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Jelly Roll, Lainey Wilson & More Lead 2024 CMT Music Awards Nominations

Jelly Roll, Lainey Wilson, Cody Johnson, Kelsea Ballerini and Megan Moroney lead the nominations for the 2024 CMT Music Awards, with three nods each. Last year, Jelly Roll was the evening’s most-awarded artist with three wins, while in 2022, Johnson earned that distinction with two wins.

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Ballerini returns as a solo host this year, to lead the awards show, which will air live from Moody Center in Austin, Texas, on Sunday, April 7, on CBS. The show will also be available to stream live and on-demand via Paramount+.

Beginning Wednesday, fans can vote for their favorites across nine categories by visiting vote.cmt.com through April 1; voting for video of the year will remain active into the live show.

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This year, CMT recognizes 14 first-time nominees — Amber Riley, Ashley Cooke, Bret Michaels, Chayce Beckham, Hozier, Koe Wetzel, Stephen Wilson Jr., Tyler Childers, Warren Zeiders, Zach Bryan and four women artists who were honored as part of this year’s CMT Next Women of Country class: Anne Wilson, Ella Langley, The Castellows and sister duo Tigirlily Gold.

The biggest category, video of the year, features 16 nominees to compete in the first-round voting, including first-time video of the year nominees Jelly Roll, Jordan Davis and Parmalee. Kane Brown, who won video of the year last year for “Thank God,” his collaboration with wife Katelyn Brown, is vying for back-to-back titles, this year for his video for “Nothing Compares to You” with Mickey Guyton.

Performers, presenters and additional details about the show will be announced soon. 

See the complete list of 2024 CMT Music Awards nominees below:

Video of the year
Best video of the year; awarded to the artist (male, female, group/duo or collaboration). Top 6 nominees from the first round of voting, will be announced on April 1. The final 3 nominees, from the second round of voting, will be announced on show day, April 7. Final voting will be determined via social media and announced as the final category during the live show.

  • Ashley McBryde – “Light On In The Kitchen”
  • Brandy Clark feat. Brandi Carlile – “Dear Insecurity”
  • Brothers Osborne – “Nobody’s Nobody”
  • Cody Johnson – “The Painter”
  • Darius Rucker – “Fires Don’t Start Themselves”
  • HARDY – “Truck Bed”
  • Jason Aldean – “Let Your Boys Be Country”
  • Jelly Roll – “Need A Favor”
  • Jordan Davis – “Next Thing You Know”
  • Kacey Musgraves – “Deeper Well”
  • Kelsea Ballerini – “If You Go Down (I’m Goin’ Down Too)”
  • Lainey Wilson – “Watermelon Moonshine”
  • Mickey Guyton feat. Kane Brown – “Nothing Compares To You”
  • Parmalee – “Gonna Love You”
  • Tyler Childers – “In Your Love”
  • Zach Bryan – “Nine Ball”

Female video of the year
Best video by a female artist; awarded to the artist.

  • Ashley McBryde – “Light On In The Kitchen”
  • Gabby Barrett – “Glory Days”
  • Kacey Musgraves – “Deeper Well”
  • Kelsea Ballerini –  “Penthouse”
  • Lainey Wilson – “Watermelon Moonshine”
  • Megan Moroney – “I’m Not Pretty”
  • Reba McEntire – “Seven Minutes In Heaven”

Male video of the year
Best video by a male artist; awarded to the artist.

  • Bailey Zimmerman – “Religiously”
  • Cody Johnson – “The Painter”
  • HARDY – “Truck Bed” 
  • Jelly Roll – “Need A Favor”
  • Jordan Davis – “Next Thing You Know”
  • Luke Combs – “Fast Car (Official Live Video)” 
  • Morgan Wallen – “Last Night (One Record At A Time Sessions)”

Duo/group video of the year

Best video by a duo or group; awarded to the artists.

  • Brothers Osborne – “Nobody’s Nobody”
  • Dan + Shay – “Save Me The Trouble”   
  • Old Dominion – “Memory Lane”
  • Parmalee – “Girl In Mine”
  • The War And Treaty – “Have You A Heart”
  • Tigirlily Gold – “Shoot Tequila”

Collaborative video of the year
Best video from a collaboration; awarded to the artists.

