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Roger Daltrey Is Done With the ‘Won’t Get Fooled Again’ Scream: ‘I’ve Had Enough of It’

Connecting via Zoom from across the pond, Roger Daltrey declares with great exuberance, “I’m actually looking forward to a tour! I’m out there to have a good time this time.”

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Daltrey doesn’t mean to cast aspersions on his many treks with The Who, mind you — most recently the symphonic tours he and Pete Townshend began in 2019. But his upcoming nine-date North American run, which kicks off June 12 in Vienna, Va., is something else entirely, described as “a mostly acoustic set of Who gems, rarities, solo nuggets and other surprises,” along with Q&A opportunities for the audiences.

“I’ve done all those years with The Who, and I’ve done my solo stuff and charity gigs and all that,” Daltrey tells Billboard. “I just want to branch out and do something different, where I’ve got different instrumentation and I can stop using tape loops. It just creates a whole new sound and allows me the freedom as a singer to put some other people’s songs in I’ve been fond of over the years. It’s gonna be quite interesting. I’m just determined to enjoy myself and explore the freedom I’ve got to do what I want to do on this tour, and let’s see where it ends up.”

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Don’t ask what those songs will be, however.

“I’m not gonna talk about songs,” Daltrey says. “Too many people reveal songs. There’s no surprises left with concerts these days, ’cause everybody wants to see the setlist. I’m f–king sick of it. The Internet’s ruined the live shows for me. Who wants to know what’s coming next? People forget about surprises. I can’t stand it.”

Maybe, it’s suggested, that it’s just an audience with weak bladders who want to pick the right spot to visit the loo? “Why not just start to listen to the bloody show in the toilet, then?” he says with a laugh.

One song Daltrey expects to perform is The Who opus “Won’t Get Fooled Again,” but, he adds, “We don’t use a tape loop for the instrumentation. We do it on real instruments. It just takes it off the rails and gives me more room as a singer.” That said, Daltrey notes, “I’m not gonna do the scream. I’m gonna get the f–king audience to do the scream. I’ve done that scream for 55 years, and I’ve had enough of it. I don’t even want to try it now; it’s brutal on the vocal cords. They can do the scream, and I’ll do everything else. I’m more into singing these days. At the age of 80, I think I deserve to be.”

Daltrey’s band for the tour includes Who musicians Simon Townshend (Pete’s younger brother) on guitar, violinist Katie Jacoby and Billy Nicholls on mandolin and vocals, rounded out by Jody Linscott on percussion, guitarist Doug Boyle, bassist John Hogg, harmonica player Steve Weston, Geraint Watkins on keyboards and accordion and drummer Scott Devours. “I like to put bands together where we’re a real band and everybody gets the spotlight and there’s camaraderie,” Daltrey says. “To me a band is more than choosing great musicians; you can sometimes have five great musicians on stage and there’s no chemistry whatsoever and it falls flat on its face. That’s not gonna happen here.”

As for the Q&A part of the night, Daltrey did something similar for a show in England back in 2022 and enjoyed it. Fans will be able to submit written questions to boxes at the venues before the show, then the band will review them backstage and choose “the most interesting ones…and I just draw them out of a hat. It creates a great deal of fun, and you can get some good comedy out of it if you’re lucky.”

The tour, meanwhile, is just one of the projects Daltrey has in motion these days. He has no plans yet to record another solo album — his last, As Long as I Have You, came out in 2018 — but doesn’t rule it out, either. “I don’t really think about it,” he says. “If anything turns up that I find interesting and challenging and musically progressive, I’ll have a go at it.” Meanwhile he’s continuing to work on making a biopic about late Who drummer Keith Moon that he’s been plugging away at for many years; Daltrey has a script in place that will be finalized once he finds a director, which is the next step in the process.

“That’s taken up quite a lot of my time; I want to get this made while I’m still alive to promote it,” he says. “I’m trying not to make that (typical) kind of biopic. There’s some good ones out there; I thought the Amy Winehouse (Back to Black) was better than the reviews it got. I thought (star Marisa Abela) was really good, actually, ’cause I knew Amy. But was that a film? I’m not so sure. I think it’s a TV film, and that’s the problem cinema has at the moment. What are you making it for — streaming or theaters? And I suggest that if you’re making great films you’ve got to think of theater. You’ve got to take them into theater and blow their minds. You never get your mind blown on a TV, do ya?”

Daltrey is also contemplating a second book to follow his 2018 memoir Thanks a Lot Mr. Kibblewhite: My Story, one that will delve further into the shyness and insecurities he felt during the early days of The Who. “I didn’t really go deep enough in my first book,” he says. “Quite a lot of it was terrifying, but I didn’t show it. I need to write about it.” The Who itself, meanwhile, is back of mind for Daltrey, who claims that “I don’t really think about it.”

