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Publishing Briefs: Zaytoven Sells Catalog; SOFI TUKKER Extends With Third Side

Ultra International Music Publishing (UIMP) has acquired the catalog of Grammy-winning songwriter and producer Zaytoven. In addition, the hitmaker — whose catalog includes tracks by Migos, Drake, 21 Savage, and more — has signed a co-publishing agreement with Ultra to further foster his career moving forward.
Yonatan Watts has signed a worldwide publishing deal with Position Music and Tommy “TB Hits” Brown‘s Chapagne Therapy Music Group (CTMG). A Grammy-nominated hitmater, Watts has already penned hits for Chris Brown, Ariana Grande, Ari Lennox, Coi Leray and more, including “main thing” by Grande which he co-wrote alongside Brown for the singer’s album Positions.
SOFI TUKKER has extended their publishing deal with Third Side Music. The independent publisher will continue to act as the administrator of the electronic pop group’s catalog, as they have since 2017. “Signing with [Third Side] has been one of the best decisions we’ve made in our career,” says SOFI TUKKER about extending their deal.
Warner Chappell Production Music has expanded its operations into São Paulo, Brazil. Helmed by Renato Moraes, the WCPM team in Brazil will focus on building out a local repertoire of music and service Brazil’s film, tv, radio and advertising clients with custom music services and a wide-reaching catalog of songs and sound design. Moraes will reported to Sinéad Hartmann, vp of licensing and music creative.
Ocha Media Inc. has launched its new publishing administration and music synchronization service, Ocha Publishing. The new company will focus on aiding underground house music — including afro house, deep house, soulful house, techno and other subgenres — makers and will help the genre reach music supervisors, producers and creative directors. Its first signing is Osunlade’s Yoruba Records.
Sony Music Publishing Nashville and Droptine have jointly signed country hitmakers Russell Sutton and Tommy Karlas to global publishing deals. Sutton got his start as part of Grassroots Revival, and as a songwriter he has made cuts with Elvie Shane, Drew Green, and Nate Smith. Karlas has written songs for Blake Shelton, Warren Zeiders, Old Dominion, Randy Travis, and Montgomery Gentry.
Shirin David, one of Germany’s most popular female hip hop artists, has signed a deal with Warner Chappell Music. Natascha Augustin, vp of a&r, Warner Chappell Music Germany, adds, “Warner Chappell Music is known for its diverse roster, and we’re delighted to welcome Shirin who has been pushing boundaries as a female hip-hop artist.”
Peermusic U.K. has signed The Reytons to an exclusive global publishing deal via their joint venture with Max Music Publishing. The British indie rock outfit comprises of Jonny Yerrell, Lee Holland, Joe O’Brien, and Jamie Todd, and their new deal arrives on the heels of their record What’s Rock and Roll, reaching a new U.K. chart high.
Warner Chappell and Truth or Dare Publishing have signed country singer/songwriter Abbey Cone to a joint publishing deal. A CMT Next Women of Country inductee, Cone released her debut EP, Hate Me, last year. In 2023, she will perform at Stagecoach.
On Jan. 29, the Brooklyn Variety Ramble debuted in New York City. The city’s first ongoing music variety show showcasing country, bluegrass, Americana, American Roots and more, Brooklyn Variety Ramble series, hosted by comedian Ali Clayton, will also hold shows on Feb. 26, March 26, April 30, May 28, and June 25. Tickets are available for purchase online.
Taylor Hawkins’ Son, Shane, Won the 2022 Drumeo Award For Performance of the Year

If you saw Taylor Hawkins’ 17-year-old son crush the Foo Fighter‘s “My Hero” at September’s all-star tribute concert to his late father at Wembley Stadium (and a few weeks later at Kia Forum in Los Angeles), then you know the high schooler has some daunting drum skills.
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Now Shane has some hardware to prove it. At January’s 2022 percussion-focused Drumeo Awards, Hawkins took home the Drum Performance of the Year honors. “The winner of this award put on a legendary, must-watch performance during 2022, either with a full band at an event or in a solo studio video,” read the description of the prize.
