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Snoop Dogg has received sharp criticism for performing at Donald Trump’s inauguration. Harry-O is now defending the MC for participating in the convicted felon’s event.
As spotted on TMZ, the man who is alleged to have provided Suge Knight the seed money to start Death Row Records is coming to the rescue of Snoop Dogg. While Suge Knight has always denied the claim a judge ruled in Harry-O’s favor back in 2005. Born Michael Harris, the former entertainment entrepreneur served almost 33 years in prison for drug charges. In 2021, he received a surprise pardon from then president of the United States, Donald Trump. Since his release, he has worked with Snoop Dogg in relaunching Death Row Records.
In an exclusive interview with TMZ, Harry-O explained Snoop’s appearance at the inauguration wasn’t a political statement but an overall show of support to the now POTUS. “Snoop is a non-political guy. He didn’t want to get mixed into the politics so he kept who he felt should be the president to himself,” he said. “And whoever became the president he wanted to support them.” While this sounds feasible, Harry-O’s portrayal of Snoop isn’t exactly true.
Back in 2017, he appeared in the “Nightfall Remix” video, which featured him doing a mock execution on a clown that had strong resemblance to Donald Trump. In 2018, during an interview with DJ Suss One on SiriusXM, Snoop Dogg didn’t pull any punches with his opinion about both Donald Trump and Kanye West saying “f*** you and f*** him!”
You can see Harry-O discuss Snoop’s appearance below.
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Future is keeping the momentum high in 2024, announcing another project on the way just months after his successful album dropped. The Atlanta rapper took to Instagram, posting a cryptic video with the caption “New Tape OTW,” sparking anticipation among fans. This comes hot on the heels of an impressive string of releases.
Future kicked off 2024 with We Don’t Trust You, his collaborative album with Metro Boomin. The project made waves not only for its hard-hitting beats but also for the infamous track “Like That,” where Kendrick Lamar took shots at the “big three” rap discussion, declaring “it’s only big me.” That song set off a firestorm of diss tracks, intensifying the already heated beef between Kendrick and Drake.
Pluto didn’t stop there. September 2024 saw the release of Mixtape Pluto, which quickly became a fan favorite. With standout tracks like “Plutoski,” “Too Fast,” and “South Of France,” the mixtape was hailed as one of the best projects of the year. The raw energy and innovative sound on Mixtape Pluto only fueled Future’s ever-growing reputation as a dominant force in hip-hop. Now, with a new tape on the horizon, fans are eagerly awaiting what’s next. Will Future keep the fire burning, or is this new project a curveball? Either way, with his track record this year, anticipation is at an all-time high.
The next time you think you hate someone because they seem rude or stand-offish, consider the Kane Brown/Jelly Roll conundrum. In an interview with Taste of Country to promote his new album, The High Road, Brown said the LP’s intense collaboration with Jelly, “Haunted,” came about after the two men reached a detent following years of misunderstanding.
“I heard of him before he had ever gotten in the country industry, because I was hanging out with some other guys that were in the world that Jelly was in. We had the same kinda background,” said Brown of the “Save Me” singer who began his career as an MC. Despite having mutual friends, the two men had never met or talked and Brown said one of his pals confirmed to him that Jelly “hated me.”
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The mutual pal, Taylor Phillips, told Jelly, “‘Nah, man, you don’t know him… he’s really quiet,” Brown said of the misunderstanding that may have been born of his quiet, subdued nature early in his career. So Brown, 31, reached out to Jelly Roll, 40, so they could settle their phantom beef and come together.
“Taylor ended up telling me the story, so I ended up reaching out to Jelly, I was like, ‘Hey buddy, this industry’s crazy. If you ever need to sit down and talk to me, or play COD’ — I play a lot of Call of Duty — ‘You can come and talk to me about it,’” Brown said. Jelly Roll responded, they played some COD and then were fast friends who now “text all the time,” including “random FaceTimes at 3 a.m.”
That peace pact spun forward to their duet on “Haunted,” which chronicles the mind game of seemingly having it all while struggling with crippling depression and dark thoughts.
“That song means more to me now than it ever has and it’s about to come out at the perfect time,” Brown told Billboard about the tune with the plaintive chorus, “‘Cause I’m haunted by the voice in my head/ I’m haunted by the taste of that lead/ I wanted too many times to jump off of the edge/ Thinkin’ I was better off dead.”