“I’ll do it if Pete wants to do it, really wants to do it and do it properly,” Daltrey explains. “As far as I’m concerned, do we need another Who tour? We were a great group and two of our members died, and it’s been different since. Equally, there’s a chemistry between Pete and I. I love him dearly. There’s something special there, but it needs us both to be on fire and both wanting to be there. So if he really, really wants to do it I’m gonna turn up even with a broken leg, and I’ll deliver for you.”

But if The Who never return, Daltrey says he’s satisfied the band did its bit — and then some. “We did as much as I could ever have wished for, and more. I thought it ended on the ultimate presentation of Pete Townshend’s music, which is out with the orchestra while maintaining the thunder of a rock band. That’s what the music deserved.”

Daltrey’s upcoming tour itinerary includes:
June 12 / Wolf Trap – Filene Center / Vienna, VA
June 14 / OLG Stage at Fallsview Casino / Niagara Falls, ON
June 16 / Bethel Woods Center for the Arts / Bethel, NY
June 18 / The Capitol Theatre / Port Chester, NY
June 20 / Leader Bank Pavilion / Boston, MA
June 22 / Tanglewood – The Koussevitzky Music Shed / Lenox, MA
June 25 / Meadow Brook Amphitheatre / Detroit, MI
June 27 / Murat Theatre at Old National Centre / Indianapolis, IN
June 29 / The Pavilion at Ravinia / Highland Park, IL

J Balvin & Chencho Corleone’s ‘Polvo de tu Vida’ & More: Which Is Your Favorite New Latin Music Release This Week? Vote!

This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists such as J Balvin, Christian Nodal, and FARIANA (also known as Farina), to name a few.

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In an effort to continue showcasing her versatility, Farina has dropped a new single called “El Caballito” under her alter ego, FARIANA. The first–time collaboration with Oro Solido is an eclectic merengue that best captures the Colombian rapper’s fierce bars and rhymes and the merengue group’s signature mambo-merengue sound. The summer-ready track is the second single off of FARIANA’s upcoming music production.

Additionally, Maluma and Blessd have also teamed up to drop their joint EP, 1 Of 1. The six-track production, co-produced by MadMuscik and The RudeBoyz, includes the title track and focus single “Call Me,” and best represents Medallo’s reggaetón, swagger, and vibrant culture.

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“This work will have a very positive impact,” both acts affirmed in a press statement. “We’ve had dreams since we were kids and seeing that they can come true is a source of pride for those who see us as role models.”

Last week, music fans voted for Jhayco’s “Torii,” generating nearly 25% of the votes and beating out other releases that dropped, including Grupo Firme’s “El Beneficio de la Duda,” Manu Chao’s “Viva Tu” and Junior H and Oscar Maydon’s “Volver al Futuro.” Plus, new albums by Carín León (Boca Chueca, Vol. 1), Manuel Medrano (Perfecto) and Olga Tañón (Así Soy Yo).

Who should win this week? Vote among new releases by Christian Nodal, J Balvin, and more, below:


Adam Lambert Shares His Glam for WeHo Pride: Here Are Some of His Makeup Must-Haves

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Musician and makeup enthusiast Adam Lambert performed at the WeHo Pride Music Festival for the first time on Friday (May 31). Kesha headlined that evening’s lineup, which also featured performances from Lambert, Monét X Change, Laganja Estranja, Morphine Love Dion, Niña Dioz, Jessica Betts, Owenn and Venessa Michaels.

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Lambert premiered two new songs on the WeHo stage that came out the same day as his performance: “Lube” and “Wet Dream.” He shared the moment on Instagram, writing, “It’s officially AFTERS season! Who else kicked off their Pride month to the sound of LUBE and WET DREAM this weekend? ? You can watch the full live performance of Lube on my YouTube channel now!”

That’s not all. Lambert invited Billboard into his trailer at WeHo Pride to witness the magic of his makeup routine, and shared his favorite essentials for achieving the perfect glam look. As he took us behind the scenes, he revealed his makeover process, which is basically just “wing it!”

So if you have a similar approach, you might want to take a look at his top five must-have beauty items below:

Nordstrom

Eyebrow Shadow: Anastasia Beverly Hills Brow Shadow

$19.55

$23

15% off

Beauty Bay

Beauty Bay: Made by Mitchell Colour Case Cosmetic Paint

$32.35

$40.50

20% off

Nordstrom

Pat McGrath Labs: Mothership III Subversive Eyeshadow Palette

Ulta Beauty

Natasha Denona Xenon Palette: Eyeshadow Palette

Target

Mascara: Maybelline The Falsies Surreal Mascara 

According to Lambert, he’s been playing and experimenting with makeup since he was a kid, and has quite the collection. “I always joke that my bathroom is kind of like a CVS!” he says. “I have so many products – I’m kind of a junkie for products. I love lotions and potions.”

