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Shakira‘s series of concerts in Mexico as part of her international tour Las Mujeres Ya No Lloran (Women Don’t Cry Anymore) marked her highly anticipated return after a seven-year absence and earned the Colombian superstar several unprecedented records. The tour also set a historic precedent by boosting tourism and generating millions in economic revenue across the three major cities of the country, which has the second-largest economy in Latin America after Brazil.
Among the many achievements La Loba accomplished in Mexico with her seventh and most ambitious international tour, the sale of 645,000 tickets for her 11 scheduled concerts stands out, according to figures from promoter OCESA. Of those tickets, 455,000 were for seven shows at Mexico City’s Estadio GNP Seguros (March 19, 21, 23, 25, 27, 28, and 30), marking the highest number of performances by any artist at this iconic venue (formerly known as Foro Sol), which has hosted stars like Paul McCartney, Coldplay, Taylor Swift, and Metallica.
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Additionally, 90,000 tickets were sold for her two concerts at the Estadio Akron in Guadalajara (March 16 and 17), while another 100,000 corresponded to two dates at the Estadio BBVA in Monterrey (March 12 and 13), where the Mexican leg of her tour kicked off.
Ticketmaster México reports that 2.5 million people visited its website to search for tickets to Shakira’s concerts since the tour was announced in the country last October, according to data provided to Billboard Español. This makes her the most searched act on Ticketmaster over the past year, according to the ticketing company.
“Of the 90,000 tickets sold for Estadio Akron, 37,000 were purchased outside the city, which implies tourism,” Gustavo Staufert, general director of the Guadalajara Visitors and Conventions Office (OFVC, by its acronym in Spanish), told Billboard Español, citing figures from OCESA and Ticketmaster México. “If we talk about double hotel occupancy, we’re looking at 40,000 rooms per night, which would generate around 80 million pesos (approximately $4 million) in direct revenue for hotels, and an estimated tourism revenue of 900 million pesos (approximately $44.4 million).”
The tour supporting Shakira’s album Las Mujeres Ya No Lloran has generated significant buzz in the Mexican destinations it has reached. Mexico City serves as the epicenter of the Latin American leg, where the seven scheduled shows at the Estadio GNP Seguros are expected to generate an estimated economic impact of 5.5 billion pesos (approximately $275 million), according to data from the CDMX Secretariat of Tourism provided to Billboard Español. “That figure only accounts for lodging, restaurants, and nightlife venues; it does not include revenue from ticket sales,” clarified Mexico City’s Tourism Secretary, Alejandra Frausto, in an interview.
In Mexico City, the show by the “Antología” singer is also generating around 20,000 jobs in logistics, security, transportation, and production, benefiting workers across various sectors such as hospitality, restaurants, and airlines, as well as street vendors and small businesses near the venues, noted Frausto.
According to data from Ticketmaster, between 30% and 40% of attendees at Shakira’s concerts in Mexico travel from another state in the country to one of the three cities hosting the shows. A request for information from Billboard Español to the Nuevo León Secretariat of Tourism and the Nuevo León Tourism Development Corporation (Codetur) regarding the economic impact of Shakira’s visit to Monterrey had not been answered at the time of publication.
A world-class show that “is worth it all”
To follow Shakira’s tour across Mexico, “her pack” goes to great lengths. That’s the case of Édgar Lima, a chemical engineer from Mexico City, who will attend all 11 dates his idol is performing in the country. In an interview with the newspaper Reforma, the young fan shared that he spent nearly 80,000 pesos (about $4,000) just on tickets, adding another 12,000 pesos (approximately $600) for transportation and accommodation in Guadalajara and Monterrey.
Experts point out that hosting shows featuring major music stars like the Colombian superstar not only mobilizes her fans but also brings benefits to the local economy and strengthens connectivity between national and international destinations.
The travel company Despegar, a sponsor of the tour, reported a significant increase in interest for flights and accommodations in the three main Mexican cities included in the tour, with an average growth of 43% during the concert dates (March 12 to 30). “Monterrey stood out with a 66% increase in hotel demand,” the company detailed in a statement.
The company added that most travelers to these cities came from Mexico City, Veracruz, Chihuahua, Mérida, and Cancún. Meanwhile, Frausto noted that Mexico City welcomed visitors from across the country, as well as international travelers from the United States, El Salvador, Colombia, and Peru.
A curious fact brought by the Colombian artist’s visit to Mexico was an increase in hotel and lodging reservations in the three Mexican cities hosting *Las Mujeres Ya No Lloran* coming from Las Vegas. “Tourism and music have always been connected, and Shakira’s return to Mexico is a clear example of how major events drive traveler mobility,” said Santiago Elijovich, VP & Country Manager Mexico at Despegar, as quoted in the statement.
