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Japan’s FUJI ROCK FESTIVAL ’25 will return to the Naeba Ski Resort in Yuzawa-cho, Niigata Prefecture again this summer, with dates set for Friday, July 25 through Sunday, July 27.
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Fred again.. will headline Day 1, and Vulfpeck Day 2. These festival slots will be the first time either act performs in Japan, and for the latter, one of the three shows announced for this year. On the final day, Vampire Weekend returns to Fuji Rock for the first time in three years as headliner.
Now in its 26th year in Naeba, FUJI ROCK FESTIVAL takes place in an expanse of land 4 km long dotted with stages of various sizes, featuring over 200 artists of various genres from around the world each year. The scheduled acts from Japan this year include Ichiko Aoba, Answer to Remember, BRAHMAN, Creepy Nuts, DYGL, EGO-WRAPPIN’, Hitsujibungaku, kanekoayano, Kimishima Ohzora Gasso Keitai (“ensemble form”), jo0ji, MIYAVI, Otoboke Beaver, RADWIMPS, Shintaro Sakamoto, Suchmos, Vaundy, Tatsuro Yamashita, and more.
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From outside of Japan, Balming Tiger, Barry Can’t Swim, CA7RIEL & Paco Amoroso, Confidence Man, Ezra Collective, Faye Webster, Fermin Muguruza, Four Tet, James Blake, Haim, HYUKOH, Mei Semones, Mdou Moctar, Night Tempo, OK Go, Perfume Genius, Royel Otis, Sunset Rollercoaster, The Hives, Tycho and more are set to perform. As in previous years, the lineup ranges from veterans to newcomers, making this a festival of music that transcends borders and genres.
The recently announced fifth lineup also includes new additions Joy Anonymous, Us, Ginger Root, Jane Remover, YHWH Nailgun, and Little Sims. ROUTE 17 Rock’n’Roll ORCHESTRA, a special band at FUJI ROCK that features unique guests each year, will include Kumiko Yamashita, Hiroto Komoto, Gen Kugiya, Us, and Liam Ó Maonlaí this year.
Tickets are 59,000 yen (approx. 413 USD) for a three-day ticket and 25,000 yen for a one-day ticket (approx. 175 USD). Friday night tickets, good from 6:00 p.m. on Friday until 5:00 a.m. the next morning, are 16,000 yen (approx. 112 USD), and Under 22 one-day tickets are available for 18,000 yen (approx. 126 USD). Fans from outside Japan can purchase tickets through e+ (e plus), FRF OFFICIAL SHOP GAN-BAN, Ticket PIA, tixCraft, Ticketmaster Singapore, ticketflap, KKTIX, and interpark. Additional informationa can be found on the festival’s official website (https://en.fujirockfestival.com/ ).
An admission-free event is also scheduled for July 24, on the eve of the festival. There will be a bon dance event, a raffle, a fireworks display, a competitive eating contest, and a special gig at the RED MARQUEE stage. Check out the after movie from 2024 below.
FUJI ROCK FESTIVAL
Billboard Japan
It’s a hot Saturday afternoon during the first weekend at Coachella 2025, and backstage Mau P arrives 30 minutes behind schedule after getting stuck in festival traffic. He’s got the de facto DJ entourage — agent, manager, content team — in tow, and after they locate his trailer in the artist compound, the Dutch producer sits on a couch outside it and smokes a cigarette, an ostensible moment of repose amid the chaos.
This is Mau’s second time playing Coachella. Last year, he was added to the bill a month before the festival as part of the lineup for the new Quasar stage, where he played b2b with Diplo. You can read the tea leaves and see that his star has only since risen, as Mau is back this year with his name in the most hallowed of set times: the Saturday 10-11 p.m. peak time party slot on the Sahara stage.
The meaning isn’t lost on the 28-year-producer, who is tall, has blessed bone structure and is wearing a t-shirt printed with an image of his dad, the late Dutch saxophone player Gerbrand Westveen, who is shown in his own moment of musical brilliance while playing two saxophones simultaneously. This image will reappear later tonight when Mau ends his set by flashing it on Sahara’s giant video screens above the words “In Honour of Gerbrand Westveen.”
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One has to believe the elder Westveen would be proud of his son, and certainly Mau is approaching it all with gravitas. “I feel like I have this responsibility,” he says while sitting at the table in his dimly lit trailer, a space crowded with stacks of Coachella branded water bottles, “because I love everyone that listens to my music so much, and they put me up front, so I better live up to it.”
Still, if you’ve not yet heard of Mau P, you are forgiven. While he hasn’t quite reached the mainstream ubiquity of peers like John Summit or Dom Dolla, the producer has been making chess moves through the dance scene over the past three years, and it’s hard to overstate how impressive the producer’s growing portfolio is and how influential he’s become amongst fellow underground artists and fans. Since playing b2b2b2b with Solomun, Four Tet and Chloé Caillet at Ultra 2025, he’s even been dubbed by dance fans as one of “The Avengers.”