Besides his love for beauty and products, Lambert also chatted about his EP Afters, which drops on July 19, so stayed tuned for more music. He shares, “This new chapter … is kind of just me trying to take back some ownership of my freedom as a creative artists.”

Adam Lambert’s Makeup Tutorial for WeHo Pride 2024 | Billboard Red Carpet Ready

Adam Lambert gets ready for his WeHo Pride 2024 show and talks us through how he does his makeup, his new EP Afters, his new singles “Lube” and “Wet Dream,” how he’s evolved as an artist and more!

Adam Lambert:
Hey, Billboard, I am getting ready for WeHo Pride. I’m gonna paint my face. I’d love for you to come in and witness the magic.

My general process for glam is sort of wing it, literally. There’s the obvious things, like, you know, eyebrows and some skin. But as far as, like, a performance like this, that’s really fun, and fashion, I kind of just play until I like what I’ve created.

How many products do I use? Way too many. I always joke that my bathroom is kind of like a CVS. It’s literally a pharmacy. I have so many products. I’m kind of a junkie for products. I love lotions and potions.

This is some shadow for eyebrows by Anastasia Beverly Hills, just sort of eyebrow powder.

I’m so excited to be performing for WeHo Pride. It’s actually my first time doing it. I’ve performed at Pride in New York. I’ve performed at Pride in Miami, but never here at home in West Hollywood, where I’ve lived for over 20 years. So this is a first.

I am so excited that I get to premiere some brand new songs, two of which came out today, which is really exciting: “Lube” and “Wet Dream.” And I hope everyone’s listened to it so they sing along. I know I have a lot of friends in the audience, and I’ve sent all of them the tracks, so I know they’ll be jamming out.

Keep watching to learn more!

Billy Ray Cyrus Says He’s ‘Incredibly Proud’ of Miley Cyrus: ‘She’s a Survivor & a True Artist’

Billy Ray Cyrus is feeling sentimental. On Friday (June 7), the 62-year-old country star posted a heartfelt message about daughter Miley Cyrus to Instagram, sharing a sweet throwback picture to when she was little.

In the photo, a young Billy Ray — still rocking his signature mullet — holds a toddler-aged Miley in his arms, cupping her face in his hand. “One of my best memories ever: @cma Fest, back when it was Fan Fair,” he captioned the snap. “That’s @mileycyrus and me, surrounded by thousands of incredible fans at the fairgrounds.”

He also shared a handwritten poem he wrote the day after the photo was taken. “Let’s say [there] was a warrior/ An armored shining knight,” it reads. “And the princess that he loved/ Together shared the light.”

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“The next day, someone handed me this picture, and I wrote that poem right then on the bus,” the “Achy Breaky Heart” singer continued in his caption. “I’m incredibly proud of her. She’s a survivor and a true artist. She learned early on to love and appreciate the fans who make everything possible. We both cherish the connection we have with our fans and are grateful for every single one of you!”

Billy Ray also paired the post with his now 31-year-old daughter’s hit 2023 single “Flowers,” which spent eight weeks at No. 1 on the Billboard Hot 100.

The post comes amid rumors of a rift in the Cyrus family following Billy Ray and Tish Cyrus’ 2022 divorce. The former couple was married for nearly 30 years and share six children. Both have married other people since their split.

When she won a Grammy for record of the year in February, fans noticed that Miley didn’t include her father in her acceptance speech. After thanking her mom and sister Brandi, she joked, “I don’t think I forgot anyone, but I might have forgotten underwear.”

See Billy Ray Cyrus’ post and handwritten poem on his Instagram account.

Christian Nodal Unleashes ‘Kbron y Medio’ & More New Music Latin

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard‘s Latin and Billboard Español editors. Check out this week’s picks below.

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Christian Nodal, “Kbron y Medio” (Sony Music México)



With his new single, Nodal perfectly captures a bad boy attitude, almost villain-like, which leads to a toxic lifestyle that only those who’ve gotten their hearts broken can understand. In “Kbron y Medio,” which loosely translates to “a jerk and a half,” he embraces a new identity to help heal his wounds. Powered by a country blues melody fused with his signature mariachi elements, the single-as-of-recently artist sings emotively, “My kisses are no longer for just one, my bed is open to receive bad girls, my agenda is open for everyone,” while quickly adding, “just don’t get stuck and talk to me about feelings.” His second single of the year, “Kbron y Medio” is a preview of his upcoming album, Pa’l Cora, slated for mid August. – GRISELDA FLORES

FARIANA, Oro Solido, “El Caballito” (La Commission, LLC)