Édgar Lima claims that every peso spent on attending Shakira’s 11 concerts in Mexico is worth it. “I believe she puts on a world-class show, and seeing them all makes me think that every investment is worth it and that every peso spent was the best decision I could make.”
SZA has a lot of powerful people in her corner, from Taylor Swift to Kendrick Lamar. While guesting on The Jennifer Hudson Show Friday (March 21), the “Saturn” singer revealed that she and the pop superstar have discussed collaborating as well as opened up about learning from the Compton rapper ahead of their Super Bowl performance and their upcoming Grand National Tour.
The topic of Swift first came up when host Jennifer Hudson pulled up a clip of the “Karma” artist and SZA posing together at the 2025 Grammys. “Every time she walks up to me or approaches me, I’m just like, ‘All right, this is happening, because that’s fully Taylor Swift,’” gushed the R&B hitmaker.
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“I think I mentioned that I would love to write with her and build some things together,” SZA continued. “I love her storytelling. She was open to it. I think she’s awesome. She’s so bossed up.”
SZA then took the chance to name some of her other favorite singer-songwriters who use their music as avenues for storytelling: Gracie Abrams, Lola Young, Doechii, Olivia Rodrigo and Chappell Roan.
The talk-show visit isn’t the first time the “Kill Bill” artist has praised Swift. In early 2023, when the former’s SOS and the latter’s Midnights albums were competing for a No. 1 spot on the Billboard 200, SZA clarified with a post on X that the competition was nothing but friendly, writing, “I don’t have beef w ANYONE especially not Taylor lmao I genuinely loved her album and the writing!”
Two years later, SZA is now gearing up to join Lamar on their joint tour, which kicks off April 19 in Minneapolis. The duo gave the world a taste of what to expect in February during Dot’s Super Bowl Halftime Show performance, which featured the “I Hate U” musician accompanying him on the field at New Orleans’ Caesars Superdome for two songs: “Luther” and “All the Stars.”
Ahead of the joint trek, SZA told Hudson that she’s “really excited to learn” from her longtime collaborator on the road. “I get to pick different tips and watch how he carries himself, how he emotes,” she said. “To watch him perform is to witness something magical.”
“One time he gave me the pointer of pretending to watch myself from above,” she continued. “He sees himself while he’s performing, and it actually changed a lot for me. It was weird, when I was watching myself from afar, I was like, ‘This not what I want to see, I want to see something different. I want to turn up.’ Then I just started, like, invoking a completely different energy and spirit within myself.”
Watch SZA discuss touring with Lamar and wanting to work with Swift below.
When newcomer Hudson Westbrook breaks into the chorus of “House Again,” his first single promoted to country radio, he draws the word “now-ow-ow-ow” across four greasy syllables.
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“It is not,” he allows, “the most normal way to do it.”
In fact, the line wasn’t written that way originally, but stretching the word creates an extra melodic effect and makes it linger, like the woman that the singer can’t get out of his mind. It fits the song’s images nicely, the word hanging around — just like her memory — haunting the hallways where every moment of lonely he “now” experiences seems to last forever.
That “now-ow-ow-ow” twist may be a defining moment in Westbrook’s growth. Just 20 years old, the former Texas Tech student has only been playing guitar for four years and writing songs for two, so he’s still figuring out who he wants to be as an artist and musician. But retooling that one key word in the chorus shows his ability to personalize a piece of music and bring out its central meaning.
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“Hudson likes to sit with songs,” says “House Again” co-writer Neil Medley (“Made for You,” “Hung Up On You”), who has penned about a dozen songs with Westbrook. “What I get back from him that we’ve written is always a little different, but it always falls right into what Hudson does best. I think if he were a video game, he unlocked a skill that day of knowing how to [tap into] his artistry. That was his voice that did that, and he made it so hooky.”
Neither Medley nor co-writer Dan Alley (“Country Song Came On”) knew Westbrook when they wrote with him for the first time on June 4, 2024, at the River House office in Nashville, where all three were signed.
“To be honest,” Alley says, “I had never heard of Hudson.”
Uncertain what to expect, Alley and Medley went through possible topics in a phone call the night before, though it turned out they didn’t need them.
“Hudson came in hot with probably five or six just really solid ideas right off the bat and blew me away,” Alley recalls. “One of them was basically the concept of a girl turning a house into a home. [We were] building a story around that, whether it was going to be positive, whether it was going to be negative.”Medley and Alley had both written songs before using a house-and-home foundation, so they dug in, looking for a different angle they could explore.
