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Lola Brooke, NBA Star Mikal Bridges & Shameik Moore Team Up With Gaming 4 Peace to End Gun Violence

With an uptick in gun violence plaguing the New York City area, LIFE CAMP Inc.’s co-founder and hip-hop community activist Erica Ford hopes to remedy the ongoing issues by holding the first annual Gaming 4 Peace NBA 2K Tournament on April 6 and 7 at York College. The tournament will feature appearances by Lola Brooke, NBA star Mikal Bridges, and Spider-Man: Into the Spider-Verse star Shameik Moore. 

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“Life Camp, in its 20-plus years of impact on the ground, in the communities working to make peace a lifestyle, and fighting the systematic disinvestments that support the longevity of gun violence, whether it be environmental, mental health, mass incarceration, non-economic investment, lack of creative opportunities and extended bureaucracy have always looked to create nontraditional pathways for young people especially of color to be able to exercise within a structure they are familiar and comfortable with. So, gaming was a natural course we had to expand upon,” says Ford. 

LIFE CAMP is partnering with Play One Up to bring the NBA 2K tournament to life. “We’re using gaming to confront violence and to educate parents, social workers, teachers and engaging young people and young adults who may be forgotten or seen as disposable,” says founder and CEO Brandon Pitts. “We look forward to this event and the ongoing efforts to eradicate gun violence and create safe and healthy communities using creative methods.”

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The Gaming 4 Peace NBA2K Invitational will culminate in an in-person championship round, and the winner will receive $25,000 during the LIFE CAMP Game Changers Weekend. To enter the tournament, you must be 18 and older, follow LIFE CAMP on Instagram and register here

 

310babii’s ‘Soak City’ Hits No. 1 on Rhythmic & Rap Airplay Charts

310babii’s “Soak City” douses the competition on two Billboard charts as it takes the throne on both Rhythmic Airplay and Rap Airplay. The new radio champ advances from the runner-up slot on both rankings to rule the lists dated March 30 and gives the rapper, who solely wrote the song, his first No. 1s on any Billboard charts.

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“Soak City” rises from No. 2 on Rhythmic Airplay after a 5% increase in plays that made it the most played song on U.S.-monitored rhythmic radio stations in the tracking week of March 15-21, according to Luminate. WHTP-FM, in Portland, Maine, led the way, with 140 plays, while three stations – WHZT-FM (Greenville, S.C.), KPHW-FM (Honolulu, Hawaii) and KHTN-FM (Modesto, Calif.) – shared second place after each registered 134 plays.

“Soak City” first caught viral attention through TikTok with the squabble dance, which soon became further popularized as multiple NFL players, including the Kansas City Chiefs’ Travis Kelce and Houston Texans’ C.J. Stroud, performed versions of it as an end-zone celebration. Thanks to the growth, the song reached a No. 17 peak on the TikTok Billboard Top 50 chart in November.

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The viral buzz fueled momentum for a radio campaign, and “Soak City” landed on Rhythmic Airplay in late November. In reaching the summit in its 19th week, it ties for the fourth-longest wait to the top spot in the chart’s 31-year history.

Here’s a review of the songs that required the most weeks to attain the No. 1 rank on Rhythmic Airplay:

Weeks to No. 1, Song Title, Artist, Date Reached No. 1

  • 24, “Waterfalls,” TLC, Aug. 5, 1995
  • 20, “Day ‘N’ Nite,” Kid Cudi, May 23, 2009
  • 20, “Sky Walker,” Miguel featuring Travis Scott, Feb. 3, 2018
  • 19, “Don’t Let Go (Love),” En Vogue, Feb. 15, 1997
  • 19, “Work Out,” J. Cole, Dec. 31, 2011
  • 19, “Soak City,” 310babii, March 30, 2024

On Rap Airplay, “Soak City” steps 2-1 following a 4% improvement in audience in the latest tracking week. As with its Rhythmic Airplay rise, patience was rewarded – “Soak City” leads in its 17th week, becoming the 14th of 217 No. 1s to need at least that much time to complete a chart-topping trek.