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Farina (now, under her new alter ego Fariana) has teamed up with Oro Solido for what could possibly, most probably, become the song of the summer. After dipping her toes in the dembow genre, the Colombian rapper continues to tap Dominican culture, this time with “El Caballito,” a catchy merengue produced by Gangsta and Oro Solido’s frontman Raul Acosta. In her new career chapter, where she goes under the artistic name of Fariana, the rapper explores her versatility that goes beyond rap and freestyling. “El Caballito” — the second single off of her upcoming musical project — is a perfect example of her new era, best fusing her effortless and saucy rhymes with the merengue group’s signature mambo sound that has had generations after generations dancing “hasta las 15 de la mañana” (until 3 in the morning). — JESSICA ROIZ

J Balvin & Chencho Corleone, “Polvo de tu Vida” (Capitol Records)



Kicking off with eerie, dissonant strings, J Balvin dives deep into his fascination for sci-fi-inspired melodies juxtaposed a vigorous old-school reggaetón thump in “Polvo de tu Vida.” The Colombian superstar enlists genre OG Chencho Corleone who provides the ideal high-pitched harmonic counterpart to J Balvin’s sensual flow. Together, they deliver the catchy and impassioned hook: “Soy el polvo de tu vida, esta noche no se olvida,” proclaiming it with fervor ensuring it resonates with the listener. The song and its accompanying video immediately seizes attention, with its eccentric tones and the futuristic visuals that allude to a dystopian theme. — ISABELA RAYGOZA

Natti Natasha, “Quiéreme Menos” (Sony Music Latin)



With the romantic bachata “Quiéreme Menos,” Natti Natasha celebrates her love story. Written by Romeo Santos and dedicated to his partner, producer Raphy Pina, the song talks about an unconditional love that overcomes all adversities. “Romeo managed to capture the essence of what I feel for Raphy and everything he has given me, while making the lyrics universal. It is a privilege to be able to perform this beautiful song, which emerges from his pen and musical talent,” Natasha said in a statement about the release. The emotional music video shows various clips of intimate moments from her life as a couple, including Pina’s recent release from prison. — LUISA CALLE

Joaquina, “Pesimista” (Universal Music Latino)



Joaquina continues expanding her collection of profound, relatable works with this new song about missing someone you love from a distance. Written by the Venezuelan artist during a Spring she spent in Madrid, and co-produced by Julio Reyes Copello and Larry Coll, “Pesimista” shows an evolution in the singer-songwriter — who in November became the youngest artist to win the Latin Grammy for best new artist — with more mature lyrics and an evocative sound. “I’m not a pessimist, but if I were to lose you, it would break me to pieces,” she sings in part of the lyrics.

“This song is essentially a love song that speaks to having something so special to the point in which you’re scared to lose it,” Joaquina explained in a press release. “It’s about being far from the person you love and wishing that they were living all of these new experiences and things with you and seeing them everywhere you go.” — SIGAL RATNER-ARIAS

Listen to more editors’ Latin recommendations in the playlist below:

In Live Nation’s Antitrust Battle With DOJ, AEG’s Ticketing Claims Likely to Take Center Stage 

On Friday (May 31), AEG chairman/CEO Jay Marciano became the first major live music executive to voice support for the Department of Justice’s effort to break up Live Nation and Ticketmaster, foreshadowing the role AEG will likely play as a key witness in the DOJ’s antitrust case against Ticketmaster.

“AEG has long maintained that Ticketmaster has a monopoly in the U.S. ticketing marketplace and uses that monopoly power to subsidize Live Nation’s content businesses,” Marciano wrote in a memo to staff May 30. Beyond its longstanding criticism that Live Nation uses its scale to overpay for talent, AEG doubled down on its attacks on Ticketmaster’s use of exclusive ticketing contracts, with Marciano telling staff that AEG and its attorneys “strongly believe that DOJ’s lawsuit will succeed and ultimately bring sweeping changes” to the live music industry.

The government interviewed dozens of Live Nation’s competitors during its two-year anti-trust investigation, including AEG — executives at AEG have met with DOJ investigators on at least three separate occasions, including a 2023 meeting to discuss the crash of the ticket presale for Taylor Swift’s The Eras Tour, which AEG promoted through its joint venture with Louis Messina.

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That puts Marciano and AEG in a rare position to galvanize public opinion and build support for his call to staff and the larger music community to help “us lay the groundwork now for the future of the industry.”

But AEG’s claims aren’t as compelling as Marciano thinks, according to Live Nation executive vp of corporate and regulatory affairs Dan Wall, who responded to Marciano’s May 30 letter with a statement alleging AEG is trying to use Live Nation’s antitrust case “to advance their own interests.”

“AEG supports this case — indeed, begged DOJ to file it — because it doesn’t want to pay artists market rates or convince venues to adopt its second-rate ticketing system exclusively,” Wall said in a statement provided to Billboard after Marciano’s statement was released.

AEG declined to comment for this story.

