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Warner Music to Reduce Staff By 4% as Label Eyes ‘Long-Term Success’

Citing a need to make “hard choices in order to evolve,” Warner Music Group chief executive Robert Kyncl announced on Wednesday a slate of cost-trimming measures that includes a 4% reduction in staff and a reallocation of resources towards tech initiatives and “new skills for artist and songwriter development.”

Kyncl, who took over as CEO earlier this year, said in a staff memo seen by Billboard that approximately 270 people will be let go and that there will also be reductions in open positions and various discretionary spending at the company to “provide us with additional flexibility for our future.”

Affected employees will hear from their managers in the next 24 hours, Kyncl said, adding that the actions are not a “blanket cost-cutting exercise” and that “every decision has been made thoughtfully by our operators around the world, who considered the specific needs, skills, and priorities of each label, division, and territory, in order to set us up for long-term success.”

Read Kyncl’s full memo below:

Hi everyone,  

As I mentioned at our first All-Hands meeting last month, I’m committed to direct and honest communication with all of you. The music business is filled with new possibilities: more fans are engaging with artists and songs than ever, our reach is enormous, and new business models are constantly emerging. WMG is positioning itself for this new phase of growth at the intersection of creativity and technology. 

In my discussions with our leaders across the company, many of them came to the same conclusion – that to take advantage of the opportunities ahead of us, we need to make some hard choices in order to evolve. Consistent with this direction, we’ve made the tough decision to reduce our global team by approximately 270 people, or about 4%. At the same time, we’re reallocating resources towards new skills for artist and songwriter development and new tech initiatives. We’re also reducing discretionary spending and open positions to provide us with additional flexibility for our future.

I want to be clear that this is not a blanket cost-cutting exercise. Every decision has been made thoughtfully by our operators around the world, who considered the specific needs, skills, and priorities of each label, division, and territory, in order to set us up for long-term success. The leader of your division will either be holding a town hall or sending an email to explain more about this path forward. 

I’m also acutely aware of how unsettling this can be. Having to say goodbye to talented colleagues is always difficult. For those of you who will be leaving WMG, please know that we’re deeply grateful for your hard work, dedication, and all you’ve contributed to this company. In all territories, except where you are explicitly told there will be a review or consultation period, anyone affected will hear from your leaders, supervisors, or People team reps within 24 hours. I know this transition will be tough, but we’re committed to supporting you during this process.  

In times of great disruption in our world and society, artists and songwriters who have something original to say, who rise to the occasion, will resonate the loudest. Equally, the rapid changes in our economy and ecosystem create the conditions and opportunities for innovation and breakthroughs. I learned when I joined WMG that this is a gritty, incredibly resourceful, and highly impactful team that I want by my side every day of the week. We deliver for our artists, songwriters, and labels with laser focus, inventiveness, and care. And now, more than ever, we need to double down on that.   

I’ll have more to say about all of this at our next All-Hands meeting, including more details on our plan.   

Let’s support each other with empathy and integrity as we work through this process.   

Thank you,  

Robert

Cue the Nostalgia! GloRilla Channels Aaliyah in Campaign for Tommy Jeans

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Cue the nostalgia! Tommy Jeans and luxury streetwear brand Aries launched a nostalgic new campaign led by Grammy-nominated rapper GloRilla on Wednesday (March 29).

The 35-piece Tommy x Aries collection features menswear, womenswear and footwear inspired by the Tommy Jeans’ archives with a modern twist, courtesy of Aries.

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The retro designs include ‘90s-style silhouettes with exaggerated proportions, split colorways, layers and lots of baggy denim. Some of the key pieces from the collection include a black trucker jacket with a five-pocket matching pant, a jacquard tape logo dress and relaxed indigo denim jacket and baggy split colorway screen-printed jean, similar to what Aaliyah wore in a 1996 campaign for Tommy Jeans.