“16-year-old Shane Hawkins did just that, pouring his heart and soul into a live performance of ‘My Hero’ at a tribute concert dedicated to his late father and Foo Fighters drummer, Taylor Hawkins. It touched millions of people and showed how much love, energy, and spirit can come out on the drum kit.”
The performances — which also included “I’ll Stick Around” at the L.A. show — touched hearts and blew minds across the globe thanks to Hawkins’ furious skills and the emotional resonance of watching the second-generation drummer channel the vibrancy and joy of his beloved dad; Taylor Hawkins, 50, was found dead in his hotel room in Bogotá, Colombia on the eve of the Foos’ planned headlining set at the Festival Estéreo Picnic.
In addition to veteran timekeepers Josh Freese, Omar Hakim and Travis Barker, the Foos were joined by a number of other drummers at the shows, including teen sensation Nandi Bushell and another amazing second generation skinsman, the Darkness’ Rufus Taylor. Introducing Shane at the London show, Foos singer/guitarist Dave Grohl said, “I don’t think I’ve ever seen anyone hit the drums as hard as this person … He’s a member of our family, and he needs to be here tonight with all of us.” A photo of Hawkins with Shane was shown on a big screen before the teen thrashed the kit for a moving “My Hero.”
Among the other winners at last month’s Drumeo’s (you can watch the whole thing here) were the Red Hot Chili Peppers’ Chad Smith (drummer of the year), Slipknot’s Jay Weinberg (drum recording of the year), Harry Styles live drummer Sarah Jones (pop drummer of the year), Terri Lyne Carrington (jazz drummer of the year), Fred Eltringham (country drummer of the year), Giulliana Merello (R&B/hip-hop drummer of the year), Nate Smith (soul/funk drummer of the year),Travis Barker (rock drummer of the year) and Genesis’ Phil Collins, who took home the prestigious lifetime achievement Buddy Rich Award.
Relive Shane Hawkins’ performance below.
Doja Cat, Lil Nas X, Glass Animals & More Earn iHeartRadio Titanium Awards for 1 Billion Spins
These 12 radio mainstays have all earned iHeartRadio Titanium Awards for their songs that reached 1 billion spins across iHeart stations in 2022, Billboard can exclusively reveal.
iHeartMedia revealed the Titanium Award-winning songs on Thursday (Feb. 2), including Adele‘s “Easy on Me”; Ava Max‘s “Kings & Queens”; Drake‘s “Laugh Now Cry Later,” featuring Lil Durk; Doja Cat‘s “Need to Know”; Ed Sheeran‘s “Bad Habits”; Glass Animals‘ “Heat Waves”; Harry Styles‘ “As It Was”; Justin Bieber‘s “Ghost”; Lil Nas X‘s “THATS WHAT I WANT” as well as “Industry Baby,” featuring Jack Harlow; and late rapper Pop Smoke‘s “What You Know Bout Love.”
In a video celebrating her Titanium Award, Doja Cat expressed gratitude for her fans who have been supporting “Need to Know” — a Billboard Hot 100 top 10 hit — and the rest of her 2021 album, Planet Her. “I wanted to thank all of my fans and all of the team at iHeartRadio for this award. I have earned 1 billion total iHeartRadio audience spins for ‘Need to Know,’” she shared in the selfie-style clip. “That’s one of my favorite songs, so I like that we’re all on the same page here. But, seriously, I’m very thankful and I’m glad that you guys are are enjoying what’s going on, and I have more coming.”
Doja Cat previously won a Titanium Award for her 2021 SZA collaboration “Kiss Me More.”
Glass Animals frontman Dave Bayley also shared a selfie reaction video, thanking iHeart and all the listeners for bringing the song around the world. “I’m sure you all know that this song came out in the pandemic,” he says in the video. “It was a time when we were all trapped here on this little island in the U.K. and we couldn’t travel anywhere, but you guys allowed this song to travel. You did the traveling for us. And I can’t thank you enough. This song is so personal to me. It’s like my favorite child.”
