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The 15th annual Welcome to Rockville festival in Daytona Beach, Fla. will feature headliners Guns N’ Roses, Foo Fighters, My Chemical Romance and Bring Me the Horizon. The massive hard rock/punk/metal gathering from Danny Wimmer Presents will take place from May 7-10 at Daytona International Speedway, with more than 160 bands playing on five stages.
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Thursday night will kick off with GNR, who will be joined by Five Finger Death Punch (as part of their 20th anniversary world tour), Godsmack and Staind (celebrating the 25th anniversary of their Break the Cycle album), followed by Foo Fighters accompanied by Turnstile, the Offspring and Parkway Drive. Saturday night’s Bring Me the Horizon headlining set — their only Florida show next year — will have support from Breaking Benjamin, Motionless in White and Lamb of God, with the final night finding My Chemical Romance performing alongside A Day to Remember, Rise Against and Yellowcard.
“We are dropping our 10th studio album and kicking off our 20th anniversary world tour in 2026, so starting the year at Welcome To Rockville feels perfect,” said FFDP rhythm guitarist Zoltan Bathory in a statement. “It is one of the biggest rock festivals in North America, and there is no better stage to fire the first shot of this next chapter of Five Finger Death Punch.”
All passes for next year’s Welcome to Rockville — including single-day, 4-day GA, VIP and the Daytona Owners Club — are on sale here now.
Among the other acts on tap for next year are: All Time Low, Alice Cooper, Ice Nine Kills, Amon Amarth, Simple Plan, Lorna Shore, Coheed and Cambria, Slaughter To Prevail, Sleeping with Sirens, Hollywood Undead, Black Label Society, Highly Suspect, Dance Gavin Dance, Architects, Jason Bonham’s Led Zeppelin Evening, Poppy, The Warning, Behemoth, Dethklok, Zakk Sabbath, Flyleaf with Lacey Sturm, Tom Morello, Underoath, Black Veil Brides, Mayday Parade, Sepultura, Suicidal Tendencies, Starset, Coal Chamber, Sevendust, Yelawolf, Badflower, Story of the Year, Plain White T’s, Avatar, In Flames, Switchfoot, The Home Team, State Champs, Gym Class Heroes, The Plot In You, Static-X, Hatebreed, We The Kings, Paleface Swiss, Kreator, Eagles of Death Metal, 3OH!3, Cradle of Filth, The Wonder Years and many more.
The Welcome to Rockville Battle for the Big Stage competition will also return next year, with bands encouraged enter the competition here now through Nov. 30. Leading up the festival, viewers can vote on who they want to play Rockville during the Sunday episodes of the Space Zebra show at 6:30 p.m. ET on the DWP Twitch channel.
Check out the 2026 Welcome to Rockville poster below.
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Late legend Frank Sinatra’s presence on Billboard’s charts stretches from the first national ranking in 1940 to today, 85 years later.
Sinatra debuts at No. 26 on the Adult Contemporary chart (dated Nov. 22) with Pentatonix on “I’ve Got My Love to Keep Me Warm.” The song drew 282,000 in audience from plays on 18 stations Nov. 7-13, according to Luminate.
The carol is from Pentatonix’s new album, Christmas in the City, which debuted as the vocal group’s 11th top 10 on the Top Holiday Albums chart earlier in November.
“We met someone with the estate, and the Sinatras had to give their blessing, and we are beyond honored,” the group’s Scott Hoying recently told iHeartRadio’s Ellen K of the team-up with Sinatra, who died in 1998. “They blessed us with his sweet voice and we got to release an unheard vocal, and it’s wild if you listen to it. You can hear the papers ruffling and the bleed of the orchestra from the other room. It was really, really powerful and magical, amazing.”
Added Pentatonix’s Kirstin Maldonado, “I feel like we went back in time and were those singers with him in that booth that we were inspired by. To have our names next to Frank Sinatra is just, like, that’s iconic. It’s such an honor.”
Sinatra bookends Billboard chart archives, as he sang on the first No. 1 — “I’ll Never Smile Again,” billed as by Tommy Dorsey — on the first nationwide sales chart, the National List of Best Selling Retail Records, published in the July 27, 1940, issue.
Meanwhile, the Chairman of the Board appears on Adult Contemporary (or any current-based Billboard radio chart) for the first time since Sept. 29, 1984. He lands his highest rank since May 31, 1980, when his revered “Theme From New York, New York” hit No. 10, becoming his 20th top 10. He boasts the longest span of making the tally (more than 64 years and four months), as he placed on the inaugural edition dated July 17, 1961.
Holiday music continues to grant Sinatra new chart honors. In December 2023, his take on “Jingle Bells” hit No. 16 on the Billboard Hot 100, marking his first appearance in the top 20 since 1967. Plus, last holiday season, Ultimate Christmas became his 33rd top 10 album on the Billboard 200, extending his record for the most among male soloists.
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Nelson Riddle was one of the finest arrangers in music history. He received Grammy nominations for arranging Frank Sinatra’s “Witchcraft,” “Nice ‘n’ Easy” and “Call Me Irresponsible” and won two Grammys for arranging the title tracks of Linda Ronstadt’s albums What’s New and Lush Life, in which she explored the Great American Songbook. And that just scratches the surface of Riddle’s vast discography. Riddle died in October 1985 at age 64, amid his career resurgence working with Ronstadt.
So, the fact that Riddle was nominated for a Grammy on Nov. 7 was surprising, to say the least. He’s up for best arrangement, instruments and vocals for his arrangement of “How Did She Look?” from Seth MacFarlane’s Lush Life: The Lost Sinatra Arrangements.
The Recording Academy doesn’t allow recordings by artists who have been dead for more than five years on the grounds that those recordings aren’t, by definition, “new recordings.” (From the academy’s Rules & Guidelines handbook: “New recordings’ is defined as material that has been recorded within five years of the release date and not previously released.”)