The slow-rolling single with skittering drum machine beats mashed against both mens’ drawling vocals is of a piece with Jelly’s frequent lyrical focus on mental health and his battles with substance use. In his recent chat with Billboard, Brown confirmed that the two men don’t just hang now, but they’ve actually developed a real connection.
“Hanging with Jelly is fun, and you never know what he’s going to say — and I’m not a big talker, so it’s cool,” Brown said. “He’s funny and honestly just a comedian. I love what he’s doing. My dad’s been in prison since ’96, so everything Jelly has been doing with prisons, just going and giving them entertainment, kudos to him. He’s a great dude.”
Check out the “Haunted” video here.
ROSÉ and Bruno Mars’ “APT.” becomes the first No. 1 on Billboard’s Pop Airplay chart by an act prominent in K-pop (Korean pop), as it jumps three spots to the top of the latest, Feb. 1-dated survey.
A week earlier, the song surpassed BTS’ “Dynamite,” which peaked at No. 5 on the radio ranking in December 2020, as the highest charting such Pop Airplay hit. “Dynamite” remains the only top five hit on the tally by a K-pop group.
“APT.,” on The Black Label/Atlantic Records, marks the first Pop Airplay chart entry for ROSÉ as a soloist; star K-pop quartet BLACKPINK has charted two tracks (reaching a No. 21 best) with her as a member.
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Mars, meanwhile, earns his 11th Pop Airplay No. 1 — one-upping Justin Bieber for the most among male soloists since the chart began in October 1992. Overall, Taylor Swift boasts a record 13 leaders, followed by Maroon 5, Mars, Katy Perry and Rihanna with 11 each, and Bieber and Ariana Grande with 10 each.
The Pop Airplay chart ranks songs by weekly plays on over 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.
A select five hits by acts prominent in K-pop have climbed to the Pop Airplay top 10, beginning with PSY’s “Gangnam Style” in 2012. That viral smash and “APT.” are the only such songs billed to solo artists. Here’s a recap:
No. 1 (one week to date), “APT.,” ROSÉ & Bruno Mars, Feb. 1, 2025
No. 5, “Dynamite,” BTS, Dec. 19, 2020
No. 7, “Cupid,” Fifty Fifty, Aug. 5, 2023
No. 7, “Butter,” BTS, Aug. 7, 2021
No. 10, “Gangnam Style,” PSY, Oct. 27, 2012
Pop Airplay chart reporter KMVQ (99.7 Now) San Francisco leads all panelists with more than 1,500 plays to date for “APT.,” dating to the single’s Oct. 18 release. WHTZ (Z100) New York, KIIS (102.7 KIIS-FM) Los Angeles and SiriusXM’s Hits 1 and TikTok Radio have also given the song notable exposure.
“APT.” – from ROSÉ’s album rosie, her first apart from BLACKPINK – has ruled the Billboard Global 200 and Billboard Global Excl. U.S. charts for 11 and 12 weeks, respectively. On the Billboard Hot 100, the song holds at its No. 5 high, with ROSÉ having become the first female K-pop artist to have reached the chart’s top five.
All charts dated Feb. 1 will update Tuesday, Jan. 28, on Billboard.com.
An upcoming Michael Jackson biopic is delayed due to a recently-revealed, decades-old legal agreement barring any portrayal of the family of one of his abuse accusers, according to a report by the news site Puck, requiring costly re-shoots of key scenes.
Michael – a musical biopic from director Antoine Fuqua starring Jackson’s nephew Jaafar Jackson in the title role – was delayed in November by studio Lionsgate, pushing the movie’s 2025 release back from April to October. No explanation was offered at the time.
Now, according to the Thursday report by Puck, there’s an answer: Filmmakers have been forced to scrap key portions of the movie because they would potentially violate a legal contract reached with the family of Jordan Chandler, a then-13-year-old boy who accused the superstar singer of molestation in the 1990s.
In the agreement, Jackson’s team reportedly promised not to dramatize the Chandlers in any capacity. That’s a huge problem, according to the report, because the Michael script portrays Jackson as a “naïve victim of the money-grubbing Chandlers” and features a scene of the boy’s father “threatening to leverage his son’s accusations to ‘destroy’ his ex-wife and Jackson’s career.”