“Heat Waves” spent five weeks at No. 1 on the Hot 100 and is the longest-charting hit in the Hot 100‘s 64-year history, surpassing the 90-week run of The Weeknd’s “Blinding Lights” in October.
“This is a really heavy award — which means all the listens are all in here,” Ava Max jokes in her reaction video, marveling at the “insane” number of 1 billion spins. Max’s “Kings & Queens” was a top 20 hit on the Hot 100, peaking at No. 13.
Total audience spins for the iHeartRadio Titanium Awards are based on Mediabase airplay and are multiplied by the number of persons listening to the radio at the time of those plays, delivering total audience impressions, which is the broadcast equivalent of the number of streams on a streaming service.
Artists who received Titanium Awards in 2022 included Olivia Rodrigo for “good 4 u,” The Weeknd for “Save Your Tears,” Lil Nas X for “Montero (Call Me by Your Name),” and The Kid LAROI & Justin Bieber for “Stay.”
Sheryl Crow Is ‘BLOWN AWAY’ By Her 2023 Rock and Roll Hall of Fame Nomination

Sheryl Crow had no words for her excitement about being on the list of 2023 nominees for the Rock and Roll Hall of Fame. Okay, she had a few. “I am BLOWN AWAY by the nomination,” the singer tweeted Wednesday night (Feb. 1). “It really means so much to me. Thank for your support, and for being a part of the voting process! Love you all! [heart emoji],” she added.
Crow joined an eclectic list of nominees for the Hall of Fame’s Class of 2023, including: Art rock auteur Kate Bush; hip-hop iconoclast Missy Elliott; metal legends Iron Maiden; post-punk-turned-dance-rock pioneers Joy Division/New Order; eccentric pop icon Cyndi Lauper; pop titan George Michael; country GOAT Willie Nelson; rap-metal firebrands Rage Against the Machine; grunge trailblazers Soundgarden; soul vocal pros The Spinners; alt hip-hop progenitors A Tribe Called Quest; garage blues revivalists The White Stripes; and caustic singer-songwriter Warren Zevon.
The rootsy rocker joins other first-time nominees Elliot, Joy Division/New Order, Lauper, Michael, Nelson, the Stripes and Zevon. To be eligible for the RRHOF, an artist’s first commercial release must have come out at least 25 years prior to the nomination year.
After starting her career as a backup singer on Michael Jackson’s Bad tour in 1987 and recoding backing vocals for everyone from Jimmy Buffett to Stevie Wonder, Crow dropped her smash Grammy-winning 1994 debut Tuesday Night Music Club, which spawned the hits “Leaving Las Vegas,” “All I Wanna Do,” “Strong Enough” and “Can’t Cry Anymore.” Her self-titled 1996 follow-up continued the hot streak, landing more Grammy wins for the single “If It Makes You Happy,” and spawning the radio staples “A Change Would Do You Good” and “Everyday Is a Winding Road.”
Inductees will be revealed in May, with the induction ceremony taking place this fall. The top five artists selected through fan voting will be tallied along with the ballots from the Rock Hall’s international voting body to determine the Class of 2023. Fans can vote online every day through April 28 at vote.rockhall.com or IRL at the Rock & Roll Hall of Fame Museum in Cleveland.
Check out Crow’s tweet below.
P!nk Reveals ‘Trustfall’ Tracklist, Featuring First Aid Kit, Lumineers and Chris Stapleton

P!nk is bringing some friends along on her upcoming ninth album, Trustfall. On Wednesday (Feb. 1) the singer excitedly revealed the tracklist for the 13-song collection, which she said will feature guest spots from First Aid Kit, The Lumineers and Chris Stapleton.
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“I am so in love with this new album and CANNOT WAIT for you to hear every single song! I’m also honored that my friends @FirstAidKitBand, @thelumineers and @ChrisStapleton came to play with me on this record,” she tweeted. According to the run-down she shared, in addition to the singles “Never Gonna Not Dance Again” and the title track, the Lumineers lend a hand on “Long Way to Go,” First Aid Kit join her on “Kids in Love” and Stapleton helps to close things out with final track “Just Say I’m Sorry.”