So, an unearthed recording by, say, Sinatra or Ella Fitzgerald could not be nominated for a Grammy. Here’s how seriously the Recording Academy takes this five-year rule: When The Beatles’ “Now and Then” won a Grammy for best rock performance in 2024, only Paul McCartney and Ringo Starr received Grammys. John Lennon and George Harrison, who died in 1980 and 2001, respectively, did not. Lennon and Harrison had both worked on the track – Lennon wrote and recorded the original version in 1977; Harrison added overdubs and guitar tracks when the surviving Beatles worked on it in 1995 (only to shelve it until 2003).
But that five-year rule doesn’t specify that arrangements must have been written within the last five years. So, Riddle’s old arrangements qualify – on a technicality.
In answer to our question about why Riddle was eligible, an academy spokesperson said “The arrangement was recorded for the first time on a newly recorded album released this year, making him eligible.”
MacFarlane’s Lush Life: The Lost Sinatra Arrangements consists of a dozen arrangements that Sinatra had planned to perform but never got around to. The arrangements were written by Riddle and two other top-flight arrangers of that era, Billy May (who died in 2004) and Don Costa (who died in 1983).
The Recording Academy’s interpretation of its five-year rule seems inconsistent. Lennon and Harrison were not nominated for their contributions to “Now and Then” because their contributions to the recording were more than five years in the past. By the same token, Riddle’s contribution to MacFarlane’s recording (his arrangement) was more than five years in the past. The fact that it was recorded and released for the first time in 2025, while interesting, seems beside the point.
Nonetheless, the nomination allows Riddle to set a new record for the longest span of Grammy nominations. He received two nominations at the very first Grammy ceremony in 1959 — best arrangement for his stylish work on Sinatra’s “Witchcraft” and best musical composition first recorded and released in 1958 (over 5 minutes duration) for “Cross Country Suite.” He won in the latter category.
John Williams and Barbra Streisand are runners-up to Riddle for the longest span of Grammy nominations. Both are nominated again this year. Williams is nominated for best music film for Music by John Williams, 64 years after he received his first nod for best sound track album or recording of score from motion picture or television for Checkmate. Streisand is nominated for best traditional pop vocal album for The Secret of Life: Partners, Volume 2, 62 years after she received her first three nods for The Barbra Streisand Album and its standout track, “Happy Days Are Here Again.”
The other nominees for best arrangement, instruments and vocals are Jacob Collier for his own track “Keep an Eye on Summer”; Cody Fry for his own track “What a Wonderful World”; Clyde Lawrence, Gracie Lawrence & Linus Lawrence for Lawrence’s “Something in the Water (Acoustic-Ish)” (the eight-piece band features Clyde and Gracie; Linus is their younger brother); and Eric Bentlage, Sara Gazarek, Johnaye Kendrick, Nate Smith (not the country hitmaker) and Amanda Taylor for “Big Fish,” which they recorded as Nate Smith featuring säje (säje being the other four names here).
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A$AP Rocky graced the cover as part of Vanity Fair‘s Hollywood Issue published Tuesday (Nov. 18), which saw the Harlem native expand on his passion for acting, so don’t expect him to slow up anytime soon.
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“Acting is just another component of the great arts,” he told the magazine. “And I’m a Renaissance man … I’ve always had a desire, this innate passion for doing these acting roles.”
2025 was a busy year for Rocky in front of the camera, as he starred in Spike Lee’s Highest 2 Lowest alongside Denzel Washington, and then appeared in A24’s If I Had Legs I’d Kick You.
“I’m at a place where anytime I’m around an OG,” he added of being around acting royalty such as Denzel. “I just soak in game … I would love to be silver and that wise one day myself. And still be handsome.”
Covering VF‘s Hollywood Issue made Rocky feel like he belonged with the upperclassmen of Hollywood, as he posed alongside actors Callum Turner, LaKeith Stanfield, Glen Powell and Jeremy Allen White.
“To be in that space and to be acknowledged and respected as an actor, or just an artist in general,” Rocky said while recognizing the company he kept. “Honestly, it was the boys, man.”
Over the years, the rapper has carved out a reputation as one of the fashion icons of his generation, but he knows his time in the sun is coming to an end at some point, and he’s ready to pass the torch.
“After me, it’ll be somebody special, and hopefully I know who that person is,” he said. “And it’ll be a person who I feel like deserves it.”
There’s still no update on A$AP Rocky’s much-delayed Don’t Be Dumb album. Rocky and Rihanna welcomed their third child, a baby girl named Rocki Irish Mayers, in September.
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T.I. has revived his expediTIously podcast. The trap pioneer sat down with NBA icon Allen Iverson on Tuesday (Nov. 18) for an unfiltered conversation touching on A.I.’s career, mistakes and the burden that came with being one of the most influential players to ever pick up a basketball.
“You’ve been asking, and I’ve been listening; that’s why I’m bringing expediTIously back,” T.I. said in a statement. “Starting with a brow-raising, insightful conversation with none other than The Answer. League MVP, Hall of Famer and icon of a generation, Allen Iverson.”
The live episode appeared to be taped in Atlanta in the midst of Iverson’s press run in support of his Misunderstood memoir and accompanying docuseries, which was released on Amazon Prime Video in October.
Iverson wanted people to hear his story raw and uncut, while being able to learn from his mistakes as he navigated the good — being an NBA MVP — and the bad — his 1993 bowling alley arrest. “If I can help one person in life, I did my job,” A.I. said. “The book is just a confession of me being like everybody in this room… I bleed just like you.”
Iverson continued: “I was just a bad motherf—er on the basketball court. I’m just like you. I never won a championship, but I’m the people’s champ. I’m the guy you can touch.”
The Answer revealed that the one regret he had throughout his playing career was not listening to Larry Brown, who was his head coach from 1997 through 2003, sooner.
“I don’t regret nothing. The only thing I regret was listening to Larry Brown way before I started listening to him. I would’ve been way better then. It took a while,” he said. “I was always in a tug of war with him and I had to realize that he wanted the same thing for me that I wanted for myself. I wouldn’t change a whole lot.”