“I said, ‘Well, I want to write a song about a home that turned into a house again,’ ” Westbrook says. “They were like, ‘Well, that’s the hook.’ Honestly, I didn’t even know if the idea was writable.”
As Westbrook does routinely, they wrote it in chronological order from the first line.
“You got to set the scene before you sing about the scene,” he reasons.
They started with an image, “This kitchen used to be a dancehall,” that introduced the household theme while incorporating his Lone Star roots. Westbrook leaned emotionally on his parents’ divorce, inserting himself into a situation he had witnessed at age 7. Similarly to George Jones’ “The Grand Tour,” the song proceeded through the house, with nods to the bedroom, the window and the front door, each of them triggering some thought of the woman who no longer resided there. Medley concocted a video in his mind that helped capture the mood.
“I’m walking through these rooms in my head, and I can see what’s missing, what she left behind that used to mean something,” Medley recalls. “Everything we were trying — maybe not ‘Doorbell don’t ring,’ but the porch swing, the kitchen where they’re dancing together — we wanted to, for the most part, try to connect it with them as a couple.”
The lyrics played out primarily as a narration until the end of the second verse, when the singer finally lets loose with “What the hell did you do?” almost like a primal scream.
“It’s the primal ‘I’m screwed,’ ” Westbrook notes. “It’s the first time in the song that you really hear a point of anger.”
The whole process took place with strummed acoustic guitars ringing underneath.
“We kind of let Hudson run with whatever melody was in his head and didn’t try to really get in the way of that,” Alley says. “He’s just a very organic artist, and he loves to sing. He was singing a lot in the room, and everything was just kind of sticking.”
They recorded a very basic work tape; neither Alley nor Medley had a clue that day if Westbrook actually liked “House Again.” Westbrook didn’t know either, though he played with it periodically in the weeks afterward. He slowed it down about 10 beats per minute, and in the new tempo, that “now” lyric at the start of the chorus practically begged to get stretched out.
In September, he cut “House Again” at The Amber Sound, a homey studio in Nashville’s Hermitage neighborhood co-owned by producer Ryan Youmans (Muscadine Bloodline, Luke Grimes). They cast it sonically like Keith Urban’s “Blue Ain’t Your Color,” using bluesy triplets in tandem with a Hammond B-3 and a gritty electric guitar. Youmans revised a major chord near the end of the chorus as a minor one, heightening the self-pity in the text.
A day later, Westbrook returned to River House to do the final vocal with co-producer Lukas Scott (Austin Snell, David J). Scott used the room’s ambient side lighting to give the place a darker atmosphere, and Westbrook sang it like he meant it. The performance had some small quirks — he sings “pillow,” for example, as “pellow” — but those enhanced his authenticity.
“He does have unique little inflections and ways that he sings things, and sometimes, if he tries to change it, I tell him, ‘Don’t,’ ” Scott says. “His voice has so much character in the way that he sings those words.”
They got Kaylin Roberson to sing harmonies, allowing the song to subliminally hint at the woman who’s still inhabiting the singer’s mind, even if she’s no longer in his house.
“When you hear the female vocal and his vocal,” Scott says, “it can almost feel like there’s potentially a girl singing, and thinking the same thing.”
Westbrook thought initially that the song was too personal to appeal to anyone else, but River House vp/GM Zebb Luster suggested he might be overthinking it. The label released “House Again” to digital streaming partners on Oct. 18. It has rolled up more than 45 million streams since on Spotify alone, leading to a deal with Warner Music Nashville, which released it with River House to country radio via PlayMPE on Feb. 24. It debuted at No. 57 on the Country Airplay chart dated March 22. It’s at No. 31 on the multimetric Hot Country Songs list in its 19th charted week, creating a welcome dichotomy in his concerts.
“It did help get some stuff off my chest, and I do enjoy singing it with a fistful of anger every single night,” Westbrook says. “But how do you sing with a fistful of anger if you got 3,000 people singing along? You just can’t help but smile, so it’s been really cool.”
Selena Gomez figured it out five years ago. With Rare, her third solo studio album, the former Disney Channel breakthrough-turned multi hyphenate superstar distilled her skills as a recording artist into a slinky, sumptuous dance-pop record, full of self-empowering lyrics and midtempo earworms that understood precisely how to utilize her singular tone. Gomez earned the […]
Morgan Wallen rolls up his 19th top 10 on Billboard’s Country Airplay chart as “I’m the Problem” rises two spots to No. 9 on the tally dated March 29. It gained by 7% to 19 million audience impressions March 14-20, according to Luminate. The song follows “Love Somebody,” which became Wallen’s 16th Country Airplay No. […]
As he counts down to the May 16 release of his upcoming fourth studio album, I’m the Problem, Morgan Wallen is giving fans a taste of the project, releasing two new songs Friday (March 21).
