State Champ Radio Author: djfrosty
Page: 809
Recorded music revenue in the United States notched record-high revenues of $17.7 billion in 2024, marking a modest 3% increase from 2023 but capping a ninth straight year of upward mobility for the U.S. business, according to the RIAA. Like a broken record, this growth was once again primarily driven by streaming and the enduring popularity of vinyl.
The music industry’s total revenue gain of 3% in 2024 is a decrease from the 7.7% increase seen in 2023.
Streaming continued to dominate the music industry, accounting for 84% of total revenues for the third consecutive year. Streaming revenue grew by 4% to $14.9 billion, with paid subscriptions the leading contributor, rising 5% to $11.7 billion, which alone made up 79% of all streaming revenues and nearly two-thirds of all recorded music revenue.
Trending on Billboard
For the first time, the number of paid subscriptions surpassed 100 million, increasing by 3% from the previous year’s tally of 97 million.
However, revenue from limited-tier subscriptions — which include services like Amazon Prime, Pandora Plus, fitness streaming services and other paid subs that don’t offer full, on-demand catalogs — declined by 2% to $1 billion. It’s an improvement over 2023, though, when that drop was 4%.
Reversing last year’s gains, ad-supported streaming experienced a slight decline. Revenue from ad-supported on-demand music services like YouTube and Spotify’s free tier dropped by 2% to $1.8 billion. (Last year it was 2% but in the black.) Digital and customized radio services, including SiriusXM, grew modestly by 3% to reach $1.4 billion. SoundExchange distributions, which handle payments for artists and copyright holders, rose by 5% to $1.1 billion, while other ad-supported streaming revenue fell by 4% to $306 million.
Most physical music formats saw a continued resurgence, with total revenues increasing by 5% to $2 billion. Vinyl was the standout performer yet again, growing by 7% to $1.4 billion, marking its 18th consecutive year of growth. Vinyl albums outsold CDs, with 44 million units sold compared to 33 million CDs. A year prior, those numbers were 43.2 million and 37 million, meaning the gap between the physical cousins is growing. Despite these trends, CD revenue still grew by 1% to $541 million compared to $537.1 million.
Digital downloads continued their downward spiral, decreasing by 18% to $336 million, compared to $434.1 million in 2023. This category now represents only 2% of the total music industry revenue, a significant drop from its 2012 peak when it accounted for 43% of the market. Both individual track and album downloads saw double-digit percentage declines.
The overall percentage breakdown between digital and physical revenue—88% to 12%—has remained consistent since 2018, with only minor fluctuations of 1% in either direction over the years. At the wholesale level, total revenue increased by 2.7%, rising to $11.3 billion from last year’s $11 billion, marking the third consecutive year this metric has surpassed the $10 billion mark.
The organization noted that this marks the first year of direct reporting from independent labels, including sync revenue estimates from indie sources.
RIAA chairman & CEO Mitch Glazier highlighted the “historic milestone” of over 100 million paid subs driving two-thirds of revenues, calling it an “extraordinary achievement by an industry that has successfully focused on its creative and commercial core by championing innovative new services, options, and experiences that add real value for fans.”
Glazier added: “Music has never been more dynamic, compelling, and relevant – reaching out beyond our earbuds with conversation-driving cultural touchstones like unforgettable halftime performances, historic television moments or must-see films and biopics. And American fans and superfans’ dedication to the artists they support promises an even brighter future as record labels work to create new opportunities that boost incomes for artists and diverse revenue streams to grow the pie for everyone with a stake in the music economy.”
RIAA’s Year-End Report By the Numbers:
The U.S. recorded music industry reached an all-time high of $17.7 billion in estimated retail value.
Streaming generated $14.9 billion — making up 84% of total industry revenue.
Paid music subscriptions surpassed 100 million for the first time, contributing $11.7 billion, nearly two-thirds of total revenue.
Vinyl sales increased for the 18th straight year, reaching $1.4 billion, the highest level since 1984.
For the third year in a row, vinyl records (44 million units) outsold CDs (33 million units).
An Evening With Elton John and Brandi Carlile, a one-hour concert special featuring live performances, stories about the pair’s friendship and an intimate look at their new collaborative album, will air on CBS on Sunday, April 6 (8-9 p.m. ET/PT) and stream on Paramount+. Filming on Wednesday, March 26, at London’s iconic Palladium Theatre and […]
HipHopWired Featured Video
Dreamville Festival was launched in 2019 and save for one year skipped due to a nationwide shutdown due to the pandemic, it has occurred annually since. Dreamville Festival organizers released the finalized lineup for this year’s event which features J. Cole, 21 Savage, Lil Wayne, and Erykah Badu among its headliners.