He continued: “Now, I wish I had the LeBron blueprint when I was the face of the league. I wish I knew how to put my homeboys on and put them in executive positions. You know what’s crazy about it? I took that a– whipping for taking my guys with me and the NBA ain’t never seen nothing like it. The crazy thing is all those guys who were there then, not around now.”
Fans can expect plenty more from T.I. with expediTIously back in full force. He’s got interviews on the way for the rest of 2025 and into 2026. Tip’s podcast made waves in the industry with illustrious guests in the past, such as Young Thug, 21 Savage, Jadakiss and actor Chris Tucker.
On the music side, T.I.’s “Thank God” featuring Young Dro, Kirk Franklin and Sunday Service reached a peak of No. 9 on the Gospel Airplay chart. The 45-year-old also picked up another Grammy nomination for his assist on Lecrae’s “Headphones” alongside Killer Mike in the best contemporary Christian music performance/song category.
Watch the full interview with Allen Iverson below.
Ozuna, the Grammy-winning Puerto Rican-Dominican música urbana artist, is expanding his empire with the launch of Mucho, a bilingual, video-first media company. According to its website, Mucho is aimed at “amplifying the voices of young US Hispanic audiences” through streaming, talent-driven entertainment, and festivals. The new venture officially kicks off on Tuesday (Nov. 18). Related […]
Over the years, Paris Hilton has been linked in various ways to many powerful men, from Jeffrey Epstein to Michael Jackson and Donald Trump. And in a new interview with The Times published Saturday (Nov. 15), the businesswoman addressed claims regarding all three.
Starting with Epstein, it has for years been rumored that his former girlfriend — the now-incarcerated Ghislaine Maxwell — once tried to “recruit” Hilton to date the late billionaire and convicted sex offender. It all started with the 2020 documentary Surviving Jeffrey Epstein, in which Maxwell’s former associate Christopher Mason alleged, “A friend of mine was at a party and Ghislaine said, ‘Oh my God, who’s that?’ and was looking at this pretty, young, sort of teenage girl … My friend said, ‘Yes, she’s called Paris Hilton.’ And Ghislaine said, ‘God, she’d be perfect for Jeffrey. Could you introduce us?’”
“The rumors were Ghislaine was scouring New York finding younger girls to go on dates with Jeffrey,” Mason added in the doc, according to Rolling Stone. “At the time it seemed a bit naughty.’”
But what does Hilton, now 44, have to say about it? “I don’t even remember ever meeting her,” she told the publication of Maxwell, with whom she was photographed at the Anand Jon Fashion Show in 2000. “I’m such a good clickbait name.”
Epstein died by suicide while in jail awaiting trial in 2019, after being arrested on charges of running a sex-trafficking operation involving minors, to which he pleaded not guilty. He had previously spent 13 months in prison for the crime of soliciting prostitution from a minor under the age of 18. Maxwell is currently serving a 20-year prison sentence.
The disgraced businessman’s name has continued to be a hot-button issue in the years since his death, especially in 2025. At press time, the House of Representatives is gearing up to vote on a bill that would compel the DOJ to release all of its case files related to Epstein and his alleged list of high-profile clients.
But while Hilton says she never knew Maxwell or Epstein, she was definitely close with the late King of Pop — who she says was “like an uncle to me” — growing up. For years, Jackson’s legacy has been clouded by accusations that he molested young boys, for which he was never convicted. His estate has continued to deny all such claims following his death.
“I never saw him date anyone,” Hilton told The Times of Jackson. “I never saw him be like that with anyone. I didn’t see him as that type of person. So I’ve never paid attention to any of that because I just — I’ve always loved him like family.”
“I just know the man that I knew my whole life, and I could never see him hurting a fly,” she added.
As for Trump — who was also photographed at the fashion show with Hilton and Maxwell in 2000 — the heiress says that she didn’t vote for the sitting POTUS in either 2016 or 2024, despite previously claiming to have voted for him the first time he ran, but recanting that statement in her 2023 memoir. During last year’s election, Hilton says she “didn’t have time” to vote for any candidate.
“My schedule is so insane,” she told the publication. “I was traveling — I think I was in London during all that … and I was, like, moving houses.”
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More than a decade after announcing their Final tour, Mötley Crüe are hitting the road again next year for a massive 2026 North American run of shows. The Vince Neil-led heavy metal legends announced the dates for the 33-city outing they’re calling the Return of the Carnival of Sins in honor of the 20th anniversary of the 2005-2006 tour that birthed their 2006 Carnival of Sins: Live two-CD set.
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The shows slated to kick off on July 17 in Burgettstown, Pa. at the Pavilion at Star Lake will also commemorate the band’s 45th anniversary. The Live Nation-produced tour will feature opening acts Extreme and Tesla on a summer-long outing that will stop in New York, Michigan, Ontario, New Hampshire, New Jersey, Massachusetts, Virginia, Georgia, Florida, North Carolina, Missouri, Illinois, Ohio, Michigan, Indiana, Texas, Arizona, New Mexico, California, Utah and Washington State.
“Bringing back the spirit of Carnival of Sins has been a blast, and we wanted to take it even further for its 20th anniversary,” the band said in a statement. “This new show is for the Crüeheads who’ve been with us through it all and for the new Crüeheads who didn’t get to experience Carnival of Sins last time around. Get ready — we’re coming your way and we can’t wait to see you next summer.”
A general on-sale will kick off on Friday (Nov. 21) at 9 a.m. local time, with VIP packages available starting on Wednesday (Nov. 19) at 9 a.m. local time; more ticketing information can be found here. In addition, the band said that $1 from every ticket will be donated to ASAP! (After School Arts Program) through the Mötley Crüe Giveback Initiative to fund hands-on arts programs for young people.
Coinciding with the tour announce, the deluxe box set version of the 40th anniversary of their Theatre of Pain album is out now, featuring reimagined artwork, the newly remastered album on color vinyl and bonus material including a 1985 Long Beach live concert, rare demos and a 76-page hardcover book with never-before-seen photos and memories from that era.
