personal archives.
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“As band members, you share a unique bond that no one else can truly understand, not even family,” Jon Bon Jovi explains in the book. “That brotherhood comes with a long career like ours. We all felt part of something special, trusted each other, and they trusted me. I never let them down. It was always a give-and-take by everybody.”
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Described as “all-access pass to the world of Bon Jovi”, Bon Jovi: Anthology is set for release in June and is available in a limited edition of 1,150 copies signed by Jon Bon Jovi. The book is also quarter-bound in black vegan leather and comes packaged in a handmade black clamshell box with a silver heart and dagger. Additionally, it includes replicas of pins and badges, tour passes, and a special chrome-colored 7″ record which features two as-yet-unannounced tracks.
“I was single-minded. There was no plan B, even before there was an audience,” reads another passage from Jon Bon Jovi. “It was just the feeling that you got singing a song, and then playing in a band. There was something in that electricity, in the sheer sound of loud. There was something about it that captured my imagination.”
Bon Jovi first formed in New Jersey in 1983, releasing their self-titled debut album the following year. Though their first two records charted modestly, they achieved a global breakthrough when third album, Slippery When Wet, arrived in 1986 and gave the band their first No. 1 atop the Billboard 200.
Their 42-year career has since resulted in a total of 16 studio albums, four No. 1 singles, and an induction into the Rock and Roll Hall of Fame in 2018. Bon Jovi: Forever releases in June, with pre-orders available now.
Tommy Lee isn’t fond of artists engaging in self-promotion while the Los Angeles wildfires continue to rage, it seems. The founding Mötley Crüe drummer let his opinions be known in an Instagram post shared on Monday (Jan. 13), where he took aim at those who have continued to plug upcoming products and events while the […]
Paramore‘s Hayley Williams is about to have some familial competition in the music game, with her grandfather releasing his debut album five decades on from its recording.
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Rusty Williams, at 78 years old, will release Grand Man on Feb. 14 thanks to the help of his granddaughter and her bandmates, but his musical journey has been a long time coming. According to a press release, Rusty was a lifelong lover of music, having written songs and joined a band in his earlier years. In fact, his talents even made an appearance on Hayley’s Petals for Armor album in 2020 – providing vocals and piano on the closing track, “Crystal Clear”.
For many, that was likely as far as Rusty’s musical story was going to go. Despite claims that he’d recorded an album back in the ’70s, few were certain the album even existed until “the senior Williams’ old production partner” Frank Morris rediscovered the record.
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“So many people our age are mining these albums for tones and things you can’t even replicate,” Hayley said in a statement. “And Grandat has a way of cutting to the core of a feeling, and not overcomplicating it. Which we tend to do, because the world is hard. It’s nice when you can hear something plain and simple and know that it is true.”
Rusty’s songs hadn’t ventured much further than the Mississippi recording studio where the tracks were first laid down all those years ago. However, Paramore’s Zac Farro put his hand up to ensure that they live on, plotting to release the record by way of his Nashville-based label Congrats Records. “I thought that it was a crime that these songs were sitting there on the shelf,” Farro said.
Ahead of its arrival next month, the album has been previewed by way of the single “Knocking (At Your Door)”. However, despite the long-awaited release of Grand Man, Rusty isn’t hoping for a major career renaissance to come his way.
“I don’t expect anything, and I’m too old to be famous,” he explained. “But I just want to know someone liked what I did, and to be touched by whatever the hell they are listening to. I want people to see how it felt when things were real.
“You write stuff, and you want somebody to get something out of it,” he added. “I just had to wait for a granddaughter and a band with her to really do anything with mine.”
Rusty joins a slowly-growing list of famous relatives who have released albums due to their more famous descendants. In 2023, Lana Del Rey’s father, Rob Grant, issued his debut album Lost at Sea at the age of 69, all while leaning into the tongue-in-cheek “nepo daddy” descriptor.
The Critics Choice Awards — initially scheduled for Sunday, Jan. 12, and then postponed to Jan. 26 due to the wildfires that have devastated the Los Angeles region for the past week — have been postponed again. The ceremony is now set to take place in February, with an exact date to be announced. It […]