He released the post heartbreak anthem “Just in Case,” and then leaned into greater reflections on “I’m a Little Crazy.”
Wallen wasn’t a writer on “I’m a Little Crazy,” which was penned by Hunter Phelps, Jameson Rodgers, Michael Hardy (HARDY) and Smith Ahnquist. The song delves into the mindset of someone acknowledging that they may have some unique tendencies, from keeping a loaded gun by the bedside to numbing the pain of watching the daily news, but looking at the greater reams of crimes happening in the world, they decide, “I’m a little crazy, but the world’s insane.”
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Meanwhile, “Just in Case” finds Wallen singing a tale of someone who just can’t quite move on from a past relationship. He wrote the track alongside Alex Bak, Blake Pendergrass, Jacob Kasher Hindlin, John Byron, Josh Thompson and Ryan Vojtesak.
These two new songs join previous releases “I’m the Problem,” “Love Somebody,” “Smile” and “Lies, Lies, Lies.” Wallen has also teased other songs, including a track written for his son, Indigo Wilder, called “Superman.”
The country artist has spent the past year on his farm, writing and creating the new project with with key collaborators including producers Charlie Handsome and Joey Moi, and it seems the album will be a deeply introspective one that not only acknowledges his past, but reveals more about the road ahead of him.
“I have been a problem, for sure, and I’ve got no problem admitting that,” Wallen said in a previous statement regarding his upcoming album. “But there are other sides to me as well. I’ve spent the last 11 months really trying to figure out, ‘Do I still want to be the problem? Is it time to move past that phase in my life?’ I think it probably is, and this might be the last time I get a chance to honestly say it.”
May 16 will simultaneously mark Wallen’s I’m the Problem album release, as well as serving as the first day of his inaugural Sand in My Boots Festival, set for Gulf Shores, Ala., on May 16-18. The festival’s lineup includes Wallen, Brooks & Dunn, 3 Doors Down, Diplo, Ernest, HARDY, Riley Green, Post Malone, T-Pain, Wiz Khalifa and more.
Beyond the festival and album, Wallen is also slated to perform on Saturday Night Live on March 29.
Hear “Just in Case” and “I’m a Little Crazy” below:
The Jonas Brothers are hitting the road to celebrate two decades two decades of rocking together. The trio hit Good Morning America on Friday (March 21) to announce the first date of their 20th anniversary Jonas 20: Living the Dream Tour. “Our journey really began in New Jersey, it’s where we grew up,” Nick Jonas said during their GMA spot.
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Which is why, after playing malls and anywhere else they could find an audience back in their early days, Nick, Joe and Kevin will kick-off their upcoming tour at the venue they always dreamed of playing back in the day: MetLife Stadium in East Rutherford, N.J. on August 10.
In an Instagram video after the GMA stop, Nick promised that the rest of the dates for the tour will be revealed on Sunday (March 23) at JONASCON in New Jersey, which will take place at the sprawling American Dream Mall just across the street from MetLife.
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The brothers are also celebrating today thanks to the release of their upbeat new pop single, “Love Me To Heaven,” on which they sing “Could give me everything, but it ain’t enough / You can’t put a price on the human touch / I could be down, but you love me to heaven / Turns out the Northern Lights don’t impress me much / Guess I’m just a fool for the human touch / I could be down, but you love me to Heaven.”
In addition to rolling out the tour dates, JONASCON will be an extravaganza of all things JoBro. It will feature live performances, DJ sets, Q&A panels, fan activations, pop-up surprises, retail takeovers, a Jonas trading post, trivia, games, immersive experiences, an interactive art installation, keynote event, karaoke, a Camp Rock bar, special guests, mini golf and exclusive merch. “From their early beginnings to global pop icons, JONASCON will honor the band’s incredible journey while also showing their appreciation to the fans who have been with them from the beginning,” a statement promised.
Check out the JoBros MetLife announcement below.
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Source: Niall Carson – PA Images / Getty / Robert F. Kennedy Jr.
We are truly in the upside down. Donald Trump said he would let crackpot Health and Human Services head Robert F. Kennedy Jr. “go wild on health,” and he is not letting Orange Mussolini down with his bird-brained idea to tackle bird flu in the country.
Honestly, we wished we were making this up.
Speaking on Fox News, the white Dr. Sebi suggested a ridiculous idea, with no pertinent data to back him up, that farmers “should consider maybe the possibility of letting it run through the flock so that we can identify the birds, and preserve the birds, that are immune to it,” instead of doing the right thing and humanely killing the diseased birds to keep the contagious virus from spreading.