  • Carly Pearce feat. Chris Stapleton – “We Don’t Fight Anymore”
  • Ella Langley feat. Koe Wetzel – “That’s Why We Fight”
  • Jon Pardi, Luke Bryan – “Cowboys And Plowboys”
  • Justin Moore & Priscilla Block – “You, Me And Whiskey”
  • Lukas Nelson + Promise of The Real feat. Lainey Wilson – “More Than Friends”
  • Mickey Guyton feat. Kane Brown – “Nothing Compares To You”
  • Old Dominion & Megan Moroney – “Can’t Break Up Now”

Breakthrough female video of the year, presented by Walt Disney World
Best video from a female artist’s major breakthrough album; awarded to the artist.

  • Anne Wilson – “Rain In The Rearview”
  • Ashley Cooke – “your place”
  • Brittney Spencer – “Bigger Than The Song”
  • Tigirlily Gold – “Shoot Tequila”

Breakthrough male video of the year, presented by Walt Disney World
Best video from a male artist’s major breakthrough album; awarded to the artist.

  • Chayce Beckham – “23”
  • Tyler Childers – “In Your Love”
  • Warren Zeiders – “Pretty Little Poison”
  • Zach Bryan – “Oklahoma Smokeshow”

CMT performance of the year
Musical performance on a television show, series or variety special on CMT; awarded to the artist (individual, group or duo).

  • Amber Riley – “R.E.S.P.E.C.T.” (from CMT Smashing Glass)
  • Bret Michaels & Chris Janson – “Nothing But a Good Time” (from CMT Crossroads)
  • Carrie Underwood – “Hate My Heart” (from 2023 CMT Music Awards)
  • Cody Johnson – “Human” (from 2023 CMT Music Awards)
  • Dierks Bentley – “Drunk On A Plane” (from CMT Storytellers
  • Dustin Lynch feat. MacKenzie Porter – “Thinking ‘Bout You” (from CMT Campfire Sessions)
  • Hozier & Maren Morris – “Take Me To Church” (from CMT Crossroads)
  • Jelly Roll – “Need a Favor” (from 2023 CMT Music Awards)
  • Kelsea Ballerini – “If You Go Down (I’m Goin’ Down Too)” (from 2023 CMT Music Awards)
  • The War And Treaty – “On My Own” (from CMT Smashing Glass)

CMT digital-first performance of the year

Musical performance from a production, series or livestream created for CMT digital / social channels; awarded to the artist (individual, group or duo).

  • Chase Rice – “Goodnight Nancy” (from CMT Studio Sessions)
  • Dylan Scott – “Don’t Close Your Eyes (Keith Whitley Cover)” (from CMT Digital Campfire Sessions)
  • Megan Moroney – “I’m Not Pretty” (from CMT Digital Campfire Sessions)
  • Nate Smith – “Whiskey On You” (from CMT Studio Sessions)
  • Stephen Wilson Jr. – “Year to Be Young 1994” (from CMT Studio Sessions)
  • Scotty McCreery – “It Matters To Her” (from CMT Stages)
  • The Castellows – “I Know It Will Never End” (from CMT Studio Sessions)

Billboard & the Community of Madrid Announce First-Ever ‘Encuentro de la Música en Español’ Event in Spain

Billboard and the Community of Madrid announced on Wednesday (March 13) the first major Encuentro de la Música en Español, an event scheduled for March 19 that will feature a performance by Nicki Nicole and celebrate the global rise of Spanish music.

Set to take place at the WiZink Center, the inaugural Encuentro de la Música en Español, powered by Billboard and Billboard Español, will bring together artists such as Raphael, Ana Mena, Luis Cobos, La Mala Rodríguez, Maikel Delacalle and Paula Cendejas, in addition to managers and executives from major record labels.

In the words of Leila Cobo, Billboard‘s chief content officer for Latin/Español, Spain is, “in addition to being one of the largest and most important music markets in the world, an indispensable pillar of Spanish music and one of the main axes of its growth in the last decade,” Cobo said in a statement. “For Billboard — the world’s most recognized music brand — and for Billboard Español, it is an honor to bring our brand to the Spanish capital, hand in hand with the Comunidad de Madrid, with an avant-garde event that celebrates the industry and the artists from both sides of the Atlantic.”

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During the event , which can only be accessed by invitation, music industry professionals will have the opportunity to attend various panels that put into context the current state of Spanish music through the testimonies of musicians, managers, and executives from large record labels. In the first panel of the day, titled Entre Dos Aguas (Between Two Waters), will feature Jorge Ferradas of FPM Entertainment, Alex Gallardo of Sony Music US Latin, Walter Kolm of WK Entertainment/WK Records, Rosa Lagarrigue of RLM and Federico Lauria of Dale Play Records.