Now in its fifth and final year, Dreamville Festival will return to Dorothea Dix Park in Raleigh, N.C. on Saturday, April 5 and 6, featuring familiar acts for past attendees along with new names in the star-studded lineup.
The top headliners for the festival are Lil Wayne, joining forces with the Hot Boys and the Big Tymers, and J. Cole on the following day ending the festival. Joining these acts on the opening day (April 5) are 21 Savage, PARTYNEXTDOOR, Ab-Soul, and Ludacris. Keyshia Cole will also be performing and celebrating the 20-year anniversary of The Way It Is project. Dreamville Records acts Ari Lennox, Bas, Lute, and Omen will also take the stage.
On day two (April 6), Tems and GloRilla will rock the Dreamville stages and will be joined by Dreamville Records star J.I.D., Wale, Coco Jones, and BigXThaPlug. Dreamville’s EARTHGANG and Cozz will also rock the stages.
“Our team looks forward to welcoming fans from around the world to Dreamville Festival this spring for our fifth anniversary celebration. The first weekend in April has grown to become one of our team’s favorite times of the year as an annual NC reunion,” said Dreamville Cofounder and Festival President Adam Roy in a statement.
A limited number of two-day general admission passes are available now and portions of the sales will be donated to the Dreamville Foundation charity, and the Dorothea Dix Park Conservancy. So far, all of the general admission plus and VIP ticket packages are sold out but waitlists are available on the festival’s website.
Learn more here.
—
Photo: Shaun Llewellyn / @shaunllewellyn_
HipHopWired Featured Video
Source: WWD / Getty
Kanye West is back with more hot takes on social media. He has accused the Kardashian family of restricting his time with his kids.
As spotted on Page Six, Kanye West has taken umbrage with his ex-wife and her very famous family. On Saturday (March 15), he took to X, formerly known as Twitter, to voice his frustrations about the Kardashians. “Yes I have beef with people that froze my account took my kids away and tried to put me in jail AND ITS STUCK,” he wrote.
He doubled down and said he needs more access to his kids to ensure they are being parented correctly. “I DONT WANT TO JUST ‘SEE’ MY KIDS. I NEED TO RAISE THEM. I NEED TO HAVE SAY SO OF [where] THEY GO TO SCHOOL AND WHO THEIR FRIENDS ARE AND [whose] HOUSES THEY SLEEP OVER [whether] MY DAUGHTERS WEAR LIPSTICK AND PERFUME.”
Kanye went on to call out not only Kim and her family but the network that exclusively streams The Kardashians. “ALL THESE RIGHTS HAVE BEEN TAKEN FROM ME BY THE KARDASHIAN MOB HULU AND DISNEY AND THE BIGGER AGENDA TO USE THE SELECTIVELY BRED BLACK CHILDREN TO BE PLATFORMS TO INFLUENCE BLACK PEOPLE,” he added.
He then compared the situation to serving time while not missing his chance to mention the Jewish community. “ITS LIKE IM IN PRISON ‘SEEING’ MY KIDS I DONT CARE IF I LIVE OR DIE OR IF IM IN JAIL OR FREE AND I ESPECIALLY DONT CARE ABOUT WHATEVER THESE P****Y A** CELEBRITIES GOT TO SAY THAT ARE SLAVES TO THE JEWS.”
Kanye West has four kids with Kim Kardashian; North, 11, Saint, 9, Chicago, 7, and Psalm, 5. Kim nor the Kardashian family has yet to comment publicly on the matter.
Natti Natasha isn’t taking for granted working alongside Romeo Santos for her latest album, Natti Natasha en Amargue, entirely produced and penned by the Aventura frontman. “It’s a balance of hard work, giving the best of me and good luck,” the Dominican artist tells Billboard‘s Leila Cobo about how the opportunity came about. Released in […]
Natti Natasha has returned with a bachata-filled album, Natti Natasha en Amargue. The Dominican singer shares why it took her so long to release the album, working with Romeo Santos as her composer and producer on the new project, recounts the story of Romeo Santos nearly dying on set during the music video shoot for […]
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Universal Music Group asks a judge to dismiss Drake’s defamation lawsuit over Kendrick Lamar’s “Not Like Us”; Live Nation loses an early battle in the Justice Department’s antitrust lawsuit; Karol G is accused of copyright infringement over a song from her chart-topping album Mañana Será Bonito; and much more.
