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Latto on the ‘New Wave of Female Rap’ — And Her ‘Fresh New Leaf’ of Music On the Way

Rushing from elementary school with handwritten raps in her pocket, 10-year-old Alyssa Michelle Stephens would hop in her father’s “old-school cars with [24-inch] rims” and head straight to the recording studio — first in his friends’ homes, but soon enough, in professional spaces. “When we started paying for sessions, he’d say, ‘You ain’t gon’ be in here all day,’ ” the artist now known as Latto recalls. “ ‘You better have that song ready, top to bottom, one take, in and out!’ ” Even then, the Atlanta-raised aspiring MC — today a chart-topping, Grammy-nominated rapper with more than 1 billion on-demand streams in the United States, according to Luminate — was preparing for her destiny, winning high school writing competitions as a fifth grader.

Nurtured by her accountant mother and “hustler” father — both of whom she recalls living off ramen noodles during her early years — the self-proclaimed “daddy’s girl” stayed ahead of the curve, accompanying him to video shoots where rising acts like Dem Franchize Boyz and Ciara used his cars. “I just remember being so mesmerized by the whole process,” she says. “I loved the fast-paced hustle and bustle.” At 16, Latto competed on (and won) the first season of Lifetime’s hip-hop reality show, The Rap Game, under the moniker Miss Mulatto. Already, she had the foresight to recognize a bad career move when she saw one and, citing a less-than-adequate payout, turned down the show’s grand prize — a record deal with Jermaine Dupri’s So So Def Recordings — and remained independent until she signed to RCA Records in 2020, following the success of her breakthrough single, “B–ch From Da Souf.”

Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles.

Christian Cowan dress and shoes, Sterling King jewelry.

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Today, studio costs are no object to Latto, 24, who locks herself in the booth, pumping out 10 songs at a time about quarrels with her man or whatever inspires her on a given day. That tireless approach — Latto says she has hundreds of unreleased tracks stockpiled — has paid dividends, most notably with her massive 2021 hit, “Big Energy.” The song established Latto as a mainstream force — even if its mere existence was by no means a foregone conclusion.

“I heard my A&R and management whispering, debating on whether or not to play this beat for me,” Latto recalls. “It was just so different from everything else that I’ve done. They were hesitant on how I would react.” In the end, she loved the beat, despite not recognizing its biggest draw: a snippet of “Genius of Love,” the 1981 Tom Tom Club song famously sampled on Mariah Carey’s “Fantasy.”

“It ended up working in my favor,” she says. “I feel like that’s what kept it so ‘Latto.’ ” Still, the track’s eventual success surprised her. “I could feel the potential of the song and how commercial it was,” she continues, “but I definitely didn’t think it would be Grammy-nominated.”

Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles.

Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles. Brandon Blackwood coat, Jessica Rich shoes, Versace eyewear courtesy of Tab Vintage, Sara Shala necklace.

Ssam Kim

For Latto, those wins paled in comparison to another “Big Energy” achievement: Carey herself called Latto’s management and chatted with the rapper for over an hour, leading to her appearance on the track’s March 2022 remix. “She was just embracing me and telling me she loves everything I’m doing,” Latto gushes. “It was a super out-of-body experience.”

Since “Big Energy” and Carey’s assist, Latto has positioned herself as rap’s biggest sweetheart. This year’s Powerhouse exudes warmth as she melts into her seat at Los Angeles’ Paramour Estate for her Billboard interview, flashing a bright white smile that contrasts with her painted-on, fire-engine red pantsuit. “You have to [ask yourself], ‘What am I going to sound like? What am I going to rap about? What will my beats sound like? Where’s my lane in the industry?’ ” she explains of her meticulously planned path. “Once you figure that out, you figure out the business side. Otherwise, you’re going to be high and dry when your 15 minutes are up.”

After breaking with “B–ch From Da Souf,” Latto diligently ensured her career would last. First, she changed her moniker from Mulatto to Latto, following controversy around the word’s connections to colorism. “New crib, new whip, new name/I’m still that b–ch,” she roared on her first single with RCA, “The Biggest,” adding on Instagram that the new name signified “a new chapter” and “good fortune, spiritually and financially.”

Her predictions came true, as “B–ch From Da Souf” became her first entry on the Billboard Hot 100 (peaking at No. 95) and both it and its follow-up, the Gucci Mane-featuring “Muwop,” went platinum. Her second album with RCA, 777, debuted at No. 15 on the Billboard 200, and within two years, she’d hit No. 3 on the Hot 100 with “Big Energy.”

Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles.

ACT N°1 gown.

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Since then, the rapper has received widespread support from women artists including Queen Latifah, Trina, City Girls, Cardi B, SZA, Remy Ma and Lizzo, who tapped Latto to support both North American legs of her Special arena tour. “I get a lot of love,” she says with an exuberant smile. “Real recognize real.”