A number of arenas around the U.S. got in on the tracklist news by posting images of the album cover, as well as a 1-888-262-PINK hotline that features the singer teasing “another announcement” on the day of the album’s release. Though she doesn’t offer any hints, P!nk does encourage fans to “stay tuned.”
Last week, P!nk dropped the dramatic video for the title track, a dance-heavy clip that leans into the song’s lyrics about matching fear with hope. P!nk has also announced the dates for her massive 21-city “Summer Carnival 2023” stadium tour featuring Brandi Carlile and new Rock and Roll Hall of Famers Pat Benatar & Neil Girlado on select dates and Grouplove and KidCutUp on all the shows.
Check out P!nk’s tweets below.
When @Pink asks you to help her reveal her album tracklist…you say YES! Don’t miss “Hate Me” from her brand new album TRUSTFALL, out 2/17! Call 1-888-262-PINK for a little message from @Pink herself! pic.twitter.com/BvijMesjdI
— KFC Yum! Center (@kfc_yumcenter) February 1, 2023
“Our Song” is our personal favorite track from @pink’s album TRUSTFALL! Can’t wait for everyone to hear it on 2/17 ? Call 1-888-262-PINK for more news coming soon! pic.twitter.com/ELVgECFZCI
— Tacoma Dome (@TacomaDome) February 1, 2023
Hey Denver! Stop by Ball Arena for a special message from @Pink ? Her new song “Feel Something” is on her upcoming album TRUSTFALL, available 2/17! Call 1-888-262-PINK for more big news! pic.twitter.com/o9YMH7Nm9K
— Ball Arena (@BallArenaDenver) February 1, 2023
When @Pink asks you to help her reveal her album tracklist…you say YES! Don’t miss “Hate Me” from her brand new album TRUSTFALL, out 2/17! Call 1-888-262-PINK for a little message from @Pink herself! pic.twitter.com/BvijMesjdI
— KFC Yum! Center (@kfc_yumcenter) February 1, 2023
.@PINK is back! Her upcoming album TRUSTFALL includes “Last Call” (and it’s so good!)! See you on album release day, 2/17! Call 1-888-262-PINK for more big news! ? pic.twitter.com/riaaJyMBDA
— Rocket Mortgage FieldHouse (@RMFieldHouse) February 1, 2023
Montréal! Rencontrez-nous à l’extérieur du Centre Bell et prenez une photo de @pink! “Runaway” est notre chanson préférée de son tout nouvel album, TRUSTFALL, disponible le 17/02. Appelez le 1-888-262-PINK pour les grandes mises à jour ! ? pic.twitter.com/UsDdu3ODkh
— Centre Bell (@CentreBell) February 1, 2023
Smashing Pumpkins’ ‘The World Is A Vampire’ Fest Is Heading Down Under

Smashing Pumpkins will rock Australia this April for a 10-date festival run, dubbed The World Is A Vampire and featuring touring buddies Jane’s Addiction.
Takings its name from the opening line of “Bullet with Butterfly Wings,” from the Pumpkins’ Grammy Award-winning third studio LP Mellon Collie and the Infinite Sadness, Vampire is the brainchild of founder and frontman Billy Corgan.
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Set to kick off April 15 at Stuart Park, Wollongong, Vampire criss-crosses four state and comes to a halt April 30 at Broadwater Parklands, on the Gold Coast.
The trek reunites Smashing Pumpkins and Jane’s Addiction, which joined forces for a major U.S. tour in 2022, Spirits on Fire.
Also on the bill are ARIA Award-winning punk rock heroes Amyl And The Sniffers, alongside Sydney rockers RedHook and seven-piece guitar band Battlesnake, plus local acts.
The alternative music fest promises a break from traditional programming by pitching wrestling matches from Corgan’s NWA (National Wrestling Alliance) with WAOA (Wrestling Alliance of Australia) as part the daily activities.
One World Entertainment is producing the Australian jaunt. General tickets are released midday local time on Friday (Feb. 3).