THE BIG STORY: “A Misguided Attempt To Salve His Wounds”
In its first court response to Drake’s defamation lawsuit over Kendrick Lamar’s diss track “Not Like Us,” the world’s biggest music company didn’t exactly hold back.
Trending on Billboard
Universal Music Group filed a scathing motion seeking to dismiss the libel case this week – not only arguing that it was “meritless,” but also ridiculing Drake for filing it in the first place.
“Plaintiff, one of the most successful recording artists of all time, lost a rap battle that he provoked and in which he willingly participated,” UMG’s lawyers wrote. “Instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds.”
Twisting the knife further, the label cited a 2022 petition in which Drake and other stars demanded that prosecutors stop citing rap lyrics as evidence in criminal trials: “Drake was right then and is wrong now. The complaint’s unjustified claims against UMG are no more than Drake’s attempt to save face for his unsuccessful rap battle with Lamar.”
For more, go read the full story here, which includes access to the actual motion filed in court by UMG.
Other top stories this week…
LIVE NATION RULING – A federal judge ruled that the Justice Department can move ahead with a key allegation in its antitrust case against Live Nation: That the company illegally forces artists to use its promotion services if they want to perform in its massive network of amphitheaters. The ruling denied Live Nation’s bid to dismiss that claim, known as “tying” in antitrust law parlance, at the outset of the government’s sweeping monopoly case.
KAROL G LAWSUIT – Two producers filed a copyright lawsuit against Karol G and UMG over accusations that a track called “Gatúbela,” from the Colombian superstar’s chart-topping album Mañana Será Bonito, stole key elements from their earlier song called “Punto G.” In an unusual twist, the plaintiffs claim that one of Karol G’s producers tacitly admitted the charge in an exchange on social media.
OFFSET SUES PRODUCER – The former Migos member launched a lawsuit against ChaseTheMoney, a producer who worked on his 2023 album Set It Off, claiming the one-time collaborator has been demanding a large increase in fees and royalties long after the deal was done. The case is a “declaratory judgment” lawsuit, meaning Offset is preemptively seeking a court ruling that the original contract with Chase was valid and that he did nothing wrong by sticking to it.
SONY MUSIC v. USC – Sony Music sued the University of Southern California (USC) for more than $25 million over claims that the college sports powerhouse illegally used songs by Michael Jackson, Beyonce and AC/DC in TikTok and Instagram videos hyping its teams. The lawsuit, which claims USC was warned multiple times over several years, is the latest in a string of copyright cases filed against brands that use the vast music libraries provided by social media platforms for what rightsholders say are simply digital advertisements.
CLINTON CLASH – George Clinton filed a lawsuit over allegations that his one-time business partner, Armen Boladian, fraudulently obtained the rights to the vast majority of the funk pioneer’s music catalog. The case, which accuses Boladian and his Bridgeport Music of “abusive, deceptive, and fraudulent practices,” is only the latest time the music legend and his former agent have sparred in court. Boladian’s attorneys told Billboard that Clinton has “lost each and every time” and that they would quickly seek to dismiss the latest case.
DIDDY VIDEO – Attorneys for Sean “Diddy” Combs’ alleged in court filings that CNN “substantially altered” and then destroyed the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura. CNN quickly responded by flatly denying the charge, saying it “never altered the video and did not destroy the original copy of the footage.” Prosecutors later reportedly revealed at a hearing that they have a recording of the original surveillance footage.
DEFAMATION DISMISSED – A federal judge dismissed a defamation lawsuit filed by Diana Copeland, a former assistant to R. Kelly, against Netflix and Lifetime over how she was portrayed in the documentary “Surviving R. Kelly.” The judge ruled that Copeland had failed to clear the “high bar” for filing libel cases over newsworthy subjects: “The First Amendment demands ‘adequate breathing space’ for the free flow of ideas, especially about public figures on matters of public controversy.”
CASE CLOSED – The rapper Plies dropped a copyright lawsuit he’d filed against Megan Thee Stallion, GloRilla, Cardi B and Souja Boy over accusations that the 2024 song “Wanna Be” featured an uncleared sample. Filed last year, the case claimed that Megan and GloRilla stole Plies’ material indirectly by legally sampling a Soulja Boy song – a track that the lawsuit alleged had itself illegally used material from his 2008 track “Me & My Goons.”
Ja Rule’s decades-long feud with 50 Cent will seemingly never die, but Ja believes there could’ve been a different outcome had the internet and social media been more prevalent in the early 2000s.
