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As country music prepares to take over Coachella Valley this weekend for the annual, sold-out Stagecoach Country Music Festival, more than five dozen acts spanning a wide array of sounds will perform on multiple stages April 25 to April 27 at the Empire Polo Club in Indio, California. Two-time CMA Awards entertainer of the year […]
The Weeknd grabs sole possession of the third most No. 1s on Billboard’s Rhythmic Airplay chart as his current single, “Cry for Me,” reigns on the list dated April 26. As the new champ climbs from No. 3, The Weeknd claims his 15th Rhythmic Airplay leader, breaking from his tie with Chris Brown. He now […]
IBIZA, Spain — The annual dance industry conference IMS Ibiza began today (April 23) on its namesake island, with hundreds of people from around the sector gathering for three days of discussions, presentations, panels, music and more looking at the global electronic music scene and industry from all angles.
As is tradition, the Summit began with the presentation of the annual IMS Business Report, which tracks the key trends from the global business over the last 12 months. Marking its 11th edition this year, the report was authored by MIDiA Research’s Mark Mulligan and is available here.
Mulligan also presented the report to a packed room on Wednesday afternoon, giving context to the data and illustrating that while revenues may be lagging in clubs and festivals, electronic music culture is booming both on and offline. These are 11 key findings from the 2025 report.
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1) Streaming Is Way Up in the Global South
The report finds that while streaming revenue growth slowed to 6% in 2024, subscriber growth saw huge gains, with the overall streaming sector seeing a 12% growth in its subscriber base.
Incredibly, nearly four fifths of this growth came from Global South markets, an area the UN Trade and Development organization defines as comprised of Africa, Latin America and the Caribbean, Asia and Oceania. Mulligan noted that Global South statistic is especially crucial given that user growth will eventually give way to global cultural growth “as these users drive the rise of large local music scenes that will increasingly export their sounds to the West.”
The reports also found that Spotify stayed in the lead in terms of DSPs, maintaining its 32% market share and registering more than a quarter of a billion subscribers globally. The report notes that “YouTube Music was the only other global DSP to also enjoy strong growth in 2024, gaining to a 10% market share.
2) Electronic Music Is a Market Leader
The report notes that electronic music has the top or second highest count of Spotify followers in nine of the genre’s top 13 markets, compared to hip-hop, Latin and rock. And while Latin and hip-hop growth may be statistically stronger, the reach of these audiences, especially Latin, varies strongly by region, versus electronic music’s more global growth.
Additionally, the world’s top four electronic music markets — Germany, Australia, the U.S. and U.K. — all gained significant listener counts in 2024, although Mexico, the U.K. and Germany saw the highest growth, respectively. (Incredibly, electronic music was up 60% in Mexico.)
Meanwhile, electronic music consumption is considered endemic in The Netherlands and Australia, where the report found that the number of monthly electronic music listeners on Spotify is higher than the total population. (This is possible because individuals can consume more than one style of electronic music on the platform.)
3) Electronic Music Fans Over-Index For Time & Money Spent
Mulligan repeatedly emphasized the crucial nature and influence of IRL scenes, which dance music excels in cultivating and which many younger people are prioritizing over online existence.
“This idea of scenes is going to become more and more important,” he said, “because superstars are getting smaller and everything is fragmenting. It’s time to look simply beyond the stream counts, beyond the social numbers to measure the cultural impact, even though that’s nearly impossible to do. But that’s probably a good thing. If it’s not measurable, it’s harder for people to go and overtly commercialize it.”
He referred to culture as “the fuel in the engine,” saying that things like revenue, stream counts and social and followings “will come as a result of the culture. So the fact that the cultural indicators are beginning to really light up in 2024 points to a really strong few years coming up.”
4) Revenues in Ibiza Were Up, But Ticket Sales Were Slightly Down
The report notes that the average number of events per venue on the island “is on a steady, albeit modest decline and ticket volumes were down in 2024, with higher average ticket prices thereason that revenues were up once again. “You keep charging people more until they can’t afford it anymore” said Mulligan, “and there will come a point when people say ‘I literally can’t afford any more for this at the moment.’” This is especially true now, he noted, in a period of global economic uncertainty.
5) Afro House Continues to Rise
Mulligan reported that Afro-house “has absolutely rocketed” in the last year, while drum & bass is also in a “real era of resurgence.” A survey of the digital sample library Loopcloud indicates a large rise in samples of African music genres, suggesting the genre will continue growing.
6) Hard World = Hard Music
The Loopcloud survey also found a rise in harder electronic genres like hardcore and hard dance, while “softer” genres like ambient and chill out are going down and losing share. This is, Mulligan posted, is “because culture reflects the world around us. It’s a crappy world out there at the moment. There’s wars and famine and inequality, and I think that’s beginning to really come through in the music that people are making and the music that people are listening to.”
7) There’s Been a 45% Growth of Electronic Music Hashtags on TikTok
Amapiano and trance saw especially big growth on the platform. “Again,” Mulligan said, “there are all of these cultural indicators that are growing more strongly than the revenue indicators are.”