The Tommy x Aries campaign, which features GloRilla, grime artist Novelist and Aries crew members 5EB, Brian Tshabola, Haajar Djouada, Kasper Kapica, Kirbs, Nathan Rosen and Xiao Wang, was shot by photographer Angelo Pennetta.

Also debuting with the campaign, a film by Aries founder and Creative Director, Sofia Prantera, paying homage to Tommy Jeans’ moments in hip-hop history. The film will feature an instrumental version of GloRilla’s “Unh Unh” with guest verses from Novelist, Kirbs and 5EB.

In keeping with the brand’s devotion to sustainability, pieces from the Tommy x Aries collection include one-of-a-kind items handcrafted by Aries from recycled garments derived from post-consumer waste and surplus materials such as a corset made from the Tommy flag and upcycled denim, cut-out vintage tees, jacquard tape harnesses and a three-shirt asymmetrical jersey dress.

The menswear collection includes remade Tommy flags and graffiti emblems splashed across vintage T-shirts and hoodies. The campaign marks Tommy Hilfiger’s latest collaboration with a Grammy-nominated recording artist since launching a collection with Shawn Mendes earlier in the month.

The Tommy x Aries collection will be available March 31 at select Tommy Hilfiger stores and wholesalers and online at Tommy.com.

See photos of GloRilla in the Tommy x Aries campaign below.

GloRilla for Tommy Hilfiger

Tommy Hilfiger

GloRilla for Tommy Hilfiger

Tommy Hilfiger

Christina Aguilera Focusing on Women’s Sexual Wellness as Chief Brand Advisor for Playground Intimacy Products

Christina Aguilera has long been an advocate for female empowerment. But in her new role as co-founder and chief brand advisor for the sexual wellness brand Playground, the singer is hoping to de-stigmatize the conversation around intimacy via a range of products that includes scented personal lubricants with names such as “Love Sesh,” “Date Night” (champagne & vanilla scented) and “Mini Escape” (coconut & sandalwood).

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“Sex is an essential part of our overall wellness, and @hello.playground is here to remind you that EVERY part of your body, not just your hair or your face, deserves to be pampered,” Aguilera wrote in an Instagram post announcing her collaboration.

In another post, Aguilera said she’s spent her whole career encouraging everyone, “but especially women,” to feel empowered while owning their sexuality. “The better you feel about yourself, the better you can live your life and own EVERY capacity of it!” she wrote. “I am so proud to be a co-founder of @hello.playground an amazing women-owned brand that’s committed to making sexual wellness products more accessible and ✨FUN✨ for all!”

The products from the woman-owned brand — which also include the musk and oxwood-scented “After Hours” lubricant — can be ordered discreetly from home. In a statement on their site, the company promises that their “full-sensory” products spark “all five senses and multiple erogenous zones — enhancing your mood, mind and libido. Intentionally designed for a woman’s unique needs and desires, our proprietary formulas contain innovative biotech formulations and chemistry-enhancing ingredients.”

The plant-based products feature natural ingredients, are pH-balanced, vegan and 100% transparent, so users can see what they are putting into their bodies. They are also sustainably sourced, with bottles and caps that are made of 50% post-consumer recycled plastic and boxes made from 30% post-consumer waste.

Check out Aguilera’s post below.

Ms. Lauryn Hill, Megan Thee Stallion to Headline 2023 Essence Festival

In honor of HipHop50, ESSENCE Fest looks to have a splashy return this year in New Orleans, with Ms. Lauryn Hill and Megan Thee Stallion headlining this year’s festivities, Billboard can exclusively report.

On June 29-July 3, ESSENCE Fest will be a rap-centric event, with Hill performing her landmark 1998 solo album The Miseducation of Lauryn Hill. The five-time Grammy Award-Winning femcee will be celebrating the 25th anniversary of her game-changing debut effort. As for Megan Thee Stallion, the slot marks another major headlining performance, as she will embark on her first concert this year at March Madness Music Festival in Houston this Friday (March 31). Megan will also take her talents to the West Coast later this year as she’ll co-headline L.A.’s Pride in the Park.