The battle between Live Nation and AEG dates back to the federal government’s 2010 approval of Live Nation’s merger with Ticketmaster, which the government approved by imposing a number of conditions on Ticketmaster designed to increase competition. As part of those conditions, referred to as the consent decree, the DOJ required Ticketmaster to license its source code and technology to AEG to create a competing ticketing service. The government did not address some of Ticketmaster’s more controversial tactics at the time, like the use of exclusive contracts to lock venues into long-term deals, which lies at the heart of this current conflict.

AEG only licensed Ticketmaster’s technology for a year, and in 2011 announced it was instead building a new ticketing platform called AXS with the help of Montreal firm Outbox ticketing. It took two years to switch all of AEG’s venues globally to AXS Tickets, and then AEG struggled to sign on new clients, even after merging with Veritix in 2015, and in 2019 ended up losing a major client — Altitude Sports and Entertainment — to a startup called Rival launched by former Ticketmaster CEO Nathan Hubbard.

AXS’ struggles were due in part to its ownership structure following the 2015 merger with Veritix, which divided ownership among AEG, private-equity firm TPG and Cleveland Cavaliers owner Dan Gilbert, who previously owned Veritix. In 2019, AXS’ partners began exploring a sale of the company and looked at buying Rival or being bought by Rival, deals AEG blocked thanks to AXS’ ownership rules that required unanimous consent for all material decisions. AEG also blocked a merger between AXS and CTS Eventim, a powerful European ticketing provider that was looking for an entry point in the U.S. market to compete with Ticketmaster.

Gilbert and TPG eventually agreed to sell their stakes in AXS to AEG in 2019, which by then had started to explore a new business model for the ticketer, built around non-exclusive ticketing contracts. Instead of competing with Ticketmaster to sign venues to AXS, AEG would instead focus on expanding its use of AXS ticketing for AEG-promoted tours. Both Live Nation and AEG prefer to use their own ticketing platforms for the concerts they promote because it allows the promoters to directly control the customer data.

Hoping to encourage Ticketmaster to allow AEG to use AXS whenever it brought tours to buildings ticketed by Ticketmaster, AEG offered to allow Live Nation to use Ticketmaster at the venues AEG controls, including the Crypto.com Arena in Los Angeles.

AEG would extract a similar concession from Live Nation in 2021 that would earn a mention in the DOJ’s lawsuit against Ticketmaster. On June 15 of that year, leading venue operations company ASM Global, in which AEG owned a minority stake, announced it had renewed its agreement with Ticketmaster to provide ticketing services for a majority of the 300 venues ASM manages.

The government flagged the agreement as suspicious because AEG at the time owned 30% of ASM and had “advocated for AXS to serve as the exclusive primary ticketer for the ASM Global venues,” the complaint reads. “But ASM Global’s majority shareholder, Onex, worried that Live Nation would retaliate by withholding shows from ASM Global venues if ASM Global entirely switched away from using Ticketmaster.”

A source close to the deal called the DOJ’s version of the story an “oversimplification,” noting that AEG and Onex didn’t have the right to require ASM Global clients to use one ticketing system over the other and that the majority of clients opted to stay with Live Nation. ASM did, however, convince Live Nation to grant a rare exception to its venue contracts, allowing ASM venues contracted to Ticketmaster to switch to AXS tickets for any tours AEG brought to the buildings.

In exchange, Ticketmaster paid a large advance for the multiyear contract and issued a press release, quoting ASM Global president/CEO Ron Bension saying, “Aligning with industry leaders like Ticketmaster is a critical component in providing millions of people with the most seamless and secure live experiences.”

Happy to have secured the largest carve-out in Ticketmaster’s exclusivity contract to date, AXS decided to push for more exceptions. In 2022, AEG began routing Swift’s The Eras Tour alongside its partner, Messina Touring Group. The majority of the venues on the tour were Ticketmaster-exclusive facilities, though ASM managed five of the stadiums, representing 12 shows on the 52-date trek. But two of those dates — a pair of concerts at State Farm Stadium in Glendale, Ariz. — would be ticketed by SeatGeek under its exclusive deal with the Arizona Cardinals. Making matters worse, two of ASM’s management clients decided to partner with Ticketmaster for the sale.

Down to just five shows at two stadiums, AEG dropped the matter, but not before reporting the issue to the DOJ, encouraging them to look at Live Nation and Ticketmaster’s use of exclusive contracts as anti-competitive.

After the fiasco, Live Nation chairman Greg Maffei appeared on CNBC to defend Ticketmaster and claim “AEG, who is the promoter for Taylor Swift, chose to use us because, in reality, we are the largest and most effective ticket seller in the world,” he said. “Even our competitors want to come on our platform.” AEG leadership was quick to respond. “Ticketmaster’s exclusive deals with the vast majority of venues on The Eras Tour required us to ticket through their system,” the leadership said in a statement, adding, “We didn’t have a choice.”