If the dual radio coronations weren’t enough, “Soak City” is already looking to expand to a third radio ranking soon. The track climbs 3-2 on Mainstream R&B/Hip-Hop Airplay, where it added 11% more plays in the most recent tracking window.

Linkin Park Biography ‘It Starts With One’ On the Way From Billboard Executive Director of Music Jason Lipshutz

A biography of Linkin Park written by Billboard‘s Executive Director of Music Jason Lipshutz is coming out in October, Hachette Books announced Wednesday (March 27).

It Starts With One: The Legend and Legacy of Linkin Park is set to document the decades-long career of the iconic rock band and their impact on the modern music landscape, featuring new interviews, exclusive quotes and insights from Linkin Park’s inner circle and collaborators. The full list of collaborators and contemporaries who shared their stories will be announced at a later date.

IT STARTS WITH ONE: The Legend and Legacy of Linkin Park book cover

‘IT STARTS WITH ONE: The Legend and Legacy of Linkin Park’

Hachette Books

With 11 top 40 hits on the Billboard Hot 100 and six No. 1 albums on the Billboard 200, Linkin Park — comprised of Mike Shinoda, Dave Farrell, Joe Hahn, Rob Bourdon, Brad Delson and late singer Chester Bennington — have been a mainstay on Billboard‘s charts and in the entertainment industry with more than a dozen world tours, countless award wins, millions of records sold and more. It Starts With One will document everything from the band members’ early childhoods, how they met each other and the creation of their debut album Hybrid Theory to how their music has endured in the wake of frontman Bennington’s tragic death in 2017.

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In honor of Linkin Park’s ongoing commitment to destigmatizing mental health and promoting mental health care, a portion of the book’s proceeds will be donated to the National Alliance on Mental Health and Backline, a nonprofit organization that connects those in the music industry and their families with mental health and wellness resources.

Lipshutz’s It Starts With One: The Legend and Legacy of Linkin Park is out Oct. 1, 2024, via Hachette Books. Pre-order the book here.

Maeta’s ‘Through the Night’ Moves to No. 1 on Adult R&B Airplay Chart

Nearly nine months since arriving on the Adult R&B Airplay chart, Maeta’s “Through the Night,” featuring Free Nationals, finally reaches No. 1 on the list dated March 30. By reaching the summit in its 35th week, it completes the second longest trek to the top in the chart’s 30-year history.

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“Through the Night,” released on Roc Nation, captures the flag after a 6% jump in plays that made it the most-played song on U.S. monitored adult R&B radio stations in the tracking week of March 15-21, according to Luminate.

Singer-songwriter Maeta achieves her first Adult R&B Airplay No. 1 through her third chart appearance. Her first, “Bitch Don’t Be Mad,” peaked at No. 14 in 2023, while 2023’s “(S)EX,” went one rank higher.

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Featured artist Free Nationals, who frequently perform as a backing band for Anderson .Paak, claim their initial Adult R&B Airplay leader with their first try.



With its 35-week journey to its coronation, “Through the Night” wraps the second longest trek, in terms of weeks on the chart, to reach No. 1. It trails Snoh Aalegra’s “I Want You Around,” which crowned the list in its 43rd chart week, in March 2020.

Here’s a look at the songs with the longest marches to reach No. 1 on Adult R&B Airplay:

Weeks to No. 1, Song Title, Artist, Date Reached No. 1

  • 41, “I Want You Around,” Snoh Aalegra, March 14, 2020
  • 35, “Through the Night,” Maeta featuring Free Nationals, March 30, 2024
  • 34, “Step in the Name of Love,” R. Kelly, Nov. 1, 2003
  • 33, “Love Calls,” Kem, Sept. 13, 2003
  • 32, “Permission,” Ro James, Sept. 10, 2016
  • 31, “Please Don’t Go,” Tank, May 19, 2007
  • 31, “For the Rest of My Life,” Robin Thicke, Jan. 11, 2014
  • 31, “I’m Baby,” Ambre featuring Jvck James, May 6, 2023
  • 30, “Anything,” Jaheim featuring Next, June 22, 2002
  • 30, “Never Would Have Made It,” Marvin Sapp, July 26, 2008

Elsewhere, “Through the Night” slips from 21-22 from its peak on R&B/Hip-Hop Airplay, which ranks songs by combined audience from adult R&B and mainstream R&B/hip-hop radio stations. Despite the position drop, the single improved to 5.1 million in audience, a 6% gain over the prior week.