And Latto intends to pay it forward, gushing over other newcomers like Flo Milli, Lola Brooke and GloRilla. “My No. 1 thing has been being a girl’s girl,” she explains. “I utilize my power in uplifting others on my way up. When you see Latto do a feature with an upcoming female rapper, I don’t charge them. The label got to cover the glam, but I don’t profit off that.”

Considering her youth, Latto has also displayed considerable foresight and grace thus far, which she attributes to the “get-it-out-the-mud” mentality she inherited from her teen parents. “[That’s why] I know what I want,” she adds.

Still, her cool under pressure has been tested. Last year, the rapper — like many her age, a fan of Nicki Minaj’s since childhood — became embroiled in a bitter Twitter battle with the rap legend, who had expressed frustration with the Recording Academy following its categorization of “Super Freaky Girl” as a pop song when considering it for the 2023 Grammys. “If [‘Super Freaky Girl’] has 2B moved out RAP then so does Big Energy!” Minaj wrote in a tweet that led to a blowout fight with Latto, who posted a recording of a phone call they’d had.

“It’s difficult navigating through situations like that because there’s a disconnect. I will look at myself as a fan of someone and they will view [me] in a whole different light,” Latto explains today. “It’s disappointing. You just got to take it to the chin and keep pushing.”

Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles.

Brandon Blackwood coat, Jessica Rich shoes, Versace eyewear courtesy of Tab Vintage, Sara Shala necklace.

Ssam Kim

So when social media drama next reared its head — late last year, more than 100 of Latto’s unreleased songs were leaked without her knowledge, including tracks that would become massive hits for rappers Coi Leray and BIA — she responded with restraint, simply posting a trio of photos captioned “Trending.”

“I had to stop using my age as an excuse, because I [was] like, ‘I’m not nobody momma, I’m not nobody teacher. I’m not raising your kids.’ But unintentionally, you are,” she says now. “They look up to you. So I try to put my best foot forward.”

Now, she’s focused on a new “authentic” chapter in her career. “Because I started rapping so young, I’ve had a lot of other cooks in the kitchen,” she says. “So now I’m taking control back.” That means exploring new sounds, releasing her latest single, the pop-centric “Lottery,” while staying true to her hip-hop roots.

“The content I’m about to roll out is a whole fresh new leaf,” says Latto. “I genuinely love to see the new wave of female rap, and I’m honored to be a part of it.”

Latto photographed on January 18, 2023 at The Paramour Estate in Los Angeles.

Christian Cowan dress, Sterling King jewelry.

Ssam Kim

This story will appear in the Feb. 25, 2023, issue of Billboard.

Edgar Barrera Rules Latin Songwriters & Producers Charts Simultaneously

Edgar Barrera spends an 18th week at No. 1 on Billboard’s Latin Songwriters chart (dated Feb. 25), and hits No. 1 on Latin Producers for the first time, thanks to six writing and production credits on the latest Hot Latin Songs survey.

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Dating to the charts’ launch in 2018, Barrera is just the fourth talent to top both Latin rankings simultaneously.

Tainy first achieved the feat in November 2020, and has since doubled up 24 times. Ovy on the Drums led both charts simultaneously for two consecutive weeks in May 2022 and MAG ruled both on three occasions last November and December.

Here’s a look at all of Barrera’s credits on this week’s Hot Latin Songs chart (he’s credited as both a songwriter and producer on each song):

Rank, Artist Billing, Title

  • No. 2, Fuerza Regida X Grupo Frontera, “Bebé Dame”
  • No. 3, Carin León X Grupo Frontera, “Que Vuelvas”
  • No. 8, Manuel Turizo, “La Bachata”
  • No. 16, Grupo Frontera X Grupo Marca Registrada, “Di Que Sí”
  • No. 32, Fuerza Regida X Grupo Frontera, “911 (En Vivo)”
  • No. 43, Maluma + Marc Anthony, “La Fórmula”

Barrera’s 18 weeks at No. 1 on the Latin Songwriters chart mark the third-most in the chart’s history, after only Bad Bunny (95) and Tainy (24).

The weekly Latin Songwriters and Latin Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Latin Songs chart. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).

The full Latin Songwriters and Latin Producers charts, in addition to the full genre rankings, can be found on Billboard.com.

Steven Yeun Cast In Marvel’s ‘Thunderbolts’ Film In Secret Role

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With the success of Black Panther: Wakanda Forever and Ant-Man & The Wasp: Quantumania, the MCU once again seems to be back on track for a successful run and are hoping to make their upcoming Thunderbolts movie it’s latest blockbuster hit by adding another familiar face to it’s growing roster.