The 2023 ESSENCE Fest will also feature sets from Wizkid, Monica, Coco Jones, and Kizz Daniel for their Festival of Culture stage. There will also be a special performance curation by Doug E. Fresh while DJ Spinderella, DJ Kid Capri, and DJ Clark Kent will hit the turntables during the weekend’s festivities. Another noteworthy milestone that will be marked over the weekend is the 30th anniversary of So So Def, which will be spotlighted in a performance from label owner Jermaine Dupri and Friends.

Music lovers can also enjoy some laughs in the evenings, with Deon Cole, Affion Crockett, Spice Adams and Janelle James hosting nightly activations.

“For nearly three decades, the ESSENCE Festival of Culture has been an international and joyful gathering that empowers community throughout the global Black diaspora,” says newly-appointed Vice President of ESSENCE Festival of Culture, Hakeem Holmes. “As the nation’s largest festival by per day attendance, it continues to be a crown jewel of Black culture and plays a pivotal role in the amplification and celebration of the contributions of the Black community through business, music, and more. As we gear up to celebrate the ’50th Anniversary of Hip-Hop’, we couldn’t think of a better way to honor the contributions that genre has made on global culture and the impressions that these artists and their deep musical catalogs, which we all know so well, have been ingrained into the fibers of our day to day lives. This year, we are excited to have everyone join us in celebrating 50 years of musical excellence, experiencing our diverse daytime and nighttime offerings, and in highlighting the importance of Black economic inclusion.”

More acts will be added to the lineup soon.

Tom Morello Says Future of Rage Against the Machine Touring Unclear: ‘I Know As Much As You Do’

Even Tom Morello isn’t sure when, or if, Rage Against the Machine will go back on the road. In a new interview with Rolling Stone, the guitarist said that after the Rock and Roll Hall of Fame nominees were forced to cancel their planned 2022 European fall tour due to the serious foot injury suffered by rapper/singer Zack de la Rocha on the second show of their North American tour things were thrown into a state of flux that continues to this day.

Asked if the tour could be re-booted once Zack is healed up, Morello said, “We’ll see. If there is to be any more shows, we will announce it as a band. I don’t know. I know as much as you do, honestly. Right now we’re in a time of healing.”

Rage’s eagerly anticipated reunion tour hit a snag in Chicago on July 11 when de la Rocha suffered a severe tear of his left Achilles tendon four songs into the set. He soldiered on through the rest of the North American dates by rocking out while sitting down on the band’s first extensive tour since their last reunion wrapped in July 2011.

Morello said the energy on stage during the dates that went off was “great,” which he knew it would be from the moment they got back together to practice. “I knew pretty early on in rehearsal that we were going to sound fu–in’ great,” Morello said. “We’d never sounded better. It was a reaffirmation of the power of Rage Against the Machine, and the transcendence of Rage Against the Machine as a live act.”

Ironically, he added, he had just recovered from a ruptured Achilles before the tour and was on crutches in rehearsals, so when he saw de la Rocha go down in Chicago he knew it was bad. “I recognized the gait,” he said. “But Zack toughed it out that night. And for the next 17 shows, he was more compelling as a frontman sitting on a box in the middle of the stage than 99 percent of the frontmen in the history of all time.”

As for why the European dates had to be scotched after Rage successfully toured the U.S., Morello said it was doctor’s orders. “I don’t know all the details, but there’s dangers of flying. There’s danger of blood clots and all that,” he said. “I wasn’t in the room. But it’s not the optimum care to be on the road with a newly-ruptured Achilles.” The injury also resulted in the band cancelling their planned 2023 North American tour.

Morello also weighed in on the band’s fifth nomination for the RRHOF, saying he’s a “big proponent” of the Hall. “I like the idea there’s somewhere on the planet that celebrates music,” he said. “The thing I share, with many fans of many bands, is that if the Rock Hall is going to be inducting artists of so many diverse genres, there are a lot of artists from multiple genres that deserve to get in. It would be a great place to be. I certainly think Rage Against the Machine, among a lot of other bands, deserves to be in the Rock and Roll Hall of Fame.”

The guitarist also touched on the controversy over the “awful idea” of dynamic ticket pricing, saying that every ticket for the shows they played cost $125, except for the 5-10% that were dynamically priced; Morello said the band “gave away every cent” over $125 on those tickets to charities in the respective cities, with a total of $6-$7 million raised on the entire tour.

As for the most pressing question: is Rage on yet another open-ended hiatus? Morello said the current state of Rage is “there is no term. Rage Against the Machine is like the ring in Lord of the Rings. It drives men mad. It drives journalists mad. It drives record industry people mad,” he said. “They want it. They want the thing, and they’re driven mad. If there are Rage shows, if there are not Rage shows, you’ll hear from the band. I do not know. When there is news, it will come from a collective statement from the band. There is no news.”

Faced with endless re-iterations of the “will Rage tour again/Is Rage on hiatus again?” question, Morello practiced his principled group’s steadfast omerta and declined to elaborate, offering up a perfectly zen answer to the thorny question: “We just don’t operate like other bands.”

Dolly Parton & Garth Brooks Set to Co-Host the 2023 ACM Awards: Exclusive

Garth Brooks will join returning host Dolly Parton as co-host of the 58th annual Academy of Country Music Awards, Billboard has exclusively learned. The May 11 show will stream live on Amazon’s Prime Video from Ford Center at the Star in Frisco, Texas, outside of Dallas.

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Parton hosted the ACM Awards solo in 2000 and with Jimmie Allen and Gabby Barrett last year — its first year on Prime Video — while this will mark Brooks’ first time hosting the show. Billboard sat down with the two icons as they filmed promotional video footage for the awards show at a Nashville production studio and displayed an easy-going banter that should serve them well on awards night.

“All I hope that we do as a pair is represent [country music] well,” Brooks tells Billboard of co-hosting the ACM Awards. “I mean, you’ve got your foundation and what you’re looking for here,” he says, gesturing to Parton seated beside him. “You’ve got talent and class. Let’s represent country music the best that we can.”

“I told him to say all that, and that I’d say something good about him if he would say something good about me,” Parton says with a laugh.

“We are excited about this because we’ve always wanted to do something together,” Parton continues. “We’ve always admired each other musically and as people and how we handle our business. So this is a great thrill for me. I think the fans are going to enjoy seeing us together, ‘cause Lord knows he’s got fans and I got a few.”

Both Brooks and Parton have ample experience in the ACM Awards’ winners circle, with Parton earning 13 ACM Awards wins, including entertainer of the year in 1977. Brooks has earned 22 ACM Awards, including a record-setting six entertainer of the year trophies (with a consecutive four-year run from 1990-93), in addition to being named ACM artist of the decade for the ‘90s.

Though Brooks released his debut album in 1989 and went on to become the best-selling solo artist in U.S. history, with nine RIAA Diamond Awards to his credit and 19 Billboard Country Airplay chart-toppers, the ACM Awards will mark his first time hosting any major awards show. Brooks, who inked an exclusive streaming deal with Amazon Music in 2016, says several factors were at play in his decision to co-host this year’s ACM Awards in addition to that partnership.

Primary among his reasons is “just getting to work with Dolly,” says Brooks, briefly reaching over to hold Parton’s hand. “When you think about my career, I don’t want to pick favorites, but some of our biggest nights have been at the ACMs. The fact that they would even ask is flattering and the fact that I get to host with Ms. Parton is unbelievable. The surprise of the night is you’re gonna see this beautiful woman carry this 260-pound ass all night.”

When it comes to crafting the script that will navigate viewers through the evening, Parton says, “We’re both pretty good at ad-libbing. Garth’s more serious-minded than me. I just talk off the top of my head. But we’ll have a lot of fun together.”