The World Is A Vampire Festival 2023 Australia tour dates:
April 15 — Stuart Park, Wollongong NSW
April 16 — Sandstone Point, Bribie Island QLD
April 18 — Hordern Pavilion, Sydney NSW *
April 19 — Newcastle Entertainment Centre NSW *
April 22 — Hastings Foreshore, Mornington Peninsula VIC
April 23 — Kryal Castle, Ballarat VIC
April 26 — Adelaide Entertainment Centre SA *
April 27 — PICA, Port Melbourne VIC *
April 29 — Nepean Aerospace Park – Penrith NSW
April 30 — Broadwater Parklands, Gold Coast QLD
Sony Music’s Quarterly Revenue Hit $2.6 Billion on Streaming and Publishing Gains

Harry Styles, Mariah Carey and big streaming gains helped Sony Music Entertainment finish 2022 with a bang. Styles’ album Harry’s House and Carey’s typically strong holiday performance drove SME’s revenues up 22.9% to 363.7 billion yen ($2.57 billion at quarter’s average exchange rate) in its fiscal third quarter ended Dec. 31, 2022.
Styles’ 2022 release Harry’s House and 2019 album Fine Lines were among SME’s top performing titles of the quarter. Carey’s “All I Want for Christmas is You” topped the U.S. Hot 100 chart for four weeks (chart dates of Dec. 17, Dec. 24, Dec. 31 and Jan. 7). The company also pointed to strong sales and streams by Steve Lacy’s Gemini Rights, SZA’s SOS, Future’s I Never Liked You, Chris Brown’s Indigo, Beyonce’s Renaissance and Bruce Springsteen’s Only the Strong Survive.
Quarterly operating income improved 14.3% to 63 billion yen ($445 million). Adjusted earnings before interest, taxes, depreciation and amortization were 80 billion yen ($565 million).
The recorded music division’s revenues improved 30.1% to 239 billion yen ($1.69 billion). Streaming revenue grew 33.2% to 159.1 billion yen ($1.12 billion) and accounted for 66.6% of recorded music revenue, up from 65% in the prior-year period. Download revenue, up 14.3%, accounted for just 4.7% of digital revenues compared to 5.5% a year earlier. Physical sales declined 6% to 31.1 billion yen ($219.1 million) and accounted for 13% of total recorded music revenue, down from 18%.
Publishing revenues increased 42.9% to 74.2 billion yen ($523.4 million) in the quarter. Within publishing, streaming revenue improved 59.8% to 41.6 billion yen ($293.3 million). Streaming’s share of publishing revenue grew to 56% from 50.1% in the prior-year period. Other publishing income rose 25.9% to 32.6 billion yen ($230.1 million).
Excluding foreign exchange and the visual media and platform segment, SME’s recorded music and publishing divisions grew 10% in the quarter. That is a smaller improvement because changes in foreign exchange rates helped SME’s yen-denominated results. From the end of 2021 to 2022, the value of the yen declined against the three main foreign currencies: -10% against the U.S. dollar, -6.9% against the euro and -1.8% against the pound.
The visual media and platform segment was a drag on earnings due to lower anime sales, however. The segment’s revenue fell 16.3% to 47.4 billion yen ($334.7 million).
Looking ahead, the company maintained its forecast for full-year revenue at 1.37 billion yen (approximately $9.7 billion) at operating income at 265 billion yen (approximately $1.87 billion).
No Stories, No Surrender: Bruce Springsteen Makes Up for Lost Time With Searing, ‘Letter to You’-Heavy Tampa Tour Kickoff

Bruce Springsteen might be tired of talking. Between two runs of his narrative-heavy Springsteen on Broadway residency and eight episodes of his Renegades: Born in the USA podcast co-hosted with former president Barack Obama, Springsteen had been doing a lot of gabbing in the six years since he last hit the road with longtime backing outfit The E Street Band. But if Wednesday night’s (Feb. 1) opener to the group’s 2023 Tour is any indication, story time is over: The Boss is back, and he just wants to play.