A representative for the Jackson estate did not immediately return a request for comment on Friday.
The existence of the agreement with the Chandlers was not disclosed to filmmakers until after shooting was completed on the $150 million film, according to Puck. Estate executor John Branca reportedly informed producers about the problem around the time that the Financial Times reported in September that the estate had paid out hush-money to other accusers in never-before-reported settlements.
The estate is reportedly funding the necessary re-shoots to the movie, and the filmmakers will seek Lionsgate’s approval for a revised script and shooting strategy for “as early as this week.” Lionsgate is reportedly “hopeful” about the October release date and producer Graham King is “confident that his team can fix the movie.”
A source with knowledge of the film’s production told Billboard on Friday that re-shoots are already scheduled and that the movie’s ultimate release is not in jeopardy, but declined to go further into details.
Jackson, who died suddenly in 2009, was never convicted or held legally liable on any accusation of child molestation, but is still dogged by such allegations. Two men, Wade Robson and James Safechuck, continue to claim Jackson sexually abused them as children, spending the last decade pursuing civil lawsuits. And their allegations were amplified in 2019 by HBO docuseries Leaving Neverland, which laid out their claims in disturbing detail.
The Jackson estate has always vehemently denied all such claims, pointing out that the singer was acquitted in a 2005 criminal trial and arguing that his accusers are simply seeking monetary gain from an artist who cannot defend himself because defamation law does not extend to dead individuals.
The allegations have not dampened the value of Jackon’s legacy. Though the estate was nearly $500 million in debt at the time of his death, it has since generated billions from royalties, theatrical productions and other revenue streams – including a recent $600 million deal to sell half of his music catalog to Sony Music.
Billy Ray Cyrus is making his next move following his Inauguration Day performance, with the country star announcing a new album Friday (Jan. 24).
Just four days after he took the stage at the Liberty Ball celebrating Donald Trump’s swearing-in ceremony, the “Achy Breaky Heart” singer revealed in a release that his next LP is slated to arrive at some point this summer. His son Braison served as producer.
“This is art imitating life, imitating art,” Billy Ray said in a statement. “It starts and ends with art. Braison is very talented and ‘25 is his year. I’m glad to be a part of it. This record is gonna be special. I’m gearing up for what will be the journey of a lifetime.”
Braison added, “I’ve spent this past year getting to know my dad better than I ever have.”
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“I’ve heard stories, jokes and songs that I don’t think anyone else has,” the “I’ll Never Leave You” musician continued of working with his father. “It’s an opportunity to tell my dad’s story through music and I’m fortunate to be able to take it. Music, stories and family are the most important things to my dad so to bring the two together is a full circle endeavor.”
Billy Ray shares 30-year-old Braison with ex-wife Tish Cyrus. They are also parents to 37-year-old stepdaughter Brandi and 35-year-old stepson Trace — both of whom the Hannah Montana alum adopted after marrying Tish — as well as 31-year-old daughter Miley and 25-year-old daughter Noah. He’s also Dad to 32-year-old son Christopher, whom he shares with ex-girlfriend Kristin Luckey.
Trace recently spoke out about the country star, whose shaky, technical-difficulty-ridden performance at the president’s inauguration festivities made headlines. “The day you adopted me was the happiest day of my life,” the former Metro Station guitarist wrote on Instagram Wednesday (Jan. 22). “Sadly, the man that I wanted so desperately to be just like I barely recognize now. It seems this world has beaten you down and it’s become obvious to everyone but you.”
“Me and the girls have been genuinely worried about you for years but you’ve pushed all of us away,” he continued. “We are all hanging on to memories of the man we once knew and hoping for the day he returns. You’re not healthy, Dad and everyone is noticing it.”
Billy Ray hasn’t commented on Trace’s words, but the “Old Town Road” artist did speak up after facing criticism for his Inauguration Day showcase. “I wouldn’t have missed the honor of playing this event whether my microphone, guitar and monitors worked or not,” he wrote in an Instagram post Tuesday (Jan. 21). “I was there because President Donald J. Trump invited me … I’ve learned through all these years when the producer says, ‘You’re on,’ you go entertain the folks even if the equipment goes to hell. I was there for the people and we had a blast. That’s called rock n roll!!!”
It’s late January, and Kane Brown is 21 days into crushing his New Year’s resolution — obliterating a long-held nicotine habit.