In the months following, AEG’s relationship with Live Nation only worsened. In January 2023, AEG announced it was backing a U.S. tour for chart-topping singer Zach Bryan who had just released a live album called All My Homies Hate Ticketmaster. The album title succinctly encapsulated decades of anti-Ticketmaster sentiment from music fans over Ticketmaster fees, pricing and indignities and AEG was eager to get in early. With AEG as his promoter, Bryan embarked on an expansive tour of non-Ticketmaster buildings, a gambit that hadn’t been attempted since Pearl Jam in the 1990s. AEG even deployed a sophisticated anti-scalping system to keep tickets out of the hands of scalpers.

Despite the tour’s success, Bryan had reached a surprising conclusion about the experience — some of his homies hated AXS tickets too.

“Everyone complained about AXS last year. Using all ticketing sites this year,” he said of his 2023 Quittin’ Time Tour, which was still being promoted by AEG but would no longer route around Ticketmaster buildings and would play all venues, regardless of which company was the ticketer.

“All my homies still do hate Ticketmaster, but hard to realize one guy can’t change the whole system,” Bryan wrote on X, formerly Twitter. “It is intentionally broken and I’ll continue to feel absolutely horrible about the cost of tickets.”

In his written response to Marciano’s letter, Wall, a former litigator for Live Nation who helped architect the 2010 consent decree, says AEG is now trying to use the legal system to compete against Ticketmaster instead of focusing on improving AXS.

Marciano contends that there are many things that the DOJ can do to level the playing field and ended his letter by encouraging his employees not to “get distracted by Live Nation spin” and instead to “prepare for a world with more competition, more innovation, artist and consumer choice, lower ticketing fees, and more music.”

Witness in Young Thug’s RICO Trial Calls Hit Song ‘Lifestyle’ a ‘Banger’ During Testimony

A clip of a witness’ testimony has been making the rounds on X. While being examined Thursday (June 6) by Atlanta state prosecutors during the YSL RICO trial, former Hertz rental car employee Ira Singleton was asked about a 2014 Infiniti Q50 Young Thug (real name Jeffrey Williams) allegedly used in the murder of “rival gang member” Donovan Thomas Jr.

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During Thug’s attorney Keith Adams’ cross-examination, Singleton was asked if he knew the rapper. “Personally? No,” Singleton answered. “Wait, hold on. Can I go back? … I didn’t know Jeffrey Williams by that name. I knew Young Thug, yes.”

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When asked if he ever met Thug personally, Singleton again answered no, but mentioned he was familiar with his work. “‘Lifestyle’ had just dropped. Everybody knew that song. Banger,” he said, referring to Rich Gang’s 2014 hit featuring Young Thug and Rich Homie Quan.



A similar situation happened last month when former Atlanta Police investigator Tyrone Dennis was being cross-examined by Adams. On May 8, state prosecutors played Thug’s 2015 song “Halftime” in an effort to connect the rapper’s lyrics to his gang affiliations.

With the song being played in the courtroom, Adams asked Dennis if he paid attention to the track’s lyrics. Dennis had a hilarious answer. “I knew the lyrics myself,” he responded while having a chuckle. “I was actually singing along. I was.”

You can check out the footage of both moments below.

Young Thug sits at the center of a RICO case involving his company YSL. The trial began in November 2023 after Thug and 27 others were indicted on May 9, 2022.

Robert Plant & Alison Krauss Release Hypnotic Live Version of ‘When the Levee Breaks’: Listen

Robert Plant has mostly kept his Led Zeppelin past at arms-length since the group officially disbanded in 1980. But there are a few songs from the Rock and Roll Hall of Fame band’s catalog that he has revisited and revised over the years, including on his current Can’t Let Go summer tour with Alison Krauss.

On Friday (June 7) the duo released their mesmerizing live version of the country blues classic “When the Levee Breaks,” famously boosted to arena bombast levels on Led Zeppelin IV. In the pair’s take on the 1929 Memphis Minnie and Kansas Joe McCoy song the track is transformed into a mix of Celtic dirge and mournful country ballad with a combination of hand drums and fiddles complimenting their intertwined vocals.

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The version that they’ve been performing live together since 2007 has echoes of the Middle Eastern influences heard on the 1994 Page and Plant album No Quarter live album and it represents their first new music release since their Grammy-nominated 2021 album Raise the Roof. “Mean old levee taught me to weep and moan/ Mean old levee taught me to weep and moan/ It’s got what it takes to make a mountain man leave his home,” Plant croons as Krauss doubles his vocals, giving the already ominous arrangement a more haunting feel.

String player Stuart Duncan takes a dramatic modal fiddle solo midway through as he goes toe-to-toe with a furious drum pattern before the four-minute tour de force ends with Plant’s signature “going down, going down now” wail. The song also features the duo’s crack live band, which also includes Duncan, guitarist JD McPherson, drummer Jay Bellerose, bassist Dennis Crouch and Krauss’ brother, multi-instrumentalist Viktor Krauss.

