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Since January 2016, musicians who have struggled with the vagaries of compensation and regulation in their industry have been able to turn to one of their own for guidance, support and solidarity. That year, Richard James Burgess — who produced four top 20 U.K. hits for Spandau Ballet, managed bands, performed in one and oversaw business operations for Smithsonian Folkways Recordings — became president/ CEO of the American Association of Independent Music.
Next January, Burgess will step down after leading the organization through what Louis Posen, founder of indie label Hopeless Records, describes as “a period of unprecedented growth.” Under Burgess’ purview, Posen says, “A2IM has expanded its membership, created more opportunities for members and launched signature events like Indie Week and the Libera Awards.”
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During his 10 years at the helm of A2IM, Burgess also “built a highly engaged coalition of indie labels, large and small, and lobbied hard for them in Washington and across the music industry,” says Mark Jowett, co-founder and president of A&R at Nettwerk Music Group. “He fights each day for fairness and a level playing field,” adds Concord COO Victor Zaraya. “I will miss working with him.”
Burgess says that his stint leading A2IM has been animated primarily by a single principle: “Do what’s best for the creators. It’s the music business. But without the music, there is no business.”
Why did you decide it was time to move on from your role leading A2IM?
I made up my mind when I started that 10 years would be my limit. Mostly my career has fallen into 10-year chunks by accident. I tend to get to a point where I feel like I’m repeating myself. I like to do new things. Also, I think it’s good for the organization to have new leadership.
Over the decade that you’ve run A2IM, how has the definition of “independence” changed?
It still means the same thing it always did. People get confused about what corporate structures do around independence as opposed to what independence means. It means that you own your own copyrights or you have the freedom to do things the way you want to do them. Most artists, if they have the option, decide to go independent rather than with a major because they can steer the direction of their career more. Majors have extremely high goals for sales, and that usually takes a lot of compliance with certain kinds of criteria.
You don’t think that the major labels’ recent acquisitions of indies has changed the definition of independence?
The question is, how much does corporate ownership affect your ability to do the things you want to do? I don’t think it’s a healthy universe where all independents are channeled through the majors. But this is not a new thing. There was a peak of independence in the late ’50s and early ’60s.
There’s a long history of majors buying up indies, but is that happening at a different scale? Universal Music Group [UMG], for example, bought Downtown, which includes FUGA, which provides distribution for many indie labels.
That’s really upsetting a lot of independents. Having said that, there are options. Every time there’s consolidation, there’s a commensurate opening up of opportunities for new businesses and entrepreneurs.
What do you see as the biggest wins during your time running A2IM?
Coming in, I had several goals. One was to expand the organization, to make it more robust and as stable as possible. I think we’ve achieved that. Our revenues are much higher than they were. Indie Week is now a pretty established international conference. The other thing I’m really proud of is that we now are really established in advocacy. Nothing really happens in D.C. without us being involved. We get calls from congresspeople or their offices when there are any issues that might affect the sector, whereas we used to find out about it second- or third-hand or from the press that something was happening that could affect us.
How were you able to bolster the organization’s advocacy operations?
I [previously] worked at the Smithsonian, so I was in the D.C. scene for years, and I had a lot of helpful insight when I came to [A2IM]. The first couple of years, we didn’t have any lobbyists. We had to scrape the money together to afford our current lobbyists. They do an amazing job, and they don’t kill us financially. But frankly, we can spend 10 times as much money on lobbying and we still would not match what our opponents spend.
What are the priorities on the lobbying side?
We’re actually launching our own bills now. We have the HITS Act — that would let independent artists deduct up to $150,000 in music production expenses immediately. Another one is the American Music Fairness Act, which would make sure that artists could get paid from airplay. I’m really happy that songwriters get paid — this is not a zero-sum game. But radio stations are making money from selling ads against those records. Some of those ad dollars should go to the singers.
Another bill we think is really important is the Protect Working Musicians Act, which we launched with the Artists Rights Alliance. It would allow small- and medium-size enterprises — could be an artist, could be a group of labels or publishers or songwriters — to collectively negotiate against much larger [digital service providers] and AI [artificial intelligence] companies. These are among the largest companies that have ever existed. The leverage they have is completely disproportionate. You look at the statements people like Jack Dorsey and Elon Musk are making, which is that [intellectual property] should be considered fair use. When you look at the profits Meta forecast the other day, it’s hard to see why the source material they use to fuel this tool should be free. Nothing else is free. The coding is not free. The storage is not free.
Where are you and the RIAA aligned, and where do you differ?
We’re in constant communication with the RIAA, and we’re aligned on a lot. They’re part of the musicFIRST Coalition [which aims to “end the broken status quo that allows AM/FM to use any song ever recorded without paying its performers a dime”]. There are some differences, but we are 100% aligned on the idea that we need to preserve and increase the value of music copyrights.
In 2023, UMG CEO Lucian Grainge said that while conflict in the music industry was once primarily between indies and majors, today’s divide is “those committed to investing in artists and artist development versus those committed to gaming the system through quantity over quality.” Do you agree?