The veteran band featuring original members bassist Nikki Sixx and drummer Tommy Lee as well as more recent member guitarist John 5 wrapped up their Las Vegas residency at Dolby Live at Park MGM last month after pushing the start date back six months due to a debilitating stroke suffered by singer Neil last Christmas. “I had to learn to walk again, and that was tough,” Neil told the Las Vegas Review-Journal in September. “The doctors said they didn’t think I’d be able to go back on stage again. I go, ‘No, no, I’m gonna do it. Watch and see.’”
Luckily for the band, Neil did not lose his voice after the stroke, but things were so bad for the 64-year-old rocker that he said he had to be carried to the bathroom, before graduating to a wheelchair, a walker and then a cane. Following months of physical therapy at his Nashville home he said he’s able to walk unassisted again.
Check out the dates for Mötley Crüe’s 2026 Return of Carnival of Sins North American tour below:
July 17: Burgettstown, Pa. @ The Pavilion at Star Lake
July 18: Buffalo, N.Y. @ Darien Lake Amphitheater
July 20: Clarkston, Mich. @ Pine Knob Music Theatre
July 22: Toronto, Ontario @ RBC Amphitheatre
July 24: Gilford, N.H. @ BankNH Pavilion
July 25: Bangor, Maine @ Maine Savings Amphitheater
July 27: Camden, N.J. @ Freedom Mortgage Pavilion
July 29: Saratoga Springs, N.Y. @ Saratoga Performing Arts Center
July 31: Holmdel, N.J. @ PNC Bank Arts Center
Aug. 1: Mansfield, Mass. @ Xfinity Center
Aug. 3: Bristow, Va. @ Jiffy Lube Live
Aug. 12: Alpharetta, Ga. @ Ameris Bank Amphitheatre
Aug. 14: West Palm Beach, Fla. @ iTHINK Financial Amphitheatre
Aug. 15: Tampa, Fla. @ MIDFLORIDA Credit Union Amphitheatre
Aug. 17: Charlotte, N.C. @ PNC Music Pavilion
Aug. 19: St. Louis, Mo. @ Hollywood Casino Amphitheater
Aug. 21: Shakopee, Minn. @ Mystic Lake Amphitheater
Aug. 22: Tinley Park, Ill. @ Credit Union 1 Amphitheatre
Aug. 24: Cuyahoga Falls, Ohio @ Blossom Music Center
Aug. 25: Cincinnati, Ohio @ Riverbend Music Center
Aug. 27: Grand Rapids, Mich. @ Acrisure Amphitheater
Aug. 28: Noblesville, Ind. @ Ruoff Music Center
Sept. 8: Kansas City, Mo. @ Morton Amphitheater
Sept. 10: Dallas, Texas @ Dos Equis Pavilion
Sept. 11: The Woodlands, Texas @ The Cynthia Woods Mitchell Pavilion
Sept. 13: Albuquerque, N.M. @ Isleta Amphitheater
Sept. 16: Phoenix, Ariz. @ Talking Stick Resort Amphitheatre
Sept. 18: Chula Vista, Calif. @ North Island Credit Union Amphitheatre
Sept. 19: Long Beach, Calif. @ Long Beach Amphitheater
Sept. 21: Salt Lake City, Utah @ Utah First Credit Union Amphitheatre
Sept. 23: Wheatland, Calif. @ Toyota Amphitheatre
Sept. 24: Mountain View, Calif. @ Shoreline Amphitheater
Sept. 26: Ridgefield, Wash. @ Cascades Amphitheater
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“This year has been a nail-biter when it comes to investing,” says Kristin Lee, founder of the business management firm KLBM. “Most of our clients have chosen to keep it more conservative and keep an eye on markets rather than doing anything major. We’re always keeping an eye out for unique opportunities in times like these.”
Lee expresses a view that many share in the financial community, including Billboard’s 2025 class of top business managers.
Nominated by their firms and peers and chosen by our editors, the financial advisers profiled here take on tasks for clients that have never been more complex: auditing streaming royalties, negotiating concert tours, building equity through branding deals and selling or buying music catalogs — to say nothing of conventional chores like budgeting, filing taxes, guiding investments or estate planning.
The passage in July of major tax and spending legislation — formally a budget reconciliation act — is having a significant, but mixed, impact.
“The 2025 reconciliation act significantly favors tax relief for high-income individuals and corporations while reducing funding for essential social programs,” says Jordan L. Josephs of Royal Entertainment Business Management. “The top 10% of earners are expected to receive nearly 80% of the legislation’s total benefits. While this may positively impact our high-income clients — particularly established entertainers and executives — it could present challenges for middle-income creatives, especially those who rely on public support or educational grants.”
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Accountants typically await guidance on new tax legislation from the IRS, which has been affected by the government shutdown that began Oct. 1. The result is “uncertainty, which is always the problem with this kind of thing,” says Joshua Klein of TKG Business Management. “Clients can handle higher taxes or stricter rules, but when the rules aren’t clear, like in this bill, that’s a hard thing to plan around.”
A perennial top priority for business managers is “security, security, security,” says Mike Merriman of PARR/3. But he adds: “Our industry is on the precipice of a new era of cyberattacks with [artificial intelligence], social engineering and more sophisticated scams than we’ve seen before. Part of protecting our clients’ wealth is to create multilayered security systems that constantly update and stay two steps ahead.”
Timothy J. Jorstad, founder of his own firm, Jorstad, notes that for some clients, “crypto and AI-related investments are very popular but come with very high risks. It is important that clients limit their overall risk exposure to alternative investments to no more than 10% of their total portfolios.”
The alternative investments that clients choose never fail to surprise business managers, and Billboard always invites our honorees to offer examples of the unusual places where artists and executives invest spare cash — while respecting the confidentiality of those clients. This year, those investments range from a cricket team to dinosaur fossils.