Letting bird flu spread is precisely the kind of idea from someone who is way over their heads, and that is precisely the case with the former environmental lawyer who made a living peddling junk medical theories.
The New York Times reports that even if Kennedy stupidly pushes this idea to farmers, they don’t have to follow it because he has no jurisdiction over them. To make matters worse, the current and equally unqualified agricultural secretary, Brooke Rollins, believes Kennedy’s dangerous and dumb idea is worth trying.
“There are some farmers that are out there that are willing to really try this on a pilot as we build the safe perimeter around them to see if there is a way forward with immunity,” per the New York Times.
The Real Experts Sound The Alarm
Of course, the real experts all say RFK Jr.’s plan is complete horse sh*t.
“Veterinary scientists said letting the virus sweep through poultry flocks unchecked would be inhumane and dangerous and have enormous economic consequences,” according to the New York Times.
Dr. Gail Hansen, a former state veterinarian for Kansas, sounded the alarm, calling the plan what it obviously is, “a recipe for disaster.”
Per The New York Times:
Every infection is another opportunity for the virus, called H5N1, to evolve into a more virulent form. Geneticists have been tracking its mutations closely; so far, the virus has not developed the ability to spread among people.
But if H5N1 were to be allowed to run through a flock of five million birds, “that’s literally five million chances for that virus to replicate or to mutate,” Dr. Hansen said.
Large numbers of infected birds are likely to transmit massive amounts of the virus, putting farm workers and other animals at great risk.
“So now you’re setting yourself up for bad things to happen,” Dr. Hansen said.
Hilariously, this isn’t the first dangerous idea Kennedy has floated regarding contagious viruses. He also suggested that it was better for people to catch measles instead of getting the highly effective vaccine that helped eradicate the virus in the United States, but he has since made a return as vaccination rates among Americans continue to drop.
We clearly haven’t learned from the COVID-19 pandemic. You can see more reactions in the gallery below.
Sabrina Carpenter claims her fifth No. 1 on Billboard’s Pop Airplay chart as “Bed Chem” cozies up to the top spot on the radio ranking dated March 20.
The song, released on Island Records and promoted to radio by REPUBLIC, follows Carpenter’s “Taste,” which ruled Pop Airplay for six weeks in December-January; “Please Please Please” (two weeks, September); “Espresso” (three weeks, July); and “Feather” (one week, April).
With “Bed Chem,” “Taste,” “Please Please Please” and “Espresso” all from Carpenter’s 2024 album Short n’ Sweet, the set becomes the first to spin off at least four Pop Airplay No. 1s in nearly a decade — since Taylor Swift’s 1989 generated five in 2014-15. (Carpenter opened for 25 dates on Swift’s The Eras Tour in 2023-24.)
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Since the Pop Airplay chart originated in 1992, a select five albums have yielded four or more No. 1 singles each. Here’s a recap.
Albums With 4 or More No. 1s on Billboard’s Pop Airplay Chart:
Sabrina Carpenter, Short n’ Sweet, four: “Espresso,” “Please Please Please,” “Taste,” “Bed Chem” (2024-25)
Taylor Swift, 1989, five: “Shake It Off,” “Blank Space,” “Style,” “Bad Blood” (feat. Kendrick Lamar), “Wildest Dreams” (2014-15)
Katy Perry, Teenage Dream, six: “California Gurls” (feat. Snoop Dogg), “Teenage Dream,” “Firework,” “E.T.” (feat. Kanye West), “Last Friday Night (T.G.I.F.),” “The One That Got Away” (2010-12) (*The album’s The Complete Confection reissue generated an additional No. 1, “Wide Awake.”)
Lady Gaga, The Fame, four: “Just Dance” (feat. Colby O’Donis), “Poker Face,” “LoveGame,” “Paparazzi” (2009)
Justin Timberlake, FutureSex/LoveSounds, four: “SexyBack,” “My Love” (feat. T.I.), “What Goes Around…Comes Around,” “Summer Love” (2006-07)
“I called it Short n’ Sweet for multiple reasons,” Carpenter mused to Apple Music’s Zane Lowe ahead of the album’s release. “It was not because I’m vertically challenged [“5 feet, to be exact,” she confirms in “Taste”]. It was really, like, I thought about some of [my] relationships, and how some of them were the shortest I’ve ever had, and they affected me the most.”
Meanwhile, Carpenter has collected all her Pop Airplay No. 1s in her five most recent trips up the chart. She links the longest streak of leaders since Swift’s five from 1989 in 2014-15. The longest uninterrupted runs of No. 1s — six each — belong to Katy Perry with her haul from Teenage Dream, and Lady Gaga, whose four from The Fame were followed by two in 2010: “Bad Romance” and “Telephone” (featuring Beyoncé).