“Right now, I’m really going through it, because my New Year’s resolution was to stop nicotine, and I’ve been dipping since I was 18,” Brown tells Billboard. “So, 21 days without nicotine and it’s been kind of crazy, especially the last four or five days.”
In conversation, Brown sounds like a fighter in the thick of the battle, but also someone who knows he’s done hard things before.
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After all, this is an artist who overcame childhood hardships, numerous family moves and financial struggles prior to finding musical acclaim. A decade ago, he was working a job at FedEx and posting videos of cover songs on YouTube. He launched his musical career without the aid of a major Nashville label, funding his debut independent EP Closer with a Kickstarter campaign, then watching the album debut at No. 22 on Billboard’s Top Country Albums chart.
He quickly signed with Sony Music Nashville, and in 2017, became the first artist to simultaneously top all five of Billboard’s country charts. To date, the Neon Coast-managed Brown has earned 12 No. 1 Billboard Country Airplay hits, became the first touring artist to play all 29 NBA arenas on a single tour. His boundary-less approach to his music has built a career that has resonated with audiences far beyond the confines of Nashville.
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Brown has often distilled his life story in his songs, such as “Learning,” from his full-length debut album, and his 2023 Country Airplay No. 1 “Thank God,” a romantic collaboration with his wife Katelyn. On his new, 18-song album The High Road, out today on Sony Music Nashville, the Georgia native offers a gripping look into his life now, both the high points and struggles, mixing feel-good songs such as the high-octane “Fiddle in the Band” and the sultry “Gorgeous,” with songs of deep resonance.
Perhaps chief among those songs is Brown’s duet with fellow genre-blurring singer-songwriter Jelly Roll, who joins him on “Haunted,” a song that addresses ongoing struggles with depression.
Of “Haunted,” he notes, “That song means more to me now than it ever has and it’s about to come out at the perfect time,” he says, adding that the support he’s received from Katelyn has been essential. “My wife has been amazing and she’s a hundred percent there for me,” he says, adding his hopes for anyone who hears “Haunted.” “I hope you have somebody like that in your life, and if you don’t, find something to take the depression off your mind, like video games or something like that.”
The song’s serious subject matter falls in line with Jelly Roll’s mission of supporting those who are incarcerated or hurting, a mission Brown supports. “Hanging with Jelly is fun, and you never know what he’s going to say — and I’m not a big talker, so it’s cool,” Brown says. “He’s funny and honestly just a comedian. I love what he’s doing. My dad’s been in prison since ’96, so everything Jelly has been doing with prisons, just going and giving them entertainment, kudos to him. He’s a great dude.”
Elsewhere on The High Road, Brad Paisley plays guitar on the traditional country-minded “Things We Quit,” which features a raw lyricism about pining for things that don’t serve a positive purpose.
As with his previous albums, The High Road reflects Brown’s ability to mirror his generation’s genre-fluid listening preferences, his songs fusing elements of country, rock, pop and dance. The album features six collaborations. He rejoins previous collaborators, teaming again with Khalid for “Rescue” and Marshmello for “Miles on It,” which reached No. 15 on the all-genre Billboard Hot 100 and became the first song to hit the top five on both the Hot Country Songs chart and the Hot Dance/Electronic Songs chart (“Miles on It” spent 36 weeks at the latter chart’s pinnacle). “Miles on It” follows Brown’s previous hit Marshmello collaboration, “One Thing Right.”
“It has definitely surpassed my expectation, but I had a feeling it was going to be a bit song,” Brown said of “Miles on It.” “I remember getting offstage [after a show] and Mello calling me and saying, ‘You ready for part two?’ I listened to it like eight times and at first, I didn’t know, because it went against everything that I don’t like to sing about in country music, which is the trucks and tailgates and it had all those words in it. I’ve run away from those, usually. I showed it to my team and everyone loved it, so Marshmello came to Nashville, came to my house and worked on it in my studio. I’ve heard it everywhere—football games, random people working out to it—and it’s been fun to watch it [grow], especially across the world.”
Building on the success of their 2023 hit “Thank God,” Brown and Katelyn team up again on the smoldering R&B-inflected song “Body Talk” and “Do Us Apart.” Meanwhile, “Backseat Driver,” one of the few songs Brown himself didn’t write for the album, focuses on seeing life from a childlike perspective. Brown and his wife Katelyn are parents to three children, daughters Kingsley and Kodi, and their youngest child, son Krewe, born in June 2024.