Deadline is reporting that Marvel has just cast The Walking Dead alumni and fan favorite actor, Steven Yeun (a.k.a. Glenn) to the cast of Thunderbolts which already includes heavy hitters such as Harrison Ford (General Thaddeus “Thunderbolt” Ross/Red Hulk), Florence Pugh (Black Widow), Sebastian Stan (Winter Soldier) and David Harbour (Red Guardian) amongst others. Though the character he’ll be playing hasn’t been revealed, it’s being reported that he will be playing a “significant” role in the film and could actually become a mainstay in the Marvel Cinematic Universe going forward.

Jake Schreier is set as director of the new Marvel tentpole. Black Widow scribe Eric Pearson is penning the script, with Marvel Studios President Kevin Feige producing. Not much is known about the plot of the film, but in the comics, it revolves around a group of villains who are sent on missions commissioned by the government. 

Since leaving his hit TV show The Walking Dead, Yeun has not boxed himself in to any specific role and done a strong job of building out a diversified slate of various kinds of projects. His starring role in A24’s Minari, earned him not only his best reviews of his career but his first Oscar nomination for best actor in a leading role. He would follow that up with the Jordan Peele tentpole Nope, which went on to become one of the big hits of the summer.

You have to wonder who Yeun will be playing in the MCU and just how important he’ll be to the universe going forward. As for who the Thunderbolts will be taking on in their upcoming movie, rumors have it that the super villain known as the Sentry will be the film’s antagonist and Marvel Studios have their eyes on either Alexander Skarsgård or Ryan Gosling to take on the role. Whether or not that will be the case is anyone’s guess, but it would be pretty cool to see one of these actors join the MCU even if it’s only for one film.

Until we get some more solid information on what’s going on with Marvel Studios Thunderbolts film, everything will be left to speculation but until then you can expect all kinds of theories and rumors to fill the air and have us either excited or shaking our heads.

Who do you think Steven Yeun will be playing in the Marvel Cinematic Universe? Keep in mind just because he’s Asian doesn’t mean it will be an Asian character as Marvel has a history of changing up the ethnicities of some of their fan favorite comic book characters. Sound off in the comments section below.

adidas Debt Rating Slashed By S&P After Earnings Spiral, Blame Yeezy?

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In another bad sign for adidas after cutting ties with Ye aka Kanye West, their credit ratings have been cut by S&P Global due

to the company’s expectations of earnings losses for 2023.

In a disclosure statement that was published on Tuesday (February 21st), the noted agency that judges the ability of companies to pay back what they’ve borrowed declared that they were cutting the global athletic brand’s long and short-term credit rating from A+” to “A-“. They based this on the company’s warnings that their earnings would take a serious hit after cutting ties with the controversial artist. Adidas had previously projected that the dissolution of their deal with Ye could cost them $1.3 billion.

“Adidas faces a multitude of business challenges, including the termination of its Yeezy partnership, ongoing competitive pressures in the Chinese market, and a contraction of consumer demand in Western countries,” it said in the statement. They went on to state that adidas’ warning had a tremendous effect on their decision, especially when it came to uncertainty over their remaining Yeezy stock that it could still write off and not refit for sale. “This estimate is materially worse than our previous base-case scenario.”

Adidas terminated its partnership with Ye in late October after the DONDA artist had made a string of antisemitic comments. This included an appearance on the Drink Champs podcast where he publicly challenged the brand over his behavior and comments taken from an unaired interview with Tucker Carlson of Fox News.

S&P Global Ratings is not the only group of its kind to have a gloomy outlook on adidas’ expected financial fortunes for the year. Bernstein Research published a report that the company might’ve experienced these struggles even if it maintained its ties with Ye. They also projected that Adidas could experience losses of $2 billion, more than the estimated figure expressed in their disclosure statement. “The sales decline is about more than just Yeezy,” Bernstein analyst Aneesha Sherman said in an internal note. “We are concerned about the underlying health of the business that would drive such a drastic guide-down, even after stripping out the Yeezy impact.”

Nick Carter’s Rape Accuser Says He’s Trying to Silence Her: ‘No Other Purpose Than To Harass’

A woman who is suing Nick Carter over accusations that he raped her in 2001 now says the Backstreet Boys member is trying to “harass and intimidate” her with meritless counterclaims about a “conspiracy.”

A month after Shannon “Shay” Ruth filed her lawsuit in December, Carter countersued — claiming he’d been the victim of a “five-year conspiracy” that aimed to “to harass, defame and extort” him by exploiting the MeToo movement.

But in a filing Wednesday, Ruth’s lawyers said those counterclaims were brought with “no other purpose than to harass, intimate, and potentially silence plaintiff.”

“He seeks to use his wealth and celebrity status to outlast plaintiff,” Ruth’s lawyers wrote. “All while hiding behind being the ‘victim’ of the ‘#MeToo’ movement and the preposterous notion that plaintiff is only seeking attention and publicity.”