In fact, for the great majority of the show at Tampa’s Amalie Arena, the only thing Springsteen had to say — outside of the occasional “TAMPA!” holler or stage direction for his 19-piece band — was “one, two, three, four!” as he introduced their next ripper. No mention was made of the relatively long layoff since their last global trek, nor of any of the real-world circumstances that might’ve accounted for a couple of those dormant years, nor even of the fact that this was their first show back; if you’d wandered in from across the street, you’d likely assume they had already been on the road for months already.
But in many ways, that’s just Bruce Springsteen and the E Street Band. They may be rock history’s most successful bar band, but they still have that working man’s approach to the gig — and priority one of Wednesday’s show was demonstrating that they were back in business, and picking right up where they left off. The group was cooking from the opener, Born in the U.S.A. fist-pumping fan-favorite “No Surrender,” and the energy stayed at that level close to throughout the 28-song set. No time for putting on airs; there was six years’ worth of rocking to catch up on.
The setlist also reflected this ethos, with the spirit of the selections being far more side two of The River than side four. (Only one song actually from The River, the boisterous rave-up “Out in the Street,” made the cut; presumably Springsteen figured we got our fill of that double LP the last time out.) Renditions of longtime live staples like “Prove It All Night,” “She’s the One” and “Johnny 99” were positively scorching — and though the show’s setlist was relatively light on major curveballs, longtime fans in attendance were no doubt please to hear the extended shine given to jammier early cuts “The E Street Shuffle” and “Kitty’s Back,” Springsteen even conducting the brass section in individual solos on the latter.
And the man himself remains a physical marvel. His voice is obviously still mighty, but you might’ve wondered if age and time off would result in Springsteen, now 73, appearing visibly diminished. But he still shows a wiry, near-pugilistic scrappiness onstage — perhaps a little stiffer in movement, but no less authoritative and striking for it. Among his classic rock peers, perhaps only Stevie Nicks can compare in terms of the amount electricity they can summon to this day simply by lifting their arms. (Bruce’s years might show most in his sense of humor, including on-stage banter with sideman Stevie Van Zandt during the ending of “Glory Days” about it being “time for us to go home… it’s way past my normal bedtime.”)
The show also aimed to demonstrate that Springsteen still has it as a songwriter, with a whopping six tracks pulled from his 2020 LP Letter to You. (Last year’s Only the Strong Survive cover set got a quick two-song mini-set, while 2019’s dustier group of originals Western Stars was not represented at all.) The new songs meshed surprisingly well with the old — particularly the anthemic “Ghosts,” which already sounds like it should’ve been a live fixture for decades — with the repetitive “House of a Thousand Guitars” the lone selection where you could feel the energy lag a bit. The evening’s most emotionally charged moment might’ve come with Springsteen’s spellbinding solo acoustic performance of Letter ballad “Last Man Standing,” preceded by his lone preamble of the evening — which explained the song as being inspired by the death of an early bandmate, leaving him the lone living member of his first-ever band. “At 15, it’s all tomorrows… at 73, it’s a whole lot of yesterdays,” he summarized, to roaring audience support. “So you gotta make the most of right now.”
It certainly felt like the band made the most of their time in Tampa — particularly once they started blazing through a show-ending run of classics like “Born to Run,” “Rosalita (Come Out Tonight)” and “Dancing in the Dark,” with Springsteen even mimicking his famous dance moves from the latter’s music video. The “Dark” performance also included a rare miscue for the band, as someone came early with the chord changes in the first verse — a foible that came off as more charming than anything, especially with the rest of the group visibly shrugging to themselves and one another, eh whaddya gonna do, it’s opening night, lotta tour still ahead.
The final number was a second Letter to You acoustic rendition, this time of “I’ll See You in My Dreams,” which Springsteen also used to close Springsteen on Broadway in 2021. Dedicating the song to Emily Rose Marcus — the recently deceased daughter of rock critic Greil Marcus — Springsteen’s hushed performance was a thoroughly heartbreaking closer. But as he walked offstage at 10:43 ET, seemingly with time still left for an epic encore (“Thunder Road” perhaps?) the crowd continued buzzing expectantly for a couple minutes — until the house lights came on, confirming that The Boss was indeed checking out. He had said all he needed to say for the night.