This will be followed by a tribute to one of the icons of Spanish music of the last half-century, Raphael, who will be interviewed by Cobo; the panel The New Face of Spanish Music, with the participation of stars from the current pop and urban scene (Ana Mena, La Mala Rodríguez, Maikel Delacalle and Paula Cendejas); and a talk from the president of the Academia de la Música de España (Academy of Music of Spain), Luis Cobos, titled La Academia de la Música Española y un capítulo para la música en España (The Spanish Music Academy and a chapter for music in Spain).

The event will conclude with one of the pioneers of the current female urban movement: Argentine rapper and singer Nicki Nicole, who will offer a Q&A followed by an exclusive showcase. In addition to a cocktail courtesy of Enrique Tomás, which will also feature other collaborators such as Hard Rock, the Society of Performing Artists or Performers of Spain and Magusa Global Cargo.

“This important professional event allows the Madrid region to contribute to the development of the music industry and build bridges between Latin America and Spain around our language,” added the minister of culture, tourism and sports of Comunidad de Madrid, Mariano de Paco Serrano. “We want to expand the connection between culture and Comunidad de Madrid hand in hand with the sector, and contribute so that the public and tourists identify our region as an indisputable reference of international music. The strategy is completed by involving major artists and professionals in such emblematic spaces as the WiZink Center, the great musical jewel of our community.”

Former Little Mix Singer Perrie Edwards’ Debut Solo Album to Feature RAYE, Ed Sheeran Collabs

Former Little Mix singer Perrie Edwards is gearing up to release her debut solo LP. The singer announced the title of her first solo single, “Forget About Us,” on Tuesday (March 12). “‘Here’s the truth of it…’ Wow [crying eyes emoji] it’s happening! My first solo single ‘Forget About Us’ is coming,” the singer wrote.

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While Edwards had not revealed any additional information about the LP at press time, Official Charts reported that she recently hosted a series of private listening parties for fans and industry pros in London where the singer previewed six new songs while telling the stories behind each. Though the song titles are being kept secret, the album’s first single was reportedly co-written by Ed Sheeran and was described as sounding like a “road trip with your besties, windows down, belting the chorus at the top of your voice” kind of track with a “Kelly Clarkson-meets-Katy Perry” vibe; Sheeran also reportedly co-wrote a second song on the album.

The album also reportedly features a collaboration with RAYE, who took home the album of the year award at the March 2nd BRIT Awards for her debut album, My 21st Century Blues. At press time a spokesperson for Edwards’ label had not returned Billboard‘s request for comment on the details of the album, whose release date has not yet been announced.

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Edwards burst onto the music scene in 2011 when she, Leigh-Anne Pinnock, Jade Thirlwall and Jesy Nelson were put together on the British X Factor. The group released six albums before Nelson left the group in 2020 after the release of their final album, Confetti, with the remaining members going on hiatus in Dec. 2021; their final show, an April 2022 gig at the O2 Arena in London, was livestreamed.

Check out Edwards’ single announcement below.

Vinyl Sales Keep Growing — So Why Does It Look Like They’ve Dropped?

At many of the more than 1,500 independent record stores in the United States, vinyl sales have been growing at a healthy clip for almost a decade — up 14.2% across all retailers in 2023 alone, according to Billboard’s data provider, Luminate. So why did Luminate track 47.3% fewer vinyl sales in January and February than it did for the same months in 2023?

On its face, such a precipitous drop might appear troubling — and puzzling — given the surge of vinyl sales since the pandemic. In actuality, the decline is mostly a result of Luminate changing the decades-old methodology it had used since Billboard adopted SoundScan’s measurement system in 1991 to count sales at indie retail outlets — a change that Luminate had warned last year would make 2024’s vinyl sales numbers appear significantly lower. But some of the drop reflects a protest by independent retailers against that adjustment, which one indie community executive worries “may put a damper on one of the industry’s high-profile, feel-good stories.”

Frustrated by the methodology change, some of these indie stores have stopped reporting sales to Luminate, and the Coalition of Independent Music Stores (CIMS), the Record Store Day board, the Music Business Association and other organizations have launched an alternative chart to measure physical and vinyl sales.

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“There are consequences to every decision,” Music Business Association president Portia Sabin said in a statement.