But if he’s sweating the pressure, he hides it well, answering questions and making casual conversation (“Do you have an accent?” he asks me. “How old are you?”) like he has all the time in the world. Meanwhile, five hours from now, he’ll play for a sea of people in an area just slightly smaller than a football field. There’s no exact count of how many people fit inside Sahara, but to the naked eye, there appears to be roughly 20,000 people here to see him, with the crowd spilling out of the tent and extending up the adjacent hillside viewing area.
Onstage, Mau’s hour-long set includes his string of hits, which along with increasingly higher profile shows like this one, cement his status as one of the moment’s essential next-gen dance producers. The crowd bumps and shimmies, altogether bucking the stereotype of stiff Coachella crowds. Mau also bumps and twirls (the cameras hone in on him while the screens flash with the words “Mau P is dancing”) as he builds a set from his own music along with his remixes of Justin Timberlake’s “SexyBack” and his show-closing edit of Radiohead’s “Everything in Its Right Place.”
Predictably, everyone goes especially hard for his 2022 breakout hit “Drugs From Amsterdam,” with the screens in tandem flashing a message at once gracious and true: “THIS IS THE SONG THAT CHANGED MY LIFE FOREVER. THANK YOU FROM THE BOTTOM OF MY HEART.”
Mau P plays weekend one of Coachella 2025.
Deanie Chen
“Drugs” indeed marked a turning point for the artist born Maurits Jan Westveen. He’d been making big room house as Maurice West since he was a teenager and in that era was just “really wanting to do what other people were already doing, which is sort of the safe option, but it worked for me for like, six years.”
Then he made the darker, woozier, tech house track, and it became a global club hit that’s aggregated 259.2 million official on-demand global streams and 39.8 million official on-demand U.S. streams, according to Luminate. He changed his artist name to Mau P (a play off his “Maupie” nickname) and everything he’s subsequently done has been “an experiment of, ‘Okay, now I have the audience because of ‘Drugs From Amsterdam, and I have the freedom to do whatever I want to do, so might as well do some crazy s–t.’”
Such crazy s–t has included “Merther,” which samples Jamaican legend Ini Kamoze and came out last year on revered U.K. house label Defected. The track demonstrates his ability to Frankenstein together styles that might not intuitively work, with the song made, he says, of “’90s rave breakbeats, combined with tech house, combined with bass that could be like, Metro Boomin, or rap,” he explains. “Then, in the structure, it just goes into banging breakbeats instead of just the house beat that was going on.” He’s also worked with hip-hop royalty including Gunna (on 2024’s “Receipts” with Diplo) and Mike Dean, who worked on 2024’s “On Again,” which was also the first song Mau put his own vocals on.
Meanwhile his official remix of Tame Impala‘s 2015 song “The Less I Know the Better” came out on Nervous Records in February, and is currently in the top spot on Dance Mix Show Airplay, giving Mau his first Billboard No. 1. Last week he released two driving singles on the Diynamic Imprint from Solomun, who Mau says “is like a dad to me. We talk for hours about life and our careers and how everything went for him, and I think he sees himself in me and that’s why he’s so protective and has always taken me in.”
Solomun’s advice for the young dance Jedi? Never change your style for anyone. In following this wisdom, Mau says his work is “combining multiple sounds and genres that people don’t necessarily think of would work. I listen to a lot of older music. My parents brought me up listening to jazz, and soul and Chaka Khan and Sade. My dad played the saxophone, so all of my knowledge of older music combines with how I see modern music and dance music.”
Releasing music across roughly ten labels has also been strategic. “I definitely chose [each label] because they all have their own community,” Mau says. “I’ve been around house and techno for so long, but I never really had a connection with [some of the] communities, so I was just trying to get everyone in and show them like, ‘Hey, I’m here.’” He’s also preparing to announce the launch of his own label.
Altogether, his approach has earned his catalog 463.6 million official on-demand global streams (through May 22), along with increasingly bigger shows that include upcoming festival bookings like Lollapalooza, Miami’s III Points, San Francisco’s Portola, his Pacha Ibiza residency and a host of European events. In November, he’ll play Colorado’s Red Rocks — a rite of passage for rising dance artists — and yesterday (May 27) he announced a headlining show at the Los Angeles State Historic Park, a venue reserved for only the biggest name DJs. It’s all a quantum leap from 2023, when Mau was first touring the U.S., playing 300-capacity clubs.
The reason for his success? His agent, CAA’s Roger Semaan, attributes the rise to Mau arriving at a moment when house was reaching new levels of popularity in the U.S., and him making music that “wasn’t copying anyone… The way he presents himself on stage and the way he controls the room is truly like no other. He is someone that loves the art of deejaying and knows his library so well that it allows him to stand out.”