One client of U.K. business manager Colin Young of the London-based firm CC Young invested in “a share in a zoo,” he says, “with an optional participation in feeding the hippopotamus.”
Ivan AlarcónOwner/CEOCarolina MedinaJuan RodriguezLaura SuarezProject managers, Vibras Lab
Alarcón was the CFO for Bad Bunny’s Puerto Rico residency and will fill that role for the artist’s upcoming European and Latin American tours. His clients also include Karol G and J Balvin. His firm helped close agreements with merchandising company Bravado and spirits maker Casa Dragones for Karol’s new tequila, 200 Copas. Vibras was involved in tours that sold 3.5 million concert tickets in the past 12 months, according to the company, including outings by Natalia Lafourcade and Balvin’s Back to the Rayo tour.
What’s affecting client income: “I believe we are on the verge of a reappraisal cycle: Catalogs could appreciate significantly because they will power the next generation of [artificial intelligence]-driven entertainment, from immersive experiences to personalized music for every listener,” Alarcón says. “My advice to clients has shifted toward protecting, structuring and retaining ownership of their rights because what today is a licensing opportunity could become the foundation of entire new revenue streams tomorrow.”
A booking to play the Apple Music Super Bowl LX Halftime Show on Feb. 8, 2026, has confirmed the superstar status of Bad Bunny, a client of Ivan Alarcón of Vibras Lab, who was the CFO of the artist’s history-making residency in Puerto Rico.
Cheery Viruet
Belva AnakwenzePrincipal/business manager, Abacus Financial Business Management
“The evolving role of business managers is no longer just managing existing income but actively helping clients build long-term wealth through ownership, diversification and strategic capital deployment,” Anakwenze says. Her firm has guided several musician and actor clients in launching everything from wellness brands to tech startups, providing the financial infrastructure and strategic planning needed to transform creative professionals into successful entrepreneurs. “This diversification has proven crucial as AI and industry consolidation continue to pressure traditional revenue sources,” she adds.
What’s affecting client income: “The shift toward playlist-driven discovery and shorter attention spans means our musician clients must fundamentally rethink their creative and business strategies. We’re advising clients to focus on building direct fan relationships through platforms like Patreon and Bandcamp rather than relying solely on Spotify or Apple Music, where payouts remain fractional unless you achieve massive scale success.”
Jose Luis AristizábalFounder/CEO, CamaleOn
Camaleon is turning ambitious artist projects into profitable ventures, made possible by the firm’s “full-service approach and the strong team we’ve built,” Aristizábal says. This is exemplified by how it directly manages the full touring revenue cycle. “We don’t just plan tours — we also [oversee for] our clients all the extra income sources like VIP packages, merch sales and meet-and-greets,” he adds. “By keeping these [operations] in-house and handling everything from logistics to financial planning, we cut out middlemen and increase profits for our artists.” The company also manages legal, tax and royalty matters, while ensuring its artists “keep as much of their earnings as possible” with “a strong, profitable business behind them.”
What’s affecting client income: “Whether it’s AI, streaming changes or other shifts, our team looks at everything through the lens of profit, legal safety and long-term strategy — so our clients always have a clear and complete plan.”
Angie BarajasLouis BarajasCo-founders/business managers, Business Management LAB
Business Management LAB has achieved its highest revenue growth year, something Louis Barajas attributes to the company’s focused attention on its clients. “As [business management] firms consolidate and grow in size, Angie and I made a firm commitment to stay boutique and cater and double down to [serve] musicians and executives in the Latin music community,” he says. Their clients range from regional Mexican music stars like Ivan Cornejo, Natanael Cano and Julion Alvarez to Latin urban and pop acts like Yandel and Elena Rose.
What’s affecting client income: “We are seeing that the younger artists that are more technology-savvy are using AI, new and multiple streaming platforms and the direct-to-fan and creator economy. [They] are learning to monetize their music and rely on less traditional [music label] platforms,” Louis says.
The Alma Tour 2025, promoted by Live Nation, will bring Elena Roseto nine U.S. cities beginning Nov. 28 in Miami Beach. She is among the clients of husband-and-wife business managers Angie and Louis Barajas of Business Management LAB.
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Harrison BaumanSenior vp of investments, Raymond James & Associates
Bauman says the most important issue for his clients is their “personal security — planning for their future and setting the right expectations.” He has in-depth conversations regarding the sale of their catalog and how it affects today versus tomorrow. New streaming payment models and catalog sales are affecting clients’ income, he says. Raymond James & Associates has also assisted clients with implementing certain retirement plans at a young age in order to reduce their taxable income and, over the past year, the company has helped with the financing for clients relocating to different states or new homes.
Impact of the Reconciliation Act: “Section 181 allows entertainers to deduct certain production expenses,” Bauman says, referring to the provision of the tax code that previously applied solely to qualified film, TV and live theatrical productions.
Tyson BeemCEOChristopher FazzolariShane GlassTodd KamelharJohn MenneciMelissa MortonRichard MozenterAnton PamerMike SkeetBill TannenbaumManaging directors, Gelfand Rennert & Feldman
As one of the nation’s oldest, largest and most skilled business management firms, GRF plays a leadership role within Focus, an interdependent partnership of wealth management, business management and related financial services firms. Drawing upon the global Focus ecosystem, GRF delivers its guidance to leaders in music, film, TV, sports, social media and other creative arts. As CEO, Beem has connected the various experts and resources across the company including the U.S. and U.K. business management teams, the U.S. and international tax teams, tour accounting, production accounting, music and royalty examination services, music publishing, record-label administration and intellectual-property valuation. Offering “a wide spectrum of expert services,” Beem says, “creates exceptional results for clients.”
What’s affecting client income: “We are continuing to see a proliferation of monetization opportunities for music rights,” Beem says. “That includes acquiring various rights, selling various rights and, of course, confirming that recurring revenues are calculated properly. You’re seeing these valuation opportunities evolve as you see new buyers including private equity enter the market.”