Until the end of last year, Luminate extrapolated indie retailers’ physical album sales using a methodology that weighted actual sales by a small sample of independent stores — approximately 70 accounts totaling 140 storefronts, Billboard estimates — that represented 1,500 to 2,000 retailers of their ilk that are operating in the United States, according to label and distribution sources.

Last year, physical purchases such as vinyl and CDs at these independent retailers — even with weighting — accounted for less than 3% of total music consumption units in the United States.

Indie retailers say they don’t oppose more accurate measurement of their sales. Rather, they are incensed that Luminate stopped weighting sales just months before it plans to begin the beta phase of its upgraded Connect measurement platform, which it had designed to only count actual indie physical sales. (The final version of the enhanced platform is expected to launch in 2025.) They had wanted Luminate to delay the methodology change until it onboarded hundreds more indie music retailers to report their sales.

Until the Connect beta is launched, Luminate is basing indie physical sales solely on the actual sales retailers report, which due to the protest has been cut in half to about 33 accounts with 70 storefronts, Billboard estimates.

Indie stores say they are protesting because of concerns that they — as well as the indie labels and artists who rely on them for marketing — will lose influence if their sales suddenly appear significantly lower across the board.

Indie-label executives and their distributors say they, too, are worried about the methodology change because it might affect the marketing of developing artists. “We are extremely disappointed that Luminate chose to stop weighting indie retail sales without launching a serious program to enlist store reporting and to count the physical market,” Matador Records president Patrick Amory wrote in an email. “Independent labels and independent artists over index in physical, and especially at indie retail, and we need a level playing field with the majors to measure success. Luminate is penalizing serious, career-building, album-oriented artists on the charts. Their sales are not being counted. Their market share is being allotted to the majors. That is a disaster for independent musicians, labels and retailers.”

An additional concern is that smaller sales numbers and less weight on the Billboard charts, which are based on Luminate data, will “diminish the importance of the physical market to the music business ecosystem,” as four independent record store coalitions and indie retailing giant Amoeba Music put it in a statement issued in October.

The worry is that less music will be released in physical formats, which would financially hurt indie retailers. But a record label executive says given the booming demand for vinyl — a high-margin product for labels — those fears are unwarranted. “Right now,” says one major-label executive, “with the high prices that the growing vinyl format commands, labels are printing dollars with healthy profit margin.”

Indie retailers, many of them iconic local businesses that have served their communities for decades, have panicked ahead of big changes in the past. When the major record companies decided to change the official day for new music releases from Tuesday in the U.S. to a worldwide Friday street date in 2014, “indie stores told labels, ‘You are killing us,’” recalls the major-label executive. “And yet no stores disappeared in the aftermath of that change.”

Some chart mavens say the boycott could be a risky move. By intentionally shrinking their influence on Billboard’s charts, indie stores could drive fans — who, thanks to social media, are much more attuned to the metrics that determine chart positions — to start shopping at sites or stores where they know their purchases will benefit their favorite artist.

Artists and record labels hoping to climb Billboard’s charts, meanwhile, might opt to stage meet-and-greets and other in-store promotions at businesses that report their data, though plenty of acts and record companies still host such events in stores that don’t report to Luminate.

In response to the protest, Luminate says it’s working to lure back stores that stopped reporting and onboard a critical mass of indie merchants that have not reported their data before. Stores that have stopped reporting are now permitted to bypass Luminate’s standard four-week onboarding process if they commit to reporting data for at least a year. For the latter, Luminate offers an instructional video and a written guide to the process, although indie merchants say they have pressed for personalized assistance and simplified reporting requirements.

Luminate also recently hired respected veteran music data executive Chris Muratore as its director for partnerships. Muratore worked for 18 years in various positions at Luminate’s previous iteration, Nielsen SoundScan, and more recently founded Border City Media, the startup behind music consumption data tool BuzzAngle Music (now Alpha Data, and, like Luminate, a subsidiary of Billboard’s parent company, Penske Media Corporation). He will focus on building and maintaining relationships with the independent music retail sector “to ensure physical music sale data collection is as accurate and representative as possible,” according to the release announcing his appointment.

When Billboard began tabulating charts using SoundScan data in May 1991, mass merchant sales, such as those by chain stores and, later, internet or other mail-order operations — were based on actual sales. But the data company used weighted samples of independent store sales because not all stores back then had the point-of-sale (POS) technology, nor the capability to transmit store reports. So, to compensate, stores were assigned weighting depending on how many other non-reporting stores were in their DMA, or designated market area. But over the years, that process became more difficult, and less scientific, as thousands of stores closed, sources say.

