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She Is The Music honored singer-songwriter Gracie Abrams and her support team of women at its Women Sharing the Spotlight event at The Peppermint Club in Los Angeles on Thursday (March 27). The event celebrated 50 impactful women in the music industry, each of whom shared their spotlight with another woman in the business. Alicia […]

Last September, Katy Perry released her seventh album, 143. The album peaked at No. 6 on the Billboard 200, while lead single “Woman’s World” hit a No. 63 high on the Hot 100.
The song was co-written and co-produced by Lukasz Gottwald, known better as Dr. Luke, who worked on nine out of the album’s 11 tracks. Upon release, his involvement caused controversy as fans questioned why Perry would return to working with the producer — who Kesha previously and publicly accused of physical, sexual, verbal and emotional abuse over a 10-year period. (Dr. Luke countersued for defamation, and in 2023 a settlement was reached.)
“I think there was some backlash for her reuniting with Dr. Luke,” Chris Anokute, who works as Perry’s A&R manager, said in his recent interview with The Manager’s Playbook. “[That] was my desire and recommendation.”
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During the interview, Anokute called Gottwald “a dear friend” and claimed that the many accusations leveled at the all the producer were “not true,” a fact that the producer himself has vehemently claimed over the last few years. “So I thought it was a good time to reunite them after 10 years of not working together and every single he’s ever done for her was No. 1,” Anokute said in the interview. “The press didn’t react favorably, and they basically tried to assassinate him and her.”
Dr. Luke previously worked on Perry hits including “I Kissed a Girl,” “Hot n Cold,” “California Girls,” “Dark Horse” and many more. Perry has collected nine Hot 100 No. 1s, with 36 songs in all on appearing on the tally.
On April 23, Perry will kick off her Lifetimes Tour, named after the second single from 143, in Mexico. The trek will hit the U.S. in May, opening in Houston. She’ll also visit Australia, Canada, South America and the UK and Europe, wrapping on November 11 in Madrid.
Check out Anokute’s full interview below:
With the recent news of slowing streaming growth in the U.S. and declining global revenue growth in recorded music, one might think the trends could have a negative impact on the market for publishing and recorded music catalogs.
Think again. For a handful of reasons, industry insiders who spoke to Billboard don’t believe the slowdown will have much — if any — effect on the continually brisk business in music intellectual property rights. Subscription revenue, which accounted for roughly 66% of U.S. revenue and approximately 51% of global revenue in 2024, according to the RIAA and IFPI, respectively, will continue to grow in mature markets and elsewhere.
“I don’t think the numbers that we’ve seen are enough to make any [music investors] worry too much,” says MIDiA Research’s Mark Mulligan. “I know that a lot of these funds have seen our numbers, and our numbers are relatively cautious about the outlook. We’re not bearish, but we’re not bullish either.”
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Numerous people pointed to Goldman Sachs’ estimates — a closely watched music forecast that remains something of a gold standard in the business — that both global recorded music and publishing revenue will grow at approximately 8% annually through 2030. What’s more, equity analysts seem comfortable with Universal Music Group’s forecast of 8-10% subscription growth through 2028.
In mature markets, future growth will come from higher prices after more than a decade of unchanged subscription fees. “We’ve all gotten comfortable with getting music at what I believe to be a subsidized rate versus its value,” says Jeremy Tucker, founder/managing member of Raven Music Partners, an investor in music catalogs. That subsidy is an underpricing of music subscriptions in order to attract new customers and help platforms achieve scale. Now that there are 818 million global subscribers, according to MIDiA Research, labels and streaming services seem intent on getting more from each subscriber.
Many streaming services raised their prices in 2022 and 2023, and Spotify raised prices in a few markets in 2024. Major labels that have renewed their licensing agreements with Spotify suggested the deals allow for higher-priced superfan tiers. Additionally, Warner Music Group CEO Robert Kyncl said at a March 10 banking conference that “there’s quite strong evidence that there’s a lot of room to grow on pricing, especially in … mature markets.” All of this means there will be more value coming to rights holders, says Tucker, who looks at a lengthy time horizon, not any single year’s results, when considering potential gains. “We think there’s going to be growth over the medium to long term. But, in any given year, the actual growth is not something I’m too worried about.”
Additionally, people expect rights holders will extract more value from catalogs through better blocking and tackling. While companies focused on subscriber growth over the last 15 years, the next era will be marked by better execution, says a person in the music investment field. Artificial intelligence, this person says, can help rights owners expand the global reach of their music by creating versions in multiple foreign languages at little cost. AI can also make royalty collection more effective and cost-efficient. These wins may not have the appeal of, say, a biopic that boosts an artist’s catalog. But from a financial point of view, expanding a song’s reach and cutting costs serve the buyer’s core mission of improving the return on investment.
While U.S. growth slows, much of the world is growing quickly, and Western companies that focus on English-language repertoire face a “bleak” future as emerging markets outpace markets where English-language music is most popular, says Mulligan. As a result, companies that failed to invest a decade ago are playing catch-up in markets dominated by local music. “What they should have done is started signing loads of artists [in emerging markets] 10 to 15 years ago,” Mulligan says.
Still, there’s opportunity in emerging countries and their local repertoire. Subscription penetration rates — the ratio of subscribers to the country’s adult population — are a good proxy for a country’s potential, explains Mulligan. Developed markets like the U.S. and U.K. have penetration rates in the high 40 percent, according to MIDiA’s latest data. Elsewhere, lower penetration rates suggest subscription revenue will increase down the road and, as a result, the local music business infrastructure will grow over time. Poland’s subscription penetration rate, in contrast, is 17%, Brazil’s is 16% and China’s is 13%. Indonesia, the world’s fourth-most populous country, has a 1.8% penetration rate. India, the world’s second-largest country, has a penetration rate of just 1.3%.
Low penetration rates correspond with growth potential, as streaming platforms help fuel infrastructure growth and subscription adoption adds more value to the market. “You get this virtuous circle of influence,” Mulligan explains, “where if you establish the infrastructure to create an audience, that creates the virtuous circle of investment, where people start setting up labels, people start being able to have their careers as artists, they create more music, more of that music exports, and the impact on the global market increases. India is maybe a third of the way along in the journey, whereas Indonesia has not even got started.”
Downtown Nashville is no stranger to musically-themed bars, and Dr. Dre and Snoop Dogg are bringing some hip-hop flair to 2nd Avenue. The Still G.I.N. Lounge is set to open on April 4 in the same four-story building that hosts Nashville Live! and will bring a “smooth sophistication of a top-tier cocktail lounge with the […]
When you think of the imagery of Grateful Dead, you probably picture tie-dye, Dancing Bears, skeletons, roses and a kaleidoscope of radiant hues. As Dead & Company return to the Las Vegas Sphere — kicking off a 2025 residency on March 20 and continuing this weekend — all those images are there and then some, […]
In need of some new tunes from your favorite queer artists? We’ve got you covered. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ+ artists.
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From Lucy Dacus‘ romantic new album to Maren Morris reassuring anthem, check out just a few of our favorite releases from this week below:
Lucy Dacus, Forever Is a Feeling
Lucy Dacus is ready to feel the love, as she shows on her luxurious, exapnsive new album Forever Is a Feeling. Across 13 tracks, Dacus explores the feeling of finding “the one” (album standout “Bullseye” with Hozier), helps her partner see themselves the way she does (“Big Deal”) and dedicates a gorgeous love song to her girlfriend Julien Baker (“Most Wanted Man”). With each song taking on a bigger sound for the singer-songwriter, her love of detailed songwriting remains. As she recently told Billboard: “Love is noticing.”
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Maren Morris, “Carry Me Through”
Things might be looking bleak for queer and trans rights around the world right now, which means a song like Maren Morris’ “Carry Me Through” is exactly the energy a lot of us need. Throughout this soulful, stunning new ballad (off the singer’s forthcoming new album Dreamsicle), Morris calls out our circumstances for what they are before “preaching to a choir of one” that the best ally you can find in dark times is yourself. After all, as she belts on the lush chorus, “I’m still the one who has to choose to carry me through.”
Perfume Genius, Glory
Perfume Genius has never been one for simplicity. Glory, the indie star’s bold new LP, takes a bird’s eye view of the themes Mike Hadreas has explore throughout his entire career and broadens them out to the biggest, most maximal versions of themselves. Shuffle beats and poetic lyrics punctuate Hadreas’ evolving style, as he contends with existential questions about pain, bodies, trauma, anxiety and the willingness to persevere on one of his best albums to date.
Kali Uchis, “Sunshine & Rain…”
With the good comes the bad, and Kali Uchis is ready to take both in stride on her latest track. “Sunshine & Rain…” follows the singer as she examines her own life and the context surrounding it, acknowledging that she can accept some hardship if it means that she’ll grow from it, while wondering why the world doesn’t seem to feel the same way. “Whatever happened to the human race? Did everyone’s brains get melted and deranged?” she wonders on the song. “When was it that your lost your common sense? The world needs an epiphany.”
Chloe Moriondo, Oyster
There have always been two Chloe Moriondos, each alike in their unique talent to bring A+ pop music to the forefront. Now, with Oyster, the indie pop star has taken those two sides — the sweet-but-sadistic and the glitch-pop partier — and fused them into one, unified persona. On her best work yet, Moriondo brings her killer songwriting in contact with precise — yet still experimental — production to make a fascinating album that you won’t want to stop listening to. The album is a lot like its titular mollusk; once you crack it open, you might just find a gleaming pearl inside.
Allison Ponthier, “Karaoke Queen”
Every artist fears what could happen to them after getting dropped by a major label. So when it happened to Allison Ponthier earlier this year, she was left with a question: What do I do now? The answer arrives with “Karaoke Queen,” a tender, fragile new ballad that sees Ponthier contending with her new position, realizing that there are always silver linings. Showcasing her ethereal voice and unmatched skills at confessional lyricism, Ponthier takes what was a worst case scenario and turns it into a golden example of why she is more than capable of moving on from this.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Lola Young reigns for the first time on Billboard’s Alternative Airplay chart, as “Messy” jumps two places to No. 1 on the April 5-dated tally.
“Messy” rules concurrent with its third week at No. 1 on the all-rock-format, audience-based Rock & Alternative Airplay chart, thanks to 4.7 million audience impressions in the week ending March 27, according to Luminate.
Young tops Alternative Airplay with her first entry on the list, becoming the second act in a row to do so, after Balu Brigada’s “So Cold” reached No. 1 the week before. Five acts, via four songs, have earned first Alternative Airplay No. 1s as lead acts in 2025. Prior to Young and Balu Brigada, Justice and Tame Impala on their collaboration “Neverender” and Almost Monday with “Can’t Slow Down” led for the first time.
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Comparatively, just two acts notched first Alternative Airplay No. 1s in 2024. Five newcomers at the top spot as lead acts this year, and as of March, for that matter, mark the most in a single year since six in 2021 (I Dont Know How But They Found Me’s “Leave Me Alone,” Cannons‘ “Fire for You,” Machine Gun Kelly and Blackbear’s “My Ex’s Best Friend,” Glass Animals’ “Heat Waves” and Måneskin’s “Beggin’”).
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“Messy” ranks at No. 7 on Adult Alternative Airplay, after reaching No. 5 earlier in March. It also rises 9-8 on Pop Airplay, bullets at its No. 10 best on Adult Pop Airplay and debuts at No. 30 on Adult Contemporary.
On the most recently published, multimetric Hot Rock & Alternative Songs chart, dated March 29, reflecting data March 14-20, “Messy” placed at No. 2. In addition to its radio airplay, the song earned 9.7 million official U.S. streams and sold 3,000 downloads in that span.
“Messy” parent album This Wasn’t Meant for You Anyway ranked at No. 32, after reaching No. 11, on the March 29 Top Rock & Alternative Albums chart with 9,000 equivalent album units. It has earned 211,000 units to date.
All Billboard charts dated April 5 will update on Tuesday, April 1.
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Lil Durk’s “Deep Thoughts” album sees the Chicago rapper exploring personal growth and the challenges of his life, all while reflecting on his faith and the streets that shaped him.
From the introspective opening track “Shaking When I Pray,” Durk sets the tone for the album, starting with a recitation of a Muslim prayer, signaling the importance of religion in his life. He touches on how the streets criticize him for not doing enough, despite his numerous contributions. While it’s an important track, it doesn’t quite hit the mark as an intro compared to some of Durk’s previous work.
“Keep On Sippin’” dives deep into Durk’s ongoing battle with lean. He confesses that whenever life goes wrong, he turns to the cup, and when things go right, he does the same. His partner, India, even makes it clear that they won’t get married if he doesn’t stop. This track captures Durk’s vulnerability and struggle with addiction.
In “They Want to Be You,” Durk reflects on the way the streets look up to him, and how he feels the need to better himself for them. He also stresses that he has nothing left to prove but a lot to be used for. Future’s feature adds to the track, bringing his signature energy. “Soul Bleed” is classic Durk, with that raw emotional honesty fans have come to expect, reminiscent of hits like “All Love” and “Backdoor.” In “1000 Times,” the collaboration with Lil Baby shines, addressing the struggles that come with the street life.
“Turn Up a Notch” serves as an anthem for those looking to level up, while “Vanish Mode” lives up to the hype surrounding its release, echoing the excitement fans felt for “Three Headed Goats.” Lastly, “Monitoring Me” brings back Durk’s drill roots, talking heavy about his ops, much like his hit “AHHH HA.” Deep Thoughts is a solid project that showcases Durk’s growth and depth, balancing his street narrative with introspection and faith.
Check out the ratings of each song and overall for Lil Durk’s latest album, “Deep Thoughts” below.
1. Shaking When I Pray – 5/10
2. Keep On Sippin’ – 5.5/10
3. They Want to Be You – 6/10
4. Soul Bleed – 7.5/10
5. 1000 Times – 7/10
6. Turn Up a Notch – 7/10
7. Vanish Mode – 8.5/10
8. Monitoring Me – 9/10
9. Untouchable – 8/10
10. Notebook (No Hook) – 7.5/10
11. Can’t Hide It – 5/10
12. Wonderin’ Again – 4.5/10
13. Late Checkout – 4.5/10
14. Think You Glowed – 5/10
15. Opportunist – 7/10
16. Alhamdulilah – 6.5/10
17. Deep Depression – 7/10
18. Lil Durk’s “Deep Thoughts” Overall Rating: 6
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With March coming to a close, the music releases haven’t slowed down with a number of A-list stars dropping new singles and albums. Kicking things off is Ariana Grande’s Brighter Days Ahead deluxe edition of her 2024 Billboard 200 chart-topping album, Eternal Sunshine. The extended edition of the original 13-song project features six new tracks, […]
Doechii banks her second No. 1 on Billboard’s Rhythmic Airplay chart as “Denial Is a River” storms to the summit of the list dated April 5. The new champ jumps from No. 5 to crown the list as the most-played song on U.S. panel-contributing rhythmic radio stations for the tracking week of March 21-27, according to Luminate, and improved 13% in plays for the latest tracking period compared to the week prior.
Before “Denial is a River,” released and promoted to radio through Top Dawg/Capitol Records/ICLG, Doechii ruled Rhythmic Airplay with “What It Is (Block Boy).” The single, which features Kodak Black, reigned for one week in June 2023.
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As “Denial” takes the throne, it ousts GELO’s “Tweaker” after a one-week stay in the penthouse. The former leader slips to No. 2 following a 7% decline in plays for the tracking week.
Doechii’s latest coronation arrives just one day before the Grammy Award-winning rapper/singer is set to receive another honor: officially accepting the coveted Woman of the Year title at Billboard’s 2025 Women in Music event. The ceremony will occur tomorrow night (March 29) in Los Angeles, with other honorees including Rising Star winner Muni Long and Icon Award recipient Erykah Badu.
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Beyond its Rhythmic Airplay crown, “Denial Is a River” continues to make waves across other radio formats. It repeats its No. 12 best on Mainstream R&B/Hip-Hop Airplay, where, despite no change in rank, the song earned 6% more plays in the latest tracking week. Meanwhile, it pushes 26-23 on Pop Airplay thanks to a 4% boost in plays at mainstream top-40 radio stations. The concurrent improvements from different sectors spark its 28-27 gain on the all-genre, audience-based Radio Songs chart, where the single leaps 10% in weekly audience to 24.4 million.
While “Denial is a River” builds its radio results, Doechii’s latest single, “Anxiety,” is generating favorable momentum. The Gotye-sampling single, which had a nearly six-year journey from initial recording to release, drives 33-21 on Rhythmic Airplay in its second week on the chart from a 181% surge in plays, winning it the weekly Greatest Gainer honor for the largest increase in plays among all tracks. Similarly, “Anxiety” races 36-28 on Pop Airplay thanks to a 199% vault in plays (snagging another Greatest Gainer prize) and debuts at No. 32 on Mainstream R&B/Hip-Hop Airplay.
All charts dated April 5 will update on Billboard‘s website this Tuesday, April 1.