Of his new role as a “boy dad,” Brown says, “I love my girls, but it’s just different being boy dad. With my girls, I’m like, ‘They’re so precious.’ Just this morning, seeing him in his little [rolling] chair going across the floor, I was like, ‘He’s fast. He’s going to be an athlete.’ It’s just different.”
He adds that his oldest daughter Kingsley seems to have picked up her parents’ musical inclinations.
“Kingsley can carry a tune. Kodi tries to do everything Kingsley does, but I think Kodi will be more an athlete. Kingsley’s taking piano lessons. If she sticks with it, I think she’s going to be a pretty good piano player.”
The closing song on the album, “When You Forget,” touches on facing another hard situation: helping a family member in their battle with Alzheimer’s Disease. Brown wrote the song for his grandfather.
“It was a crappy thing to get told that my papa was forgetting things,” Brown says. “I remember calling my nana and just asking her everything I could about my papa. I wrote it all down and when I got in the writing room, I told the other writers about my memories of him. I remember getting teary-eyed while I was writing it, so I don’t know if I’ll be able to perform it without crying. But I’m excited for people to hear it and if they are going through it in their family, they can relate to it.”
He calls his grandfather “our family’s rock,” adding, “He made his own work on boats, like big ships to do the oil rigs. Any financial problems my family had, he had ‘em covered. There was never anything in my life that I could say my papa did wrong. Literally a gift from God. He was always on the move, cutting the grass or chopping wood. If I wanted to hang out with him, I was working. When he first taught me to drive, it was on the tractor or the lawnmower.”
Elsewhere, Brown reimagines the 2007 Sugarland song “Stay,” incorporating snipes of the song’s melody and lyrics into a composition he wrote with Gabe Foust and Jaxson Free (Sugarland’s Jennifer Nettles also gets a writing credit on this track).
“That was my mom’s favorite song back in the day,” Brown says of the Sugarland original. “What’s funny is, the two writers I wrote with had not heard the Sugarland version before. I got this feeling like I’ll be showing another new generation this song, and then their parents will be like, ‘Oh, he took it from this song,’ and hopefully they will go back and discover the original ‘Stay,’ which I think is really cool.”
Brown will launch The High Road Tour in March and he’s laser-focused on elevating his live shows and crafting a setlist that envelops his new music alongside his canon of hits.
“Touring is my favorite part of the job,” he says. “We have band rehearsals coming up and I’m not normally part of the band rehearsal, but I’m going to go in and work on ideas that will make me love the show even more. Last year [on tour], we did a lot of up-tempo [songs]. This tour, I want that as well, but we have some really cool acoustic songs, like “When You Forget,” “Stay” and “Backseat Driver.” I think there’s cool stuff we could do with that.”
More than a decade into a career that has seen Brown achieve musical success on his own terms, the goals currently driving his work ethic and ambitions — both professional and personal — seem perhaps akin to those of the grandfather Brown so admires. “I just want to make it where [my family and my kids] have nothing to worry about,” he says. “When people ask about their dad in the future, hopefully someday they’ll say he’s a legend.”
J-Hope thrilled a crowd of 35,000 at Paris’ Le Gala des Piéces Jaunes at La Défense Arena charity gala on Thursday with a three-song set of his solo and group hits. The BTS singer performed at the show led by French First Lady Brigette Macron, who, according to a statement, specially requested he open the event.
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Dressed in billowing black cullotes, a pattered jacket and black leather gloves, the K-pop superstar took the stage after the audience chanted his name as he worked through a set of his solo songs “On the Street” — from 2024’s Hope on the Street Vol. 1 mini-LP — and “More” from his debut solo album, Jack in the Box, as well as the BTS classic “MIC Drop.” The latter two were re-arranged into orchestral pieces, “adding a layer of grandeur and intensity,” according to the statement.
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It noted that the high-point was an energetic run through “MIC Drop,” which reportedly caused the crowd’s energy to skyrocket “as they chanted the track’s official cheer in unison.”
“It’s been such a long time since I performed in Europe, and I’m so happy to have been invited to such a meaningful event,” J-Hope said in the statement. “I’ve once again realized how incredible it is to bring hope and comfort to people through music and dance. I’m beyond grateful to ARMY for their unwavering support, and I’d love to return to perform again whenever I get the chance.”