Twenty One Pilots Are Going on a Massive World Tour & Dropped a New Song to Celebrate

Don’t get stressed out, heathens. Those hints of a potential Twenty One Pilots tour? They’re real. The duo of Tyler Joseph and Josh Dun announced on Wednesday (March 27), that the band is hitting the road for its 59-date The Clancy World Tour in support of their upcoming album, Clancy. As if that weren’t enough to appease fans, Twenty One Pilots also dropped new song “Next Semester” and its music video from the upcoming release.

The 59-date tour kicks off Aug. 15 at the Ball Arena in Denver, Colo., before making its way around North America, with stops in Seattle, Phoenix and New York City, as well as Los Angeles, Chicago and hometown Columbus, Ohio, with the latter three getting two shows each.

After wrapping up the North American dates with an Oct. 12 show at Target Center in Minneapolis, Minn., Twenty One Pilots jet off for the international leg of the tour, starting with a stop in Auckland, New Zealand, on Nov. 17. The duo will also hit up Australia for shows the rest of the month. The tour picks up again in April in Germany, then hits Italy, Spain, France and more before wrapping up the lengthy tour with two shows at London’s 02 Arena on May 13 and 14.

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Presale tickets will be available beginning April 2 to fans in the U.S. and Canada; international presale begins the next day. General on sale kicks off April 5 at 10 a.m. local time. More information about the tour and tickets can be found on Twenty One Pilots’ website.

Also arriving with the news of the tour dates was “Next Semester,” the second single from Clancy. “The Next Semester music video is here. Cannot wait to sing this one with you,” the band shared on social media, along with a clip from the visual.

The music video — directed by Andrew Donoho — kicks off with the band rocking out in a tiny, packed club, and is interspersed with scenes of Joseph in the middle of a dark street as a vehicle races toward him.

Twenty One Pilots initially announced upcoming album Clancy on Feb. 29, and celebrated the news by dropping the first single “Overcompensate.” The track peaked and debuted on the Billboard Hot 100 at No. 64 on the chart dated March 16.

Watch the video for “Next Semester” and see the full tour dates below:



The Clancy World Tour dates:

  • August 15, 2024               Denver, CO                             Ball Arena
  • August 18, 2024               Salt Lake City, UT                  Delta Center
  • August 21, 2024               Portland, OR                           Moda Center
  • August 22, 2024               Seattle, WA                             Climate Pledge Arena
  • August 24, 2024               Oakland, CA                           Oakland Arena
  • August 25, 2024               Sacramento, CA                     Golden 1 Center
  • August 27, 2024               Los Angeles, CA                     Intuit Dome
  • August 28, 2024               Los Angeles, CA                     Intuit Dome
  • August 30, 2024               Phoenix, AZ                            Footprint Center
  • August 31, 2024               Las Vegas, NV                        MGM Grand Garden Arena
  • September 3, 2024                       Austin, TX                               Moody Center
  • September 4, 2024                       Houston, TX                            Toyota Center
  • September 6, 2024                       Dallas, TX                               American Airlines Center
  • September 10, 2024                     Duluth, GA                              Gas South Arena
  • September 11, 2024                     Orlando, FL                             Kia Center
  • September 13, 2024                     Raleigh, NC                            PNC Arena
  • September 14, 2024                     Philadelphia, PA                     Wells Fargo Center
  • September 15, 2024                     Baltimore, MD                         CFG Bank Arena
  • September 17, 2024                     Newark, NJ                             Prudential Center
  • September 18, 2024                     Brooklyn, NY                           Barclays Center
  • September 20, 2024                     Boston, MA                             TD Garden
  • September 25, 2024                     Montreal, QC                          Bell Centre
  • September 27, 2024                     Toronto, ON                            Scotiabank Arena
  • September 28, 2024                     Cleveland, OH                        Rocket Mortgage Fieldhouse
  • September 29, 2024                     Detroit, MI                               Little Caesars Arena
  • October 1, 2024                Chicago, IL                             United Center
  • October 2, 2024                Chicago, IL                             United Center
  • October 4, 2024                Columbus, OH                        Nationwide Arena
  • October 5, 2024                Columbus, OH                        Nationwide Arena
  • October 8, 2024                Indianapolis, IN                       Gainbridge Fieldhouse
  • October 9, 2024                Nashville, TN                          Bridgestone Arena
  • October 10, 2024              St. Louis, MO                          Enterprise Center
  • October 12, 2024              Minneapolis, MN                     Target Center
  • November 17, 2024                      Auckland, NZ                          Spark Arena
  • November 19, 2024                      Melbourne, AU                        Rod Laver Arena
  • November 21, 2024                      Brisbane, AU                          Brisbane Entertainment Centre
  • November 24, 2024                      Sydney, AU                             Qudos Bank Arena
  • April 7, 2025                                 Hamburg, DE                          Barclays Arena
  • April 8, 2025                                 Berlin, DE                               Uber Arena
  • April 9, 2025                                 Lodz, PL                                  Atlas Arena
  • April 12, 2025                               Prague, CZ                             O2 Arena
  • April 13, 2025                               Vienna, AT                              Wiener Stadthalle
  • April 16, 2025                               Zurich, CH                              Hallenstadion
  • April 17, 2025                               Bologna, IT                             Unipol Arena
  • April 21, 2025                               Madrid, ES                              WiZink Center
  • April 22, 2025                               Barcelona, ES                         Palau San Jordi
  • April 24, 2025                               Lyon, FR                                 LDLC Arena
  • April 27, 2025                               Munich, DE                             Olympiahalle
  • April 28, 2025                               Milan, IT                                  Forum
  • April 30, 2025                               Amsterdam, NL                       Ziggo Dome
  • May 1, 2025                                  Cologne, DE                           Lanxess Arena
  • May 2, 2025                                  Paris, FR                                 Accor Arena
  • May 5, 2025                                  Glasgow, UK                           OVO Hydro Arena
  • May 6, 2025                                  Birmingham, UK                     Resorts World Arena
  • May 8, 2025                                  Belfast, UK                              SSE Arena Belfast
  • May 9, 2025                                  Dublin, IE                                3Arena
  • May 11, 2025                                Manchester, UK                      AO Arena
  • May 13, 2025                                London, UK                             The O2
  • May 14, 2025                                London, UK                             The O2

MSG Boss James Dolan Responds To Sexual Assault Lawsuit: ‘Opportunists Looking For Quick Payday’

Attorneys for Madison Square Garden executive James Dolan are firing back at a lawsuit that alleges he pressured a masseuse into unwanted sex while his band was touring with the Eagles, calling his accuser an “opportunist” who is “looking for a quick payday.”

In a motion filed Monday in Manhattan federal court, Dolan’s lawyers asked a federal judge to dismiss the lawsuit, in which a woman named Kellye Croft claims that Dolan coerced her into “unlawful and unwelcome sex acts” on repeated occasions during the 2013 tour.

Arguing that the allegations were “completely manufactured,” Dolan’s attorneys told the judge that it is “an unfortunate truth that some men, by virtue of their status, have become targets for opportunists looking for a quick payday.”

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“If this case were to proceed … plaintiff would be exposed as such an opportunist, and her claims would be soundly rejected for the lies that they are,” Dolan’s attorney lead counsel E. Danya Perry wrote. “But this action should never reach that stage, as plaintiff’s complaint is entirely deficient.”

Dolan is the majority owner/CEO of Madison Square Garden Entertainment, a live music giant that operates the famed New York City arena in addition to Manhattan’s Radio City Music Hall, the Las Vegas Sphere and other prominent venues.