In 1999, the music industry reached its peak. We’re still down from that in terms of adjusted dollars. And that’s not accounting for the additional usage these days — anecdotally, I think there’s a lot more music consumed today than there was in 1999. Simply because of phones and [earbuds], accessibility has vastly increased. The reason we’re in this position is because we don’t control our pricing or distribution anymore. We gave that up in 1999 when we let Napster slip through our fingers. That can’t happen again. Obviously, we’re not in an exactly parallel situation with AI as we were with the transition to digital. But I do think it’s the music industry and musicians versus the tech platforms. Tech platforms want to lower the cost of what they call “content” and I call “music.” The musicians and the labels want to increase the value.
Are you taking any vacation after you officially step down?
I’m not good at vacation. A vacation to me is doing something different.
Country music is getting a new Grammy category: best traditional country album. It is the only new music category being added for the 68th annual Grammy Awards in 2026.
To reflect the change, the existing best country album category has been renamed best contemporary country album. The new category will join the 13 other categories in Field 5, four of which are specifically dedicated to country, while the others cover American roots, Americana, bluegrass, blues, folk and regional roots music.
New categories are considered from proposals submitted to the Recording Academy’s Awards & Nominations committee, which are then voted on by the Academy’s board of trustees. “The community of people that are making country music in all different subgenres came to us with a proposal and said we would like to have more variety in how our music is honored,” Recording Academy CEO Harvey Mason jr. tells Billboard. “They said, we think we need more space for our music to be celebrated and honored.” Mason said the proposal had been submitted a number of times previously before passing this year.
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The move helps bring the country categories more in line with other genres which separate contemporary and traditional albums or performances, including R&B, pop and blues.
“It makes country parallel with what’s happening in other genres,” Mason says, “But it is also creating space for where this genre is going.”
The definition for the new category reads, in part, “This category recognizes excellence in albums of traditional country music, both vocal and instrumental. Traditional country includes country recordings that adhere to the more traditional sound structures of the country genre, including rhythm and singing style, lyrical content, as well as traditional country instrumentation such as acoustic guitar, steel guitar, fiddle, banjo, mandolin, piano, electric guitar, and live drums. It also includes sub-genres such as Western, Western Swing, and Outlaw country.”
The hope is that the new category benefits artists who fall outside of mainstream, commercial country music, such as Charley Crockett, Sierra Ferrell, Colter Wall and Noeline Hoffman, who have previously been nominated into the Americana and American roots categories. (Both Crockett and Ferrell were nominated for best Americana album for the 2025 Grammy Awards, with Ferrell’s Trail of Flowers taking home the Grammy.)
“The issues have been, traditionally, a lot of people that weren’t sure whether [an album] was Americana or roots or folk or country were just jamming everything into one category,” Mason says. “There are obviously nuances between the different genres. Those experts in those genres understand those nuances, and I’m quite certain now you’re going to see the right people going into Americana versus folk versus traditional country. [The change] gives us an opportunity to put things in more specific categories.”
As all subgenres of country grow in popularity, Mason says the addition of a new category gives more chances to share the wealth. “People from that community are making more music, it’s more varied, there’s different styles of writing and performing,” he says. “I’m hopeful that that community understands that the academy is doing what it always does, which is stay in tune with what’s happening in their genre.”
SEVENTEEN achieves its seventh No. 1 on Billboard’s Top Album Sales chart as the group’s latest release, SEVENTEEN 5th Album ‘HAPPY BURSTDAY’ debuts atop the list dated June 14. The set sold 46,000 copies in the United States in the week ending June 5, according to Luminate.
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SEVENTEEN scored its first No. 1 on Top Album Sales in 2021. In turn, with seven No. 1s in the 2020s, the act ties TOMORROW X TOGETHER for the most No. 1s among groups, and the second-most among all acts in the 2020s. Only Taylor Swift, with nine No. 1s on Top Album Sales in the 2020s, has more this decade.
Also in the top 10, the region gets shaken up by albums from Miley Cyrus, Taylor Swift, Kendrick Lamar, Sufjan Stevens, Garbage and Aesop Rock.
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Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
Miley Cyrus’ Something Beautiful debuts at No. 2 on Top Album Sales with 27,000 copies sold, marking her 15th top 10 (inclusive of titles credited to her Disney Channel character Hannah Montana). Morgan Wallen’s I’m the Problem falls to No. 3 (16,000; down 45%) after two weeks atop the list.
Two Swift albums return to the top 10 after an outpouring of fan support following the news that Swift had acquired her Big Machine Records-era music catalog. Her 2017 album reputation reenters at No. 4 (15,000; up 1,183%) and her self-titled 2006 self-titled debut reenters at No. 6 (8,000; up 955%).
Kendrick Lamar’s chart-topping To Pimp a Butterfly reenters at No. 5 on Top Album Sales (11,000; up 639%) after a 10th anniversary reissue on multiple vinyl variants, as well as a cassette tape. Another 10th anniversary reissue, this time from Sufjan Stevens, also impacts the chart, as his Carrie & Lowell reenters at No. 7 (8,000; up 2,656%). (For both Lamar and Stevens, all versions of their respective albums, old and new, are combined for tracking and charting purposes.)
Garbage’s Let All That We Imagine Be the Light debuts at No. 8 with just over 7,000 sold, securing the band its fourth top 10-charting set. Lamar’s former No. 1 GNX falls 5-9 (a little more than 7,000; down 15%) and Aesop Rock nabs his first top 10-charting effort with his new release Black Hole Superette debuting at No. 10 (7,000).