The show organized by the Opération Pièces Jaunes foundation — which is led by the First Lady, who also chairs the charity – was a fundraiser for hospitalized children and teenagers; the entire show, which also featured sets by Katy Perry, J Balvin, Burna Boy and John Legend, will be broadcast on France’s national channel, France 2, on Tuesday (Jan. 28).
It appeared that the performers were gifted with an oversized croissants, with Perry posting a series of photos and videos in which she cradled and crunched into the comically large pastry.
As BTS fans await the group’s expected return this year after all its members complete their mandatory South Korean military service, J-Hope recently teased “new music on the way” and announced the dates for his upcoming first-ever solo tour, Hope on the Stage, which will kick off in his native Seoul on Feb. 28.
Welcome to Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
We have compiled ways music companies are coming together to support those affected by the wildfires across Los Angeles, plus a running list of organizations offering relief for musicians and music industry professionals, as well as a tally of affected industry events. More coverage here.
There’s been a changing of the guard at Warner Music Hong Kong, where Robin Ch’i has taken over from longtime managing director Gordon Lee, who is retiring after two decades of leadership. He reports to Simon Robson, who oversees Warner Music Group’s APAC recorded business until a permanent leader is named. Ch’i has been with WMG for 15 years, most recently as director of A&R, brand and business. He previously worked at Warner Chappell Music, focusing on artist development and brand strategies. To land a smooth transition, Lee will support Ch’i until the end of March. Under Lee’s tenure, the company has become a major force in the Asian music industry, developing top artists like Janice Vidal, Khalil Fong and MC Cheung Tin-Fu, while achieving 2.5 times revenue growth in the past five years, the company said in its announcement this week. Robson praised Lee’s contributions and expressed confidence in Ch’i’s leadership, emphasizing WMHK’s commitment to supporting artists and driving innovation “in this dynamic industry.”
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“Music has always been a source of magic for me; it’s not just my career, but a passion that enriches my life,” said Lee, who said he personally chose Ch’i as his successor. “I’m grateful to everyone at Warner Music Group, especially my dedicated team, whose support has been invaluable. I also want to thank our artists for their trust, allowing us to help them realize their dreams.”
Meanwhile…
Sid Fohrman, a prominent music industry lawyer, joined Paul Hastings LLP in Los Angeles as a partner and chair of the firm’s music industry practice. Repeatedly recognized by Billboard in our Top Music Lawyers list — we are talkin’ six years running — Fohrman specializes in high-stakes music industry transactions, including catalog sales, music licensing and securitization. He also advises on emerging media business models, artificial intelligence, and global sponsorships. His clients include media companies, music labels, funds, talent, and entrepreneurs, with notable representations for Primary Wave, BMG Rights Management, Warner Music Group, TikTok and HYBE America. Previously leading Willkie Farr & Gallagher LLP’s music and digital media practice, Fohrman enhances Paul Hastings’ entertainment and media platform, co-led by Erik Hyman and Ken Deutsch. Firm chair Frank Lopez praised Fohrman’s ability to handle complex transactions, “including in the dynamic music space” which he said “enhances our top-of-market capabilities for key players at the intersection of technology, media and entertainment.” Lopez added, “There are strong synergies between Sid’s practice and our roster of leading corporate clients as well as an evolving asset class for asset manager clients across many of our practices, including finance, M&A, private equity and funds, which will help us gain further market share.”
Joey Arbagey joined 19 Entertainment as the American Idol producer’s new executive vp of music, overseeing 19 Recordings, 19 Publishing and 19 Management. The music biz veteran is based in Los Angeles and will report to SPT nonfiction president, Eli Holzman, and EVP of production Rachel Dax. Arbagey was most recently the evp of A&R at Epic Records, where he played a pivotal role in the careers of artists including Camila Cabello, John K, Eddie Benjamin, Zara Larsson and AJ Mitchel, among others. During his lengthy tenure at Epic he worked closely with then-CEO L.A. Reid, overseeing a roster that included big names like Travis Scott, Meghan Trainor and Future. Earlier in his career, Arbagey worked in radio in San Francisco and later as vp of A&R at Arista Records and Island Def Jam Music Group. In 2007, he launched Near Records, later rebranded as Arbadel Productions, a consultancy, label, and production company. “We are so glad to bring Joey aboard as we work to evolve our music division to address the needs of artists in the music industry of today,” Holzman and Dax said. “His input will be invaluable as we continue to build the legacy of one of the most iconic institutions in music.”