Using data from a confidential Luminate report shown to labels, Billboard estimates that last year, the data platform counted each album scanned by 140 indie retailers as 8.54 physical albums. Based on that extrapolation, Luminate reported that an average of close to 72,000 physical album copies — vinyl and CDs — sold each week, totaling 31.9 million copies sold in indie stores for the year.

Overall, in 2023, U.S. physical sales totaled nearly 87 million copies, of which 49.6 million was vinyl while 36.8 million was CDs. Of that total, indie stores, when they were still weighted, accounted for 36.7% of sales; non-traditional, which includes internet, mail order, Christian retailers and stores like Urban Outfitters, comprised 41.5% of physical sales; mass merchants like Target and Walmart, 16.5%; and chains like Barnes & Noble, 5%. As a result of the methodology change and boycott, Luminate reported a 40.2% drop in total physical sales (including vinyl and CDs at indie shops, chains and big-box stores) for the first eight weeks of 2024 compared with the same period in 2023 — from 13.6 million albums to 8.1 million. Within that, indie store sales fell 95.4%, from 5.71 million albums when weighted last year, to 262,000 copies.

Meanwhile, the aforementioned unweighted average weekly physical sales of nearly 72,000 averaged reported by indie retailers from January to November 2023 are now averaging 27,000 per week for the first eight weeks of 2024 because of the stores that have stopped reporting to Luminate.

As part of its plans to calculate actual sales instead of extrapolating them from a weighted sample, Luminate revealed in October that it had identified 570 indie accounts — with, industry sources say, the aid of labels, distributors and store coalitions — that it wanted to add as reporters. But as of Dec. 19, with the change in methodology looming, Luminate’s Music Connect website indicated that only six more indie sales reporters had been added, with the indie account total growing from 72 to 78. After the apparent boycott began, that fell to 36 reporters, and as of Feb. 22, to 33 indie store reporters.

Some of the retailers that have stopped reporting to Luminate are now sending their numbers to music data analysis platform StreetPulse, which is tabulating the Indie Retail Top 50 published by Hits Daily Double. Sources familiar with the chart say approximately 82 accounts operating about 185 indie stores are providing sales data, and another 50 stores are reporting online sales only.

Indie stores that have switched to StreetPulse claim it is more user-friendly because “Luminate expects the store reporters to do all the work to prepare the data for ingestion,” says one source familiar with the situation. “That takes time and [requires] a system able to make the reports. Luminate expects an indie store owner, who may be a one-man operation, to have the technical capabilities and manpower of a chain like Target.”

The source says the StreetPulse system “is cloud-based and has already integrated all the preeminent POS systems like Square for Retail Free, Shopify Clover and even some of the legacy systems like Lightspeed and Fieldstack, so it’s much easier to report.”

CIMS and ThinkIndie Distribution executive director Andrea Paschal says she supports the alternative chart because she felt her organization was “brushed aside” by Luminate.

As this conflict continues, it’s worth noting that vinyl sales keep growing. Even if indie store vinyl counts were eliminated for the first eight weeks of this year and last, Luminate’s Connect system indicates that year-to-date vinyl sales for the other nonweighted store sectors — chain, mass merchants, internet/mail order/venues and nontraditional retail — are still up nearly 7%. And the vinyl sales bonanza Record Store Day that was launched by independent record stores in 2007 is slated for April 20, less than six weeks away.

A version of this story originally appeared in the March 9, 2024, issue of Billboard.

Kelly Clarkson Joining Peyton Manning and Mike Tirico as Hosts of 2024 Summer Olympics Opening Ceremony

Kelly Clarkson is headed to Paris this summer. The singer and daytime talker announced on Tuesday night (March 12) that she will be joining NFL hall of famer Peyton Manning and veteran NBC sportscaster Mike Tirico as hosts of the opening ceremonies of the 2024 Summer Olympics.

“You know, Peyton hosted the Country Music Awards, Kelly’s one of the greatest of all time, so the three of us are going to do an album,” Tirico joked to Tonight Show host Jimmy Fallon in introducing the three-headed hosting crew for the first time.