“Here we are now, entertain us.” You asked for it and Nirvana provided. The iconic grunge trio’s beloved video for breakthrough 1991 hit “Smells Like Teen Spirit” has just crossed the two billion views mark on YouTube. The Samuel Bayer-directed clip in which late singer/guitarist Kurt Cobain and company rock a high school gym into a frenzy debuted on MTV in the fall of 1991, quickly catapulting the group to global superstardom.
While the majority of the YouTube music videos with two billion or more views are from pop, Latin, country and hip-hop artists including Justin Bieber, Taylor Swift, Maroon 5, Katy Perry, Enrique Iglesias, Luis Fonsi and Daddy Yankee, Adele, Ed Sheeran, Shakira and Alan Walker, there are a handful of other rock videos that have reached that storied height.
Among the other rock acts to hit two billie are: Twenty One Pilots (“Stressed Out,” “Heathens”), Imagine Dragons (“Believer,” “Thunder”), Guns N’ Roses (“November Rain”) and Linkin Park (“Numb”). “Smells Like Teen Spirit” was first uploaded to YouTube at 2009 and hit the one billion mark in 2019.
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Two months after its release, the song that defined a generation topped Billboard’s Alternative Songs chart on Nov. 23, 1991 and peaked at No. 6 on the Billboard Hot 100. The unlikely long-for-pop-radio five minute hit featuring such obtuse lyrics as “A mulatto, an albino a mosquito, my libido” and a visual in which band members Cobain, drummer Dave Grohl and bassist Krist Novoselic thrash about as anarchist cheerleaders whip teens into a frenzy in a smoke-shrouded gymnasium was the unlikeliest hits at a time when Bryan Adams, Michael Bolton, Mariah Carey and Boyz II Men ruled the charts.
But the song helped the band’s second studio album, Nevermind, climb the charts and end then chart king Michael Jackson’s run at No. 1 on the Billboard 200 album chart on Jan. 11, 1992 when it pushed his Dangerous album from the to of the heap.
Check out “Smells Like Teen Spirit” below.
Pastor Mike Jr. could set a record when the 2025 Stellar Gospel Music Awards ceremony is taped live from the Schermerhorn Symphony Center in Nashville on Saturday, Aug. 16. He is currently tied with Kirk Franklin and Marvin Sapp as the only artists to win artist of the year three times. He’s nominated again this year. Should he win, he’ll pull ahead as the top winner in the top category.
Tamela Mann, who won in that category in 2014 and 2017, is also nominated again. Should she win, she’ll join Pastor Mike Jr., Franklin and Sapp as the only three-time winners.
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The other nominees in that category are CeCe Winans, Jason Nelson and Kenny Lewis & One Voice. None have ever won before in this top category.
Pastor Mike Jr. and Jason Nelson are the top nominees for the 40th annual Stellar Gospel Music Awards, with nine nods each. Pastor Mike Jr., who has amassed 19 Stellar Awards, and Nelson, who is also a Stellar Award winner, each landed nominations for artist of the year, song of the year, male artist of the year and album of the year.
With eight nominations, Cece Winans is vying for artist of the year, song of the year, Albertina Walker female artist of the year, and album of the year.
Other artists earning multiple nominations include Mississippi Mass Choir, Adia, Deitrick Haddon, Dorinda Clark-Cole, Karen Clark-Sheard, Kenny Lewis & One Voice, Micah Lee, Tamela Mann, Chandler Moore and FK&M (Fred Hammond, Keith Staten, and Marcus Cole).
Public fan voting will take place in two categories this year – urban single or performance of the year and praise and worship song of the year. Fan Favorite voting runs from June 16 until July 18.
The Stellar Awards also announced nominees for the Gospel Radio of the Year Awards in six categories.
Tickets for the 40th Stellar Awards taping are available now at stellarawards.com.
“For 40 remarkable years, the Stellar Awards have been a beacon of excellence, celebrating the voices, vision, and victories of gospel music,” Don Jackson, founder of the Stellar Awards and chairman of Central City Productions, Inc., said in a statement. “We honor not just the genre of gospel music, but the legacy of our history, our faith, our culture, and our community that has inspired Black & African American generations for four decades.”
The 40th Stellar Gospel Music Awards show is executive produced by Jackson with Jennifer J. Jackson serving as producer and executive in charge of production; Michael A. Johnson as producer and director, Erin Johnson as talent producer, and Daniel Moore as music director.
This year’s Stellar Awards caps STELLAR PLUS week, which is set for Aug. 14-16. Events include master classes and soundstages, fashion shows and comedy showcases and more. For more information, visit stellarplusexperience.com.
Here’s the full list of nominations for the 2025 Stellar Gospel Music Awards.