“I like being a goofball too, but the truth is, comedy is the hardest way to make a living,” Brooks adds. “If you think you can just write comedy and it be funny, it usually isn’t. So my thing is, I feel more comfortable if we just stay on the class side and let her do her thing,” Brooks says, adding that he appreciates efficiency in hosts. “I watch awards shows and what do I want? Let me see the performances and don’t take a long time telling me who’s gonna win, because I want to hear what the winners will have to say.”

“That’s a good point,” Parton responds. “And there’s always things that just happen usually on live shows like that. Sometimes your best comedy are things that might even happen with someone in the audience or something is said and you just pick up on it. We’re country people, most of the artists are kind of like people we grew up with, so you play off of that, and it’s usually entertaining. Whether it’s funny or not, it’s usually entertaining.”

They note fans shouldn’t expect a musical collaboration during the ACM Awards, but Parton, who was officially inducted into the Rock & Roll Hall of Fame last year, will premiere the lead single from her upcoming rock album on the show.

Meanwhile, Brooks’ excitement at finally working with Parton shines through.

“Just sitting here, I’m nervous as hell,” Brooks admits, “and I don’t know why that is because she’s never been anything but sweet to me, never been anything but treated me as an equal, though I’m not. It’s that thing when someone has done something that freaking cool, you just become a fan. If [George] Strait was here, I wouldn’t be holding his hand as much, but…” Brooks jokes, drawing a big laugh from Parton.

“Well, it’s because I’ve been around forever,” Parton interjects.

“What I’m looking forward to the most,” Brooks says, gesturing to Parton, “and forgive me for comparing you to somebody else, but when you get to work with Reba McEntire, you just wear out pencils on a notebook because you take notes, right? A woman in this industry — and I’m married to one of the greatest singers ever — they have to work a thousand times harder to get a tenth as much,” says Brooks, who wed Trisha Yearwood in 2005. “So you watch them go to work, and when it’s your turn, your time, you work like a girl. You outwork everybody you can.”

“Well, that’s very sweet,” Parton replied. “Now I see why you’ve been married to Trisha all these years. And Reba, I’ve co-hosted with her before [on the 2019 CMA Awards], and she is a worker too. I admire and respect all the great women in the business, but it’s nice to have these great guys like the Garths and people that really do appreciate the women as well as the men. We have a mutual respect for each other.”

She also recently announced an upcoming book, Behind the Seams: My Life in Rhinestones, out in October. Asked about their fashion for the ACMs, Parton said, “[Garth] said a funny thing earlier. When they asked what I was going to be wearing — in three words, how would I describe it? — I said, ‘Nothing but trash,’ and when they asked him about it, he said, ‘Nothing but Trish.’ … I thought that was so great that she gets him all together,” Parton said.

Regarding whether fans might see a return Parton-Brooks pairing as ACM Awards co-hosts in 2024, Parton quips, “We’ll see how we do this year, they may not even ask us [back].”

Brooks adds, “I tell you what, yes to everything, except [Parton] might be going, ‘I’m not sure I wanna work with that guy. He’s too much of a fan.’”

“I’m a fan of yours too,” Parton replies. “I think that’s going to be one of the things that hopefully shows up on camera that we like each other for real. I think sometimes you get people onstage and everybody’s a pro and can get up there and talk, but when you really feel the warmth between two people, I think that’s where the magic is, and I think we both have that in us.”

‘The Voice’: Alyssa Lazar and Magnus Enter Into Battle on Elton John’s ‘Your Song’

The Battles Round is firing up on NBC’s The Voice, and on Tuesday night’s (March 28) episode two contestants took a flight with the Rocket Man. Only one is going to come back down.

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Chance The Rapper’s teammates Alyssa Lazar, the 24-year-old Clarks Summit, PA native, went head-to-head with Magnus, the 25-year-old Chesapeake, VA resident, on Elton John’s signature tune “You Song.”