Mau agrees he’s “exploded faster and bigger” in the U.S. than in Europe, saying that in his homeland, “you have to kind of win them over a bit more, and it takes a while.” As such, the States “sort of feel like another planet that I go to, and a lot of people recognize me in the streets. Then when I go back to Amsterdam, I can go grocery shopping and it’s not a problem.”
Still, DJ stardom ain’t easy. He says the hardest part is “navigating mentally, because this s–t is not normal.” He’s humble enough to say the fame he’s experienced is “a little breadcrumb of what Justin Bieber has done in his life,” and says he feels for Martin Garrix — who had a breakout hit when he was 17 and has subsequently grown up in the industry. While he’s grateful his career blew up after “my brain was fully developed,” navigating the demands “is incredibly hard… I try to be nice to everyone.”
Certainly he’s very nice — warm, funny, conversational and generous with his time. He’s also found comfort in keeping his inner circle small. “I never liked that saying, because it sounds so negative… I work with the people I know well.” To wit, he’s known his manager since they were both 16 and has also known his photographer since the days “we used to just tour with the two of us and sleep in the same bed to save money.” The rest of his team has been with him since the start of the Mau P project.
He’ll be surrounded by these trusted allies as he crosses progressively large shows off the list through the end of the year. Beyond that, he’d love to make an album — although he says the idea “is scary,” given that he’s never released anything longer than two songs.
And right now, he just doesn’t seem to have time. He’s got to get to the stage.
Smokey Robinson has filed a countersuit against four longtime housekeepers who accused him of rape earlier this month, claiming the allegations were part of an “extortionate scheme” by the women and their attorneys.
The new cross-complaint, filed in Los Angeles court Wednesday (May 28), came three weeks after the unnamed housekeepers filed a $50 million civil lawsuit over allegations that the legendary Motown singer repeatedly raped them over nearly two decades in his employ.
In filing the countersuit, defense attorneys for Robinson went on offense — accusing the four women and their attorneys (John W. Harris and Herbert Hayden) of defamation, invasion of privacy, civil conspiracy and even elder abuse over the “fabricated” allegations.
“The depths of plaintiffs’ avarice and greed knows no bounds,” Robinson’s attorney Christopher Frost writes, according to a copy of the submitted complaint obtained by Billboard. “During the very time that the Robinsons were being extraordinarily generous with plaintiffs, plaintiffs were concocting an extortionate plan to take everything from the Robinsons … and wrongfully destroy the Robinsons’ well-built reputations.”
Allegations made during court cases, such as those against Robinson, are typically shielded from defamation lawsuits by the First Amendment. But Robinson’s attorneys say the accusers and their lawyers stepped outside those protections by holding a press conference in which they “paraded themselves in front of the media” and created a “media whirlwind.”
“While the law protects plaintiffs’ ability to concoct whatever fiction they may wish to create in a legal pleading … it does not allow plaintiffs to make gratuitous and slanderous allegations in media circus-type press conferences,” Frost wrote in the cross-complaint.
Attorneys for the accusers did not immediately return a request for comment on Wednesday. Frost confirmed that the cross-complaint was filed with the court on Wednesday but declined to comment otherwise.
Robinson was sued on May 6, accused of forcing the housekeepers to have oral and vaginal sex in his Los Angeles-area bedroom dozens of times between 2007 and 2024. The singer’s wife, Frances Robinson, was also named as a defendant over claims that she didn’t do enough to stop the abuse, despite knowing that he had a history of sexual misconduct.
In addition to the sexual abuse allegations, the lawsuit also claimed that the Robinsons paid their employees below minimum wage, and that Frances Robinson created a hostile work environment replete with screaming and “racially-charged epithets.” The accusers also filed a police report, leading the Los Angeles County Sheriff’s Department to open a criminal investigation.
In Wednesday’s countersuit, the Robinsons’ attorneys told a very different story. They said the housekeepers had “stayed with the Robinsons year after year” because the couple had treated them as “extended family,” including financially helping them and celebrating holidays together. The complaint quoted alleged text messages in which the accusers wished Robinson a happy birthday and told him “love you.”
“The Robinsons did not abuse, harm, or take advantage of plaintiffs,” Frost wrote. “They treated plaintiffs with the utmost kindness and generosity.”
According to Wednesday’s new filing, the housekeepers and their lawyers made “pre-litigation demands for $100 million or more” before filing their case. When that failed to work, the new filing says the accusers went public with the allegations as loudly as they could.
“The resulting media whirlwind was swift and severe, being picked up by virtually every major media outlet worldwide, and the harm to the Robinsons’ reputation [is] palpable,” Frost wrote. “The Robinsons are afraid to open the newspaper, read the internet, or even go out in public for fear of what they may hear or see next, no matter how fabricated.”