Artist of the Year
CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services
Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Kenny Lewis & One Voice; The Healing Project; PureSound Muzik Group
Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Tamela Mann; Live Breathe Fight; TillyMann
Song of the Year
“Amen,” Michael McClure Jr., Adia Andrews, Terrell Anthony Pettus, Andrea Crouch, & David “DLo” Outing; Pastor Mike Jr.; Rock City Media Group
“Clap My Way,” Fred Jerkins III, Alvin Garrett, & Micah Lee; Micah Lee; Darkchild Gospel/ MicahLeeMusic
“I Prayed for You (said a prayer),” Major Johnson Finley, Brunes Charles, & Jeshua Williams; MAJOR.; NowThatsMAJOR / MNRK
“That’s My King,” Taylor Agan, Kellie Gamble, Lloyd Nicks, & Jess Russ; CeCe Winans; Pure Springs Gospel/Fair Trade Services
“Yahweh” ft. Melvin Crispell III; Danni Baylor, Jason Nelson, Jerome Baylor, & Johnnie Huntley Steele III; Jason Nelson; Jaelyn Song / Tyscot Records
Male Artist of the Year
Chandler Moore; Chandler Moore: Live in Los Angeles; TRIBL
Deitrick Haddon; One Night in California; DH Visions
Doc McKenzie; Run On; Blockbuster Records/Milbert McKenzie Music Group
Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Albertina Walker Female Artist of the Year
ADIA; On the Way; Rock City Media Group
CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services
Dorinda Clark-Cole; Determined; Malaco Records
Karen Clark-Sheard; Still Karen; Motown Gospel
Lisa Page Brooks; The Grateful Chant; FlowNeeNee Music
Duo/Chorus Group of the Year
Deitrick Haddon ft. Damita & Tasha Page-Lockhart; Hold On 2 Your Faith; ManHaddon Ministries / Tyscot Records
FK&M (Fred Hammond, Keith Staten and Marcus Cole); Time Capsule – The Trilogy; 3Brothers/Dare Records
Ted & Sheri; You’ve Been So Faithful (Groove); Ted & Sheri LLC / Black Smoke Music Worldwide
The Group Fire; About Last Night; Jet Records North/East
New Artist of the Year
ADIA; On the Way; Rock City Media Group
Bobbi Lane; Unmatched Grace; Blockbuster Records/ Taylor Music Group
Josh Bracy and Power Anointed; Favor; Josh Bracy Muzic
Micah Lee; Clap My Way; Darkchild Gospel/ MicahLeeMusic
Montrae Tisdale and The Friends Chorale; The Faith Journey; Tisdale Nation Entertainment
Album of the Year
I Got Away EP; Pastor Mike Jr.; Rock City Media Group
Live Breathe Fight; Tamela Mann; TillyMann
More Than This; CeCe Winans; Pure Springs Gospel/Fair Trade Services
The Healing Project; Kenny Lewis & One Voice; PureSound Muzik Group
You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records
Choir of the Year
Bishop S.Y. Younger; Bishop S.Y. Younger Presents Worship in Brazil; Ramp Records (exclusively distributed by Haus Records)
Chicago Mass Choir; Greater Is Coming; New Haven Records
Ricky Dillard; When I Think; Motown Gospel
The Mississippi Mass Choir; We Still Believe; Malaco Records
Producer of the Year
Dana Sorey; Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Fred Hammond, Keith Staten, Marcus Cole, Paul Wright III and Ray Hammond; FK&M (Fred Hammond, Keith Staten and Marcus Cole); Time Capsule – The Trilogy; 3Brothers/Dare Records
J. Drew Sheard; Karen Clark-Sheard; Still Karen; Motown Gospel
Michael McClure Jr., & David “DLo” Outing II; Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Stan Jones, Jerry Mannery, Jerry Smith, & David R. Curry Jr.; The Mississippi Mass Choir; We Still Believe; Malaco Records
Contemporary Duo/Chorus Group of the Year
Deitrick Haddon ft. Damita & Tasha Page-Lockhart; Hold On 2 Your Faith; ManHaddon Ministries / Tyscot Records
Red Hands; The Three (EP); Black Suit Music / Anderson Music Group / TAMLA Records
Ted & Sheri; You’ve Been So Faithful (Groove); Ted & Sheri LLC / Black Smoke Music Worldwide
The Group Fire; About Last Night; Jet Records North/East
Traditional Duo/Chorus Group of the Year
Brandon Camphor & One Way; Hymn Medley; Tomii Entertainment
Men Of Prayze; Live: in the Red; EvoWorld Entertainment, Inc
The Flint Cavaliers; The Fellowship (Psalms 133:1); The Flint Music Group
Tim Woodson & The Heirs of Harmony; Try Me; Blackberry/Marxan Records
Contemporary Male Artist of the Year
Jason Nelson; You Belong: Live in Durham; Jaelyn Song / Tyscot Records
Micah Lee; Clap My Way; Darkchild Gospel/ MicahLeeMusic
Pastor Mike Jr.; I Got Away EP; Rock City Media Group
Vincent Bohanan; VBSOV Summer Jam; Independent
Traditional Male Artist of the Year
Bishop Calvin Norton; Hold Me Beyond Rear View EP; Blockbuster Records
Brent Jones; Live Your Best Life; JDI Entertainment
Earnest Pugh; Worthy Is the Lamb; Blacksmoke Music Worldwide
Kenny Lewis; The Healing Project; PureSound Muzik Group
Contemporary Female Artist of the Year
ADIA; On the Way; Rock City Media Group
Bobbi Lane; Unmatched Grace; Blockbuster Records/ Taylor Music Group
CeCe Winans; More Than This; Pure Springs Gospel/Fair Trade Services
DOE; Heart of a Human; RCA Inspiration / Provident Entertainment
Keyla Richardson; Home; Uncle G Records