“You have completely different tones but it worked beautifully,” said Kelly Clarkson when the music stopped. She pointed out the power in Lazar’s voice, and the full-round-bodied style of Magnus’ vocals, which, coincidently, is also how she likes her wine.

If the singers burned some rocket fuel for the occasion, the judges appeared to be flat.

“It sounds cozy, it sounds like home,” Clarkson remarked, giving Blake Shelton an easy line of attack. Clarkson and Magnus had issues with the performers’ vibrato. No surprises, Clarkson would lean towards Magnus if it were her choice to make.

Niall Horan fancied Lazar’s singer-songwriter-storyteller talents, and her ability to “break in tone and character.” And the Irishman admitted it was a “bold” choice of song which would obviously “lean towards Magnus.”

The final decision came down to Chance. Lazar’s voice and style “was meant for this song, and I feel like each time you performed it, you got better,” he remarked. As for Magnus, “You hype me up.”

In the end, the could be only one. And that was Magnus. Watch below.

Thelma Plum, Ball Park Music Lead 2023 Queensland Music Awards

With two honors, including the coveted song of the year, Thelma Plum was the big winner at the 2023 Queensland Music Awards (QMAs), presented Tuesday (March 28) at Fortitude Music Hall in Brisbane, Australia.

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The Gamilaraay singer-songwriter won song of the year and the pop category for her single “Backseat of My Mind,” lifted from her 2022 EP Meanjin. With song of the year, Plum gets a permanent place in Brisbane’s Fortitude Valley – a plaque on the Walk of Fame.

“Queensland I feel has always been an underdog,” she told the packed house, “but I tell ya, we’re not anymore.”

Meanjin is up for best record at next week’s Rolling Stone Australia Awards, and “Backseat of My Mind” will get another chance to win song of the year, at the 2023 APRA Music Awards on April 27.

Other winners at the 2023 QMAs included Brisbane indie band Ball Park Music (album of the year for Weirder & Weirder) Gold Coast singer-songwriter Amy Shark (highest-selling single for “Sway My Way”), and country artist Adam Brand (highest selling album for All Or Nothing).

Go-Betweens great Lindy Morrison was presented the lifetime achievement award for her advocacy work, social work, activism and musicianship. Morrison, a member of the Go-Betweens from 1980-1989, played drums on six of the iconic band’s albums, and performed vocals on three.

The folk-rock act’s classic song “Cattle and Cane” was recognized by APRA in 2001 as one of the top 30 Australian songs of all time, and Morrison was celebrated in 2014 with the Ted Albert Award, presented during the APRA Music Awards, held that year in Brisbane’s City Hall.

Away from the studio, Morrison helped establish Support Act in 1998, and served with music industry charity as a social worker until 2021. During the pandemic, she led her team to deliver more than A$5 million in relief grants for music workers in crisis.

“I’m so glad I’m receiving this award while I’m still alive. I would have hated to get this award when I’m dead,” she quipped at the top of what would be the evening’s most rousing speech. “Thank-you Queensland. I’m still playing, I’m on the road all the time…I’m recording, I’m going to the U.K. soon, I got into practice rooms, I’m 70 years of age. And I still feel like that young woman.”

Recounting those years with the Go-Betweens and other acts she performed with, “We were devoted to art, and we would do anything as long as it was for art. We marched for black rights, we marched for civil rights. And we marched for the right to march. We played music in the streets for pro-choice.”

The city of Brisbane came out a winner when, during a pre-recorded bit, Qld premier Annastacia Palaszczuk announced a A$3.8 million investment in the annual Bigsound showcase event and conference.

“We all know how powerful music can be,” she said. “It helps tell our stories, and provides a stage for social change. It helps connect people and shapes our culture. Right now in Queensland, I believe there’s something special happening with our music scene here, and tonight I want everyone in this room to know that our government backs you and backs your industry. I know how important Bigsound has been for the industry over the past 22 years. That’s why I’m pleased to announce $3.8 million in funding over the next four years to make Bigsound even bigger and even better.” The 2023 edition is set for Sept. 5 – 8.