Julie BoosOwner/chairman/business managerDuane ClarkOwner/president/business managerJamie CheekOwner/CEO/business managerErica RosaOwner/vp of royalties and contract compliance/business managerDavid BoyerJen CongerDan KillianCarmen RomanoOwners/business managersPaul BarnabeeDirector of West Coast operations/business managerChris HughesBetsy LeeJason LeissBusiness manager, FBMM
FBMM is focused on ways to find cost savings for clients in various areas, including touring. “We’re constantly looking for opportunities to leverage our clients’ collective buying power to negotiate cost savings, whether that’s through preferred pricing with bus vendors or discounted fuel card rates,” Cheek says. The company also continues working to help clients protect their creative works in the age of AI. “It has been important to work with artists’ legal teams and managers to ensure awareness of the potential issues and developing new best practices for handling the use of AI and evaluating strategies to protect artists’ names, likenesses and intellectual property,” Cheek says.
Pressing issue: “The changing cost structure and ultimate potential impacts on profitability of touring,” Cheek says. “Three primary cost centers that are affecting this are acquiring and retaining great staff with shortages in nearly all departments; travel costs, which have skyrocketed over the past two years; and production costs. These inflationary measures we have seen before — but not all at the same time.”
Charles BradbrookJanice LloydStephen MarksSteven WrenPartners, SRLV
SRLV “has played a key role in supporting high-profile clients through major transitions — including international tours, catalog sales and strategic projects — all while maintaining a personalized, hands-on approach to business management,” Marks says of the company, which launched in 1988. And part of what has contributed to that success is the addition of three partners: two in the creative division and one in the private client international tax division. “These partners,” Marks says, “exhibit our continued commitment to excellence in client service, particularly in navigating complex financial landscapes.”
Impact of the Reconciliation Act: “QSBS [qualified small business stock] relief has been available for some time but has often been overlooked in favor of pass-through tax arrangements,” Marks says. “However, the enhanced QSBS relief provides significant tax advantages. So when new ventures are being discussed, more consideration will be given to a qualifying QSBS structure. This is particularly relevant for the entertainment industry, where asset value appreciation continues to be robust.”
Joseph CallaghanMark CarterSimon WintersPartnersThomas SmithPartner/entertainment industry leaderScott DunnachieDirector, Prager Metis
Over the past year, the Prager Metis team has focused on “creating diverse revenue streams for our clients, from merchandise lines to exclusive VIP experiences,” Smith says. Moreover, when considering possible revenue events, the company’s executives look beyond the immediate rewards that opportunity may provide and consider the question: “ ‘How will this decision impact our client’s business in five or 10 years?’ ” he says. “Thinking ahead allows us to build sustainable growth strategies for our clients, creating long-lasting success in an ever-changing market.”
What’s affecting client income: “With the touring season in full swing, we’re advising artists and touring companies to sharpen their financial strategies, especially by cutting overhead and negotiating smarter contracts,” Smith says. “Industry shifts like AI-driven production tools, evolving streaming revenue models and the surge in music catalog sales are reshaping how income is earned and managed. Staying agile is key.”
Adam CaswellDirector of business managementRoger RamosAccount manager, Fineman West & Co.
Fineman West & Co. has expanded its royalty and catalog valuation division, taking steps that include the integration of AI-driven analytics. This has helped the firm’s clients — a roster that includes Aerosmith frontman Steven Tyler, producer J.R. Rotem and Sam Farrar of Maroon 5 — “uncover missed royalties, identify new revenue streams and make more informed decisions when evaluating catalog sales,” Caswell says. The changes at the firm reflect “how business management is becoming more proactive, data-driven and creative — serving not just as financial stewards but strategic partners in our clients’ long-term growth.”
Pressing issue: “One of the biggest challenges right now is managing cash flow amid rising costs of living, shifting touring margins and the ebbs and flows of royalty payment schedules,” Caswell says. “Business managers are balancing the need for liquidity with long-term planning — helping clients stay financially steady while continuing to invest in their careers, businesses and future opportunities.”
Lauren CooperFounder/CEO, LC Business Management
Cooper founded LC Business Management in 2024 with one goal in mind: to provide a more tailored and personal experience for talent and creators. Over the past year, her business has doubled in size, which Cooper says “is both exciting and a testament to the need for a more thoughtful, client-first model in this space.” She adds, “We are not just handling numbers but supporting our clients across every facet of their financial lives.” To diversify beyond music, the company works closely with clients to build sustainable, long-term financial health through investments, brand partnerships, entrepreneurship and other ventures that align with their values and lifestyle.
Pressing issue: “One of the most pressing issues we face is bridging the financial literacy gap, especially with younger or emerging talent. We are not just managing money. We are educating clients on taxes, investing and how to build lasting wealth through ownership. Empowering them with that knowledge is essential to protecting their futures.”
José “Pepe” CruzManaging director, Solución Estratégica
Focused on building sustainable financial strategies that support both artistic goals and long-term business vision — like Ozuna’s 2025 summer tour across Europe — Cruz has guided his clients beyond touring and into business ventures across hospitality, agriculture and digital media. “One of the most interesting projects I’m currently overseeing is the development of an entertainment content platform designed to expand Latin music’s digital footprint and audience engagement,” he says. “My goal is to help clients like Ozuna protect their assets while building diverse, forward-thinking business models that extend well beyond music.”
Impact of the Reconciliation Act: “The most meaningful change is the formal enactment of the HITS Act tax breaks. This puts the music industry on equal footing with film and television, giving independent creators financial relief and greater access to professional resources. It’s a game-changer that encourages more investment in new music, supports creative growth and strengthens the overall ecosystem.”
Lester DalesPaul MakinDirectors, Dales Evans & Co.
Coldplay’s Music of the Spheres world tour is poised to become the highest-grossing trek ever with the September announcement of another 138 shows. The Dales Evans & Co. client’s tour has already brought in $1.4 billion with its first 211 shows through July 27. A year on from helping shepherd Queen’s record-breaking $1.3 billion catalog sale to Sony, Dales and Makin remain focused on supporting clients in similar one-off “milestone” deals amid the general “constructive support services” they offer. “Decisions around asset sales — to sell or not to sell — remain fundamentally important for many and need to be carefully considered based on each individual client’s circumstances and aspirations,” Dales says. “But for many, tour planning and income generation remain of prime importance.”