Traditional Female Artist of the Year
Dorinda Clark-Cole; Determined; Malaco Records
Lasha Knox; Right There; Blacksmoke Music Worldwide
Lisa Page Brooks; The Grateful Chant; FlowNeeNee Music
Terri McConnell; He’ll Get Me Through This; Royal T Records
Contemporary Album of the Year
Chandler Moore: Live in Los Angeles; Chandler Moore; TRIBL
Live Breathe Fight; Tamela Mann; TillyMann
Still Karen; Karen Clark-Sheard; Motown Gospel
You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records
Traditional Album of the Year
Determined; Dorinda Clark-Cole; Malaco Records
Live in Detroit, Pt 1; The Victorius Army ATL Feat. Vincent Bohanan; Independent
The Healing Project; Kenny Lewis & One Voice; PureSound Muzik Group
We Still Believe; The Mississippi Mass Choir; Malaco Records
Urban Single or Performance of the Year
Amen; Pastor Mike Jr.; Rock City Media Group
Clap My Way; Micah Lee; Darkchild Gospel/ MicahLeeMusic
I Prayed for You (said a prayer); MAJOR.; NowThatsMAJOR / MNRK
Without You ft. Zacardi Cortez; Jevon Dewand and The Trap Starz; Black Smoke Records
Music Video of the Year
“Amen,” Pastor Mike Jr., Tony “Mr.YNOT” Minifield, Drae Rudolph & Kevin “Krispy” Key/Moon Men; Rock City Media Group
“Deserve to Win,” David Mann; TillyMann
“For My Good,” Jekalyn Carr; Waynorth Music
“Never Be the Same,” Deitrick Haddon & Terrance Church; DH Visions
Traditional Choir of the Year
Chicago Mass Choir; Greater Is Coming; New Haven Records
Christopher L. Ervin & Abraham’s Descendants; Recover; CervinMusiq
Ricky Dillard; When I Think; Motown Gospel
The Mississippi Mass Choir; We Still Believe; Malaco Records
Contemporary Choir of the Year
Alphaeus Anderson Presents The USC Upstate Gospel Choir; Already Done; Music2ChangeU
Charles Butler & Trinity; Live in Washington DC; Red Alliance Media
Johnny Sanders Featuring Faith on Full; Christmas Everyday; Third Century Development Corp/Johnny Sanders Presents, LLC
Vincent Bohanan & SOV; VBSOV Summer Jam; Independent
Traditional Artist of the Year
Bishop Calvin Norton; Hold Me Beyond Rear View EP; Blockbuster Records
Dorinda Clark-Cole; Determined; Malaco Records
Earnest Pugh; Worthy Is the Lamb; Blacksmoke Music Worldwide
The Mississippi Mass Choir; We Still Believe; Malaco Records
Special Event Album of the Year
Bishop S.Y. Younger Presents Worship in Brazil; Bishop S.Y. Younger; Ramp Records (exclusively distributed by Haus Records)
Joyful, Joyful: A Christmas Album; CeCe Winans; Pure Springs Gospel/Fair Trade Services
Red & Green; Jonathan McReynolds; Life Room Label, Motown Gospel
The Gift Deluxe Edition; The Group Fire; Jet Records North/East
We Still Believe; The Mississippi Mass Choir; Malaco Records
Rap/Hip Hop Gospel Album of the Year
Canton Jones and CAJO Records Presents the Free Life Experience; The Free Life Experience; CAJO Records
Let Go Let God: The EP; 1K Phew; Reach Records
Meet Me in Miami; Otis Kemp; Revive 5.0 Entertainment
Without You: There Would Be No Me; Jevon Dewand and The Trap Starz; Black Smoke Records
Youth Project of the Year
AMG Kidz x Boston Arts Academy; The Kidz at North Station; Anderson Music Group / TAMLA Records
Brent Jones presents The Fire; Brent Jones presents The Fire; JDI Entertainment
Janessa Smith; Sounds of Joy; Inspired Recording
Nina Symmone & Noah Alexander; God’s Way; The Big Moment / Anderson Music Group
Quartet of the Year
Blest By Four; Only Believe The EP; EvoWorld Entertainment, Inc
Men Of Prayze; Live: in the Red; EvoWorld Entertainment, Inc
The Flint Cavaliers; The Fellowship (Psalms 133:1); The Flint Music Group
Tim Woodson & The Heirs of Harmony; Try Me; Blackberry/Marxan Records
Recorded Music Packaging of the Year
Covered Vol. 1; Brianna Dowd & Melvin Crispell III; RCA Inspiration, Provident Label Group LLC
Meet Me in Miami; Blair Monique; Revive 5.0 Entertainment
Red & Green; Jonathan McReynolds & Trent Nicholson; Life Room Label, Motown Gospel
Still Karen; Justin Foster; Motown Gospel
Praise and Worship Album of the Year
Chandler Moore: Live in Los Angeles; Chandler Moore; TRIBL
More Than This; CeCe Winans; Pure Springs Gospel/Fair Trade Services
One; Jordan G. Welch; JordiG Music
You Belong: Live in Durham; Jason Nelson; Jaelyn Song / Tyscot Records
Praise and Worship Song of the Year
“Light in a Dark Place,” Bobbi Lane; Blockbuster Records/ Taylor Music Group
“Overflow” ft. Todd Dulaney; Transformation Worship; Represent Records, Re: Think Music
“That’s My King,” CeCe Winans; Pure Springs Gospel/Fair Trade Services
“Yahweh” ft. Melvin Crispell III; Jason Nelson; Jaelyn Song / Tyscot Records
Rap/Hip Hop Song of the Year
“Amen,” Pastor Mike Jr.; Rock City Media Group
“Blessings,” Otis Kemp; Revive 5.0 Entertainment
“Fa REAL… Fa Real,” Jevon Dewand and The Trap Starz; Black Smoke Records
“Yeah Yeah Yeah Yeah” ft. Lisa Page Brooks; Dante’ Pride; iAmDantePrideMuzik
Top Market of the Year
WBBP 1480 AM, Memphis
WBGX 1570 kHz, Chicago
WFTB FM 104.1, Nashville
WGRB 1390AM, Chicago
WPZS 100.9, Charlotte, N.C.