Ruth’s lawyers want the case dismissed under Nevada’s anti-SLAPP statute — a type of law enacted in states around the country that aims to make it easier to quickly dismiss cases that threaten free speech.

“Fortunately, Nevada is among approximately 31 states that have enacted a statutory scheme to prevent such suits or, at minimum, limit their nefarious intent by requiring a party to demonstrate there is a probability of success on the merits before their claim can progress,” Ruth’s lawyers wrote. “This is the very definition of a SLAPP lawsuit, and it should not be allowed to progress.”

A representative for Carter did not immediately return a request for comment on Friday.

Ruth sued Carter in December, claiming he raped her when she was 17 years old following a 2001 concert in Washington state. Now 39, Ruth says she waited more than 20 years to come forward because she was afraid of retaliation.

“He told plaintiff she would go to jail if she told anyone what happened between them,” Ruth’s lawyers wrote at the time. “He said that he was Nick Carter, and that he had the power to do that. Due to his various threats, plaintiff did not report Carter’s crimes for many years.”

Carter fired back in January, claiming Ruth had been manipulated into bringing the allegations by Melissa Schuman Henschel — a former member of the teen-pop group Dream who previously accused Carter of assaulting her in 2003. “Ruth was a vulnerable and highly impressionable individual, craving attention and desperate to fit in,” his lawyers wrote.

In legal terms, Carter’s countersuit accuses Ruth, Schuman and Schuman’s father of defamation and other forms of wrongdoing. But in Wednesday’s motion to dismiss the case, Ruth’s lawyers said Carter would not be able to prevail on those allegations because he is a “public figure” – a status that makes it hard to sue for defamation in American courts.

“By his own admission of being an ‘American icon,’ Carter is by definition a ‘general public figure’ in Nevada,” Ruth’s lawyers wrote. “As such, the burden he must meet to defeat an anti-SLAPP motion is significantly higher than would be for the average citizen, and he cannot meet that burden in this matter.”

National Museum of African American History Announces Book on Black Music’s Global Impact

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The National Museum of African American History and Culture is set to release a new book capturing the impact of Black music on American society and the world.

In a press release issued on Wednesday (February 23rd), the Smithsonian’s National Museum of African American History and Culture (NMAAHC) celebrated the release of Musical Crossroads: Stories Behind the Objects of African American Music. The new book covers the impact of Black music on America and the world from the 19th Century to the present day, featuring compelling images of over 200 images of items from the institution’s permanent collection which were featured in a 2017 exhibition by the same name.

“Harriet Tubman’s hymnal, Charlie Parker’s saxophone, Chuck Berry’s Cadillac Eldorado, Sammy Davis Jr.’s childhood tap shoes, the Parliament Funkadelic Mothership—these are among the nearly 4,000 items that make up the music collection stewarded by the National Museum of African American History and Culture,” said NMAAHC Director Kevin W. Young.

The essays in the Musical Crossroads book are contained within five chapters: Music and the Meaning of Things, Roots and Branches, Music in the Community, Music of the Community, I Wish I Knew How It Would Feel To Be Free, and The Power(s) of Black Music. Essays have been contributed by a select array of writers and researchers, with former NMAAHC Music and Performing Arts Curator Dwandalyn D. Reece serving as editor.

“Music is the great equalizer around the world. No matter where it originates or what form it takes, it has played a crucial role in shaping the human experience and preserving the history of that experience for centuries,” Reece wrote in the press statement. “The museum’s music collection includes celebrated artists, diverse music genres, high-profile professionals, institutions, and historical events, as well as artifacts that reflect the role music plays in the day-to-day lives of individuals in their homes, churches, schools, and local communities.”

The book is published in conjunction with GILES Ltd, a company based in the United Kingdom. Musical Crossroads: Stories Behind the Objects of African American Music will be available to the public for purchase on March 7th, 2023 wherever books are sold. 

Nicki Minaj Performs At Trinidad Carnival, Reveals The Return of ‘Queen Radio’

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Nicki Minaj’s name has been in the rumor mills for some embarrassing reasons as of late, but the Queen artist from Queens, New York gave her fans something to talk about when she went home to Trinidad earlier this week.

Madamenoire is reporting that the “Super Bass” rapper not only took a trip to her homeland of Trinidad and Tobago, but even gave her adoring fans a performance when she took the stage and rocked the crowd at their 2023 Carnival. Taking to the streets of Trini decked out in a vibrant costume complete with colorful feather-embroidered shinguards and a beaded headdress, the voluptuous artist joined in on the festivities in the streets before doing what she does best (not just twerking).

The Queens native also performed her new verse on the remix of “Shake The Place,” a hit tune made by fellow Trinidadian artists Machel Montano and Destra, according to Billboard. Judging by footage posted to Minaj’s Instagram account, It looks like the star put on one hell of a show.  Multiple clips captured happy festival-goers dancing, mashing and wining all over the place as the rapper performed.