Croft sued him in January, claiming she had been hired to serve as a massage therapist for Glenn Frey during the 2013 tour, on which Dolan’s band (JD & The Straight Shot) opened for Eagles. She says she thought the job was the “opportunity of a lifetime,” but that she quickly realized the real reason she was there: “Dolan was extremely assertive, and pressured Ms. Croft into unwanted sexual intercourse.”

The lawsuit also claimed that Dolan later facilitated an incident in which Croft was assaulted by Harvey Weinstein, the disgraced film producer whose many sexual assault allegations helped spark the #MeToo movement in 2017. Dolan previously served as a director at The Weinstein Company, and the lawsuit claimed that the two moguls were “close friends and business partners.”

In Monday’s response, Dolan’s attorneys took particular exception to the Weinstein allegations, calling them “scandalous and irrelevant” claims that had been designed to compensate for flaws in the case: “This transparent reliance on headline-grabbing, yet legally baseless, accusations of liability-by-association cannot save plaintiff’s case.”

Dolan’s motion also argued that the inclusion of Weinstein was actually a “fatal” weakness in one part of the case. They claimed that bankruptcy proceedings for The Weinstein Company resulted in a court order releasing all former directors from allegations that they aided and abetted Weinstein’s conduct — one of the claims leveled against Dolan in the complaint.

In a response statement on Wednesday, Croft’s attorney Douglas Wigdor called Dolan’s argument “shameful” and said his client had not participated in or benefited from the Weinstein bankruptcy, or even been notified of it.

“To somehow suggest that Dolan should receive a ‘get out of jail free’ card for his alleged intentional acts of trafficking our client, shows the extent to which he is willing to go to avoid having to defend the facts of our case,” Wigdor wrote.

Separately on Monday, attorneys for companies owned by music executive Irving Azoff also filed their own response to the case. While the lawsuit mostly centered on Dolan’s alleged conduct, it also accused the Azoff Company of violating federal sex trafficking laws by “facilitating Dolan’s behavior.”

In their motion, Azoff’s attorneys demanded not only that the claims be dismissed, but that Croft and her lawyers be legally sanctioned for filing “frivolous and vexatious” allegations without any real evidence to support them.

“As was explained to plaintiff’s counsel before the suit was commenced, the Azoff entities have never participated in any sex trafficking venture, and the complaint does not allege a single fact plausibly or remotely suggesting otherwise,” wrote the Azoff Company’s attorney Daniel Petrocelli.

“The decision by plaintiff and her counsel to include [such claims] in a federal pleading with no
diligence or investigation in order to publicly and falsely charge the Azoff Entities with despicable, illegal conduct fully justifies the imposition of … sanctions.”

In one portion of Croft’s complaint, her lawyers included a photograph of Dolan, Azoff and Weinstein standing together in 2015, saying that “these men were close to one another, and thus almost certainly knew details about each other’s personal lives.”

But in Monday’s motion seeking to dismiss the case and punish Croft’s lawyers, Azoff’s attorneys called the inclusion of Weinstein in the complaint a “gratuitous and unavailing” tactic that had been designed to prove “guilt-by-association” in the absence of any real evidence.

“Grasping at straws, plaintiff tries to link Weinstein to the Azoff entities by a single photo of Dolan, Weinstein, and Irving Azoff at an advertising trade conference in 2015,” Petrocelli wrote. “Awarding the Azoff entities their reasonable attorneys’ fees and costs in bringing this motion would deter plaintiff’s counsel from asserting such baseless, bad faith claims in the future.”

In his statement Wednesday, Croft’s attorney Wigdor called those arguments “meritless” and reiterated the allegations against Azoff’s companies: “We look forward to defeating these motions and moving forward with this litigation.”

Sean “Diddy” Combs Lawyer Calls Fed Raids A “Witch Hunt”

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We may not know exactly where Sean “Diddy” Combs is after the Feds raided his homes on both coasts, but his lawyers are speaking up for him. In a statement, the Bad Boy Record’s founder’s attorney likened Homeland Security’s raids on his client’s homes to a “witch hunt.”