The pair are performing “Levee” — along with some other reworked Zeppelin songs such as “Gallows Pole” and “The Battle of Evermore” — as part of the tour, which also spotlights their takes on a number of other classic rock, country and bluegrass standards from Raise the Roof and its Grammy-winning predecessor, 2007’s Raising Sand. The Can’t Let Go tour kicked off earlier this week and will hit the Mystic Lake Amphitheater in Prior Lake, MN on Friday night.

Listen to “When the Levee Breaks” below.



Executive Turntable: TikTok Lawyers Up; Spotify Flips GMs in Europe; Island Names A&R VP in Nashville

It’s time for another Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.

ByteDance has hired former Warner Bros. Pictures legal honcho John Rogovin as the Chinese company’s new global general counsel, effective immediately. He reports directly to Liang Rubo, CEO of ByteDance. The role includes oversight of TikTok, which has a lot going on right now. Rogovin’s arrival comes as TikTok and ByteDance engage in a monumental battle with the United States government following the passage of legislation requiring the parent company to sell the app or face a national ban. In early May, the company filed a federal lawsuit aimed at overturning the law, calling it an “unconstitutional” action aimed at “silencing” more than 170 million Americans who use TikTok. TikTok chief Shou Chew rightly said Rogovin’s arrival comes at an “important time” for the company. Rogovin, who clocked time at both the FCC and the DOJ earlier in his career before a 14-year run at WB, added that he looks forward to “helping to ensure that our platforms continue to provide a critical forum for more than two billion users worldwide to entertain, teach, and connect with one another.” Rogovin succeeds departing general counsel Erich Andersen, who has shifted to special counsel.

Trending on Billboard

Federica Tremolada

Federica Tremolada

Spotify

Federica Tremolada was promoted to general manager of Europe for Spotify, effective immediately. Tremolada, who spent the last five years as managing director of Southern and Eastern Europe, fills the shoes of Michael Krause, who earlier this week announced his departure after a seven-year run as GM. Both execs made their own announcements on Linkedin, with Krause calling it a “perfect time to pass the baton” and spend time with family before seeking “new adventures later this year.” Tremolada, meanwhile, called working at Spotify “one of my biggest dreams come true” and listed opening Casa Spotify in Milan, where she is based, and growing the podcast business in the region as some of her tenure highlights. Prior to joining Spotify, Tremolada spent more than a decade at Google, where she rose to head of international partnerships for the YouTube TV squad.

Austin Jenkins was named vp of A&R at Island Records. Based in Nashville, Jenkins started at Island in 2023 and played a pivotal role in the signing and development of artists including Wyatt Flores and Medium Build at the label. He will continue leading Island’s Nashville operations. Jenkins was formerly the founder, guitarist and songwriter for Texas band White Denim. He later founded Fort Worth, Texas, recording studio Niles City Sound with Josh Block and Chris Vivion, where Jenkins and Block co-produced, recorded and mixed Leon Bridges‘ full-length debut album, Coming Home. Jenkins performed guitar and bass on the album and also toured with Bridges as part of his band.

Adam Salomon was named senior director of A&R at Concord Music Publishing. Salomon joins Concord from London-based music management company Chosen Music, where he led A&R efforts. He reports to Concord Music Publishing executive vp of worldwide A&R Kim Frankiewicz. Originally from Sweden, Salomon has held A&R and management roles across independent and major labels in the country, including Universal Music Sweden, where he led the Svenska Inspelningar label.

Producer, songwriter and rapper Rodney “Darkchild” Jerkins launched a new record label, Alienz Alive, which Jerkins described in a statement as “a collaborative community of creatives that are Christ-centered where artist development is key. We encourage our artists to use their gifts to uplift and inspire. Sonically speaking the influences are Hip Hop, R&B, and Indie Rock. As long as it glorifies God and it’s dope, all are welcome.” At launch, the Alienz Alive roster includes Jon Keith, GAWVI, IMRSQD Alex Jean and TJ Carroll. Jerkins will be involved in the label’s day-to-day operations.

Madison House is building a bigger booking agency with the hiring of industry veteran Thomas Ponsart as booking agent and Ruby Williams and Madison Dawson as agent assistants. Bay Area-residing Ponsart has more than a decade of experience and learned under the tutelage of Tom Chauncey and Hank Sacks at Partisan Artists. He brings with him a roster that includes John Craigie,  Monophonics, Parlor Greens, Madeline Hawthorne, Kelly Finnigan, Anthony Villacari and Goodnight, Texas. Williams arrives from Freshwater Art Gallery & Music Venue in Boyne City, Mich., where she booked artists of all stripes, and is now based in Madison House’s office in Ann Arbor. Dawson is a recent Belmont grad and intern at Madison House in Nashville, where she is based. “The ultimate decision to join forces with Madison House is our shared values, growth mindset, adaptability, freedom to pursue new clients, and their tech forward approach to new systems,” said Ponsart. “Madison House has instilled these values in their team for decades and it  makes them a commendable and unique business that I’m excited to call my new home.”