8) SoundCloud Also Remains a Strong Cultural Indicator
The platform saw 100% growth in uploads of UKG (UK garage) with jungle uploads also up 45%.”These tend to the genres that tend to be owned by Gen Z and even Gen Alpha,” said Mulligan. “SoundCloud has so many of these bootleg remakes … of course [the people who make them] can never get the rights cleared and put them onto Spotify, but a lot of this culture is happening online on places like SoundCloud.”
9) Music Catalog Investors Have a Growing Interest in Dance
“Mainly what happens is old white males invest in old white males, so you still see the Bob Dylans [of the world getting invested in], but we are beginning to see more and more of other genres,” Mulligan said of investor acquisitions of artist catalogs. The report states that the share of catalog deals for electronic artists doubled between 2020 and 2024, with recent notable examples including Kevin Saunderson, Tiga and deadmau5.
10) Dance Music’s Gender Divide Persists
In terms of the number of people producing music and playing events, Mulligan reported that “this is still a heavily male world,” although there’s also been a slight increase in the representation of female artists. This determination is based on a survey of data from AlphaTheta, where the registered userbase, the report says “points to the steady rise of female DJs, many of whom will be inspired by the growing share of top DJs that are now female.”
“We are beginning to see change,” Mulligan added in his presentation. “It’s not dramatic, but it’s good and steady progress.”
11) The Global Electronic Music Industry Was Valued at $12.9 Billion in 2024
This number includes live, merchandising, sponsorships, recorded music, publishing, music hardware and software, clubs, festivals and more. The number represents a 6% growth over 2024, which Mulligan noted “might not sound huge, but remember live music revenues — festivals and clubs — which is a really big part of the revenue mix, is beginning to slow, so that sort of drags down the overall numbers. But most importantly, the culture is absolutely booming. With 0.6 billion new social followers of electronic music followers in 2024 they’re the foundation for what’s set to be a really vibrant few years.”
Noah Kahan has long joked that he’s the “Jewish Ed Sheeran.” And this week, the two singer-songwriters finally got together, playing a set of acoustic songs — including one of the British pop star’s unreleased tracks titled “Old Phone” — in a Nashville pub.
In one video posted to Instagram by the “Shape of You” singer Tuesday (April 22), he and the Vermont native sit across from each other on the intimate barroom floor of Santa’s Pub in Tennessee’s capital, both of them wielding acoustic guitars. Smiling, Sheeran and Kahan belt out the chorus to the latter’s breakthrough 2022 smash “Stick Season.”
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“I love Vermont, but it’s the season of the sticks/ And I saw your mom, she forgot that I existed,” they belt, joined by dozens of fans seated around them. “And it’s half my fault, but I just like to play the victim/ I’ll drink alcohol ’til my friends come home for Christmas.”
“Shut down @santaspub in Nashville to do dueling songs with @noahkahanmusic,” Sheeran captioned the performance. “What a night.”
According to other clips posted by guests in attendance, the pair also sang “All My Love” and “Dial Drunk” from Kahan’s Billboard 200 No. 2 album Stick Season. Sheeran also enlisted the folk singer to perform the unreleased “Old Phone,” remarking, “I recorded this song, I was like, ‘I think it kind of sounds like a Noah Kahan song … this is a like a full-circle moment for me.”
“That’s f–king mind-blowing,” Kahan quipped.
“Conversations with my dead friends/ Messages from all my exes,” Sheeran then sang on the track, which he previously performed on The Tonight Show ahead of its May 2 release, as Kahan joined him on guitar. “I kinda think that this was best left/ There, in the past, where it belongs.”
The performance marks just the latest pub pop-up the “Perfect” musician has hosted ahead of his upcoming album, Play, with Sheeran also making headlines for his surprise mini concerts at other bars in Boston and Nashville this year. On that note, Sheeran also built a fully functional bar called the Old Phone Pub in Ipswich, Mass., to promote his new song “Azizam,” which debuted at No. 28 on the Billboard Hot 100 in April. Shortly afterward, he reconstructed the pop-up at Coachella, where he sang duets with Shaboozey and Alex Warren in addition to performing on the Mojave stage at the festival.
Watch Sheeran and Kahan perform “Old Phone” and “Stick Season” below.
France’s biggest pop star, now striking out on her own, continues to challenge the status quo and captivate audiences around the globe.
How do you reinvent yourself after establishing, in less than a decade, a place as one of the cornerstones of the French music scene — with over 6 billion streams and 24 diamond certifications (16 in France, 8 internationally)?
“I’ve already asked myself that question,” Aya Nakamura admits.
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“My answer is that when you’re an artist, you’re supposed to evolve. Otherwise, you stop living your music. At some point, you feel like you’re no longer truly yourself. I believe that as long as you embrace who you are, as long as you’re still living, still feeling emotions, you’ll have no problem channeling that energy back into your music… At least, when you’re passionate.”
At 29, the singer has already left an indelible mark on French pop. Her hits “Djadja” and “Pookie,” sung entirely in French, have travelled the globe — so much so that she’s become the obvious choice to represent francophone music at the upcoming Paris Olympic Games.
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“I wonder if I could have done the same thing had I been born 20 years earlier,” she reflects. “It definitely wouldn’t have been this easy… especially because there’s something new here — a Black woman wanting to sing in her own bold, unapologetic style, without waiting for anyone to open doors for her, and reaching her audience through different channels.”
Now fully independent, Aya Nakamura is turning the page and beginning a new chapter — one that kicks off with her first major signing.
The Beginnings
Born in Bamako, Mali, Aya arrived in France just a few months later. Coming from a family of griots — West African storytellers and musicians — she grew up in Aulnay-sous-Bois, in a household where music was already part of everyday life.
“It’s kind of special, because my mother was a singer and would’ve loved to have a career. Now, I’m doing it in her place — almost like a form of redemption for her. I want to go all the way, and I hope it can inspire other women to pursue their own dreams.”
Her real start came in 2014, when she posted her first track, “Karma,” on Facebook. A fan of the TV series Heroes, she took inspiration from the character Hiro Nakamura to create her stage name.
The turning point came in 2017 with her debut album Journal Intime, now certified platinum. Newly signed to Warner Music France at the time, Aya Nakamura laid the foundation for the signature sound that would come to define her. On the track “Oumou Sangaré,” she paid tribute to her Malian heritage — a connection she’s been feeling drawn to again.
“Lately, I’ve been thinking more and more about doing something like that again,” she says.
Olympic Recognition
Aya Nakamura’s international breakthrough came in 2018 with the release of “Djadja.” The track topped the French charts for two consecutive weeks and quickly crossed European borders. In the Netherlands, it made history: for the first time since Édith Piaf in 1961, a French-language song by a female artist reached No. 1 on the charts.
This meteoric success was cemented with the release of her second album, Nakamura, in November 2018. Fueled by diamond-certified singles like “Copines,” “La Dot” and “Pookie,” the album became a commercial phenomenon unlike anything seen before for a francophone artist. It went diamond in France with over 500,000 copies sold, matched by another half-million internationally. Today, it holds the record as the most streamed francophone album in Spotify history, with over 2 billion streams.
Her trajectory continued with two more albums, AYA and DNK, but it reached a symbolic high point on July 26, 2024, when she performed on the Pont des Arts during the opening ceremony of the Paris Olympic Games. Accompanied by musicians from the Garde Républicaine and the French Army Choir, the performance became the most-watched moment in French television history, drawing 31.4 million viewers.
“What can I say? People often call it ‘iconic.’ It took me six months to truly process what I’d done,” she admits. “In the moment, you’re just pushing forward, head down, working hard to deliver something you can be proud of. Then, when you step back and look at everything — the impact, the debates… it feels like a movie. In the end, I feel like I made it.”
In February 2025, just months after her global triumph, Aya surprised fans with “Chimiyé” — a single that marked a distinct shift in her discography. Collaborating with rapper Alpha Wann and the Don Dada team (JayJay, Selman, StillNas), she ventured into new sonic territory, blending R&B with elements of spoken word and rap.
“I gave myself the challenge of making something more rap-leaning — without actually being a rapper. That’s what pushed me out of my comfort zone,” she explains. “I like working with people who are a bit unexpected. Some of my producers don’t even usually listen to my music — and that keeps things fun. Without those collaborations, I would’ve never made tracks like ‘Djadja’ or ‘Pookie.’”
On Feb. 23, 2025, she broke yet another record: the “Djadja” video surpassed one billion views on YouTube, becoming only the fourth French-language song to reach that milestone — and the first by an African artist to do so.
Next stop, the Stade de France?
“Yes, but not just yet,” she smiles. “I still want to take my time. In France, it feels like the final step — and before I get there, I want to keep sharing other shows, other moments with my audience.”
Beyond Borders
How can one explain such a rare ability to transcend language barriers? Aya Nakamura pauses before answering.
“I didn’t realize right away that I had an international audience — it really happened gradually. People would tell me, ‘You’re being listened to all over the world,’ but it was through interactions with fans on social media and stumbling across videos that I began to understand the scale of it. I found fan accounts in Brazil, in Venezuela… I travel too, and I hear my music everywhere — in the U.S., in Thailand. But I don’t really create my music with a specific place in mind. I just try to offer something that feels real to me — and if it resonates worldwide, that’s a bonus.”
That global reach also shows in her collaborations. After teaming up with Colombian superstar Maluma for a “Djadja” remix in 2020, she joined forces with Nigerian sensation Ayra Starr for a reimagined version of her hit “Hypé” in March 2024 — a track that climbed to No. 17 on the U.K. charts, a rare feat for a song sung mostly in French.
“I think music is energy,” she says. “The songs that connect most are often the ones where I’ve poured the most of myself into them emotionally. People don’t just listen for the lyrics… It’s like when I used to listen to artists like Rihanna growing up, without understanding everything she was singing. What connects with people when they hear certain songs of mine is the energy in that moment — and also the blend of influences inside me that you can hear.”
That emotional authenticity, combined with her distinctive vocal style and a French language she molds into her own rhythm and expression, forms an instantly recognizable artistic identity.
“I don’t know if that’s what makes the songs universal,” she reflects, “but I think it’s the honesty I put into them, the constant search for something new. I’m not trying to ride the latest wave — I just want to offer something I’m 100% proud of, without making any artistic compromises. Maybe that’s why it speaks to people. I try to follow my instincts and creative desires, while keeping my standards high.”
From Music to Fashion
Aya Nakamura’s cultural influence now extends well beyond the realm of music. In February 2023, she was named global ambassador for Lancôme, marking her entry into the exclusive circle of luxury brand muses — a milestone that would open the door to a new world of opportunities.
On May 6, 2024, she received one of the most coveted invitations in fashion: the Met Gala in New York. With her appearance, she became only the sixth French musical artist to walk its legendary red carpet, following icons like Catherine Deneuve, Vanessa Paradis, Lou Doillon, Charlotte Gainsbourg and Carla Bruni.
Just weeks later, on June 23, 2024, Vogue editor-in-chief Anna Wintour personally selected her to perform her single “Fly” at the prestigious Vogue World Paris show, held in Place Vendôme. Dressed in a custom haute couture gown by Jean Paul Gaultier, Nakamura took part in a striking celebration of music and fashion.
“I really love fashion and the creative universe it represents,” she shares. “I’m enjoying getting deeper into it. I absolutely loved performing at Place Vendôme and being part of this blend of music and fashion. I felt completely at ease — and I found the entire production of the event to be incredibly high-quality.”
Independent Now
Alongside her growing institutional recognition, Aya Nakamura has taken control of her professional destiny. After overseeing her own artistic direction as early as “Djadja,” she took the defining step toward full independence by launching her own label.
“It’s a whole different thing,” she admits. “To be honest, I’ve always felt independent — especially when it comes to creative direction. I’m deeply involved in all the strategic decisions, from picking singles and setting release dates to choosing the visuals and producers I work with. Becoming independent has given me a whole new perspective on the business side. Now I can make all the decisions — and take full responsibility for them, whether they lead to success or not.”
“I’m still surrounded by a great team and I know when to let go,” she adds, “but mastering the entire process around the music, not just the creation part, is something I find truly exciting. It matters to me.”
Beyond her own career, Nakamura is also committed to supporting the next generation of artists.
“I’ve already signed someone — though no one knows yet,” she reveals with a smile. “His name is RnBoi. He’s young and just starting out, and it’s going really well. We met about six months ago, after I invited him to perform at my DVM Show. I took the leap — I think he has something special.”
Pop Star and Mother
Behind the icon is a young woman and a mother of two daughters, Aïcha and Ava, born in 2016 and 2022, respectively. Balancing an international career with motherhood is a daily challenge.
“To be totally honest, it’s a bit complicated with fame, but my balance comes from trying as much as possible to live like a normal person,” she shares. “For example, I go to the park with my kids, I cook for them — these moments are precious to me. It’s not always easy, and sometimes I try to be discreet to maintain a sense of normalcy. I’m really determined to preserve that freedom and have moments that I can live fully, away from the spotlight.”
Aya Nakamura
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New York’s City Parks Foundation announced the lineup for its 2025 season of Capitol One City Parks Foundation SummerStage series of shows on Wednesday (April 23). The series of 70 free and benefit concerts and performances will bring music to Central Park and 13 other neighborhood parks across all five boroughs this summer, kicking off on June 4 with a New Orleans-inspired show featuring Marcus Miller, Tank and the Bangas and the Soul Rebels in association with the Blue Note Jazz Festival.
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The rest of the eclectic roster for the 39th edition of SummerStage will feature jazz, hip-hop, rock, salsa, reggae, Afrobeat, soul and pop artist, as well as DJs and contemporary dance performers from around the globe.
“I am thrilled to announce our 2025 SummerStage lineup, a stellar reflection of what makes our festival so unique and beloved,” said Heather Lubov, executive director of City Parks Foundation in a statement. “The huge variety of artists we’re presenting and the parks where we’re located reflect our city’s demographic and cultural diversity, but they also serve to unite us as neighbors and as lovers of music, regardless of our differences.”
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Among the other acts slated to take the stage are: The Roots, Soccer Mommy, Femi Kuti & The Positive Force, Rakim, Celia Cruz Centennial Celebration, Big Freedia, Camilo, Jessica Pratt, Bob Sinclair, IZA, Hurray for the Riff Raff, Awich, Frankie Negrón, La Sonora Poceña and Morgan Freeman’s Symphonic Blues, among others.
This season’s events will take place in Marcus Garvey Park in Harlem, Tompkins Square Park in the East Village, Herbert Von King Park and The Coney Island Amphitheater in Brooklyn, Flushing Meadows-Corona Park in Queens, St. Mary’s Park and Crotona Park in the Bronx, Stapleton Waterfront Park on Staten Island, and SummerStage’s flagship venue, Rumsey Playfield in Central Park. Performances are free and open to the public, with the exception of the ticketed benefit concerts in Central Park.
Other 2025 SummerStage highlights include:
The Aussie BBQ: a June 14 celebration of sounds from Down Under featuring father-son hip-hop duo Flewnt and Inkabee, indie pop artist Gordi, singer-songwriter Grace Cummings, EDM duo PINES, garage rockers The Grogans and a special appearance from beloved children’s music group The Wiggles.
Nordic Next: a June 15 show with sounds from Nordic nations featuring singer-songwriter Jakob, Swedish indie-folk singer Sarah Klang and Danish art-pop violinist/singer Astrid Sonne.
New York Sings Yiddish: a June 30 showcase of Yiddish music and folklore with sets from multi-instrumentalist Zalman Mlotek and klezmer/jazz fusion band Frank London’s Klezmer All-Stars.
Canadian music showcase: a July 2 show featuring Toronto R&B singer Charlotte Day Wilson and folk-rock band The Weather Station.
Latin Alternative Music Conference (LAMC): July 9 show with Colombian Latin pop band Morat, with punk/reggaeton band Planta Industrial and a July 12 show with Colombian singer-songwriter Camilo and Colombian pop singer and 2024 Latin Grammy best new artist winner Ela Taubert.
Big Freedia: the New Orleans bounce queen will take the stage at Herbert Von King Park in Brooklyn with Black trans femme choreographer Courtney “Balenciaga” Washington.
Bastille Day Celebration: a July 13 showcase with performances from house DJ Bob Sinclair, hip-hop brother duo Big Flo & Oli, singer-songwriter Patrick Bruel and pianist/singer ESTL.
The Roots: The Philly hip-hop collective and Tonight Show house band will play Flushing Meadows-Corona Park in Queens on July 20.
Femi Kuti: a July 27 show with the Nigerian superstar and his band, the Positive Force, along with New York rap crew dead prez — celebrating their 30th anniversary — and poet Maryam Bukar Hassan.
Frankie Negrón: Tropical/salsa star Negrón will play the Bronx’s Crotona Park on July 31.
Taiwanese Waves: an August 3 showcase celebrating indigenous Taiwanese culture with contemporary dance company Bulareyaung Dance Company, indigenous Paiwan pop star ABAO and singer-songwriter Enno Cheng.
Rakim: The legendary New York MC will take the stage at Stapleton Waterfront Park on Staten Island on August 9.
Celia Cruz Celebration: the tribute to the legendary Queen of Salsa’s centennial on August 9 will feature Cuban singer/pianist Aymée Nuviola and Afro-Cuban singer Brenda Navarrete.
La Sonora Ponceña: The Puerto Rican salsa band will play Stapleton Waterfront Park on August 10.
Soccer Mommy: indie rock band will close out the Central Park season on Sept. 16 with help from Hurray for the Riff Raff and Dummy.
The series will include celebrations of New York’s cultural communities with guest curators including MIKE’s Young World V — with July 12 sets from Roc Marciano and The Alchemist — DJ Rekha’s Basement Bhangra Beyond dance show with London-based Punjabi singer Tara Lily on July 19 and Coney Island’s NEMS’ second GORILLAFEST hip-hop show on July 26. In addition, legendary DJ Funk Flex will celebrate the sounds of hip-hop and R&B across the boroughs on Aug. 1 (the Bronx), Aug. 16 (Coney Island) and Aug. 17 (Central Park) and DJ/producer King Britt will host his Blacktronika Festival with back-to-back shows in Central Park (Aug. 16) and Marcus Garvey Park (Aug. 17).
SummerStage will put the spotlight on a number of female artists as well, with bluegrass/Americana singer Rihannon Giddens playing Central Park on June 25, Indian-American singer-songwriter Asha Puthli taking the stage on July 23 and folk singer Jessica Pratt performing on July 24.
Other artists who will perform as part of the season include: Lettuce with Styles P (June 14), Chris Tomlin (July 11), Cymande (July 23), The Originals featuring Rich Medina, Stretch Armstrong and Tony Touch (Aug. 10) and various artists at the Charlie Parker Jazz Festival (Aug. 22). For the full line-up click here.
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Lola Young is the top nominee for The Ivors 2025, which celebrate achievements in songwriting and screen composing across eight categories. Young is nominated for three awards – best song musically and lyrically for “Messy,” best album for This Wasn’t Meant for You Anyway, and rising star.
Young, 24, has had success on both sides of the Atlantic this year. “Messy” logged four weeks at No. 1 on the Official U.K. Singles Chart and has climbed as high as No. 14 on the Billboard Hot 100. This Wasn’t Meant for You Anyway, her sophomore album, reached No. 16 on the Official U.K. Albums Chart and No. 64 on the Billboard 200.
RAYE – the winner of last year’s songwriter of the year award – Ghetts, and Conor Dickinson each received two nominations. Both of Dickinson’s nods are for writing with Young.
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In the PRS for Music most performed work category, Wham!’s 1984 holiday classic “Last Christmas” is one of the five nominees, a remarkable sign of its staying power. The song’s writer, George Michael, was nominated in the category 21 years ago for “Amazing.” Harry Styles’ 2022 smash “As It Was” was also nominated. This is the third year in a row that that global smash, which Styles cowrote with Kid Harpoon and Tyler Johnson, has been nominated in this category. Also in the running are “Houdini” by Dua Lipa, “Stargazing” by Myles Smith, and “Prada” by Cassö, RAYE and D-Block Europe.
This year marks the 70th year of the Ivors, also called the Ivor Novello Awards, with the winners set to be revealed at the ceremony taking place at Grosvenor House, London, on Thursday May 22. Amazon Music sponsors the awards.
This year, 74 individual British, Irish or U.K. resident composers and songwriters, and their international collaborators, have received Ivor Novello nominations – 66% of them for the first time.
The rising star award celebrates British, Irish or UK resident songwriters aged 18-24 who are “at the tipping point of greatness,” in the Ivors’ phrase. Each nominee receives year-long, tailored support for their creativity and career from Amazon Music and The Ivors Academy. The 2025 nominations celebrate five female rising stars – Bea and her Business, Liang Lawrence, LULU., Nia Smith and Lola Young.
Pa Salieu is nominated in best contemporary song with “Allergy,” four years on from his last nomination in the same category for “Energy.”
The Ivors also celebrates Britain and Ireland’s finest composers across film, TV and video games. Daniel Pemberton nominated for best original film score for a second successive year, this time with Fly Me to the Moon. He was nominated last year for Spider-Man: Across the Spider Verse. Also nominated is Mica Levi’s score to The Zone of Interest. Levi previously won this award in 2018 for Jackie.
Martin Phipps was nominated for best television soundtrack for the second successive year for Black Doves. He was nominated last year for the final season of The Crown.
Also, Ivor Novello Awards will be presented for the songwriter of the year with Amazon Music, outstanding song collection, visionary award with Amazon Music, special international award, and PRS for Music icon award.
Roberto Neri, chief executive of The Ivors Academy, said in a statement: “An Ivor Novello Award holds a unique place in music, as it is judged by fellow songwriters and composers, making it the most respected acknowledgement of creative excellence. We are proud to welcome and celebrate the nominees’ achievements and look forward to honouring their work at the 70th edition of The Ivors in May.”
As previously announced, U2 are the latest songwriters set to become Academy Fellows, in recognition of their enduring influence and impact on the craft of songwriting. Bono, The Edge, Adam Clayton and Larry Mullen Jr. will become the first Irish songwriters that the Academy has inducted into Fellowship in its 81-year history.
The Ivors, presented by The Ivors Academy, is one of the most prestigious award ceremonies in music. Judged by songwriters and composers, the awards recognize excellence in craft and creativity. For more information visit www.ivorsacademy.com/theivors
Here’s a full list of nominations for The Ivors 2025.
Best Album
Brat written by Charli xcx, A. G. Cook and Finn Keane; Published in the UK by Sony Music Publishing, Concord Music Publishing obo Alias Guild and Universal Music Publishing; Performed by Charli xcx
On Purpose, With Purpose written by Ghetts and TenBillion Dreams; Published in the UK by BMG Rights Worldwide UK; Performed by Ghetts
The Loop written and performed by Jordan Rakei; Published in the UK by Sony Music Publishing
This Wasn’t Meant for You Anyway written by William Brown, Conor Dickinson, Jared Solomon and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs, Sony Music Publishing – Solomon Gouda and Sony Music Publishing; Performed by Lola Young
Who Am I written and performed by BERWYN; Published in the UK by Sony Music Publishing
Best Contemporary Song
“Allergy” written by Felix Joseph, Alastair O’Donnell and Pa Salieu; Published in the UK by Universal Music Publishing and Sony Music Publishing; Performed by Pa Salieu
“Angel of My Dreams” written by Pablo Bowman, JADE, Steph Jones and Mike Sabath; Published in the UK by Kobalt Music Publishing, Sony Music Publishing and Universal Music Publishing obo Hipgnosis Hits-Steph Jones Who Music-Vistaville Music; Performed by JADE
“Circumnavigating Georgia” written and performed by Sans Soucis; Published in the UK by Sentric Music
“Double Standards” written by Ghetts, EMIL, Sampha Sisay and R-Kay; Published in the UK by BMG Rights Worldwide UK, Ditto Plus Music Publishing and Sony Music Publishing – Young Songs; Performed by Ghetts feat. Sampha
“How Black Men Lose Their Smile” written by Bashy, Toddla T and Linton Kwesi Johnson; Published in the UK by Downtown Music obo DLJ Songs, BMG Rights Worldwide UK and Universal Music Publishing obo L-K-J Music Publishers; Performed by Bashy
Best Song Musically and Lyrically
“Child of Mine” written and performed by Laura Marling; Published in the UK by Kobalt Music Publishing
“Genesis.” written by Rodney Jerkins, RAYE and Toneworld; Published in the UK by Universal Music Publishing, Warner Chappell Music and Kobalt Music Publishing obo Mohemmusic-Songs by Seventy 7 Music; Performed by RAYE
“In the Modern World” written by Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’connell; Published in the UK by Domino Publishing Company; Performed by Fontaines D.C.
“Messy” written by Conor Dickinson and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs and Sony Music Publishing; Performed by Lola Young
“Mine” written and performed by Orla Gartland; Published in the UK by Kobalt Music Publishing obo San Remo Music
PRS For Music Most Performed Work
“As It Was” written by Kid Harpoon, Tyler Johnson and Harry Styles; Published in the UK by Universal Music Publishing and Concord Music Publishing obo These Are Pulse Songs; Performed by Harry Styles
“Houdini” written by Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker; Published in the UK by Sony Music Publishing obo Viking Jamz Publishing, Sony Music Publishing, Universal Music Publishing and Warner Chappell Music obo Radical 22 Publishing; Performed by Dua Lipa
“Last Christmas” written by George Michael; Published in the UK by Warner Chappell Music obo WHAM! Music Limited; Performed by WHAM!
“Prada” written by D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE; Published in the UK by Sony Music Publishing, Bucks Music Group Ltd obo Armada Music Publishing, Kobalt Music Publishing obo Fat Pigeon (Publishing) Limited and Warner Chappell Music; Performed by Cassö, RAYE and D-Block Europe
“Stargazing” written by Peter Fenn, Jesse Fink and Myles Smith; Published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing; Performed by Myles Smith
Rising Star Award With Amazon Music
Bea and her Business
Liang Lawrence
Lola Young
LULU.
Nia Smith
Best Original Film Score
Fly Me to the Moon composed by Daniel Pemberton; Published in the UK by Sony Music Publishing obo Apple
Hard Truths composed by Gary Yershon; Published in the UK by Universal Music Publishing obo Thin Man Films
Kneecap composed by Michael ‘Mickey J’ Asante
The Substance composed by Raffertie; Published in the UK by Universal Music Publishing obo Universal Pictures Music
The Zone of Interest composed by Mica Levi; Published in the UK by Domino Publishing Company
Best Original Video Game Score
Empire of the Ants composed by Mathieu Alvado and Mark Choi
Farewell North composed by John Konsolakis
Flock composed by Eli Rainsberry
Senua’s Saga: Hellblade II composed by David Garcia Diaz
The Casting of Frank Stone composed by Boxed Ape
Best Television Soundtrack
Black Doves composed by Martin Phipps; Publishing in the UK by BMG Rights Management UK obo Maisie Anthems
Mary & George composed by Oliver Coates; Published in the UK by SATV Publishing
Rivals composed by Jack Halama and Natalie Holt; Published in the UK by Universal Music Publishing obo Walt Disney Music Company
True Detective: Night Country composed by Vince Pope; Published in the UK by Universal Music Publishing obo T-L Music Publishing
Until I Kill You composed by Carly Paradis; Published in the UK by BMG Rights Management UK obo Veti Music Publishing
Twenty-five years after Eminem released his hit “Stan,” the Shady Films-produced STANS documentary is set to premiere on the opening night of the SXSW London Screen Festival on June 2.
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The first wave of programming was announced on Tuesday (April 22) ahead of SXSW London, which is slated for June 2 through June 7 in Shoreditch. Full screen passes are currently up for sale on the festival’s website.
Directed by Steven Leckart, STANS explores the psychology behind the multilayered relationship between an artist and the fans. Em’s collaborators, along with some of his most devoted followers, are featured prominently in the documentary.
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Distributed by MTV Entertainment Studios, STANS will premiere on Paramount+ in the United States later in 2025.
“Stan” — which samples Dido’s “Thank You” — was the third single from The Marshall Mathers LP, which arrived in May 2000. The 45 King-produced track peaked at No. 51 on the Billboard Hot 100 and has nearly 1.3 billion streams on Spotify.
“Stan” has become common vernacular in the music world to describe delusional and obsessed fans and their relationship with an artist, which has only been amplified with social media’s impact. The word was even been added to the Merriam-Webster dictionary in the years since.
Eminem made his involvement with the film official when he publicly called on his diehard fans to come out and participate in the documentary last year.
“Putting together the first-ever programme of the SXSW London Screen Festival has been a dream. We are excited to present bold new work from across the world, celebrating boundary-pushing films across documentary, animation and narrative filmmaking,” SXSW London’s head of screen, Anna Bogutskaya, said in a statement. “Our program is designed to ignite conversations, inspire new connections and showcase and celebrate screen storytelling across film, TV and immersive.”
The Life of Chuck will serve as the inaugural festival’s closing night feature on June 7, which is based on Stephen King’s 2020 novella. Another King adaptation, The Institute, is also slated to join the festival’s programming. Other film premieres on the bill include Tom Kingsley’s action-comedy Deep Cover, Love & Rage: Munroe Bergdorf and more.
A songwriter who unsuccessfully sued Mariah Carey over “All I Want for Christmas is You” is pleading with a judge to reject demands that he repay her six-figure legal bill, warning it would push an “elderly man” to “the brink of a financial collapse.”
After beating Vince Vance’s copyright lawsuit over her holiday classic, Carey, Sony Music and other defendants told the judge earlier this month that they had paid nearly $186,000 to a team of lawyers to defeat “frivolous” motions advanced by Vance’s attorneys.
But in a response filing on Monday, Vance’s lawyers said that such a award was “simply not reasonable” and completely out of proportion for the amount of litigation at issue – and that it could bankrupt an an “elderly man now without vast resources.”
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“The plaintiff is elder and living off his music catalog and some touring,” the songwriter’s attorneys say. “One artist should not push another artist to the brink of a financial collapse.”
Vance (real name Andy Stone) first sued Carey in 2022, claiming “All I Want” infringed the copyrights to a 1989 song of the exact same name by his Vince Vance and the Valiants. He said his track had received “extensive airplay” during the 1993 holiday season — a year before Carey released her now-better-known hit.
The case was a big deal because Carey’s song is big business. The 1994 hit, which became even more popular after it appeared in the 2003 holiday rom-com Love Actually, has re-taken the top spot on the Hot 100 for six straight years and earned a whopping $8.5 million in revenue in 2022.
But in a ruling last month, Judge Mónica Ramírez Almadani said Vance had failed to show that the songs were similar enough to violate copyright law. She cited analysis by a musicologist who said the two tracks were “very different songs” that shared only “commonplace Christmas song clichés” that had been used in many earlier tracks.
The judge not only tossed out Vance’s case, but also ruled that he and his lawyers should be punished for advancing meritless arguments that the judge said were aimed to “cause unnecessary delay and needlessly increase the costs of litigation.”
Earlier this month, Carey and the other defendants told the judge they had paid a combined $185,602.30 for a total of 295 hours to defeat those motions. They said they spent a lot because Vance was demanding “drastic” thing, like $20 million in damages and the “destruction” of all copies of Carey’s song.
Carey, repped by Peter Anderson and others from the law firm Davis Wright Tremaine, asked for about $141,000; Walter Afanasieff, a co-writer on Carey’s track repped by Kenneth D. Freundlich, asked for $7,000; Sony Music, represented by Benjamin Akley, Donald Zakarin, Ilene Farkas and others from Pryor Cashman, asked for $32,000; and Kobalt, repped by Bert Deixler and others from Kendall Brill & Kelly LLP, asked for $5,000.
But in Tuesday’s response, Vance’s lawyer (Gerard P. Fox) said those demands were far too high for a case that he said had been filed with good intentions and sound legal reasoning.
“He heard something that to him seemed substantially similar and spent money that is sparse for him on two of the top musicologists in the country and asked them for their independent opinions, and they both gave him the same opinion: there was infringement,” Fox writes.
“The loss of this case … is staggering enough for this plaintiff and saddling him with $185,000 of big law firm billing that is unreasonable and forcing him to sell parts of his catalogue of music will accomplish nothing,” the lawyer writes.
Lizzo is opening up about the steps she took to feel lighter both physically and mentally, with the star sharing her weight-loss and anxiety-beating strategies on an TikTok livestream Tuesday (April 22).
Speaking to followers months after announcing on Instagram that she’d reached her “weight release” goal in January, Lizzo divulged which specific changes she’s made to have a healthier relationship with food. For one, the hitmaker no longer drinks “two to three” large Starbucks beverages each day, a switch she said she believes cut out 1,200 calories from her daily diet, according to People.
The “About Damn Time” singer also stopped eating sugary foods in the morning, opting instead for a mix of sweet and savory breakfast choices, like “almond butter and toast.” “Everybody’s body is different. Find out what works for you,” she said, noting that she “had to start applying a calorie deficit, because I was prone to bingeing.”
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Lizzo has been open about her fitness journey after becoming known for her self-love-focused music and advocating for body positivity with her platform. In her January Instagram post, she showed off her figure and revealed that she had shed 16% of her body fat, writing, “Today when I stepped on my scale, I reached my weight release goal. I haven’t seen this number since 2014! Let this be a reminder you can do anything you put your mind to. Time for new goals!”
She’s also long been vocal about her struggles with mental health, and in Tuesday’s chat with fans, she also shared how she turned her anxiety around. “I’ve been working to get my anxiety under control for years,” she told her TikTok followers. “And then I decided that I want to release and I’m ready to stop waiting to be myself like fully and be happy. I meditated. I calmed myself down. And I isolated a little bit, but not like made myself lonely, not the way I used to when I was depressed. I isolated myself in a mindful way where I had no distractions.”
“I loved to distract myself with people,” she added. “I loved to distract myself with food. I loved to distract myself with drinking. I loved to distract myself with problems that I would create. I would love to do that. And I stopped doing that. And I just focused on me.”
The Grammy winner’s posts come as she’s kicking off a new musical era, dropping singles “Love in Real Life” and “Still Bad” in February and March, respectively. In April, she announced that she had put the finishing touches on her upcoming follow-up to 2022’s Special — which reached No. 2 on the Billboard 200 — sharing studio photos on Instagram and writing, “ALBUM IS DONE YALL!”