The Pop Airplay chart ranks songs by weekly plays on more than 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.
All charts dated March 29 will update on Billboard.com Tuesday, March 25.
Here we go again with another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s a full slate of news this week, so let’s get started.
Warner Music Group expanded Niels Walboomers’ role as president of recorded music and publishing in Benelux to include oversight of legendary dance label Spinnin’ Records. This follows the departure of co-president Ewout Swart after 16 years with the company, having risen from royalties manager in 2009 to chief operating officer in 2016 and co-president in 2023. His exit comes shortly after Roger de Graaf, Spinnin’s co-founder, stepped down in November 2024 after 25 years with the label. Spinnin’ Records will continue to operate independently of WMG Benelux, with Walboomers working closely with Jorn Heringa on A&R activities. Founded in 1999, Spinnin’ has been a key force in the EDM industry, representing artists such as Afrojack, Martin Garrix, Tiësto and Nicky Romero. It also houses notable artist imprints, including Tiësto’s Musical Freedom and David Guetta’s Future Rave, and in 2019 launched Spinnin’ Records Asia. WMG acquired Spinnin’ in 2017, leading to co-founder Eelko van Kooten’s departure and subsequent launch of Ledo, a digital distribution platform. “With new leadership, we’re helping Spinnin’ Records write an exciting new chapter for its artists,” said Simon Robson, president of EMEA recorded music, WMG. “Niels has gone from strength to strength since joining WMG, and with his recent work with Spinnin’ Records, it was an easy decision to expand his role.”
The Ryan Seacrest Foundation, a non-profit organization focused on inspiring youth through entertainment and education, announced new appointments to its industry advisory committee. This committee, composed of pros from music, TV, film and sports, provides expertise and resources to create experiences for young patients in children’s hospitals. New members include Dan Pearson (Lakeside Entertainment Group), Fount Lynch (WMG), Jacki Artis (UTA Foundation), Jennifer Vessio (1220 Entertainment), Jess Anderson (The Lede Company), Lisa Wolfe (Range Music), Lucas Romeo (REPUBLIC), Nicholas Fustor (WWE), Nikki Walsh (Universal Pictures) and Otis Maher (iHeartMedia). They join returning members Debra O’Connell (Disney Entertainment), Devin DeToro (Red Light), Keith Rothschild (RCA) and Scot Fink (Disney Music). The committee plays a crucial role in guiding the foundation’s initiatives, bringing talent visits to Seacrest Studios, securing behind-the-scenes content and aiding in fundraising.
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SiriusXM Holdings announced the appointment of Anjali Sud as a new independent director on its board of directors, filling the vacancy left by James E. Meyer, who resigned this week. Sud, an accomplished executive in media and technology, is currently the CEO of Tubi, Fox’s free streaming service. She previously served as CEO of Vimeo, where she took the company public. Jennifer Witz, CEO of SiriusXM, praised Sud’s track record and expertise, highlighting her potential to contribute to the company “as we look to maintain our strong standing and to position ourselves for future growth.” Meyer, who joined SiriusXM in 2004 and served as CEO from 2012 to 2020, expressed pride in the company’s achievements and confidence in its future. “I am extremely proud of all that SiriusXM has accomplished since I first arrived over two decades ago, of the unparalleled audio entertainment the company delivers to listeners across North America and the value it brings to its stockholders,” he said. Witz thanked her predecessor for his commitment and contributions over the years, wishing him the best.
Chris Martignago // Credit: Taylor Christian Jones
Chris Martignago has been promoted to vp of A&R at independent publisher Prescription Songs. Based in Nashville, he works with artists like Trent Dabbs, Anderson East, JT Daly, Nick Lobel and Tony Esterly. With over 14 years of A&R experience, Martignago began his career at Atlantic Records, where he rose to director of A&R and research, before joining Prescription Songs in 2021 as a senior A&R. Over the years, he has contributed to gold and platinum-certified hits for artists such as Paramore, Marshmello, Shinedown, Ingrid Michaelson and Saweetie, among others. Additionally, he founded HELL YES!, an online community supporting emerging songwriters, and actively volunteers with local schools and art programs. Rhea Pasricha, Prescription Songs’ head of A&R for the West Coast, praised his leadership, saying he has been instrumental in shaping the company’s roster by championing diverse talent.