The Murder Inc. rapper pulled up to Hot 97 on Monday (March 17) to discuss myriad topics, including Irv Gotti’s death and the Drake–Kendrick Lamar feud, which led to him recalling beef of his own, such as clashing with 50.
“I kind of wish I had the internet when I had my beef going on,” Ja said. “They would’ve seen things in real time, you know what I’m saying? They would’ve seen who this guy is in real time and then then it would have been a different outlook on what this is. You would’ve been like, ‘Oh, now I get it. This guy’s a f—ing fraud.’ You don’t get a chance to see that, feel that.”
Trending on Billboard
He continued: “Nowadays, with the internet, sometimes you get to feel too much. With the Drake and the Kendrick beef, you got these guys that break down the whole f—ing battle lyric for lyric for lyric. I don’t know if this is good or battle … We just live in a different time right now.”
Billboard has reached out to 50 Cent for comment.
Ja Rule went on to say that “people didn’t want to see Drake win” anymore after being on top for so long. He related it to sports, with NFL fans being tired of Patrick Mahomes and the Kansas City Chiefs winning three Super Bowls in five years. “Kendrick makes a hot record and everybody jumps on it,” he said.
“Drake’s in a position right now, and I know this position well. He’s in a position where two plus two is adding up to seven, and he just doesn’t understand it,” Rule added. “He’s like, ‘How can I be the hottest motherf—er for 10 years and now everybody wants me to lose?’ He’s not understanding the dynamic of that.”
He went on to claim: “Drake could go and make a thousand f—ing dope records right now. People are rejecting his deposit. So that’s what he’s going through right now. But if he was an athlete, and you go put up f–king 55 — you gonna put up 60 points in the night, I can’t deny that, man.”
Ja Rule’s overarching advice to rappers? “Stay out of beef,” he said, before going back to his 50 feud. “I don’t give a f–k what happened. I’m a real one, you know what I’m saying? I don’t think about that s–t, it don’t bother me.”
Watch the full interview below. Ja speaks on his feud with 50 as well as Drake and Kendrick shortly after the 43-minute mark.
Beatport is growing its presence in Mexico as electronic music consumption expands on the digital download platform for DJs.
A representative for the company tells Billboard that download revenue from Mexico on Beatport increased by 25% in 2024, with the percentage of tracks downloaded increasing by 16%.
A number of electronic genres in particular saw large consumptions surges in Mexico on Beatport, with the consumption of Afro-House increasing by 105%, the consumption of psy-trance increasing by 42%, minimal/deep tech going up by 39%, house up by 32%, deep house up by 27%, melodic house and techno up by 26%, tech house up by 21% and dance pop up by 21%.
Meanwhile, Beatport Streaming subscribers in Mexico increased by 28% in 2024.
As such, Beatport is growing its presence in the country, hosting its first ever Beatport Connect summit in Mexico City this Friday, March 21. The event will bring together industry professionals, artists and fans for panel discussions, workshops and DJ sets. The event will also offer Beatport and Beatsource workshops with artists Jessica Audiffred, Zarina/SADGAL and DJ Fucci each participating in sessions focused on trends and insights in music production.
Trending on Billboard
“Mexico’s music industry is experiencing remarkable growth, with a rapidly evolving electronic music scene and passionate audience,” says The Beatport Group’s Chief Revenue Officer, Helen Sartory. “With Mexico’s digital music segment expected to surpass 26 million users by 2027, the demand for electronic music is stronger than ever. Mexico City, in particular, has earned its reputation as a ‘trigger city,’ shaping international listening habits through its substantial digital consumption. As the country continues to emerge as a major player in the global music landscape, Beatport is proud to invest in this growth.”
Beatport is now also offering subscriptions in local currency and reducing prices of Beatport and Beatsource streaming up to 40%. The Beatport site also now automatically translates into Spanish for users in Mexico, with a “Discover Mexico” page featuring fresh music from the country.
“Mexico has long been a vibrant hub for electronic music, and we’re thrilled to deepen our investment in the region,” says Sofia Ilyas, Chief Community Officer of The Beatport Group. “By launching Beatport Connect: Mexico City and lowering prices for local markets, we’re making it easier for DJs and producers to access the tools they need to create, connect, and perform. As Beatport continues to expand globally, Mexico remains a key market in our mission to provide cutting-edge tools, educational resources, and community-driven events that empower the next generation of DJs and producers.”