The filing focused on statements by Harris, the attorney, at a May 6 press conference calling Robinson a “serial and sick rapist” and a “serial assaulter” — statements that Robinson says are fair game for a defamation case: “Plaintiffs may be able to make slanderous statements in a legal pleading (for now), but they are not entitled to do so in gratuitous, self-serving press conferences.”
In addition to defamation and other wrongdoing, the Robinsons say the accusers tried to “hide, conceal, and destroy evidence exposing their illegal scheme,” including by taking Frances Robinson’s phone and deleting text conversations. The filing hinted that the Robinsons would seek additional penalties for such “spoliation” of evidence.
Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and entertainment and inspired other women through their work, following the footsteps of Billboard’s annual Women in Music honors since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.
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U.S.-based dancer Shiori Murayama spoke with writer Rio Hirai for the latest installment of the series. Murayama started dancing when she was 6 and built her career in the U.S., performing in some of the most prestigious events in today’s entertainment including the Super Bowl halftime show and Coachella. She shared her thoughts on the cultural differences she experienced in the U.S., the challenges she faced as a female dancer, and her dreams for the future.
You started dancing at the age of 6 and moved to the U.S. by yourself after graduating high school. What were some of the differences you felt when you went abroad from Japan?
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I was impressed by how friendly and unpretentious everyone was. I started taking classes without knowing much English yet, but my classmates were much more open in sharing praise and telling me what they thought was good, which felt new to me. The atmosphere during classes and even during rehearsals is really relaxed, but when it’s time to run through the routine, they go full out. Obviously I don’t mean to say that dancers in Japan do things halfway, but people here are very focused on the actual performance and put lots of energy in rehearsals.
Would you say that difference in stance is something anyone who has been dancing all their lives in Japan would feel when they go to the U.S.?
Yes. I also feel that there’s less hierarchy in the U.S. I came here on an artist visa in July 2023, so it’s been less than two years. When I got a job and went to the studio, there were some famous dancers that I knew about through the media, but even they would treat me in a friendly manner without making me feel like I was beneath them. There are lots of projects that are short-term, ranging from a week to a month, and even in that short period of time, there’s good teamwork and everyone treats me kindly for the most part. People are just nice.
You’ve performed on some of the most sought-after stages in entertainment, like the Super Bowl halftime show and Coachella. Has it hit you that it’s pretty amazing to have accomplished these feats as a dancer from Japan?
I didn’t really feel it immediately after the performances, but when I received warm messages from everyone and when I watched the videos of my performances, it hit me that I had really done those things.
Are you seeing a trend toward Asians being able to perform on such stages?
I’d say it depends on the artist, but there are many projects that are culturally, racially, and gender mixed these days. Maybe Asian dancers are being hired intentionally because of the current popularity of K-pop in the music industry. I’ve never felt any barriers based on race or gender in the projects I’ve participated in. I suppose there might be instances where an artist goes, “I only want black dancers for this song” or “Only white dancers for this song,” but I feel that the range of activities available to Asian dancers like myself has expanded since I came to the U.S.
Still, it’s true that there are differences in body shape and appearance between Japanese and Americans. When I don’t make the cut, I sometimes wonder, “Maybe I was judged on my appearance?” But there’s a limit to how big I can get by training at the gym, and there’s nothing I can do about the difference in physique I was born with. I try to leverage my strengths that aren’t in that area.
What do you think are your selling points, as you work in your current environment?
I have very fair skin to begin with, which I take in a good way because it makes it easier to recognize me onstage. And I have very long hair at the moment, so I often get complimented on my hair. People also tell me that my dancing is really powerful. Despite having a thin build, people are often surprised by the power I bring to my performances, and I think that’s one of my key strengths.
How do you think being a woman has affected you?
I believe that the female body has its own unique movements and expressiveness. I’m always trying to explore expression by imagining myself dancing to a song, like, “I could make this part more supple,” or “I could make it more feminine, attractive, and sexy.”
When I performed LISA’s song “Elastigirl” at Coachella recently, the choreography expressed the sexiness and strength of women. I wore heels, and tight clothes from rehearsals to be conscious of the shape of my body, paid attention to the angle of my neck, things like that to present myself and give a performance in a way that only a woman can, in my unique way of expression.
In what ways do you feel that dancing in the U.S. suits you better than back home?
My powerful style works better here. In Japan, women are often appreciated for their flexibility, but since my dance is powerful, I can express the many facets of a woman. I feel that I have more opportunities in the U.S. to showcase my powerful moves and stylish choreography with intricate footwork. Also, Japanese people tend to prefer being like everyone else, but I like that there are many opportunities to express my individuality in the U.S.
Have you ever experienced any setbacks or come up against a wall in your long dancing career?