Nicki straight bodied that outfit before bodying her performance.

Could Nicki be working on a new project to drop sometime soon? Could be. What we do know is that she will be bringing back her wildly popular Queen Radio as she took to Instagram to let her fans know that the podcast they live for will be back on the air come next month.

“#QueenRadio

3/3 @3pm PST

Bad gyal don’t die die die

Hunnit rounds on dat gratata

????♥️”

Though Queen Radio jumped on the scene via Beats 1 Radio in 2018 and immediately became a hit amongst her hardcore day one’s, Nicki left the airwaves in 2021 but did announce she inked an exclusive partnership deal with Amazon last March. So don’t be surprised if Queen Radio makes it comeback on Jeff Bezos’ conglomerate of a company.

Will you be tuning into Queen Radio come March 3rd? Let us know in the comments section below.

Dionne Warwick Talks Meeting Dolly Parton for the First Time — And Why America Needs Inspirational Music Right Now

What happens when two beloved legends meet for the first time?

“Well, it was more laughter than anything else,” Dionne Warwick says of meeting Dolly Parton. “We had a wonderful, wonderful meeting. It was as if we’d known each other for years.”

Though both women have been fans of each other’s work for many years, the occasion that finally brought them together was a video shoot for their new gospel duet “Peace Like a River.” Written by Parton and produced by Warwick’s son/manager Damon Elliott, the song is the first taste of Warwick’s forthcoming inspirational album, coming via Warwick and Elliott’s Kind Music Group.

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Parton and Warwick recorded their vocals for the single separately then met at Parton’s production facility outside Nashville to film the video. Sitting in a downtown Nashville hotel room for this interview, Warwick is both elegant and energetic — the excitement she feels over the collaboration with Parton is palpable.

“We were there to take care of our business, but along with that, we found time to not only smile but outright laugh,” Warwick says of the filming the clip, which was directed by Elliott and Nick Pres. “Dolly is very, very grounded — which I was thrilled about — but she’s also very business, which I happen to be about as well. So, it felt like two peas in a pod. It wasn’t like we were working at all. It was more like two friends meeting for lunch.”

“I was honored to get to sing with one of my idols, Dionne Warwick,” Parton said in a statement. “I have loved her since we were younger and getting to sing with her was one of the highlights of my career. I loved that she loved my song, and I loved singing it with her.”

Parton sent the song to Elliott in hopes that Warwick would be interested in recording it. When she heard it, she was immediately impressed by the lyrics and Parton’s vocals. “She asked if I’d like to do it as a duet. She’s testifying on this song, which she knows how to do,” Warwick tells Billboard of Parton’s fiery gospel delivery. “She felt that I was her voice of choice to do this with. She feels that the world needs it, as I do, and she said, ‘We’ve got a hit song.’ It’s so beautifully written. [These are] beautiful words to sing and I’m truly honored that she asked me to record it.”

Warwick plans to title her upcoming album Songs of Inspiration and is hoping to recruit Kirk Franklin, Donnie McClurkin and some of her other favorite gospel singers to participate in the project. The new album will be Warwick’s first inspirational collection since Why We Sing was released in 2008 on Rhino Records. “It’s so important for this time and so much needed,” Warwick says of releasing the inspirational set. “I don’t know what’s going on with our country.”

Though “Peace Like a River” marks Warwick’s first collaboration with Parton, Elliott recently produced another project involving the country icon when he recruited Dolly for “Gonna Be You,” a Diane Warren song performed by Parton, Cyndi Lauper and Belinda Carlisle featuring Gloria Estefan and Deborah Harry (which comes from the 80 for Brady movie starring Sally Field, Jane Fonda, Rita Moreno and Lily Tomlin). “Diane had this great song that she wrote, and she came to me and said, ‘I’m working on this song for this movie, and I want you to produce it,’” says Elliott, who produced Warren’s Oscar-nominated “Applause” from the film Tell It Like A Woman.

“It was a lot of fun,” Elliott says of working on “Gonna Be You.” “It took me back to when I produced ‘Lady Marmalade’ [with P!nk, Christina Aguilera, Lil’ Kim and Mya for Moulin Rouge!] many moons ago. Working with extraordinary talented artists — in this case living legends — is just something… I can’t put words to it.”

In addition to working on her upcoming inspirational album, Warwick and Elliott are co-executive producers for Hits! The Musical, a 50-city national tour featuring 29 young artists, ages 10 to 22, delivering 80 of America’s most iconic songs. Elliott is currently planning a Las Vegas residency for the show after the tour concludes.

When Elliott first became involved in the musical, he knew it would appeal to Warwick. “I called mom and said, ‘This is probably going to resonate with you,’ because she does stuff to help propel future artists,” he explains.