Wasserman Music announced three new hires: Tim Beeding, Chloe Garcia and Doug Singer. Beeding spent 20 years at CAA and will co-lead Wasserman’s fairs and festivals division with Shannon Casey. Los Angeles-based Singer, previously partner at WME, joins Wasserman Music as vp of its global agent team. Finally, Los Angeles-based Garcia joins as director of tour marketing following a tenure as tour marketing agent at WME. Wasserman Music president Lee Anderson: “Each of them is a highly regarded leader in their area of expertise, and all of them are exceptional humans we’re proud to call colleagues and partners.” –Dave Brooks
Big Yellow Dog Music, a Nashville-based independent publishing and media rights company, announced a trifecta of promotions across its team. Jonah Gordon has been elevated to manager of sync, expanding his role in placing songs across film, TV, advertising and media. Alana Morgan steps up to coordinator of A&R, where she will focus on talent scouting and development, helping grow the company’s diverse artist and songwriter roster. Brannen Carter has advanced to catalog administrator/coordinator of label services, taking on greater responsibilities in publishing administration and label marketing. CEO and co-owner Carla Wallace praised their growth, stating, “each of these three has shown exceptional expertise, and we look forward to their contributions in 2025.” Big Yellow Dog Music boasts a catalog featuring hits performed by Meghan Trainor, Kacey Musgraves, Maren Morris, The Jonas Brothers, Jennifer Lopez, Hozier, Demi Lovato and more, while its sync division has secured placements with Target, Apple and more.
Chelsea Blythe exited her role as executive vp of A&R at UMG Nashville on March 14, having joined the label in 2023. On social media, she expressed gratitude for the opportunity to work in Nashville, highlighting her love for country music, but that it was “time to go back to California.” Blythe thanked now-former CEO Cindy Mabe, who departed the Nashville label last month, along with artists, managers, producers, publishers and colleagues, for their support. Before UMG Nashville, Blythe was senior vp of A&R at Def Jam, leading efforts for artists like Armani White and 26AR. She began her career at Interscope Records, working with Kendrick Lamar and Rae Sremmurd, and later moved to Columbia Records, signing Symba and Baby Keem, and developing Polo G and The Kid LAROI.
AEG Presents appointed Lisa Mart as the regional general manager of indigo at The O2 and Watford Colosseum. With over 15 years of experience in live events and venue management, Mart will oversee the commercial and operational success of both venues. This role supports AEG Presents UK’s expansion of its mid-size venue portfolio, including the reopening of Watford Colosseum in 2024 and the launch of the Olympia Music Venue in 2026. Mart previously held leadership roles at ATG Entertainment and was most recently venue director at Swansea Building Society Arena. Stuart Dorn, AEG Presents UK’s group venues operations director, welcomed Mart, saying “she brings a wealth of experience, which will help with both the establishment of Watford Colosseum and the continued growth of indigo at The 02” — which is set to host over 200 show this year.
Lauren Camp // Courtesy Image
Creed Media wants to pack more punch in the U.S., appointing Lauren Camp as head of strategic partnerships in its expanding Los Angeles operation. Camp is tasked with driving new business opportunities, building partnerships with agencies and influencers, and enhancing long-term value as Creed scales in North America. With over a decade of experience in music, entertainment, tech and sports, Camp founded On Record in 2017 to support independent artists and creatives. Her firm has collaborated with hundreds of artists, brands and labels, offering counsel in branding, media relations and crisis management. She has worked with Brent Faiyaz, FNZ, Pink Sweat$, and corporate clients like Stem and LVRN. She also manages R&B artist Kyle Dion and previously held leadership roles at FYI Brand Group and Hiltzik Strategies. Based in Stockholm with branches in New York, London and elsewhere, Creed Media has orchestrated campaigns for artists like Post Malone, Beyoncé and Dua Lipa.
The Country Music Association announced a big round of promotions and hirings. Ben Balch has been promoted to vp, accounting and finance; he joined the CMA in 2013 as a senior accountant and previously worked at Tractor Supply Company. Aaron Hartley has been promoted to sr. director, business affairs, while April Edman joins as director, accounting and finance. Edman previously served as sr. director, finance at the Sarah Cannon Research Institute. Jason Rost joins as director, ticketing and premium experiences; he previously served as assistant athletic director, ticket initiatives and customer relations at Penn State University. Kevin Coffey has been promoted to director, brand partnerships development, while Meredith Goucher has been promoted to director, international relations and development. Isabel Baldinger has been promoted to marketing manager, while Anthony Sinnott has been hired as CRM Manager and Cailey Parker has been bumped up to full-time as finance operations specialist. –Jessica Nicholson
NASHVILLE NOTES: SMACK backed Mak Symmonds as director of marketing. She’ll lead strategic campaigns across the company’s management, label and publishing arms to boost the visibility of artists and songwriters like Walker Hayes and Shane McAnally. Symmonds brings seven years of experience from Piedmonte & Co., where she excelled in elevating artists’ profiles through major releases, events, partnerships, and marketing campaigns … Stem is bolstering its Nashville operations by naming Courtney Daly as director of artist and label strategy. Daly, who previously worked at Big Machine Label Group, brings nearly ten years of expertise in digital strategy, e-commerce, and DSP relations.