Pressing issues: “Maximizing and monitoring income flows,” Dales says. “As many clients become more reliant on worldwide touring, the mitigation of and planning for international withholding taxes. Then the preservation and growth of our clients’ assets.”
With its September announcement of 138 more concert dates, Coldplay’s Music of the Spheres world tour is poised to become the highest-grossing trek ever. The band is advised by Lester Dales of Dales Evans & Co.
Samir Hussein/WireImage
Ed EschlemanOlga GoldovskayaDirectors, Armanino Advisory
Eschleman says Armanino Advisory has overseen several successful international tours for his clients, which “involves making sure proper insurance coverage, tax compliance and other regulatory compliance matters are addressed prior to and during touring.” But the biggest questions Eschleman sees are about recordings and listening: “How will artists be compensated for their works that are used to train AI models? Will AI-created music start to make up a large part of the music catalog that consumers listen to?” he says.
Impact of the Reconciliation Act: “The act extends film/TV’s Section 181 treatment to music. You can immediately expense up to $150,000 per project of U.S. sound-recording production costs — think studio time, session players, engineering, mixing/mastering and certain eligible release assets — instead of amortizing over years,” Eschleman says. “Net effect: lower taxes the year you cut the record and more cash for marketing, which is especially powerful for indie artists and labels.”
Kella FarrisStephanie SelfCatherine MooreStephanie AldermanPartners, Farris Self & Moore
Farris Self & Moore marked its 10th anniversary in January and continues to guide clients with their financial needs, from structuring catalog sales to evaluating tour opportunities and setting a proper foundation for emerging artists. FSM has been able to separate itself from competitors by being less of a financial administrator and focusing more on strategic advice. “Whether that’s pressure-testing a tour budget before a client commits to dates, working through the mechanics of a brand partnership or walking someone through what a major transaction actually means for their taxes and long-term planning,” Alderman says, “the goal is the same: help clients understand their options clearly so they can make decisions that align with their goals.”
What’s affecting client income: “Touring economics,” Alderman says. “What used to function as a reliable revenue stream has created a stark divide: Top-tier artists are breaking touring records while emerging acts can still book shows for exposure and experience, but the middle tier has essentially hollowed out.”
Marco FonsecaCEO, Red Mind Global
Fonseca developed a “scalable” business management team to prepare Red Mind Global’s “next stage of growth” and “ensure we can welcome new artists without compromising the quality of service,” he says. “We have invested in building technology-driven tools across our back-office departments to provide managers and artists with real-time financial and operational data,” Fonseca says, encouraging artists to understand how to navigate “today’s overload of information” for more accurate decision-making. “At Red Mind,” he adds, “we believe that streamlined, high-quality data is the foundation that enables artist projects to grow sustainably.”
What’s affecting client income: “Artificial intelligence,” Fonseca says. “My advice to artists is to treat AI as an ally, not a threat: Those who understand it early will be the ones shaping how it works for them instead of having it imposed on them. But AI should never replace artists. The soul, emotion and human experience behind music is irreplaceable, and that is where true value lies.”
Pete FrosticFounder/CEO, The Greenroom Resource
Before Frostic founded The Greenroom Resource to advise entertainment stars, he was an entertainer himself. “I was a touring musician for 10 years prior to gaining my MBA,” Frostic says. “I’m proud of how that ethos informs our interactions with clients.” Although many of his specific achievements are confidential, Frostic is proud “to help clients all across the revenue spectrum find a way to present their art to their fans in a way that is conducive to a profitable business that drives their personal net worth up over time.” As the cost of touring rises, Frostic knows his work is more important than ever, noting that these increasing costs are “always in conflict with our clients’ desire to deliver their performances in a way they envision it creatively.”
What’s affecting client income: “I believe strongly in the long-term value of content ownership. As new monetization models appear and disappear over time, the owners of the [intellectual property] assets are the ones with the power. I do my best to help clients retain and/or reclaim these rights.”
Lidia GámezManuel LópezCo-CEOsDaniel RuizCFO, MAAS/Sympathy for the Lawyer
Dellafuente’s two sold-out shows in June at Madrid’s Metropolitano Stadium drew 130,000 fans and generated an economic impact of 35 million euros (about $40 million), according to the artist’s business management firm, MAAS/Sympathy for the Lawyer, which oversaw the venture. “Given the ambitious and innovative artistic proposal, which required a massive financial investment and complex structuring, coupled with the challenges currently facing large-scale events in Spain — including a forced venue and date change from the originally planned Santiago Bernabéu — this endeavor represented a monumental challenge that our team successfully managed and delivered,” López says.
Pressing issue: “In today’s industry, artists and managers need far greater control and clarity over their data,” López says. “Yet the information is often fragmented. At MAAS, our commitment as business managers is to provide simple, agile and comprehensive visibility across all three pillars of the business — recorded music, live and publishing — without requiring clients to consult dozens of separate dashboards.”
Some 130,000 fans turned out in June for two sold-out shows at Madrid’s Metropolitano Stadium by Dellafuente, according to his business management firm, MAAS/Sympathy for the Lawyer.
Aldara Zarraoa/Redferns
Adrien GoodFounder/business manager, Luma Business Management
As a go-to business manager for songwriters and producers who power the top of the Billboard Hot 100, Good has carved out a unique lane in the music industry with Luma Business Management, which marks its fifth anniversary this year. Helping clients like Dan Nigro, Steph Jones, Sam Sumser and Petey Martin, Good says the most important thing he advises writers and producers to do is to future-proof their finances now. For creators with sporadic income, he adds, “that means building real liquidity cushions to help them hit their personal lifestyle goals, not just get them to the next royalty statement.”