David Browne
Feeling good can definitely lead to sounding good. That’s the lesson Selena Gomez said she learned while working in secret on her first album with fiancé Benny Blanco, I Said I Love You First.
In an joint interview with Rolling Stone, the happy couple said that while they are super psyched to plan their wedding — “I think every day she’s planned a new wedding in her head” said Blanco — for now, they are focusing on promoting and talking about the LP due out this Friday (March 21).
On her first album since 2020’s Rare, Gomez said the sessions were the “most intimate” she’s ever had in a studio, helped by the fact that she was working with her beloved and their trusted group of friends and collaborators. “We did everything from home, and we created it with people that we love,” she said, citing a re-team with songwriters Julia Michaels and Justin Tranter, who she worked with a decade ago on her Billboard Hot 100 No. 5 hit “Good For You.”
Trending on Billboard
And while the seating arrangements for their nuptials are not being worked out just yet, Blanco said the sessions were a love-filled supplement to their relationship. “I hadn’t seen her excited about music for a long time. And I remember she was like, ‘I have to pull over the car because I’m so happy,’” Blanco said. “And then I knew at that moment. I was like, ‘Well, if it’s making both of us happy, then hopefully it makes a few other people happy.’”
Gomez said she was “very frustrated and kind of confused” about where she wanted to go next musically, confiding in Blanco that she wasn’t sure what her sound is now. Luckily, 11-time Grammy nominee producer/songwriter Blanco was there, with a pad and pen, writing down whatever was on Sel’s mind as soon as she woke up, then jumping right into their home studio to make it a reality. “It was such a cathartic and therapeutic experience,” he said of the sessions they purposely kept “really close to the chest” so that they could write “exactly how we wanted it and to feel exactly now we wanted it to feel.”
After the success of her 2019 No. 1 hit “Lose You to Love Me” Gomez, 32, said she realized that storytelling was her strength and that her vocal sweet spot was in a lower register with a softer tone. Plus, given Blanco’s platinum status contact list, roping in current chart queens like Gracie Abrams (as well as Billie Eilish collaborator and older brother Finneas for two songs) was easy, and made perfect sense.
Blanco has known the “That’s So True” singer since she was 14 — she used to date one of his close friends — so when it came to inviting Abrams, 25, into their circle of trust to record “Call Me When You Break Up” he said it was not only a slam dunk, but seemingly meant to be. “One day, me and Selena were just talking about stuff, and Selena started following her, and they started commenting on each other’s things … She has so many unique characteristics about her, but she also has so many similar ones to Selena,” he said of Abrams. “When they hang out, they’re like, ‘Oh my god, we’re like, the same person.’ And they’re both little hermits that want to stay in and they’re both pretty shy, but somehow turn it on and become the biggest stars in the world.”
During the shoot for the song’s video, Blanco said the two women had what he described as “almost like telepathy” when they were talking to each other, with Gomez easily slipping into the big sister role. “And low-key, I got cool points from my little sister for having her on [the album],” Gomez added.
The ease of the sessions also helped produce one of Gomez’s cheekiest love songs to date, the lascivious “Sunset Blvd.” which is simply dripping with innuendo that Blanco said had them laughing during the sessions. “‘Can we really get away with it? Is this really something we’re gonna do?’” he remembered asking. “That’s when the best moments come out. A lot of artists won’t do stuff like that. And Selena has the perfect way of dipping her toe in the water of, like, almost too far, but not — but, like, is it? And it’s because she’s so multifaceted.”
Gomez said that toe-dipping came as a result of her being more comfortable playing around with lyrics that she used to be, crediting acts like Chappell Roan, Sabrina Carpenter, Abrams and Charli XCX for giving her “a little bit more freedom to play.”
Clearly at ease in each other’s company, Gomez said the title of the album perfectly describes their relationship and “embodies his stories combined with my stories,” while also leaving some things unsaid. “They have meanings that are really just personal to both of us,” he said. “So one song could actually mean two different things.”
At this point, Blanco said he’s just “happy to be along for the ride” thanks to his “put me in, coach” attitude about his professional and personal relationship with Gomez. “I’m doing whatever it takes,” he said.
Thanks to the “massive” marquise-cut diamond ring Blanco slipped on Gomez’s finger in December, it’s only natural that questions about their wedding plans keep coming up. Blanco said they’re just taking things one day at a time for now, even as Gomez can’t stop staring at the sparkler. “I genuinely feel like this is such a special time that we get to apply it to this album and really just pour our heart into it, and completely translate what we feel and bring it to the world,” she said. “That’s my main focus right now, at least.”