“I’m so glad we can say it. We’ve been holding this forever,” Clarkson said about the exciting news that the trio will anchor the live coverage of the kick-off to the summer spectacular that will air on NBC and Peacock at noon ET on July 26 and find more than 10,000 athletes parading through the heart of the French capital. The hosts brought along examples of the gold medals that will be handed out at both the Olympics and Paralympics, each of which has a tiny piece of the Eiffel Tower embedded in them.

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“The opening ceremony is going to be so different and unique. Down the Seine, down the river with the athletes on a boat, so it’s not the stadium where they walk in,” said four-time opening ceremony host Tirico, who was also asked which athletes or teams fans should be looking out for. “It will incorporate Paris. And the games are going to be amazing as you know, swimming, gymnastics … Simon Biles, Katie Ledecky, Team USA in track and field could be incredibly strong, the Dream Team, the U.S. soccer team, the women’s basketball team.”

Fallon asked each host what they might win a gold medal for, with two-time NFL champ Manning jumping in with a most unexpected skill: event planning. “It’s kind of my true calling,” Manning said. Tirico weighed in with his skill, which is being an expert packer and travel-planner, while Clarkson said she is “not like that at all,” and hates planning vacations. If, however, you need help building something out of LEGO, she’s your lady. “I am the Simone Biles of LEGOs,” she said. “I am incredible at LEGOs.”

The gold medal trio were back after a break for a game of “Olympictionary,” with Clarkson up first in the game with Olympics-inspired clues. You should watch for yourself, but suffice it to say that Clarkson clearly need to bone up on her badminton knowledge given her very NSFW drawing that made teammate Fallon’s cheeks as red as a rooster’s waddle.

Watch Clarkson’s announcement and her not-ready-for-prime-time game show clue below.





HarbourView Equity Partners Raises $500 Million in Debt Financing

HarbourView Equity Partners, the Newark, NJ-based investment firm that has acquired rights to music by Wiz Khalifa and Fleetwood Mac’s Christine McVie, among many others, raised approximately $500 million through an asset-backed securitization [ABS], the company announced Wednesday.

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The private ABS, backed by royalties generated by its music catalog, was led by global investment firm KKR. Investment accounts advised by Kuvare Asset Management also participated. Guggenheim Securities was the structuring advisor, and Guggenheim Securities and Barclays acted as co-placement agents. 

“We are grateful to KKR for working with us to deliver a flexible and innovative financing structure that will support HarbourView in expanding its reach,” HarbourView founder and CEO Sherrese Clarke Soares said in a statement. “This capital will allow us to further our mission of investing in assets and companies driven by premier intellectual property while striving to ensure that creators are appropriately valued for their contributions to the world.”

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“This transaction is a testament to the scale and versatility of our High-Grade Asset-Based Finance [ABF] strategy, which is a fast-growing segment of our private credit business,” Avi Korn and Chris Mellia, co-heads of U.S. ABF at KKR, said in a statement. KKR’s ABF segment has amassed approximately $48 billion in assets under management since 2016. “Music IP is one of many areas where we see opportunity and we are pleased to finance a scaled and high-quality portfolio in this space.”

Founded in 2021, HarbourView launched with $1 billion of financial backing from investment giant Apollo Global Management. The company increased its buying power in December by increasing its credit facility by $100 million to $300 million. To date, it has acquired over 50 catalogs — including Brad Paisley, Jeremih, Nelly, Luis Fonsi and Eslabon Armado — and has $1.6 billion in regulatory managed assets.

The ABS will give HarbourView additional ammunition to pursue music rights. When a music company raises money through an ABS, it sells debt that will be repaid by royalties from its music catalog. A large music catalog filled with established songs provides to type of diversified, predictable income that’s attractive to investors. Music companies often prefer an ABS because it tends to have a higher loan-to-value ratio than traditional debt. That means the music company can raise more funding from a specific portfolio through an ABS than a bank would be willing to lend against the same assets. 

A handful of companies have raised enormous sums of money through music royalties ABS deals in the past two years. In 2021, Lyric and Northleaf launched a $304 million ABS backed by 52,000 assets in Spirit Music Group’s portfolio. In 2022, Concord did a $1.8 billion ABS and Chord Music Partners, a venture of KKR and Dundee Music Partners, raised $733 million. Most recently, Kobalt raised $267 million in February through a security backed by publishing royalties from a 5,000-song catalog.