On Monday, March 25, Diddy’s Miami and Los Angeles homes were descended upon by armed federal officers in a coordinated effort between the Department of Homeland Security and the US Attorney’s office in the Southern District of New York. The latter is reportedly investigating Diddy for sex trafficking tied to at least several lawsuits that accuse the mogul of multiple instances of sexual assault.

However, in a statement to the media, Diddy’s lawyers say the Feds’ actions were “meritless.”

Said Combs’ lawyer Aaron Dyer: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”

He added, “There has been no finding of criminal or civil liability with any of these allegations. Mr. Combs is innocent and will continue to fight every single day to clear his name.”

Despite rumors that Diddy had fled the country, he is reportedly still in America. Although a private jet that allegedly belongs to Combs landed in Antigua after his homes were raided, Diddy was not aboard.

TMZ has footage of Diddy speaking to the authorities

This story is developing. 

RIAA Report 2023 Takeaways: Is the U.S. Too Reliant on Paid Subscriptions?

The RIAA’s release of 2023 revenue figures show U.S. record labels are increasingly reliant — possibly too much so — on paid subscriptions for both revenue and revenue growth. While consumers continue to pay for premium streaming services, ad-supported on-demand streaming is languishing and newer platforms like TikTok provide more promotion than they do royalties.   

The top-line takeaway of the RIAA’s 2023 report is that the U.S. market grew 7.7% to $17.12 billion, an improvement from the 6.6% uptick seen in 2022. Without adjusting for inflation, 2023 revenue was about 17% above the CD-era peak of $14.6 billion set in 1999, marking the ninth straight year of revenue growth after the U.S. market bottomed out at $6.95 billion in 2014. After nearly a decade of gains, the record business is healthy and stable.

But look over the RIAA’s report and you’ll see the U.S. market is missing the dynamism it could — and wants to — have. The revenue mix doesn’t have the diversity of past years. It’s not for lack of effort: Record labels are partnering with AI startups, licensing music to social media platforms and looking for new ways to engage with big spending superfans. But emerging categories remain just that — emerging — while other categories don’t yet provide much of a revenue boost. On-demand streaming turned around the industry, made music into an appealing asset class for investors and allowed handfuls of companies to go public. But where does it go from here?

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Here are five takeaways from the report. 

The U.S. market is more reliant on paid subscriptions than ever.

Revenue from paid subscriptions from premium music streaming services such as Spotify and Apple Music totaled $10.15 billion and accounted for 59.3% of total recorded music revenues in 2023, an increase from 57.8% in 2022 (and far higher than percentages seen during the preceding years: 57.2% in 2021, 57.4% in 2020, 53.4% in 2019 and 47.3% in 2018). But U.S. labels were even more reliant on subscriptions for revenue growth, with paid subscriptions accounting for 79.4% of that growth in 2023. Ad-supported streaming — services such as TikTok and Facebook — grew 21.5%, or $56.2 million, but accounted for only 4.6% of annual growth.  

New subscribers are harder to find

For all the growth attributable to subscription services over the last decade, it might not be enough for some markets. As Billboard noted on March 15, SNEP, France’s recorded music trade group, warned that revenue growth from subscriptions “is slowing down here while our market is far from having reached maturity.” Fortunately for the United States, subscription penetration has surpassed 50% of U.S. internet users, according to MusicWatch. But the 2023 RIAA figures suggest streaming services have already picked the low-hanging fruit and will need new products to attract new customers. With far fewer new subscribers in 2023 than in previous years, labels were fortunate that Spotify raised the price for its standard individual plan in 2023. After adding 7.6 million subscribers in 2022 and 8.5 million in 2021, the U.S. market added just 5.2 million in 2023. That’s a sharp drop from the 15.1 million new subscribers gained in 2020 when pandemic restrictions caused an uptick in both music and video on-demand streaming services. Price increases by Spotify in July and Amazon Music in both January 2023 and August helped average monthly revenue per user improve to $8.74, up from $8.35 in 2022.  

Advertising has stumbled.