To be honest, I don’t remember any major setbacks, but I did experience some difficulties. After I completed my dance major in college, I was able to work in the U.S. for a year on OPT (Optional Practical Training, an internship-like visa). Until then, I wasn’t allowed to earn money as a student, so although I had connections with choreographers, I couldn’t work. I saw the people around me getting hired and wanted to be like them.
My dream was to switch to an O1 visa, so when I made it to the final round of an audition I participated in, I was elated, thinking, “If I get this job, I might be able to switch visas.” But in the end, a Japanese dancer who was a good friend got the job and I didn’t. Of course I was happy for my friend, but it was still a shock. The same day, I was scheduled to work as an assistant for a workshop, but was told that I didn’t have to come in because their usual assistant was available. It was quite hard when things like that happened simultaneously.
Some people, when they’re young, can be afraid of making mistakes or hesitate to take on challenges because they think they need to become better at it first. What would you say to encourage someone like that?
The other day, my mother said to me, “You won’t succeed unless you take on challenges” and I totally agree with her. If you like (dancing), I’d like you to have fun doing it before anything else. Of course, you’d need to train to improve your skills if you want to make it your career. Dance is such a deep field and taking hip-hop for example, there are many different styles within that genre. Watch different people, be influenced by them, and challenge yourself as much as possible.
A lot of times, things turn out all right when you take that first step even though you’re afraid to. I’d rather you regret doing something than regret not doing it.
What are some challenges you’d like to take on in the future?
For a long time, I’ve wanted to become a dancer who works on a global scale. I want to participate in a world tour and perform in Japan as well. Also, my family has supported me since I started dancing… no, since I was born, so I want to give back to them through the stage.
—This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Newly crowned American Idol winner Jamal Roberts, a 27-year-old gym teacher from Meridian, Miss., debuts at No. 1 on Billboard’s Hot Gospel Songs chart (dated May 31) with “Heal.” He capped off his championship run on the ABC competition May 18 with a stirring rendition of the faith-based track, which was written by Tom O’Dell, who released his version in 2013.
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Released May 18, Roberts’ “Heal” sold 9,000 downloads in the United States in the week ending May 22, according to Luminate. It tops Gospel Digital Song Sales, marking his initial No. 1; he previously hit No. 4 with “He’s Preparing Me” earlier in May. On the all-genre Digital Songs survey, “Heal” opens at No. 2, granting Roberts his first top 10 in his rookie appearance. The spiritual power ballad also drew 918,000 official U.S. streams in the tracking week.
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Meanwhile, Roberts is joined on Digital Song Sales by two fellow American Idol finalists: Breanna Nix with “Higher” (No. 4; 5,000 sold), and John Foster with “Tell That Angel I Love Her” (No. 6; 4,000 sold). They finished in third and second place, respectively, in the series’ latest season.
Notably, the three acts’ haul outpaces that of American Idol contestants from a year ago, when champion Abi Carter was the sole competitor to appear on the Digital Song Sales chart (dated June 1, 2024) following the finale, with “This Isn’t Over” (No. 23; 2,000 sold).
We Get an ‘Amen’
Pastor Mike Jr. adds his record-extending seventh straight career-opening leader on Gospel Airplay as “Amen” lifts 2-1. He co-authored the song with Adia Andrews, David Lamar Outing II and Terrell Anthony Pettus.
Pastor Mike Jr., from Birmingham, Ala., last led Gospel Airplay with “Windows” for a week in June 2024. Before that, he reigned as featured on Kierra Sheard’s “Miracles,” for a week in July 2023, and with his own “Impossible,” featuring James Fortune (two weeks, April 2023); “Amazing” (two weeks, May 2022); “I Got It” (four weeks, beginning in March 2021); and “Big Rock City” (10 weeks, beginning in February 2020).
In addition to owning the career-opening record run, Pastor Mike Jr. boasts the longest streak of Gospel Airplay No. 1s overall. Tasha Cobbs Leonard and Tamela Mann follow with active streaks of six consecutive chart-toppers. (Cobbs Leonard ranks at No. 7 on the latest list with “Do It Anyway,” a week after it reached No. 6.)
Additional reporting by Alex Vitoulis.
Former Mojo Music executive Alan Wallis has launched Dynamite Songs, a new publishing venture that boasts rights to songs performed by Ed Sheeran, Kendrick Lamar and Papa Roach, it was announced on Wednesday (May 28).
Described as a “specialist music publisher,” Dynamite Songs has acquired around 50 catalogs to date, including those of Ed Sheeran and Paolo Nutini songwriter Chris Leonard; Sly Jordan, whose songs have been performed by Lamar and Sean Kingston; Jim Sullivan of the English electronic music duo The Wideboys; Dan + Shay songwriter Danny Orton; and Papa Roach’s Anthony Esperance and Bruce Elliott-Smith.