What’s affecting client income: “For our producer/songwriter clients, catalog positioning for a potential sale in the next three to five years is front and center. Every new deal comes with a discussion of what that will mean for the catalog value and where they will be in recoupment when that time comes.”
Trending on Billboard
Billboard’s Power Pets is a feature focusing on musicians’ best friends — no, not the humans, but the furry (and some scaly and feathery!) ones who bring extra joy and companionship to artists. Celebrities will be sharing sweet details about their beloved pets and how their furbabies enrich their lives. For the sixth story in the series, we talked to country star Orville Peck.
In the summer of 2023, Orville Peck was coming out the other side of the hardest years of his life. After years of growing his profile as an emerging country artist, the singer pressed pause on his rapid ascent to go to rehab. After finishing his program and learning how to live sober, Peck looked around at his life and knew that he needed to change a few things.
“I had been very isolated in the last bit of my life leading up to that point,” he recalls. “For the first time in my life, I had finally taken some time off of touring. So I thought it was the perfect opportunity for me to have some company in my life and to have something to take care of other than just myself.”
Moving through a series of rescue organizations, Peck began looking for a dog to adopt. While searching for “the right match,” as he called it, the singer found himself struggling to find an animal that was the perfect fit for himself and his home. Then a friend of a friend called him — she had just rescued a 1-year-old dog from a local kill shelter and thought they might be a good fit. “I went to meet her in a park, and immediately I just knew that this was my dog,” he says. “I think I adopted her later that day.”
Orville Peck’s dog Queenie
Orville Peck
A little more than two years later, Peck is practically inseparable from Queenie, his “three years young” mixed-breed companion. While her name may denote a certain regal countenance, Peck says that Queenie actually “isn’t very high maintenance.” Instead, her name was born out of a nature fact that Peck learned growing up in Johannesburg, South Africa.
“When I first got her, especially when she was a little younger, she looked a little bit like a hyena. She had this interesting pattern in her coat that’s faded a lot since she’s gotten a bit older,” he says. “I’m South African, I love animals, and I knew hyenas have a queendom. They’re one of the few animal species that have a matriarch, and the head of a hyena pack is called a queen. So I decided to call her Queenie.”
The pair live together with Peck’s partner in Los Angeles, though Peck is quick to point out that Queenie tends to accompany him in his sojourns out of the Golden State.
“It’s very handy because my partner flies planes, so often he will fly her up to meet me on tour and she comes on the bus for a few weeks. So Queenie’s been everywhere with me,” he says. “I want her around my life as much as humanly possible, so anytime that it feels kind of realistic and comfortable where she won’t be too mixed up by it, I try to bring her out with me.”
Earlier this year, Peck found himself living in New York City for his Broadway debut in Cabaret at the Kit Kat Club. After he’d settled into his routine (and the grueling Broadway schedule), Peck brought Queenie out to the city to live with him for the final months of his performance — and learned the hard way that she is not necessarily a big city dog.
Orville Peck and his dog, Queenie
Courtesy of Orville Peck
“Yeah, she is a Los Angeles dog through and through. She has only ever really learned to do her business in a backyard, so she’s kind of pee shy — she likes having her little spot, and she doesn’t want to have people around,” he says, noting how difficult that made her bathroom breaks in New York. “We found one park in the city where she finally felt comfortable doing her business, and so I would just have to take her there every time she needed to go to the bathroom, which is totally ridiculous. But also, why are we judging? I don’t want people watching me do that either!”
It’s one of very few tendencies Queenie has that can be occasionally taxing for the country singer. Though he emphasizes that he is “one of those crazy pet people where there’s just nothing that she could do that could ever make me angry,” Peck says there is one habit of Queenie’s in particular that does create something of a hazard for him.
“When I come home, even if it’s just from the store, she acts like I’ve gone away to war for 20 years and we’re being reunited — which is genuinely so sweet and so comforting. The problem is, I also have quite a steep staircase going up from my front door to my house,” he says, laughing. “Multiple times when I’ve gotten to the top of the staircase, she will jump up to pound her paws on my chest as a show of love. I have almost literally tumbled, probably to severe injury, if not death.”
Yet Peck points out that he’s seen Queenie transform since he first adopted her. A key example he uses involves his own music — when the singer first adopted Queenie, she was not a fan of his guitar, taking multiple opportunities to make that known. “Even when I would just pick up the guitar, she would run out of the room,” he says. “There were a few times where in the middle of the night, she went and pissed by the guitar, which I like to think was the harshest review I’ve ever gotten.”
Orville Peck’s dog Queenie
Orville Peck
But as time went on, Queenie not only began to tolerate his guitar playing, she looked forward to it. “She really loves when I sing, so she’s not nearly as afraid anymore. When I sing, she actually tilts her head to the side, and she’ll come over and sit next to me. I think she genuinely likes it now.”
That change applies beyond just Queenie’s musical taste. Shortly after adoption, Peck notes how his dog — like many other rescue animals — exhibited lots of fear and anxiety, even when he could tell “that there was a curiosity, and that she wanted to be friendly.”
As their relationship developed over time, Peck says he watched Queenie blossom into an affectionate, fun-loving animal who wasn’t scared to show her love. “You could just see a very happy dog emerging that was not afraid at all. Now, I joke that she would go home with a burglar,” he says. “She is really just the most playful, curious, happy dog. I’m so grateful for that, because I never have to worry about her with other people.”
Yet the biggest change Peck has noticed is not in his pet, but in himself. In the two-plus years that he has had Queenie, the singer says that he has grown into a more loving, caring person from being in constant companionship with a dog who shows that came level of love and care for him.
“At the risk of sounding like a total cliché, she rescued me in a lot of ways. My boyfriend laughs at me because I say it all the time, but I’m actually constantly in disbelief that I get to have this creature living with me and hanging out with me,” he says. “She still saves me constantly. It’s truly the most comforting thing in my life to know that when I get home, she’s going to try and push me down the stairs and kill me because of how much she loves me.”