A few years after advertising revenue surged, ad-supported streaming’s strength is probably its potential to convert some free users into paying customers. Ad-supported, on-demand streaming revenue rose just 2.3% in 2023, an even worse showing than the 3.5% improvement in 2022. Things looked much better a couple of years ago after ad-supported, on-demand streaming revenue jumped 46.7% in 2021 following a slowdown in 2020 due to the COVID-19 pandemic. Ad-supported on-demand streaming actually did better in pandemic-stricken 2020, rising 32.2% even though the bottom fell out of the ad market when brands braced for a recession by curtailing their ad spending. It was a remarkable turn of fortune for the promise of ad-supported music; after Spotify’s ad-supported revenue jumped 81% in 2021, CEO Daniel Ek said the growing online ad market bode well for India, Indonesia and other developing markets where Spotify operates. Since then, however, subscriptions — especially in mature markets like the United States — have carried the load for Spotify and others. 

Social media is growing fast but remains small. 

The highest growth rate of any category in 2023 came from “other ad-supported streaming,” which includes relative newcomers to licensing agreements such as TikTok. Other ad-supporting streaming jumped 21.5%, to $317.7 million, making the category about 75% as valuable as the fast-declining download and ringtone category (which was down 12.2% last year). The downside is that the category remains a small part of labels’ business:. Last year, other ad-supported streaming accounted for less than 5% of total revenue growth — about 6% as much as subscription services.  

Physical sales were dependable, not explosive.

Both LPs and CDs had double-digit growth in 2023 — 10.3% for LPs and 11.3% for CDs — as physical formats benefitted from enthusiasm for vinyl collectibles and K-pop fans’ penchant for buying multiple CD variants of new releases. Total physical revenue increased by $181 million, or 10.5%, to $1.91 billion, and it has grown 66% since 2018. That more than compensated for the $60 million decline in legacy digital formats such as track and album downloads and ringtones. Still, vinyl and CD sales accounted for 14.8% of 2023’s revenue gains compared to subscriptions’ 79.4%. 

ATEEZ & xikers to Star in Grammy Museum’s First K-Pop ‘Pop-Up’ Exhibition

The heartbeat of Korean pop music will pulsate through the halls of the Grammy Museum as it embarks on a multi-year celebration of the global phenomenon by spotlighting two trailblazing acts.

To kick off the new initiative, Billboard can exclusively reveal that the Grammy Museum will present KQ ENT. (ATEEZ & xikers): A Grammy Museum Pop-Up for a limited time beginning next month.

Inside the museum’s third-floor red carpet gallery, the pop-up exhibit will feature boy bands ATEEZ and xikers, which are under the home of quickly rising K-pop agency and management label KQ Entertainment.

The exhibit promises an immersive experience for fans featuring outfits and props throughout both groups’ careers. One exhibition highlight includes props and the main outfits worn in ATEEZ’s “Crazy Form” music video, the lead single from their 2023 album THE WORLD EP.FIN: WILL, which debuted at No. 1 on the Billboard 200 in December and has earned 278,000 equivalent album units in the U.S. to date, according to Luminate.

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Also, xikers will feature the attire from the music for “We Don’t Stop,” the single from their latest EP, HOUSE OF TRICKY: Trial and Error which marked another chart triumphant for KQ Ent. when it debuted at No. 73 on the Billboard 200 earlier this month with 13,000 equivalent album units in its first week. Fans can also look forward to other props, outfits and mementos from different KQ projects including the look xikers member JUNGHOON wore for the band’s performance video of “TRICKY HOUSE” off their 2023 debut HOUSE OF TRICKY : Doorbell Ringing.

To date, ATEEZ has earned 1.49 million total equivalent album units in the U.S. to date since their October 2018 debut. Meanwhile, xikers has earned 70,000 total equivalent album units in the U.S. so far as they approach their one-year anniversary on March 30.