With backing from Crestline Investors Inc., a Fort Worth, Texas-based investment manager with $16 billion in alternative credit assets under management that previously invested in Mojo, Wallis says Dynamite will focus on rights to enduring catalogs that are considered “smaller sized deals.”
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“The smaller end of the music rights market has been under-appreciated for too long,” said Wallis, who previously led the music transactions practice valuing catalogs at Ernst & Young LLP and will serve as Dynamic Songs’ CEO.
“Our experience with Mojo Music has shown that there are brilliant songwriters and catalogues to be found — you just need to know where to look. With one of the best teams and networks in the business behind us, we’re strongly placed to navigate this market segment, allowing us to support songwriters and honour their works and legacies,” Wallis said in a statement.
Started in 2018 by Wallis and two former Spirit Music Group principals, Mark Fried and Peter Shane, Mojo Music & Media grew to include some 40 catalogs and 30,000 songs before it was acquired by Concord in 2023 for an undisclosed amount. Mojo’s portfolio included portions of songs recorded by REO Speedwagon, KISS, Cheap Trick, Duran Duran and Earth Wind & Fire.
Wallis’s team includes former Mojo Music & Media executives Sophie Brown, who will serve as CFO/COO; Lisa Macy, who will serve as head of sync; and Tom Donovan, Dynamite’s head of business development. Dynamite’s investment manager is Naomi Riley, whil Peter Thomas, previously MD of Carlin Music, serves as chief catalogue officer.
John Cena’s You Can’t See Me has hit its 20th anniversary, and we’re taking a look back into how the album rocked the Billboard 200, and how he bridged the world of hip-hop and wrestling. What do you think of John Cena’s You Can’t See Me? Let us know in the comments! Narrator:During this WWE […]
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Summer is here and the deals at Sam’s Club are worthy of a splurge.
Members of the warehouse retailer know the deals are extremely juicy. Whether you’re looking for new and innovative tech or trying to upgrade your skincare game, Sam’s Club features steep sales on top products in pretty much all categories. We’re talking sales on top brands such as Apple, Bose, Olay, Neutrogena and Steve Madden.
To help you narrow down what to put in your shopping cart, we’ve compiled a list of 10 of the best deals we spotted on the Sam’s Club website. Get ready to shop till you drop.
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Apple Watch Series 7
$589.91
$719
18% off
A watch with stainless steel accents and an adjustable strap.
The Apple Watch Series 7 is exceedingly sought after these days, especially as folks move away from more traditional watch styles. Well, thanks to Sam’s Club, you can snag the tech for 18% off the price. You won’t have to break the bank to keep up with the tech trends this time.
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This piece is more crack-resistant than its predecessors, equipped with a resistant front crystal that can withstand drops from high heights. Beyond telling time, this watch lets you measure your blood oxygen level, take an ECG and access mindfulness and sleep tracking apps so you can manage your health and wellness all hands-free. The best part? The watch also boasts all-day battery life and faster charging speeds so you’ll never have your watch inconveniently die on you.
Bose QuietComfort Wireless Noise Cancelling Bluetooth Earbuds
$149
$179
17% off
Bose earbuds in black with noise-cancelling tech.
Bose’s QuietComfort Wireless Noise Cancelling Bluetooth earbuds are made for the music lover in your life. Currently on sale for $149, these earbuds feature hands-free Bluetooth multipoint and up to 8.5 hours of battery life so you can bump your tunes uninterrupted.
Perfect for workouts, studying or working in an office, these earbuds are also equipped with renowned noise cancellation tech to tune out the world when you need to focus the most. Each bud is affixed with an ear tip and stability band that ensures that the tech fits snugly in the ear without budging. Our favorite feature is the customizable tap control buttons. If you don’t love the song or podcast you’re tuning into, tap to skip or pause. It’s as easy as that.
Olay Super Cream with Sunscreen
$44.98
$54.98
18% off
A moisturizer with SPF 30 formulated in it.
Olay has changed the game with its Super Cream formula. It’s a sunscreen and a moisturizer in one. How innovative is that? It’s all about the formula. Ingredients such as vitamin C, hyaluronic acid, niacinamide, vitamin E and collagen peptide work to help brighten and hydrate, while the built-in SPF 30 helps protect the skin against those pesky UVA and UVB rays.
The best way to care for your skin, especially as you get older, is moisturizing and religiously using SPF. The added SPF and skincare benefits are a major plus, especially if you don’t have time for an in-depth 12-step skincare routine. We love this formula because it’s not heavy or greasy like some moisturizers. If you want to get fancy with it, working this moisturizer into your skin ahead of your makeup application can make things go on much smoother.
Totes Everywear Women’s Clog
$12.77
$16.77
24% off
A iridescent blue clog in a slip-on style.