Medium Market of the Year
WAGR 102.5 FM, Lexington, Miss.
WEUP Worship 94.5, Huntsville, Ala.
WJNI 106.3FM, Charleston, S.C.
WXHL 89.1 FM, Wilmington, Del.
Small Market of the Year
WBZF-FM 98.5, Florence-Myrtle Beach, S.C.
WHLH 95.5, Jackson, Miss.
WKTT 97.5 FM, Salisbury, Md.
WTSK – Praise 93.3/ 790 AM, Tuscaloosa, Ala.
Internet Station of the Year
Black Gospel Radio, https://BlackGospelRadio.net
GODRadio1.com, https://godradio1.com
Hands Up Radio WHUR, https://handsupradio.org/
Power of Worship Radio, https://powerofworship.net
Syndicated Gospel Radio Show of the Year
“Early Morning Praise Party with Sherry Mackey,” Sherry Mackey
“Get Up! Mornings with Erica Campbell,” Erica Campbell with Griff & Cheryl Jackson
“The Big Redd Radio Show,” Big Redd
“The Tracy Morgan Show,” Tracy Morgan
Gospel Announcer of the Year
Destiny Diggs; WXHL – Reach Gospel Radio/ “Say So Radio Show with Destiny”
Melissa Wade; WNNL, The Light 103.9/ “Melissa Wade in the Midday”
Micha “ML6” Logan; WEUP, 103.1 FM/ “The Midday Shift”
Sherry Mackey; WHAL, 95.7 Hallelujah FM/ “Early Morning Praise Party with Sherry Mackey”
Spotify has partnered with industry mental health nonprofit Backline to launch a global hub of mental health resources as part of their nascent Heart & Soul initiative.
Officially dubbed ‘Heart & Soul, Mental Health for Creators,’ the new partnership sees Backline and Spotify joining forces to launch their Global Mental Health Resource Hub, which aims to serve as a comprehensive support platform for industry professionals around the world.
While Spotify first launched its Heart & Soul initiative in 2018 as a way of providing support and deepening understanding of emotional well-being amongst its employees, Backline first emerged in 2019 to connect industry professionals and their family with mental health and wellness resources.
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The new partnership sees Backline now expanding their services beyond U.S. borders for the first time, serving as a response to the growing mental health crisis that affects industry workers – be it artists, touring crew and industry professionals – of all levels and locations.
“Backline is honored to serve as a steward of Spotify’s investment into the creative community,” Hilary Gleason, Backline’s Executive Director & Co-Founder, said in a statement. “Bringing our work to scale is a meaningful way to uplift the well-being of artists all around the world.
“This collaboration is taking these invaluable mental health and wellness resources beyond borders. Music knows no bounds, and now people who make music happen have access to care and a compassionate community. Our work together will help ensure that artists have the resources, support, and stability they need to thrive both personally and professionally.”
The new initiative will see Backline’s expanding their resources worldwide, including an international, multilingual database of trusted music industry and mental health support resources and crisis lines from around the world; an email concierge service that provides one-on-one support to aid individuals in navigating care options and mental health systems in their countries; and access to their free digital guide Mind the Music: A Mental Health Guide for the Music Industry.
Additionally, support for songwriters, and access to wellness events are included, as is free therapy access for ambassadors of Spotify’s EQUAL, GLOW, and RADAR programs.
“It’s clear that the mental health challenges artists face are real, and that the current support systems often fall short. It’s on all of us in the industry to respond with action,” noted Monica Herrera Damashek, Spotify’s Head of Artist & Label Partnerships.
“We know this is only one step but we look forward to building on this for a more supported, sustainable environment for the artists who shape culture every day.”
Additionally, Spotify is also providing financial support to expand organizations such as MusiCares, Music Health Alliance, Music Minds Matter, and Noah Kahan’s The Busyhead Project; spotlighting mental health stories from the creative community across Spotify for Artists and Spotify Songwriting; and offering curated playlists, podcasts, and audiobooks to support creators’ wellbeing via the Heart & Soul, Mental Health for Creators hub.
“Heart & Soul is our commitment to the creators behind the music. Artists and songwriters face immense pressure, and their mental health can’t be an afterthought,” added Spotify’s Head of Social Impact Lauren Siegal Wurgaft.