“Anything that has to do with kids, you’ve got me. Especially if it’s dealing with music, which I think I know a little bit about,” Warwick says with a smile. “It is absolutely phenomenal. The talent is enormous. They take five decades of music. Every time I think about it, I get tongue-tied. It’s something I think everybody should see.”

At 82, Warwick — whose Dionne Warwick: Don’t Make Me Over documentary recently hit HBO Max — shows no signs of slowing down. In addition to the new duet with Parton, touring the country, working on her inspirational album and co-executive producing Hits! The Musical, the five-time Grammy winner (who was honored with the lifetime achievement Grammy in 2019) is considered the “Queen of Twitter.” “After seeing some of the things that were being said on Twitter when I first got involved, [I thought] it’s time for a grownup to be present and let these kids know that there is another way to do all this,” Warwick quips.

She says she has no plans to retire anytime soon. “I’ve got a long, long time just to sit and be doing nothing,” she says. “I’m not ready for that yet.”

Executive Turntable: Spotify Podcast Division Undergoes Re-Org; RCA UK Names Co-Presidents

Max Cutler, Spotify‘s head of audio talk shows and partnerships, is departing to “return to his entrepreneurial roots,” according to the company. His exit is part of a broader reorganization at the streaming company’s podcast division, where Julie McNamara has been appointed to lead licensed exclusives in addition to her oversight of Spotify’s global podcast studios. Additionally, Bryan Thoensen will continue overseeing content partnerships for third-party creators while expanding both those efforts and his team, while Bill Simmons will now report to podcasting head Sahar Elhabashi; in addition to continuing to lead The Ringer, Simmons will partner with vp/global head of ads business & platform Lee Brown on podcast monetization across the Spotify portfolio. No layoffs are connected to these shifts, according to the company.

Stacey Tang and Glyn Aikins were named co-presidents of RCA UK; both have worked at the label since 2018, with Tang most recently serving as executive vp while Aikins was co-president of Sony Music’s Since 93, a label partnership with RCA. Tang was named to Billboard‘s International Power Players list last year.

Robin Godfrey-Cass joined Primary Wave Music to focus on catalog acquisitions for the publishing giant. Godfrey Cass has over 40 years of experience in the music industry, including as managing director at Warner/Chappell Music UK and Round Hill Carlin UK; founder of Crosstown Songs; and co-founder of Perfect Storm, which eventually sold to Reservoir.

Cathy Bauer was appointed to the newly created role of head of physical sales & marketing at ADA Worldwide. In the role, she will manage ADA’s global physical sales and marketing division “with a focus on growing partners’ businesses and establishing efficient and standardized processes,” according to a press release. Bauer will additionally be tasked with identifying growth and innovation opportunities for ADA’s artists and partners, including through direct-to-consumer initiatives. She reports to ADA Worldwide president Cat Kreidich. Bauer joins ADA from ABKCO Music & Records, where she served as vp of sales & marketing for nearly five years.

Concord promoted 12 staff members to vp and senior vp roles across multiple business areas: Carol Boldish to vp of production, Concord Label Group (Nashville); Tom Frank to vp of sync marketing, Concord Label Group (London); David Geer to vp of music & publications, Concord Theatricals (New York); Shane Guitar to vp of operations, Fearless Records (Los Angeles); Randy Linsey to vp of international marketing & sales, Craft Recordings (Los Angeles); Clare Maxwell to vp of marketing, Concord Label Group (London); Elysha Miracle to senior vp of rights data management (Nashville); Meredith O’Leary to vp of sync marketing, Concord Label Group (New York); Gary Paczosa to senior vp of A&R, Rounder Records (Nashville); Stephen Phillips to vp of sync, Concord Music Publishing (London); Kelly Voigt to senior vp of corporate communications (Nashville); and Marty Willard to senior vp of business & legal affairs (remote).

Parlophone Records announced several key promotions and hires, chiefly Jack Melhuish, who has been named GM. He will continue to oversee and develop campaigns for Parlophone’s roster while also taking on wider responsibilities at the label. Additionally, Arina Logacheva, Molly McNulty and Seb Smith have been hired as senior A&R managers while Jason Ngimbi was hired as junior A&R manager. Logacheva joins from Universal Music, McNulty comes from Kobalt Music Publishing, Smith comes from Believe Music and Ngimbi joins from BMG. Lastly, Grace O’Neill was promoted to head of radio while Sam Palm was promoted to head of the newly created insight department, where he will extend the work he’s been doing as streaming head by incorporating more robust audience data.

Marcus Wise was appointed CEO for the European region at Wise Music Group. Previously global head of media, the London-based executive will lead the company’s music publishing and recorded music interests across the continent. Additionally, Dave Holley was named Wise Music Group COO, also based in London.

Alexander Brose, former executive director and CEO of The Tianjin Juilliard School in China, will succeed Dr. Peter Simon as president/CEO of The Royal Conservatory of Music upon Simon’s retirement on Aug. 31, 2024. The transition will begin on Sept. 1, 2023, when Brose will assume the role of president designate and work closely alongside Simon leading up to his departure.