Clogs have become majorly popular over the last few years, seen on stars such as Justin Bieber, Saweetie, Lil Nas X, Teyana Taylor and Post Malone, among others. The style is timeless and easy to wear, and these Totes’ Everywear clogs are no exception. Ready to slip on and go, these clogs feature a chunky silhouette and a backless construction.
They also come equipped with nifty non-slip rubber soles that make for a great work shoe if you’re a nurse or cook. We like the Metallic Bonnie Blue colorway because it’s slightly iridescent, adding visual interest to any outfit it’s paired with. We recommend wearing these with classic baggy jeans and a colorful zip-up to tap into those cozy vibes.
NatureWell Hydrating Lip Mask Variety Pack
$14.98
$16.98
12% off
A three pack of lip masks in mango, vanilla and berry.
This lip mask trio aims to emulate Laneige’s viral lip sleeping mask but at half the price — plus, you get three for the price of one. This lip mask trio comes with 0.70 oz pots in three different scrumptious scents: mango, berry and vanilla. No matter the scent, each lip mask is infused with antioxidants and shea butter that can help imbue moisture, healing chapped lips. Non-greasy and non-sticky, the product feels smooth and plush on the lips. Simply put, there’s no excuse for crusty lips with this deal.
Xbox Wireless Controller
$42.00
$52.00
19% off
A bright red wireless controller for Xbox.
Want to game in style? Sam’s Club features an Xbox Wireless controller in a bright Pulse Red hue, with an affordable price tag to boot. This controller currently retails for $42 and features key details such as sculpted surfaces and refined geometry for enhanced comfort in the hands during gameplay. Texture grip on the D-pad, bumpers and trigger also make for a more seamless gaming experience. The controller’s wireless and Bluetooth detailing are compatible with Windows 10 PCs, Android phones and tablets.
Dolce & Gabbana Devotion Eau De Parfum
$79.44
$93.44
15% off
A designer perfume with ornate gold accented packaging.
Dolce & Gabbana’s perfume line is usually pretty expensive. At Sam’s Club, you can snag the designer’s Devotion Eau De Parfum for just $79.44. The bottle features 1.7oz of perfume scented like candied citrus, orange blossom and vanilla. Feminine and floral, this scent is pretty universal thanks to the vanilla base note. Like the scent, the packaging is equally extravagant and sweet, made of see-through glass with ornate gold accents that make you feel like royalty when spritzing on this scent. A sacred-heart emblem can be seen on the front with the brand’s logo inside.
RM by Rebecca Minkoff Women’s Tank Top
$10.96
$12.96
15% off
A tan tank top with a mock neckline.
Basics such as this RM by Rebecca Minkoff tank top are a must-have in your wardrobe. Retailing for $10.96, this slim-fit cotton garment is classically constructed with a mock neckline and no sleeves, flattering just about every figure.
Sizing options for this top range from XS to XXL, while colorways include vibrant light blues to more neutral black tones. Ruched detailing at the sides makes for a more unique fit. We like the Cream colorway because the hue is exceedingly versatile, and wears well with jeans or sharp pleated slacks. Wear this to work with a blazer for a formal feel, or take it out to dinner with a matching miniskirt.
Neutrogena Stubborn Acne Blemish Patches
$13.98
$17.98
22% off
A multipack of acne patches.
Ever struggle with pesky acne that just won’t go away? Sam’s Club has got you covered. A three-pack of Neutrogena’s Stubborn Acne Blemish Patches is currently on sale for just $13.98. This 24-count pimple patch ensures that you’ll never have to suffer surprise acne scars ever again thanks to its star ingredient hydrocolloid, a polymer that absorbs fluid and promotes healing.
These patches are as easy as applying a sticker. Just peel off the adhesive film, stick the patch on and let it do its thing. The patch should absorb the gunk in your pimple, taking out any impurities in the skin. The product really works, and the testimonies don’t lie. Ninety percent of users witnessed a noticeable reduction in pimple size the next day.
Steve Madden Men’s Casual Varick Sneaker
Men’s sneaker in a white and deep blue colorway.
It’s officially time to update your sneaker wardrobe for summer. Steve Madden’s men’s Varick sneaker is a great addition for those searching for a trustworthy lifestyle sneaker. These kicks marry style, comfort and everyday functionality with details such as a cushioned footbed that offers all-day support and durable outsoles for a non-slip feel.
The shoes include plenty of unique design details such as quilted side panels and mesh accents that add texture and dimension, while two-tone uppers make styling options practically endless. Our favorite? The Blue colorway is pretty great, given the hue is centered around deeper blue hues that are just as adaptable as black.
Reservoir Media wrapped up earnings season on Wednesday (May 28) by announcing that its revenue rose 10% to $41.4 million in the fiscal fourth quarter ended March 31. Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA), a popular measure of profitability, was $18.2 million, up 14%.