The growth of the music streaming market has helped create the current climate for music-backed ABS deals — and should result in more deals in the future. A large music catalog’s streaming royalties makes music assets “more suitable” for securitization, ratings agency S&P Global wrote in February. “The uptick in global music industry revenue over the last several years, and the desire of market players to diversify funding sources suggests that we may continue to see more of these types of transactions in the coming years.” 

Crowded House, Angus & Julia Stone to Perform at 2024 Rolling Stone Australia Awards

Crowded House and Angus & Julia Stone are the performers booked for the 2024 Rolling Stone Australia Awards, to be presented March 26 at The Ivy in central Sydney.

A household name in these parts, Crowded House has enjoyed No. 1s in Australia, the U.K. and a belated leader in the U.S. last year when “Don’t Dream It’s Over” appears at the summit of Billboard’s Top TV Songs chart, following its sync in the 14th episode of Magnum P.I.’s fifth season.

The song was the Australian band’s top-performing song on the Billboard Hot 100, peaking at No. 2 in April 1987.

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Formed out of the embers of New Zealand alternative-rock favorites Split Enz, Crowded House are members of the ARIA Hall of Fame, inducted back in 2016 in recognition of a career which has yielded more than 15 million album sales, 13 ARIA Awards, a BRIT Award, and an MTV VMA.

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The Neil Finn-led folk-rock act is prepping the release of Gravity Stairs on May 31, their eighth studio LP, and first through a new, global deal with BMG. Four of those previous seven studio album have hit No. 1 on the ARIA Chart. The Australian/NZ act recently headlined the first Melbourne edition of Global Citizen Nights.

Also performing on the night is sibling folk and indie duo Angus & Julia Stone, whose sixth studio album Cape Forestier is due out May 10, also through BMG. Angus could double-up on the night; he’s nominated in the best record category for his Dope Lemon project’s fourth studio LP Kimosabè.

The Stones enjoyed a major breakthrough back in 2010 with their self-titled sophomore album, which peaked at No. 1 on the ARIA Chart, dominated at the ARIA Awards, and housed the modern classic “Big Jet Plane.”

“With this year’s awards taking place at our new home of Ivy in Sydney, we wanted to really step up our performer lineup in 2024,” comments Poppy Reid, editor-in-chief at Rolling Stone Australia publisher The Brag Media, part of the Vinyl Group.

“I’m looking forward to hearing Angus & Julia Stone’s incredible vocal harmonies ringing through the venue. Of course, it’s also an absolute privilege to reveal that Crowded House will also take the stage at the awards, and we all can’t wait to hear these genuine icons of our industry.”

As previously reported, Troye Sivan and Kylie Minogue are among the big artists in the hunt for RS Australia Awards. Almost nominated for multiple categories are Dom Dolla, Peach PRC, Teen Jesus and The Jean Teasers, The Teskey Brothers and Fisher.

The Ivy Sydney will host the ceremony, with winners in five categories announced on the night: best record, best single, best new artist, Rolling Stone Global Award and the Reader’s Choice Award.

Former triple j breakfast presenter, now “Matt & Alex – All Day Breakfast” podcaster Alex Dyson returns as host.

Now entering its fourth year, the awards welcome multiple new and returning sponsors this year, with headline partner Shure back for 2024, alongside American Apparel, JMC Academy and Largo Brewing.

MAX and Le Sserafim’s Huh Yunjin Get their Pop Game on For ‘Stupid in Love’: Watch

MAX is totally stupid in love, and Le Sserafim’s Huh Yunjin is helping him spread the word.

The pop singer, songwriter and actor (real name: Max Schneider) teams up with the K-pop icon on “Stupid in Love,” the opening track on his new album Love In Stereo.

The fresh cut is bursting with pop vitality, and, since the stroke of midnight, is accompanied with an official music video that follows Max on his travels from Los Angeles, CA to Seoul, South Korea where the pair get down to moving and grooving for the cameras.

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“Stupid in Love” came about in a moment of serendipity. Max made his own luck; he was visiting South Korea to work with a producer on music for BTS, when one of the lads suggested the idea of a collaboration with Le Sserafim.

He showed up to a meeting, “and they gave me this gift, which is a really beautiful thing in Korea — a lot of times you give your gift as an album and write a letter,” he tells People. “Yunjin wrote me a letter, and it was like, ‘I hope we get to meet and work together,’” he recounts. “It was really endearing, so I extended my trip to see her live.” The connections run deeper than a love of pop music; both artists were raised in New York.