Formerly known as QSong, the QMAs celebrate the state’s “brightest emerging artists and established legends,” with its categories judged by more than 100 music industry professionals.

More than 13,000 songs have been submitted since its inception in 2006. Winners have included Keith Urban, the Veronicas, Kate Miller-Heidke, Bernard Fanning, Sheppard, Violent Soho and many others.

The annual event is organized by trade body QMusic, with Brick Lane, Brisbane City Council and Queensland Government on board as major partners.

2023 Queensland Music Awards – Winners:

MAJOR AWARDS

SONG OF THE YEAR
Presented by Brick Lane Brewing
Thelma Plum

ALBUM OF THE YEAR
Presented by Brisbane City Council
Ball Park Music – ‘Weirder & Weirder’

LIFETIME ACHIEVEMENT AWARD
Presented by Grant Thornton
Lindy Morrison

SCHOLARSHIPS

2023 GRANT MCLENNAN FELLOWSHIP
Sahara Beck

2023 BILLY THORPE SCHOLARSHIP
NEISH

2023 CAROL LLOYD AWARD
Platonic Sex

CATEGORY AWARDS

BLUES | ROOTS AWARD
Presented by Trentham Estate
Jen Mize & The Rough N’ Tumble – ‘All Riled Up’

CHILDREN’S MUSIC AWARD
Presented by The Truss Company
Cheeky Monkey Club – ‘Yes or No – A Song About Consent’

CONTEMPORARY CLASSICAL AWARD
Presented by Queensland Conservatorium – Griffith University
Monique Clare – ‘Downhill Skiing’

COUNTRY AWARD
Presented by ABC Radio Brisbane
James Johnston – ‘COUNTRY BOYS’

ELECTRONIC AWARD
Presented by The Prince Consort
Sycco – ‘Ripple’

FOLK AWARD
Presented by APRA AMCOS
Yb. – ‘Blackphemy’

HEAVY AWARD
Presented by IJS
DZ Deathrays – ‘Paranoid’

HIP HOP AWARD
Presented by NAFA
Khi’leb – ‘Cheques’

INDIGENOUS AWARD
Presented by Anacta
William Barton – ‘Kalkani’

JAZZ AWARD
Presented by Jazz Music Institute
Trichotomy – ‘Forward Motion’

POP AWARD
Presented by Star Entertainment Group
Thelma Plum – ‘Backseat Of My Mind’

ROCK AWARD
Presented by Comiskey Group
WAAX – ‘No Doz’

YOUTH (AGES 10 – 17) AWARD
Presented by SAE
Lottie McLeod – ‘Happy Birthday’

SOUL | FUNK | RNB AWARD
Presented by The Sound Garden
Miiesha – ‘Still Dream’

WORLD AWARD
Presented by MEAA
Isaac Conomos and Menaka Thomas – ‘Space’

REGIONAL | REGIONAL AWARD
Presented by Telstra
Sahara Beck – ‘Nothing Wrong With That

VIDEO AWARD
Presented by Creative Productions
Ben Wrigley – Purple Static by Mirrors

HIGHEST SELLING SINGLE
Amy Shark – Sway My Way

HIGHEST SELLING ALBUM
Adam Brand – All Or Nothing

PEOPLE’S CHOICE AWARDS

METRO VENUE OF THE YEAR
Presented by Oztix and The Music
The Fortitude Music Hall

REGIONAL VENUE OF THE YEAR
Presented by Oztix and The Music
Sol Bar

FESTIVAL OF THE YEAR
Presented by Oztix and The Music
Caloundra Music Festival

ACCESSIBLE VENUE OF THE YEAR
Presented by CPL – Choice, Life, Passion
Kingston Butter Factory

BMI Wins Rate Court Ruling to Get Songwriters Paid 138% More From Live Events

BMI enjoyed a double win Tuesday (March 28) in a federal rate court decision that will increase the royalties the performance rights organizations’ songwriters earn at live events.