Allison Smith was promoted to vp of promotion at Big Machine/John Varvatos Records; she was previously national director of promotion. In her new role, Smith will continue cultivating relationships between rock radio and the Varvatos imprint’s roster, which includes Badflower, Ayron Jones, Starcrawler, The Struts and Violet Saturn. She can be reached at allison.smith@bmlg.net.

Samantha Steel was named COO at Triple 8 Management, where she will oversee operations, promote a positive company culture and vision and develop solutions for internal communications as well as growth potential for employees and clients. Steel first joined Triple 8 in 2017, when Good Time Inc., where she served as GM, was acquired by the company. She can be reached at Sam@Triple8Mgmt.com.

JukeJoint Foundation, a nonprofit designed to empower women of color in the music business, was launched by Fresh ‘N Sassy Productions and ENCORE Music Tech Solutions founder Janishia Jones out of Los Angeles. Current board members include Live Out L!ve CEO Candace Newman, Exceleration Music head of data strategy Britnee Foreman, Jammcard operations manager Katrina Lee and Mass Appeal head of finance Daphnee Pierre. The Foundation will help women of color forge key professional connections by providing access to music industry events, scholarships to assist in repaying student loan debt and grants to aid the launch of their own music businesses. It plans to open additional chapters in New York, Atlanta and Nashville.

Gail Berger was named senior vp and GM of automotive partnerships at SiriusXM, succeeding Rodney Pickett, who will retire at the end of the month. Reporting to chief commercial officer Joe Verbrugge, Berger will oversee the company’s automotive partnerships, automotive remarketing and automotive field operations teams responsible for growing SiriusXM’s presence in new and used vehicles. Berger, who has been with SiriusXM since 2012, was most recently senior vp of automotive remarketing.

Bryce Sherlow was promoted to A&R manager at Warner Chappell Music in Nashville, while Benji Amaefule was hired in the same role. Amaefule joins from media platform Country Central, where he served as head of artist and label partnerships; he also interviews Nashville artists and writers and reviews new music via his brand TheBenjiChord.

Drive Agency president/CEO Jessy Tolkan was appointed as chairperson of the board of directors at HeadCount, the nonpartisan, nonprofit voter registration organization that harnesses music, culture and digital media to increase voter turnout. She succeeds Peter Shapiro, who recently finished out his four-year term as chair but will keep a seat on the board.

Mary Beth O’Toole launched The Conduit Collaborative, a boutique public relations firm with locations in Los Angeles and Sacramento, Calif. The firm specializes in finding non-traditional pitch angles for clients, ranging from music artists to Washington lobbying firms. It offers a range of PR services, including tour press and red carpet services, and has already worked with the Janis Joplin estate, Universal Music and L.A. Live, among other clients. O’Toole can be reached at info@conduitcollab.com.

Sound Future Foundation, which harnesses the influence of the live event industry to further climate innovation, announced its new board of directors, including board chair Terah Lyons, who previously served as policy advisor to U.S. chief technology officer Megan Smith in President Obama’s Office of Science and Technology Policy and founding executive director of the global nonprofit Partnership on AI. The remainder of the new board includes treasurer Kelci Zile (sustainability partner, Madrona Ventura Labs); secretary Adam Brunner (senior planner & counsel, Wildstar Partners); Brandy Schultz (co-founder/chief marketing officer, Sound Future and founder of Adventure Nannies); Ashley O’Winter (co-founder/COO, Sound Future); Wesley Schultz (songwriter-producer-lead singer of The Lumineers); Sara Full (tour manager); Joe Atamian (senior vp, Wasserman Music); and Alex Bruford (founder/CEO/agent, ATC Live).

ASM Global appointed Leonie Patrick of the San Francisco Travel Association as GM for its San Francisco convention center the Moscone Center. “Her focus will be to actively create an international destination while driving a great value for live meetings and events that drive action within their communities,” said ASM Global executive vp of convention centers Dan Hoffend in a statement.

TAIT — a global group of designers, fabricators, engineers and innovators for live and location-based experiences — promoted Gemma Hodgson to chief commercial officer. Additionally, Jess Chalifoux has joined the company as vp of global business development. Chalifoux reports to Hodgson, who can be reached at gemma.guy@taittowers.com.

Sander Shalinsky was named legal counsel at SRG/ILS Group. In music, Shalinsky is best known for his work with The Weeknd and producer Bob Ezrin, among many other record labels, artists, publishers, managers and music executives.

Singer-songwriter Jewel co-founded Innerworld, a mental health platform that aims to “build the largest community in the metaverse for mental health support,” according to a press release. Jewel will serve as chief strategy officer, while founder Noah Robinson will serve as CEO.