Brad Banducci, the former CEO of Woolworths Group, was appointed chief executive officer of TEG, while Geoff Jones is transitioning to chairman after 14 years as CEO. Banducci, with three decades of leadership in retail and consumer sectors, follows his passion for live events in this new role. Jones, awarded the Order of Australia Medal, played a key role in transforming TEG into a global leader in ticketing, live entertainment and technology. Before joining TEG in 2007, Jones held roles at IMG, Foster’s, and served in the Australian Defence Force. TEG is owned by Silver Lake, a private equity firm focused on technology investments.
ATC Group promoted Ric Salmon to the new role of chief growth officer. Based in London, Salmon has been with ATC for a decade, managing artists like Laura Marling, Glen Hansard, and Trevor Horn. He also co-founded Driift, a BAFTA-winning livestream company now part of ATC Services. Before ATC, Salmon managed global artists such as Seal and Morrissey and held senior A&R roles at Sony Music, Ministry of Sound, and Warner Music International, working with artists like Eric Prydz, Rod Stewart and The Corrs. In his new role, Salmon will focus on expanding ATC’s full-service model through acquisitions and partnerships. ATC Group, which saw a 107% revenue increase in 2024, manages artists like Nick Cave and PJ Harvey and books shows for over 570 acts.
Round Hill Music founder and CEO Josh Gruss is opening Round Hill Music Co., a hybrid music store in Greenwich, Conn., at 398 Greenwich Ave. this May. The store is designed as a spot for musicians, collectors and fans of all stripes, blending tasty guitars, curated vinyl, apparel and other goods into an immersive environment. Conceived as a personal passion project by Gruss, the store aims to bridge the gap between serious musicians and casual listeners. Located a couple minutes from the Greenwich train station, it features listening stations and what it describes as an “inviting layout for effortless music discovery.” Gruss, who moonlights as guitarist in the rock band Rubikon, said he was inspired by his favorite music stores as a kid, including the sadly-gone block of instrument shops on 48th Street in NYC and record shops like Tower Records and Long Island Sound. Round Hill Music Co. will also feature a live performance stage for small concerts and events.
Josh Gruss’ shop in Greenwich.
Round Hill Music Co.
The Core Records appointed Zach Siegal-Eisman as head of audience development and insights. With over 15 years of experience in entertainment marketing, Los Angeles-based Siegal-Eisman will focus on digital strategy, audience growth and fan engagement for the label’s artists. He has worked with acts like Nickelback, John Fogerty and HARDY, holding leadership roles at Artist Network Management, Crowd Surf and Big Loud Rock, among other companies. Co-founders Chief Zaruk and Simon Tikhman praised his expertise in artist development, asserting “it will be instrumental in maximizing fan engagement and artist impact.” Founded in 2019 with Live Nation, The Core Entertainment represents artists such as Bailey Zimmerman, Nickelback and Nate Smith. In 2023, it launched The Core Records with Universal Music to develop and support new talent using UMG’s global reach.
Jeremy Heffner launched Third Generation Music Group (TGMG), a new music company that includes a record label, music publishing, and artist management. With a decade of experience at Universal Music Group’s UMe division and ABKCO Music & Records, Heffner oversaw physical production, digital releases, and licensing. TGMG aims to partner with artists rather than operate as a traditional label, focusing on amplifying creative voices. The initial roster features Texas-born singer-songwriter Bennett Woolsey, indie folk/pop artist Clint., and Brooklyn-based rock band Thesaurus Rex. Heffner stated, “Our hope is to help our artists get their voices heard, aid the creative process and have the world recognize their efforts.”
Quinn Kaemmer launched communications, creative consulting and media relations firm The Quinntessential. Kaemmer previously led the communications department at Big Machine Label Group, spearheading efforts for artists including Riley Green and Jackson Dean. Prior to joining BMLG in 2022, Kaemmer rose through the ranks at BBR Music Group, working with artists including Lainey Wilson and Parmalee. –J.N.
ICYMI:
Kramer and Zimmer
David Kramer will become CEO of UTA in June, succeeding co-founder and longtime leader Jeremy Zimmer. Zimmer, who has served as CEO since 2012, will transition to a role as board member and executive chairman. Paul Wachter will continue as chairman of the board … Audacy unveiled several executive changes, appointing Kelli Turner as president and CEO, Chris Oliviero as chief business officer, and Bob Philips as chief revenue officer. [Keep Reading]
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