The federally adjudicated decision in BMI’s rate case against Live Nation, AEG and the North American Concert Promoters Association (NACPA) awarded a 138% increase in rate to 0.5% of the event’s revenue. It also expands that revenue base to include the full price of concert hall VIP packages and box suites, tickets sold directly to the secondary market and servicing fees received by the promoters.

Previously, the revenue definition only reflected earnings directly from the face value of primary market ticket sales.

The rate and expanded revenue base applies to the period of mid-2018 through Dec. 31, 2022.

On the flipside, Southern District of New York Judge Louis Stanton, who handed down the rate court decision, rejected BMI’s attempt to ditch the historical 10% discount fee that the trade group and its promoters get for helping to administer the license on behalf of BMI. As well, BMI’s effort to expand the revenue base to also include sponsorship and advertising revenue was also rejected.

“This is a massive victory for BMI and the songwriters, composers and publishers we represent,” BMI president Mike O’Neill said in a statement. “It will have a significant and long-term positive impact on the royalties they receive for the live concert category.  We are gratified the Court agreed with BMI’s position that the music created by songwriters and composers is the backbone of the live concert industry and should be valued accordingly. Today’s decision also underscores BMI’s continued mission to fight on behalf of our affiliates, no matter how long it takes, to ensure they receive fair value for their creative work.”

“We advocated on behalf of artists to keep their costs down, and managed to hold the increase to less than 1/3 of BMI’s proposed increase,” said a Live Nation spokesperson in a statement. “This will cost the performers we work with approximately $15 million a year spread out over thousands of artists, and cost increases for Live Nation directly are not material.”

Prior to this decision, BMI and the live concert industry have been operating under a license negotiated in 1998 that was renewed twice through June 30, 2013. That agreement called for promoters to pay a performance licensing rate of 0.3% of revenue for concert venues with under 10,000 seats, and 0.15% of revenue for venues with over 10,000 seats. That rate, and the revenue definition that only covered primary market ticket sales, also served as the interim rate until this decision came down today.

AEG did not respond to immediate requests for comment. The NACPA could not be reached for comment.

Loqui The Artist ft. Jim Jones “Time To Go,” Finesse2Tymes ft. Gucci Mane “Nobody” & More | Daily Visuals 3.28.23

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For a few years now Jim Jones has been the most active member of Dip Set. He’s been dropping off work on a consistent basis, and whether he’s dropping solo cuts or making guest features, Capo is staying on his grizzly.

This time around the Harlem representative lends his talents to Loqui The Artist for his visuals to “Time To Go.” Jones takes a trip to Long Island to link up with the up-and-coming rapper where they blow some smoke and hold down the corner while kicking their verses. At least Jones didn’t have to travel too far to pick up that guest appearance bag.

From the East to the South, Finesse2Tymes rolls out the welcome mat for Gucci Mane for his clip to “Nobody,” and the two men have themselves a grand ol’ time from the streets of Memphis, TN to the studio where they put that work in.

Check out the rest of today’s drops including work from 42 Dugg, Quando Rondo and more.

LOQUI THE ARTIST FT. JIM JONES – “TIME TO GO”



FINESSE2TYMES FT. GUCCI MANE – “NOBODY”



42 DUGG – “IT GET DEEPER PT. 2”



QUANDO RONDO – “FROM THE BOTTOM”



SAUCE WALKA – “FIRST TESTAMENT”



IDK FT. RICH THE KID – “850”



RON SUNO – “NOT A GAME”



HOLLYWOOD LOS – “SELF MADE”



TROUBLE FT. BANKROLL FRESH & B GREEN – “U AIN’T STREET”



QUIN NFN & MONEY MAN – “REVENUE”