Sony Music Publishing appointed Tatchara Longprasert as general manager of its new office in Thailand (SMP TH), making it the first international publisher with a dedicated local team in the country. Based in Bangkok, Longprasert will report to Carol Ng, president of Sony Music Publishing Asia. SMP TH aims to collaborate with Thai music industry stakeholders to foster international partnerships and develop opportunities for Thai composers and songwriters. Longprasert will focus on expanding SMP’s reach in Thailand’s growing music market. With over a decade of experience, Longprasert previously served as A&R Director at Sonray Music and held roles at Warner Music Thailand, BEC World PLC and S.M. Entertainment. Ng noted Thailand’s dynamic music scene, stating, “Thailand has a rich tapestry of sounds and stories. As Thai repertoire grows rapidly, more artists seek a dedicated music publishing partner with global networks and expertise. We look forward to supporting talented songwriters in SMP Thailand and sharing their work with the world.”
NASHVILLE NOTES: Kate Vastano joined Sound Talent Group‘s senior management team, focusing on maintaining its strong culture and aligning with future goals. An industry veteran, she brings expertise in recruiting, performance strategies and employee engagement. Vastano previously served as director of HR at The Agency Group and people operations manager at United Talent Agency … Shelby Paul, the director of communications at Big Machine Label Group, has left the company after nearly a decade. She began her journey with Big Machine in 2015 as an intern following her graduation from Central Michigan University and advanced to her director role in 2022. She’s reachable here … Alan Jackson appointed daughter Mattie Jackson as master blender for his Silverbelly whiskey. She has written two books about grief and hosts a podcast, In-Joy Life.
Mom+Pop Music co-owners Thaddeus Rudd and Michael Goldstone announced the launch of Pipes Music, a creative and digital agency that supports both signed and unsigned artists. Pipes offers content creation, social media strategy and management of select artist properties. Goldstone emphasized that Pipes helps artists streamline their creative process while maintaining their unique aesthetic across platforms. In a press release, Rudd highlighted the agency’s flexibility in supporting artistry. Additionally, Sullivan Brock leads the creative team, focusing on content shoots and live performance footage, while Emily Ferrell oversees user-generated content campaigns with assistance from Ella Parent and Shae Hicks. Pipes has successfully executed campaigns for artists like Maya Hawke and Magdalena Bay and is currently working with new Mom+Pop signing Chaparelle.
Cameron Kooklanfar is now an A&R manager at Prescription Songs, where since 2022 he has collaborated with artists such as Hayley May, Bantu, Shae Jacobs, Kevo, Dominique Sanders, Seb (1Mind) and Lourdiz. A standout achievement in the Angeleno’s career was organizing a songwriting camp with Insomniac, which resulted in the globally successful track “Sideways” by Gordo & Drake, co-produced by Bantu. Rhea Pasricha, Head of A&R, West Coast, commended Kooklanfar’s said Kooklanfar’s “tireless work ethic, knowledge across musical genres, and passion for identifying and nurturing the best talent makes him a great A&R.”
Concord elevated Megan Hall to senior vice president of business and legal affairs for Concord Music Publishing. Based in London, Hall will lead Concord’s UK legal team, oversee the global sub-publishing network, and manage the company’s relationship with digital licensing agent ICE. She’ll also work closely with svp Michelle Brown to support Concord’s songwriters on business affairs matters, while reporting to evp Duff Berschback. Hall brings over 20 years of legal expertise, with priors at DMH Stallard, Ministry of Sound and Sony Music Publishing. She joined Imagem Music in 2013 and transitioned to Concord following its acquisition of Imagem in 2017. Hall is also an active member of PRS’s Licensing Committee Advisory Group and the International Confederation of Music Publishers’ Legal Expert Group. Berschback praised Hall’s deep knowledge of the global music publishing environment, while chief publishing officer Jim Selby emphasized her strong connections. “As the Publishing division continues to grow globally, I know that Concord and the songwriters we represent will continue to be well served by Megan,” said Selby. “Her proficiency in legal matters and her deep roots in the music publishing community make her a great fit for this role.”