Riser House Records named Amy O’Connor as head of sales and streaming. O’Connor previously served as marketing director at Sony Music/Legacy Recordings, working Sony’s country legacy catalog including music from Dolly Parton and Willie Nelson, as well as working with artist estates including Johnny Cash and Loretta Lynn. O’Connor previously led the streaming team at Better Noise Music, working on projects for Papa Roach, Mötley Crüe and Five Finger Death Punch. –Jessica Nicholson

Filmmaker and music producer Jesse Lauter joined Peter Shapiro’s Dayglo Presents as head of production & media. In this newly created position, Lauter will oversee the creative side of video and audio production for Dayglo venues, including The Capitol Theatre in Port Chester, NY and the Brooklyn Bowl mini-chain (Brooklyn, Las Vegas, Nashville and Philadelphia), along with the newly added Bearsville Theatre in Woodstock. One of his main responsibilities is directing live-streams for FANS.live and Relix out of the Capitol Theatre. Lauter most recently directed Learning To Live Together: The Return of Mad Dogs & Englishmen about Joe Cocker, and is currently working on a film about swamp rock legends Little Feat. He’s also worked with Dayglo on a part-time basis for years. “I’ve been a part of this family for a long time, and have so much love and respect for Pete and what he has built,” he said. “It’s a perfect fit.” each Lauter is reachable at jesse@dayglopresents.com.

Courtney Zeppetella is no longer senior vp, controller and chief accounting officer of Madison Square Garden Entertainment. Zeppetella’s resignation, effective May 31, was disclosed in an SEC filing three days prior to her exit. The NYC-based executive joined MSGE in May 2022 following a 21-year run at KPMG, where she rose to audit partner. Michael J. Grau, the company’s executive vp and CFO, will serve as the company’s interim principal accounting officer until a replacement is named.

ALL IN THE FAMILY: Billboard‘s longtime Australian correspondent Lars Brandle is now head of content at The Brag Media, where he’ll oversee strategy across Rolling Stone Australia and New Zealand, Variety Australia, The Music Network, Tone Deaf and more titles. Brandle joined Billboard in 2000 out of the London bureau and for many years served as global news editor and later as overnight editor — along the way amassing a paltry 835 pages of written articles. New gig aside, Brandle isn’t fully free of Billboard‘s clasp just yet — The Brag Media holds the license for Billboard in Australia. Talk soon, mate!

Sphere Entertainment hired industry veteran Chandra Allison as executive vp of sales and service at the Las Vegas megavenue. In her new role, Allison will drive sales strategies, develop conferences and events, oversee service teams, and build on Sphere’s strong relations with fellow stakeholders in Vegas. Allison, who has done consultant work for Sphere, most recently served as senior vp of strategy and growth at Oak View Group, where she oversaw growth and strategy for its OVG360 portfolio. Prior to OVG, Allison put in nearly 25 years at The Venetian Resort, where she rose to svp of sales and marketing. “Sphere is a game-changer in this dynamic market,” she said, “and this is a tremendous opportunity to continue working with the team to develop one-of-a-kind experiences that enhance Sphere’s presence in Las Vegas across a range of event categories and guest experiences.”

NASHVILLE NOTES: Kelli Haywood and Leigh Holt teamed to launch Hsquared Management. The company combines the artist rosters from their respective companies, KCH Entertainment and maddjett, while they also reveal their first signing together, Capitol CMG singer-songwriter Riley Clemmons. The Hsquared client roster also includes Lauren Daigle, Carlos Whittaker, Annie F. Downs and Megan Danielle –J.N.UMG Nashville‘s director of radio marketing Donna Hughes departed after 13 years. Hughes was previously national director of radio syndication at Capitol/EMI Records before those imprints were joined UMG.

ICYMI:


Lee Anderson

Lee Anderson

Warner Music Group hired Michael Ryan-Southern to lead the company’s acquisition efforts … CAA appointed Darryl Eaton, Emma Banks and Rick Roskin as co-heads of the global touring division … French collective management organization SACEM extended Cécile Rap-Veber’s term as CEO … MNRK Music Group president and CEO Chris Taylor is resigning effective June 28 and will be replaced by COO Sean StevensonLee Anderson was named president of Wasserman MusicLionel Ridenour was named executive vp of promotion at gamma. … Dennis Ashley Jr. and son Dennis Ashley III launched a new multimedia firm … Day After Day Productions hired Melanie Davis as head of tour marketing, while promoting Marc Ertel to head of creative and Erin Patterson to head of marketing.

Last Week’s Turntable: PierFerd Partners Up