“Supporting creators’ well-being is essential to sustaining a vibrant music ecosystem. By working closely with trusted partners like Backline, we’re not just offering resources, we’re helping drive lasting change in how the industry approaches mental health.”
After appointing himself chair of the Kennedy Center and replacing its board members with loyalists, President Donald Trump’s first-ever visit to the revered Washington, D.C. cultural center on Wednesday night (June 11) was likely not the warm welcome he expected. Taking his seat for the opening night of Les Misérables, the Associated Press reported that Trump was met with a mix of cheers and boos, as well as an unexpected parade of drag queens who sashayed past the first couple, seemingly in protest of Trump’s previous vow of “NO MORE DRAG SHOWS, OR OTHER ANTI-AMERICAN PROPAGANDA.”
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In addition, a dozen performers — from major cast members to ensemble performers — planned to sit out the show after being given the option not to perform on the night Trump was in the house to enjoy what he has said is one of his favorite musicals. The show about 19th century France features a song Trump has played at his rallies in the past, “Do You Hear the People Sing?,” a revolutionary anthem inspired by the 1832 rebellion against King Louis-Phillipe of France.
The song’s stirring lyrics about rising up against oppressive regimes has often been employed at pro-democracy protests around the globe, and on Wednesday one patron reportedly shouted “Viva Los Angeles” as Trump left the presidential box for intermission, a seeming reference to the now nearly week-long protests in that city over the administration’s immigration raids.
In his second term, Trump — who admittedly had never attended a performance at the Kennedy Center in his first term, or ever — has swiftly moved to remake the organization in his own image. After installing himself as chairman of the Center, Trump also placed a number of loyalists on the typically non-partisan board and vowed to remove “woke” shows from the roster. Subsequently, nearly two dozen events have been canceled or postponed, a number out of protest at Trump’s takeover, including Hamilton, the National Youth Poet Laureate Commemoration, Saigon Nights, as well as shows by Peter Wolf, Low Cut Connie, Rhiannon Giddens, Issa Rae and many more.
The AP reported that the show that tackles themes of protest, power, injustice and poverty featured the sounds of explosions and gunfire, with civilians clashing with soldiers on stage at the very same time that Los Angeles was put under curfew after protesters battled with police over immigration raids by ICE for a sixth day following Trump’s call-up of Marines and National Guard troops to quell the protests. “Someone explain the plot to him,” California Gov. Gavin Newsom wrote on X.
In March, Vice President J.D. Vance and wife Usha were booed when they attended a performance by the National Symphony Orchestra and the AP also noted that sales of subscription packages have reportedly declined since the Trump makeover. CNNalso reported that while some cheered and clapped for Trump and First Lady Melania Trump as they stood up at the end of the first act, one woman in the orchestra section below shouted, “Felon, you’re a convicted felon!” to the first U.S. president to take the office after being convicted of a felony. The women then added, “Convicted felon, rapist!” before a security guard seemed to escort her out; Trump was found liable for sexual abuse and defamation in 2023 in a suit filed by writer E. Jean Carroll and in 2024 was convicted on 34 felony counts of falsifying business records in an attempt to conceal hush money payments to porn actress Stormy Daniels before the 2016 election.
In addition, as the crowd awaited Trump’s return to his seat, another person reportedly yelled, “F–k Trump! to cheers, while a supportive patron responded with “We love you.” The president seemingly reacted to the comments by pumping his first three times — reminiscent of his response after an assassination attempt last year in Pennsylvania in which a gunman fired at the then-candidate and nicked his ear.
Check out the mixed reaction to Trump’s Kennedy Center attendance below.
At the Kennedy Center, half the theater just started clapping when a group of drag queens showed up to find their seats at opening night of Les Miserables, which Trump, Melania, Vance and their top allies have all come out to see. pic.twitter.com/1WJHsGL987— Shawn McCreesh (@ShawnMcCreesh) June 11, 2025
Rolling Loud is headed to India. The hip-hop festival – which already has editions in California, Florida and Thailand – will debut its first festival in Mumbai after bringing the signature event to eight other countries. The two-day festival will be exclusively ticketed and produced in partnership with District by Zomato, a discovery and booking app.
“We never imagined Rolling Loud would take us all the way to India — it’s incredible,” Rolling Loud co-founders and co-CEOs Matt Zingler and Tariq Cherif said in a joint statement. “The hip-hop scene in India has been booming, and bringing the festival to Mumbai felt like the right decision. We’re excited to create a space where Indian fans can celebrate the artists they love, while also introducing international acts to a new audience. For us, it’s always been about building community through hip-hop — and we can’t wait to experience how India shows up.”
The two-day festival in India — which will announce dates and venue at a later time — will feature two distinct stages with elaborate production, plus fans can enjoy a series of local food and drink options, art installations and experiential activations that all tie back to the celebration of global and Indian hip-hop culture. Rolling Loud India promises a spotlight on an array of global superstars and international talent and top and rising Indian hip-hop artists.
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“India’s hip-hop scene is on fire right now, it’s raw, it’s real, and it’s ready. Rolling Loud coming to India isn’t just another festival drop; it’s a cultural shift,” District by Zomato CEO Rahul Ganjoo said in a release. “For years, we’ve felt the need to bridge India’s sound with the global stage, and this is that moment. It’s bigger than music, it’s a loud, undeniable signal that Indian hip-hop is here, it’s global, and it’s got something to say. We’re proud to bring this home.”