“It’s an honor to have pieces from our latest music release displayed at the Grammy Museum where so many wonderful artists have left a piece of their musical history,” ATEEZ says in a statement. “There are so many elements involved in the process of our music creation and we’re excited to be able to share some of it through our music video outfits and props.”

xikers adds, “We’re so grateful for the opportunity to have our pieces displayed alongside our labelmate and seniors ATEEZ, as well as so many amazing artists that we’ve grown up listening to. Though it’s only been a little over a year since our debut, we’re so happy to take part in this opportunity at the Grammy Museum and hope that everyone has fun looking at all the interesting outfits and props that have helped create the xikers world in the music video of our latest release.”

Kyu Wook Kim, CEO of KQ Entertainment, also made a rare public statement as part of the milestone.

“The global spread of K-pop is truly remarkable and it is a great honor to see ATEEZ and xikers represent K-pop music at the Grammy Museum,” the CEO and longtime K-pop executive shares. “Witnessing our artists’ hard work and dedication being recognized on such a large scale by the Grammy Museum is truly a privilege and fills us with so much pride. We aim to continue to do our best to work with our artists to break boundaries in music on the global stage with K-pop.”

The Grammy Museum also shared more insight into curating its two-year K-pop commitment.

“Korean pop music is one of the greatest phenomena in the history of recorded music and culture,” says Michael Sticka, President/CEO of the Grammy Museum. “The Grammy Museum plans to celebrate the world of K-pop, its much-deserved success, and worldwide chart-breaking artists by curating dedicated exhibits and programming over the next two years. We look forward to launching this series with exclusive outfits and props from xikers and ATEEZ.”

KQ ENT. (ATEEZ & xikers): A Grammy Museum Pop-Up is scheduled to open on April 10 and run until June 10, launching just ahead of ATEEZ’s debut at Coachella 2024 as the first K-pop boy band to perform at the Indio festival.

More information about ticket reservations and the event can be found at the Grammy Museum website.



Australia’s Splendour in the Grass 2024 Festival Is Canceled

The 2024 edition of Splendour in the Grass won’t go ahead.

“With a heavy heart,” reads a statement from organizers, issued late Wednesday (March 27), “we’re announcing the cancellation of Splendour in the Grass 2024, originally scheduled from Friday 19 July to Sunday 21 July in Ngarindjin / North Byron Parklands.”

The surprise announcement comes less than a week after tickets to the three-day camping fest went on sale to the general public.

As previously reported, Splendour had booked a healthy lineup featuring Kylie Minogue, Future and Arcade Fire as headliners. Also on the bill for the now-scrapped 2024 edition was Girl In Red, Yeat, Turnstile, G Flip, The Last Dinner Party, Tash Sultana, Fontaines D.C. and many more.

“We know there were many fans excited for this year’s line-up and all the great artists planning to join us, but due to unexpected events we’ll be taking the year off,” the statement continues.

Established in 2001 and held each year in Byron Bay, a picturesque beach town on the most easterly tip of Australia, Splendour is a destination event, and the most popular mid-winter camping fest in these parts.

Splendour, once the hottest ticket on the festivals calendar, has endured a particularly tough run, first with the pandemic, which saw the announced, then shelved several times during the pandemic. Then, in 2022, extreme weather conditions wrecked the first day of Splendour 2022, contributing to softer-than-usual ticket sales for the 2023 edition.

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“We’re heartbroken to be missing a year especially after more than two decades in operation,” reads a joint statement from Jessica Ducrou and Paul Piticco, co-CEOs of Secret Sounds and founders of Splendour. “This festival has always been a huge community effort, and we’d like to thank everyone for their support and overall faith. We hope to be back in the future.”

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Tickets for Splendour 2024 went on sale from Thursday, March 21 via moshtix.com.au, with the SITG members pre-sale opening March 14. Single day tickets are priced at A$179 (plus fees), three-day tickets are $399 (plus fees), camping tickets cost $159 (plus fees) and the premium “VIP Village VIP” three-day ticket is A$599 (plus fees). 

Ticket holders will be refunded automatically.

Despite the setback, Splendour will return, according to Secret Sounds, an affiliate of Live Nation, which produces the annual event. “We thank you for your understanding,” reads the statement, “and will be working hard to be back in future years.”