Phil Kano, a veteran rock promotion executive, has launched KILPHASO CONSULTING, focusing on promotion, marketing, and artist development. His first client is In De Goot Entertainment, where he will serve as an in-house consultant for projects involving Shinedown, Halestorm, Theory Of A Deadman, Black Stone Cherry, and Zero 9:36. Kano previously held the position of senior VP of rock promotion at Elektra Music Group and clocked over 25 years of experience with Roadrunner, Fueled By Ramen, Atlantic, 300 and Elektra, plus an early-career stint in RCA’s promo department. Phil can be reached here.
BOARD SHORTS: Cumulus Media appointed Steven M. Galbraith to its board of directors. A major shareholder of Cumulus, Galbraith brings extensive financial expertise, having held key roles at Kindred Capital Advisors, Herring Creek Capital, Maverick Capital, and Morgan Stanley. He has also taught securities analysis at Columbia University Business School and advised the Office of Financial Research. Beyond finance, Galbraith is active in non-profits, serving on boards for Tufts University, Success Academy Charter Schools and the National Constitution Center, and he holds positions on several corporate boards … The Library of American Broadcasting Foundation (LABF) elected four new board members: Heather Cohen, Mike McVay, Sam Bush and Ernesto Mourelo. The LABF Executive Committee re-elected Gary Chapman, Mary Collins, Jack Goodman, David Kennedy, and Ginny Hubbard for two-year terms, with Dave “Chachi” Denes joining the committee. Additionally, the LABF Board elected Heather Birks, Mike Carter, Chandra Clark, Harry Jessell, Deborah Parenti, Walter Podrazik, Dan Spears, John Taylor, Joyce Tudryn, and Dennis Wharton to new three-year terms.
Collin Citron, a seasoned music publicist, joined 2b Entertainment, the PR team led by Bobbie Gale and Luke Burland in Los Angeles. Previously, Citron was senior director of publicity at Elektra Records since 2018, where he managed national publicity campaigns for artists like Bailey Zimmerman, Panic! At The Disco, All Time Low, NEEDTOBREATHE and Fitz and The Tantrums. This new role marks a return for Citron, who began his career in 2014 with BB GUN Press, which merged with MixedMediaWorks in 2023 to form 2b Entertainment.
The New York Convention Center Operating Cooperation announced Joyce Leveston as the new CEO of the Jacob K. Javits Convention Center, effective March 10. Leveston, who brings over 30 years of industry experience, was previously the senior vp of convention centers at Oak View Group, overseeing 60-plus convention and conference centers in the company’s OVG360 portfolio. She has held senior roles at major convention centers across the U.S. and managed high-profile events like the Super Bowl fan fests and presidential inaugural balls. Hugh Carey, vice chair of NYCCOC, praised Leveston’s vision and passion, adding, “her leadership will not only inspire our team but will also enhance the experience for all who walk through our doors.”
ASM Global promoted Ryan Golden to GM of Pechanga Arena San Diego, a 14,000-capacity venue. Golden will oversee all aspects of daily operations, including purchasing, booking, marketing, finance, human resources, food and beverage, box office, production, maintenance, parking, security and emergency management. Golden has been with Pechanga Arena for four years as assistant GM to outgoing GM Steve Eckerson, who will transition to a part-time advisory role. Prior to joining ASM Global, Golden’s experience included a vp of events role for AEG’s Microsoft Theater and L.A. LIVE.
ICYMI:
Manu Ferradas
BMG named Johannes von Schwarzkopf as chief strategy officer and executive board member, overseeing global strategy, M&A and global licensing and synch operations at the Berlin-based music giant … Longtime rock and punk promoter John Reese and author Craig Duswalt joined forces to launch the Disrupt Artist Management Network (DAMN!) … and Manuela Ferradas joined SiriusXM in a senior role to oversee the Latin artist and industry relations team for SiriusXM and Pandora.
Last Week’s Turntable: Concord Forms New Digital Division
Current Grammy nominees Benson Boone, Billie Eilish, Chappell Roan, Charli XCX, Doechii, RAYE, Sabrina Carpenter, Shakira, and Teddy Swims are the first performers announced for the 67th Annual Grammy Awards. Additional performers will be announced in the coming days. Live from Crypto.com Arena in Los Angeles and hosted by Trevor Noah, the show will be […]