Setlist:
No Surrender
Ghosts
Prove It All Night
Letter to You
Promised Land
Out in the Street
Candy’s Room
Kitty’s Back
Brilliant Disguise
Nightshift
Don’t Play That Song
The E Street Shuffle
Johnny 99
Last Man Standing
House of a Thousand Guitars
Backstreets
Because the Night
She’s the One
Wrecking Ball
The Rising
Badlands
Encore:
Burning Train
Born To Run
Rosalita (Come Out Tonight)
Glory Days
Dancing in the Dark
Tenth Avenue Freeze-Out
I’ll See You in My Dreams
Warren Zevon’s Posthumous Rock Hall Nomination Was a Teary Family Celebration
Warren Zevon’s daughter Ariel says that “tears came to my eyes” when she learned that her father was finally nominated for the Rock and Roll Hall of Fame. But she and her brother Jordan were all smiles as they discussed the nod with Billboard via Zoom on Wednesday (Feb. 1).
The consideration has been a long time coming. Zevon — who died in 2003 at the age of 56 from mesothelioma, a type of cancer — has been eligible since the mid-90s, and his exclusion from the ballot has been among the most controversial through the years. Social media groups were started to protest and also promote a nomination — echoing good friend and early producer Jackson Browne, who once told Billboard, “Why the fuck isn’t he in there? Come-on!”
Most recently it was revealed that Billy Joel wrote a letter to the Rock Hall in praise and support of Zevon.
And there were huzzahs from many corners of the music world when the nomination was formally announced on Wednesday morning.
Zevon’s legacy certainly merits the celebration. He left 15 studio albums — including The Wind, recorded after his terminal diagnosis. It won Grammy Awards — Zevon’s first — for best contemporary folk album and best rock performance from the track “Disorder in the House,” featuring Bruce Springsteen. Linda Ronstadt, Bob Dylan and Browne are just a couple of the artists who have covered Zevon’s songs over the years. And former manager/producer Andrew Slater is moving forward with a family-approved documentary.
Both of Zevon’s children have followed in their father’s footsteps and released music of their own. Jordan, who resides in Los Angeles, contributed tracks to the tribute albums Enjoy Every Sandwich and Hurry Home Early, and Ariel, who’s in Vermont, also has acting credits in Silence & Darkness, My Little Assassin and TV’s ER. And while they’re not getting ahead of themselves, both are happy that their father’s finally getting this long-awaited opportunity…
Billboard: How are you feeling about the nomination?
Jordan: I’m excited. I had to wake up at 4.50 in the morning to get the news firsthand, so I’m very caffeinated and possibly a little dizzy, but I’m excited.
Ariel: When I first saw it, tears came to my eyes first and then sort of the shock of it being 20 years later since he passed away. It feels definitely, like, significant. I don’t pay much attention to any of this type of stuff; I’ve removed myself from the whole business aspect of it. But it feels like a significant moment for the Zevon family.
How would he have felt about it?
Jordan: There’s this misconception that dad wouldn’t have cared. I think maybe, to be blunt, the later records didn’t sell a million copies; that didn’t mean he hated the industry. It just meant he was on the fringes because he wasn’t Britney Spears. But he wouldn’t have been, like, “Who cares about that?” It’d be like, “Hey Johnny, hey Ariel, guess what?!” It would have been, “It’s a big deal.” It was his business. He wanted to be good at it. You want to win, you know, best plumber of the year. (laughs)
He’s been on so many lists over the years of someone who’s nomination was overdue. Did you feel that way as well?
Jordan: I’ve respected the choices that they’ve made. It’s been such a broad range of people that I kind of didn’t think it would happen. I thought he was worthy of it, but it seemed like there were so many boxes they were trying to check that getting around to dad might not have happened. It was such a grassroots thing, people rooting for it, that I was excited for them. There’s been Facebook groups and stuff like that for years.