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Le Sserafim is hot right now. The South Korean pop group became a Billboard Hot 100-charting act for the first time this year, thanks to the single, “Easy,” debuting at No. 99.

The group’s five-track EP of the same name bowed at No. 8 on the Billboard 200. Also, Easy started at No. 2 on both the World Albums and Top Album Sales charts, while the title track roared to No. 6 on the Billboard Global Excl. U.S. chart, marking the group’s second, and top charting, top 10 effort.

Max enjoyed a breakthrough with his tender pop hit “Lights Down Low” featuring gnash, which peaked at No. 20 on the Billboard Hot 100 chart back in 2016. The New Yorker has also collaborated with the likes of BTS and bandmate Suga, Hayley Kiyoko, Noah Cyrus and Chromeo, many of whom assisted on his 2020 project, Colour Vision.

Stream “Stupid in Love” below.



Watch a New Clip of Taylor Swift’s ‘Cardigan’ Ahead of ‘The Eras Tour’ Concert Film Coming to Disney+

Just days before Taylor Swift’s record-breaking concert film surrounding her massive Eras Tour hits Disney+ on Friday (March 15), fans can experience an exclusive preview of a previously unseen performance of her hit Folklore track “Cardigan.”

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This exclusive clip will only be available on the App Store’s Today Tab for fans worldwide on Wednesday, March 13.

The Disney+ edition of the movie, which is given the extended title Taylor Swift: The Eras Tour (Taylor’s Version), will include the “Cardigan” performance as well as four acoustic songs not originally included in the theater or on-demand releases.

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Taylor Swift: The Eras Tour opened in October with more than $92.8 million in grosses, instantly becoming the top-grossing concert film in history after just one weekend. The Eras Tour film was shot over the course of Swift’s first three shows at SoFi Stadium in Inglewood, Calif., where she performed six shows in early August. The film was directed by Sam Wrench, who received a Grammy nomination late last year for directing Billie Eilish Live at the O2, which was a contender for best music film.

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Swift then unveiled an on-demand The Eras Tour extended edition film, which included performances of “The Archer,” “Long Live” and “Wildest Dreams.” The version was available on Prime VideoApple TV+, Xfinity, Vudu, Google Play, YouTubeTV and SkyTV Premiere.

Anthony ‘Baby Gap’ Walker, Former Member of The Gap Band, Dies at 60

Anthony “Baby Gap” Walker, a member of the long-running sibling R&B/funk act The Gap Band, has reportedly died at 60.

TMZ, which broke the news, claims the artist died from “complications from a neck surgery.”

Walker had been performing with the group GapX, comprised of former Gap Band members. “The Band will miss our friend, brother, and band mate Anthony ‘Baby Gap’ Walker,” reads a post from GapX. “Gone too soon. We will never forget you!!!”

Formed in 1967 by brothers Ronnie, Charlie and Robert in Tulsa, Okla., The Gap Band scored a series of Billboard R&B hits over a 40-year career during which they released 15 albums and such beloved singles such as “Shake,” “I Don’t Believe You Want to Get Up and Dance (Oops Up Side Your Head),” “Early in the Morning,” “Burn Rubber (Why You Wanna Hurt Me)” and one of their highest-charting single, 1982’s No. 31 Hot 100 funk number “You Dropped a Bomb on Me.”

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The bros originally named their group the Greenwood Archer Pine Street Band, for the three streets in the Black part of Tulsa that were attacked by a white mob during the 1921 Tulsa Race Massacre.

The full-length debut, Magicians Holiday, arrived in 1974, but they had to wait until 1979 for a breakthrough with their self-titled album, which featured R&B hits “Shake” and “I’m in Love.” Also that year, the group had their first platinum album with Gap Band III, which peaked at No. 16 on the Billboard 200 and yielded the singles “Humpin’” and “Burn Rubber.”

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It was at this time when Wilson joined the group, for which he contributed as a performer, songwriter dancer and choreographer for 23 years.

Anthony joined forces with Charlie Wilson and bandmate Billy Young on the 1985 project Billy & Baby Gap, and, over time, he collaborated with the likes of Rick James and George Clinton.

Though the Gap Band’s chart success began to wane by the late 1980s and 1990s, their funky songs gained a robust second life during that period when they were heavily sampled and covered by everyone from Snoop Dogg, Nas and Ice Cube to Tyler, the Creator and Mary J. Blige.

Robert Wilson died of a heart attack in 2010, Ronnie died following a stroke in 2021.