Since the event was founded in 2015, Rolling Loud has held festivals in New York, Miami, Toronto and Los Angeles, as well as in Australia, Germany, Portugal, The Netherlands, Thailand and Austria. Rolling Loud lineups throughout the last decade have included Kendrick Lamar, Nicki Minaj, Future, Travis Scott, A$AP Rocky, Cardi B, Playboi Carti and more.
Rolling Loud India tickets will go live exclusively on the District app. For more information on talent lineup, ticket details, festival details and more, check the District app and @districtupdates page on Instagram.
Paul McCartney has paid tribute to the late Brian Wilson, 82, whose death was announced on Wednesday (June 11), calling his songs “achingly special” and that “I loved him.”
Yesterday, news broke that the Beach Boys leader had died, but a cause and date of death has not yet been announced. A post on Wilson’s official Instagram account wrote, “We are at a loss for words right now. Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world.”
Tributes have been shared by a number of musical greats who were inspired by Wilson’s songwriting genius, including Bob Dylan, Elton John, Questlove and more.
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On his Instagram account on Thursday (June 12), McCartney wrote, “Brian had that mysterious sense of musical genius that made his songs so achingly special. The notes he heard in his head and passed to us were simple and brilliant at the same time.”
He added, “I loved him, and was privileged to be around his bright shining light for a little while. How we will continue without Brian Wilson, ‘God Only Knows’. Thank you, Brian. – Paul.”
Wilson’s work on the seminal LP Pet Sounds (1966) was hugely influential on McCartney and The Beatles’ subsequent studio albums, particularly Sgt. Pepper’s Lonely Hearts Club Band (1967). McCartney cited “God Only Knows” as one of “the best songs ever written” and in 2000, inducted Wilson into the Songwriters Hall of Fame.
Speaking during the ceremony, McCartney declared his admiration for Wilson’s work. “In the ’60s, particularly, he wrote some music that when I played it, it made me cry and I don’t quite know why. It wasn’t necessarily the words or the music, it’s just something so deep in it, that there’s only certain pieces of music that can do this to me… I think it’s a sign of great genius to be able to do that with a bunch of music and a bunch of notes. And this man, he deserves to be in the Hall of Fame, that’s for sure.
He added, “So thank you, sir, for making me cry. For having that thing you can do with your music – you just put those notes, those harmonies together, stick a couple of words over the top and you’ve got me, any day.”
Following the release of Pet Sounds, Wilson was increasingly impacted by mental health struggles and he was eventually diagnosed with schizoaffective disorder. In February 2024, it was announced that he was diagnosed with dementia. Wilson is survived by his daughters Carnie and Wendy from his 1964 marriage to Marilyn Rovell, as well as his five adopted children with his wife Melinda Ledbetter, who passed in early 2024. Read Billboard’s full obituary here.
Billboard Unfiltered is back with a reimagined format and will remain a live show every Wednesday at 12:30 p.m. ET.
Staff writer Kyle Denis, senior director R&B/hip-hop Carl Lamarre and senior charts analyst Trevor Anderson returned with new moderator Delisa Shannon on Wednesday (June 11) as the trio debated the early returns of Lil Wayne’s Tha Carter VI, and all three skewed to various degrees of a negative reception to Weezy’s latest installment in his decorated series.
Lamarre compared Wayne’s career legacy to that of Lakers legend Kobe Bryant and said Weezy still remains in his top five of all-time. Although, CL believes that the disappointing album and his solo output over the last decade have watered down his discography.
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“I need to fire whoever was A&R and executive producing my brother Wayne’s album because this is easily the worst [Carter] in the entire series,” he claimed. “[C6] was just a full trainwreck… When you take out the mixtapes and look at pure albums. From one, five and six on Tha Carter is mid — everything else is mid.”
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Denis bluntly said C6 is “not a good album at all” and “a—.” “He spent the last year begging for sympathy by him not getting the Super Bowl slot and he deserved that,” he said. “This was the time to drop a fire album, get one or two hits off of that, and make your actual case for a Super Bowl headlining show next year. That’s completely shot now because it’s a—… You did not rise to the occasion.”
Anderson seemed to enjoy the album most among the Unfiltered crew, highlighting the first six tracks as standouts before being derailed. “I’m not gonna be that hard on it,” TA began. “Clearly, it’s the weakest entry in the canon… It didn’t stick the landing for me… I don’t know if this album really messes up [if Wayne is top five or top 10] for me… It does weaken Tha Carter series overall… But I don’t think it messes up the legacy peg at all.”
The conversation turned to Wayne’s legacy and Lamarre believes every top 10 rapper should have at least three classic solo offerings, and he thinks Wayne has two with the second and third installments of Tha Carter, but not much else. “I’m adamant about saying his [albums] discography is not as strong as people think,” he declared.
Ultimately, the trio wants to see Wayne get back to the drawing board and lock in with a singular producer like Nas did with Hit-Boy to bring that greatness out of him. When the dust settled, Shannon gave Trevor Anderson the victory in the first game of the revamped Unfiltered series.
Watch the full episode below.