Ariel: I have been asked — and Jordan might have had this similar experience where some of the fans ask me in this, like accusatory way, like I’ve stood in the way somehow, allowing (the exclusion) to happen. And It’s like, “No, I would love it. It’d be great!” So, yeah, I’m especially thrilled for all of those fans who have been pounding their fists saying, “Why hasn’t this happened yet?!” It’s great for them.
Do you have any sense about why it finally happened this year?
Jordan: I don’t know exactly what’s happening right now. I get notifications form the Facebook groups, just so I can post things once in awhile. They’re hosted by other people. But the people asking to join his group and the amount of people that have gone to his website over the past few months has just skyrocketed. So I don’t know.
I think there is a feeling from awhile back, like strike while the iron is hot. But I’ve seen this resurgence lately that I can’t really account for. It’s been amazing to watch. But before any of this…I just kept wondering, “Where is everybody coming from?” It’s pretty exciting. It’s just something in the air, I guess.
What’s today been like? Have you been hearing from a lot of people?
Jordan: Yeah, I have. It’s just some of the people like Roger Bell and Duncan Aldrich, and some of the crew that he’s worked with. I haven’t heard from, like Jackson (Browne) or Waddy (Wachtel) or anybody like that. But it’s bene nice.
Ariel: Some, although again I’m pretty removed from everything. But yes, I have gotten calls and messages saying congratulations. There is definitely a buzz about it, and it’s exciting. It’s an exciting thing to share with my kids. My kids are actually almost 20, so for them it’s like, “Look what’s going on!” They’re pretty psyched about it. They’re passing around the voting thing to all their buddies at college. That’s great.
Jordan: I’m the older one but Ariel is the smarter one, and she’s distanced herself from social media and stuff, which I should really be doing at my age. (laughs) But I’ve been more kind of tuned into all the Facebook hits and sharing and everything else and, yeah, that part has been a little out of control. My 14-year-old is excited, but her biggest question is, “If he does get in, will Billie Eilish be at the ceremony?” (laughs)
Were the two of you aware of the Billy Joel letter that had been sent?
Jordan: No.
Ariel: No, I didn’t know. He’d be cool to see play a song.
Jordan: OK, we’ll put that one out there.
Ariel: That’s one I hadn’t even thought about but that’d be really cool. (laughs)
It is just a nomination at this point, but are you allowing yourselves to think about what the induction night might be like?
Jordan: I do. It’s been a while since I’ve attended or done one of those things, and you know it may be a little geeky, but that’s kind of like a like a sports game, or something like that. I know the energy and the way they’re put together. So I can just kind of picture it almost on the technical aspect and basically the adrenaline of the entire evening, and I kind of picture it that way.
It’s almost a rhetorical question, but what’s your stump speech to the voters? Why does your dad deserve to get in?
Ariel: For one thing, you know, great artists, great writers, great songwriters, write things that echo again and again throughout the ages, right? And I feel like probably some of that momentum happening right now is that his words are still resonating, maybe truer than ever, his view on his perspective on the world.
It resonates in a whole deeper, broader sense, I think, for a lot of people nowadays given where we’re at globally and everything else. So I would say that’s a good sign of somebody who probably deserves to be recognized, for a contribution to the arts, just generally speaking.
Jordan: You know, I’ve been just engulfed in music all my life, and listening to so many different genres. And I just think the quality of the music and the songwriting, it’s such a different level, and I think that he put so much care into it. He didn’t flippantly write songs. When he was writing songs there was a typewriter. There was a lot of little balled up pieces of paper. He even told me, “It’s really hard.”
And I think that when you put his education, musically and intellectually, along with his experiences, it just combined to make something that is really in, and of its own. You can have, like, the dangerous songs and the party songs, and then the more fore-thinking songs like “Don’t Let Us Get Sick” and “My Shit’s fucked up,” which means so much more even now than they did then. I just think his view and the way that he managed to keep writing for such a long time. And commercial put aside, quality-wise he still kept writing some songs that I think are just really, truly amazing, throughout his career. I just think he is pretty fucking good!