CrossBorderWorks founder/CEO Vickie Nauman joined the advisory board of Web3 company Pixelynx, which develops new formats of music and experiences for the metaverse.

How Lana Del Rey Became ‘Completely Unburdened’ For Her Most Personal Material Yet

Lana Del Rey practices “automatic singing.” Using the improvisational songwriting technique, she lets her voice carry over accompaniments, not commandeering where her words or melodies take her, accepting all ideas she has in the moment and editing them later. Lately, her voice has led her home, back to memories of her childhood in Lake Placid, N.Y., and to ruminations on relationships with her family and the divergent paths they’ve taken.

That subject underpins her upcoming ninth album, Did You Know That There’s a Tunnel Under Ocean Blvd (out March 24). Del Rey, 37, says she hesitantly began to unpack this subject matter with her previous album, Blue Banisters — but now, she’s ready to dig deeper. “At first I was so uncomfortable,” she says of the more personal material. “Then, by the grace of God, I just felt completely unburdened.”

Lana Del Rey photographed on January 27, 2023 at Hollywood Forever Cemetery in Los Angeles.

Lia Clay Miller

As a singer-songwriter, this year’s Visionary honoree has embodied that word for over a decade. Her 2012 major-label debut, Born To Die, made her a star and defined music’s Tumblr era, as a young Del Rey toyed with both the romantic and the darker sides of the American dream. Her “world building,” as she calls it now, for her early work created a collage of beautiful and disparate images, pairing hip-hop aesthetics with references to the Kennedy family, Elvis Presley with John Wayne, and old Hollywood glamour with biker gang grit.

Since then, Del Rey has pushed musical boundaries — seamlessly peppering an album with features from Stevie Nicks to Playboi Carti (2017’s Lust for Life), reworking a Sublime cover into a contemporary Billboard Hot 100 hit (2019’s “Doin’ Time”), for instance — while achieving both critical acclaim and commercial success. She has earned six Grammy nominations and holds the record for most No. 1s on Billboard’s Alternative Albums chart. And somehow, each week, it seems a new song from her vast catalog gains traction on TikTok. (“West Coast” and “How To Disappear” are two recent breakouts.) Younger artists often cite her as an inspiration — including Billie Eilish, whom Del Rey now calls “my girl. It makes me feel comforted that music is going in such a good direction.”

Lana Del Rey photographed on January 27, 2023 at Hollywood Forever Cemetery in Los Angeles.

Lia Clay Miller

Since 2019, you’ve released four albums. Is it fair to say you have more creative energy than ever?

I think it might look like that! It’s funny because I keep telling people, “I haven’t worked in three years,” but really I just haven’t done shows in three years. As soon as I start getting ready for a show, that’s when it feels like work.

How has your process changed since Born To Die came out?

Eleven years ago I wanted it to be so good. Now, I just sing exactly what I’m thinking. I’m thinking a little less big and bombastic. Maybe at some point I can have fun creating a world again, but right now, I would say there’s no world building. This music is about thought processing. It’s very, very wordy. I’m definitely living from the neck up.

Lana Del Rey photographed on January 27, 2023 at Hollywood Forever Cemetery in Los Angeles.

Lia Clay Miller

Can you remember what it felt like creatively when you were just starting out?

I think back to the beginning, being in New York. I would just go to a little deli by Grand Central and all you had to do to sit at the table for hours was buy a black coffee. I remember thinking, “I’m doing it. I’m living it.” It was all very thrilling. I was so psyched back then.

You recently featured on Taylor Swift’s “Snow on the Beach.” What was collaborating with her like?

Well, first of all, I had no idea I was the only feature [on that song]. Had I known, I would have sung the entire second verse like she wanted. My job as a feature on a big artist’s album is to make sure I help add to the production of the song, so I was more focused on the production. She was very adamant that she wanted me to be on the album, and I really liked that song. I thought it was nice to be able to bridge that world, since Jack [Antonoff] and I work together and so do Jack and Taylor.

Who do you consider to be a visionary?

Joan Baez. I sang with her recently. She gave me a challenge: She said, “Go down a little road and look for a left turn and find my house [in Northern California]. If you find it and can play ‘Diamonds and Rust’s’ high harmony, I’ll come to Berkeley with you and sing.” So my sister and I rented a car and searched for the house. I was very nervous. I don’t play guitar that well, but I learned the first three chords and sat across from her, [and when] we stopped playing, she was like, “Great, I’ll see you at Berkeley.”

And another visionary to me is Cat Power. I had heard that she would run offstage when she wasn’t feeling it or just turn her back to the [audience] and keep playing. That’s when I knew I could probably do this.

Lana Del Rey photographed on January 27, 2023 at Hollywood Forever Cemetery in Los Angeles.

Lia Clay Miller

This story will appear in the Feb. 25, 2023, issue of Billboard.