“The music industry has a longstanding ability to weather broader macroeconomic headwinds as consumers believe in the value that music brings to their daily lives,” CEO Golnar Khosrowshahi said during the earnings call. “Our top-line growth is a testament to the demand and resiliency of our catalog.”
Music publishing revenue grew 6% to $27.9 million in the quarter. Digital, publishing’s largest revenue stream, rose 5% to $13.6 million. Sync revenue jumped 51% to $5.5 million due primarily to the timing of licenses. Performance revenue dropped 13% to $6.5 million and mechanical royalties fell 6% to $1.2 million.
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Recorded music revenue improved 7% to $12.0 million. Digital revenue jumped 19% to $8.8 million due mainly to price increases and subscriber growth at subscription platforms. Direct affiliations with collection societies helped neighboring rights rise 15% to $1.1 million. Physical sales fell 26% to $1.3 million due to a lighter release schedule. Sync revenue fell 29% to $700,000 due to the timing of licenses.
Full-year revenue of $158.7 million beat the high end of the guidance range of $155 million to $158 million. Adjusted EBITDA of $65.7 million also topped the high end of the guidance range of $64.5 million.
“Reservoir had a standout fiscal year, capitalizing on our opportunities to boost our organic revenue,” said CFO Jim Hindlmeyer. “Thanks to our value enhancement team, the deals we closed this year were substantial and delivered notable value to the company, and profitability was further aided by our internal efforts to control costs.”
In a busy year for signings, Reservoir Media inked songwriting deals with Snoop Dogg and Death Row Records, k.d. lang, Travis Heidelman and Aaron Zuckerman, among others. It also acquired the publishing catalog of Lebo M, Lastrada Entertainment, Big D Evans and Billy Strange, and purchased the produce royalties of Jack Douglas (Aerosmith, Cheap Trick).
While Reservoir Media has a roster of Western songwriters and recording artists, the company also focuses on emerging markets. This month, Reservoir Media announced its PopIndia subsidiary acquired the publishing and master rights of Musicraft Entertainment, which spans decades of Indian music. Khosrowshahi described the growth rate of India’s music business as “pretty significant given both the size of the population and the opportunity for the number of people to become streamers of music.”
Guidance for fiscal 2026 is revenue of $164 million to $169 million, which at the midpoint would result in 5% annual growth. Adjusted EBITDA guidance of $68 million to $72 million represents 7% growth at the midpoint.
Reservoir Media shares fell as much as 8.4% Wednesday morning but recovered to $7.69, down 1.4%, by early afternoon. The share price jumped 7.9% on Tuesday (May 27) on heavier than average trading volume.
“Breakin’ speed records on roads that these n—-s paved,” Drake raps on Scorpion‘s “Emotionless.” The 6 God collected another impressive accolade on Wednesday (May 28) when the RIAA announced that Drizzy has earned his 10th Diamond certification, which is the most of any artist ever.
“Drake has the most RIAA Diamond Certifications of any artist, ever,” the RIAA wrote on social media with a graphic featuring all 10 of Drizzy’s Diamond plaques. “‘Hold On, We’re Going Home’ and ‘Best I Ever Had’ are now certified RIAA Diamond, bringing Drake to a total of 10 Diamond Certifications.”
Outside of classics such as Nothing Was the Same‘s “Hold On, We’re Going Home” or “Best I Ever Had,” the rest of Drizzy’s Diamond club includes “God’s Plan,” “One Dance,” “Hotline Bling,” Travis Scott’s “SICKO MODE,” “Life Is Good” with Future, Lil Wayne’s “Love Me” and Chris Brown’s “No Guidance.”
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There could be an 11th Diamond plaque on the way, as Drake will look to extend his record with Scorpion‘s “Nice for What,” which is currently at 9x Platinum.
Drake is the first artist to enter double-digit Diamond certifications across both singles and albums. The OVO rapper broke a tie with Garth Brooks, who has nine Diamond-certified albums, along with Post Malone, who also has nine Diamond certifications across an array of singles.
Fans hopped into the RIAA’s comment section to give Drake his flowers. “You just simply can’t say anything bad about this lol. N—-s staring greatness in the face,” one person wrote.
Another added a reference to Drake’s war with Kendrick Lamar: “Looks like the 20v1 didn’t work out!”
The hard work continues to pay off for Drizzy, who is enjoying another busy year. On the music side, he delivered his long-awaited $ome $exy $ongs 4 U joint album with PARTYNEXTDOOR in February. A pair of songs from the project (“Nokia” at No. 12 and “Somebody Loves Me” at No. 77) remain on the Billboard Hot 100.
Drake will heat up the summer when he hits the Wireless Festival stage to headline all three nights (July 11-13) at London’s Finsbury Park. He’s also promising the return of OVO Fest to Toronto.
Check out the RIAA’s announcement about Drake’s latest accomplishment below: