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After Billboard introduced streaming data into the Billboard Hot 100 in the 2000s, and the first streaming-based ranking, On-Demand Streaming Songs, started in 2012, the Jan. 26, 2013, issue announced the arrival of Streaming Songs, which has become Billboard’s all-encompassing streaming ranking of record since.
Incorporating on-demand and programmed streaming totals (as compiled by data tracker Luminate), Streaming Songs began affording a look into the behaviors of millions of music fans, from diehards to casual listeners, on platforms that hadn’t existed prior to the 21st century. Especially key, it showed, for the first time, repeat curated listening in a way that tracking plays of records, tapes, CDs and MP3s hadn’t previously allowed.
Streaming Songs has been ever-changing, with streaming services added to the chart’s data feed. Early on, pop and hip-hop were streaming frontrunners. Since the turn of the 2020s, genres including country and Latin, in particular, have made significant inroads. Reflecting streaming’s growth overall, Macklemore & Ryan Lewis’ “Thrift Shop,” featuring Wanz, topped the inaugural Streaming Songs chart with 1.5 million U.S. streams. On the latest list (dated Feb. 15), Morgan Wallen’s “I’m the Problem” rules with 29.2 million official clicks.
As Billboard celebrates the top-performing artists, albums and songs of the first 25 years of the century since 2000, browse below, the acts with the most No. 1s on the Streaming Songs chart in that span.
Plus, check out Top Artists of the 21st Century, Top Billboard 200 Albums of the 21st Century and Billboard’s Top Hot 100 Songs of the 21st Century charts, as well as all coverage of Billboard’s 21st Century charts here.
Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Billboard Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)
20, Drake
The Backstreet Boys‘ 25th-anniversary celebrations for signature album Millennium are about to be larger than life, with the band announcing a revamped version of the LP along with three more Sphere residency dates Friday (Feb. 14). As revealed Valentine’s Day morning by bandmates Nick Carter, Brian Littrell, AJ McLean, Kevin Richardson and Howie Dorough on […]
TikTok has returned to the app stores of Apple and Google in the U.S., after President Donald Trump delayed the enforcement of a TikTok ban. TikTok, which is operated by Chinese technology firm ByteDance, was removed from Apple and Google’s app stores on Jan. 18 to comply with a law that requires ByteDance to divest […]
The rap feud between Kendrick Lamar and Drake has broken out beyond the hip-hop world so that now even the mainstream media is all over it and keeping score, thanks to Lamar winning record and song of the year at the Grammys for his Drake diss track “Not Like Us” and his performance a week later at the Super Bowl Halftime Show.
While it’s unclear how this is all going to play out, music industry label executives know that rap feuds, in general, are good for business — as long as they don’t go too far.
As it is, Lamar’s high-profile performance is landing him the most ink, which in turn is driving plenty of business his way. It’s only five weeks into the year as tracked by Luminate, and already his recorded music catalog is closing in on 1 billion on-demand streams in the U.S., which it will probably reach next week; while his global streams are heading toward 2 billion. As of the week ending Feb. 6, those counts stand at 862.8 million (U.S.) and 1.69 billion (globally), according to Luminate. Overall, Lamar’s catalog has accumulated nearly 664,000 album consumption units in the U.S. in 2025 so far.
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That’s nearly three times larger than during the same period in 2024 when Lamar posted 233,000 album consumption units and almost 301 million on-demand streams in the U.S. and global streams of 650 million. Of course, besides his high-profile TV appearances this year, Lamar’s streaming and sales activity is still enjoying an added boost from riding in the afterglow of his recently released GNX album on Nov. 22.
But is all this attention also helping Drake? It’s unclear. Drake is slightly trailing Lamar in terms of U.S. album consumption units and streaming in 2025 so far. Album consumption units came in at 620,000 units, or 7.1% short of the Compton rapper; while his total of nearly 834 million on-demand streams is 3.5% below Lamar’s U.S. total and his global total of 1.529 billion is 10.3% short of his musical rival’s.
Besides that, Drake’s 2025 performance is also down from how his catalog performed in the first five weeks of 2024, when he accumulated 930,000 album consumption units; and, within that, 1.281 billion streams in the U.S. Those 2024 numbers are 50% and 53.6% greater, respectively, than his U.S. activity in 2025 during the same period; while his 2024 global on-demand stream total was 2.246 billion, or nearly 47% greater than this year.
Drake, of course, does not have the added momentum of having released a new album at the end of 2024. (He is releasing his PartyNextDoor collaborative EP, Some Sexy Songs 4 U, this Friday.) Not only that, his current year’s numbers are competing against his prior year’s numbers which did have that benefit thanks to the afterglow of his eighth studio album, For All the Dogs, which was released on Oct. 6, 2023.
Still, the above numbers do not reflect the impact that Lamar’s Super Bowl performance is having on the activity of his and Drake’s catalogs. Those numbers, for the week ending Feb. 13, won’t be available from Luminate until Monday (Feb. 17).
This is all short-term, of course. Looking at the two artists’ career numbers, Drake swamps Lamar, even though the “Just Like Us rapper” has pretty impressive counts in his own right. Over the past 10 years, Drake has gone toe-to-toe with only Taylor Swift in claiming the title of the biggest artist in the U.S., if not the world, at least as far as recorded music activity goes.
Drake and Lamar’s first commercial releases came out within about a year of each other. Drake’s debut album, Thank Me Later, hit the streets in June 2010, while Lamar’s Section 8.0 album came out in July 2011. Since then, Drake has issued eight albums and Lamar six, and each has also released mixtapes, EPs, collaborations and/or compilations and soundtracks.
By the end of 2024, Drake’s catalog has accumulated nearly 80.7 million album consumption units in the U.S., versus Lamar’s 29.1 million album consumption units, according to Luminate. In fact, the combined activity of just three of Drake’s studio albums alone is higher than Lamar’s total, as each of those albums — Take Care, Scorpion and Views — have garnered slightly over 10 million album consumption units a piece. Meanwhile, Lamar’s best album showings come from his major-label debut good kid, m.A.A.d city, with 9.3 million album consumption units, and DAMN, at nearly 9 million units.
(These career numbers exclude collaborations where most of the collaborators are each considered a primary artist but do include songs where artists are “featured” on a Drake or Lamar song because Luminate credits those songs’ activity to just the primary artist. Album consumption units count each album sale as one album consumption unit; while track equivalent albums, whereby 10 tracks sold equal one album consumption unit; and stream equivalent albums, whereby 1,250 paid subscriber streams equal one album consumption unit, or 3,750 ad-supported streams equal one album consumption unit. Also, Luminate only tracks album consumption units in North America; globally, it only tracks streams and downloads, not album consumption units.)
Within the album consumption unit numbers, Drake’s streaming total in the U.S. is 84 billion and 127 billion globally, as of the Luminate year ended Jan. 2, 2025. Meanwhile, Lamar’s U.S. career streaming total is nearly 29 billion and more than 47 billion globally.
Those numbers are extremely impressive given that 2015 was the first year in which streaming’s impact was widely felt. While huge rock stars, not counting pop artists, are lucky to break the 1 billion on-demand streams milestone in the U.S. each year — and none of them yet appear to have broken the 2 billion mark in the U.S. in a single year — these days, R&B and hip-hop artists regularly hit the multi-billion on-demand stream mark each year — usually led by Drake.
Over the past five years — from 2020 to 2024 — Drake’s U.S. streams have totaled 46 billion, for an annual average of 9.2 billion streams, while globally he’s averaged 15.9 billion streams per year. In contrast, Lamar’s U.S. stream count during that same period averages 3.29 billion, while his annual global count averages nearly 6.4 billion streams. Any way you cut it — by album consumption units or by stream count — Drake’s activity over the course of his career, or even just within the 2020 to 2024 period, is more than twice that of Lamar’s.
So even though Lamar is the top dog this year when measured against Drake’s activity, it remains to be seen if this rap feud changes the dynamics of whose swagger — Drake’s, the reigning champ, or Lamar’s — can be backed up long-term. Only time will tell.
The Jonas Brothers are going back to their early mall-rocking days to celebrate their 20th anniversary. The sibling trio announced on Friday (Feb. 14) that they will be hosting a one-day blowout event dubbed JONASCON at the sprawling American Dream mall in their native New Jersey on March 23.
According to a statement announcing the gathering that is a tip of the hat to Kevin, Joe and Nick Jonas’ mall barnstorming gigs from two decades ago, next month’s event will feature live performances, DJ sets, Q&A panels, fan activations, pop-up surprises, retail takeovers, a Jonas trading post, trivia, games, immersive experiences, an interactive art installation, keynote event, karaoke, a Camp Rock bar, special guests, mini golf and exclusive merch. “From their early beginnings to global pop icons, JONASCON will honor the band’s incredible journey while also showing their appreciation to the fans who have been with them from the beginning,” the statement promised.
Fans can register for free tickets to JONASCON now here. “A nod to their early days of mall performances, a first-of-its-kind music fan event, JONASCON promises to give fans the chance to engage in unique experiences, at one of the largest indoor retail and entertainment centers in the world,” the statement said of the American Dream complex, the three million square foot behemoth in East Rutherford, N.J. in the Meadowlands Sports Complex that is second only to Minnesota’s Mall of America in size and footprint.
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In addition to a massive tree sculpture, 450 shops and 100 places to eat, American Dream has an NHL-sized ice rink, a Nickelodeon-themed indoor theme park, as well as a water park, indoor ski slope, two mini golf courses, aquarium, mirror maze and a trampoline park, among other attractions.
Anyone who registers for JONASCON will also gain first access to additional Jonas Brothers-themed events happening throughout the weekend of March 22-23 in both New York city and at American Dream; additional details on these exclusive, ticketed events will be shared with registered attendees in the upcoming days.
At press time the group had not announced the capacity for the JONASCON event.
The JoBros sparked fear in Jonas Nation earlier this week when they shared a lengthy post on their socials that made some think they were looking back in order to announce a potential split; the siblings broke up in 2013 after eight years together before reuniting in 2019.
“To our incredible fans, as a family, we have been reflecting a lot lately,” the post began. “It’s been 20 years since we started this journey together. To us, it feels like just yesterday we were loading up our family mini-van with a couple of guitars and copies of It’s About Time CDs, en route to an afternoon performance at a local to play for anyone who would listen. We were chasing our dream to play music and connect with others in a deep way that only music can provide. We were teenagers then.. actually, Nick wasn’t even old enough to get into a PG-13 movie.”
Further reading, however, revealed that the brothers were simply feeling nostalgic about how much their fans have meant to them and what that fandom has allowed the trio to do over the past two decades. “We treasure our connection with you as much today as we did when we played our first show. We are celebrating this wild 20-year journey by doing what we love, and we can’t wait to share it with you,” they promised, teasing a “year of music,” which will include new tunes from the Brothers, as well as a live album, soundtrack and solo music.
Check out the JONASCON poster below.
This Valentine’s Day, show your love by sidling up to the latest Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
There’s a full slate of personnel news this week, but first, peruse our second annual list of the most powerful people in sports and music, our weekly interview series spotlighting a single c-suiter and our calendar of notable industry events.
The Bandier Program at Syracuse’s Newhouse School formed a new advisory board to guide the vaulted music business program. This board consists of 13 distinguished alumni who hold leadership positions across the recording and entertainment industries, with a goal to foster innovation, mentorship and career development for students. Notable members include Jon Cohen (co-founder/CEO of The FADER and Cornerstone Agency), Jacqueline Saturn (president of Virgin Music), Joel Klaiman (CEO of ASCEND4M, former evp at Columbia), Alex Coslov (evp of Mercury Records), Justin Shukat (president of Primary Wave) and Margaret Tomlin (vp of A&R at Sony Music Nashville), among others. They’ll work with Bandier program director Bill Werde and managing director Lisa Steele to keep the program aligned with industry trends, promote diversity and overall enhance its reputation. Since its first graduating class in 2011, the Bandier Program has consistently been ranked among Billboard’s top music business schools. This fall, it will expand with a new master’s degree program in music business, a joint effort between the Newhouse School and the College of Visual and Performing Arts. Named after legendary music publishing executive Martin Bandier, the program offers students a multidisciplinary education, industry connections, and practical experience. Newhouse Dean Mark Lodato commended the alums, saying “the diverse skills and career paths of the 13 inaugural members of the Advisory Board shine a light on the legacy of excellence in music business education at Syracuse University and the Newhouse School.”
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Joey Papoutsis ’13, Bill Werde, Caitlin Lytle ’16, Max Weinberg ’12, Michelle Santosuosso, Suryansh Singh ’25, Tamzin Folz ’26, Darius Baharlo ’27, Rachel Kelly ’25, Margaret Tomlin ’13, Bria Lewis ’26, Gabz Landman ’12, Joel Klaiman ’90, Lisa Steele, Grant Palmer ’13, CJ Strock ’00, Jon Cohen ’90, Justin Shukat ’96, Steve Magee ’16
Courtesy Photo
Sony Music Publishing elevated Henry Naldjian to chief technology officer, reporting to chief information officer Bill Starke. Based in Nashville, Naldjian will oversee technological transformation, drive innovation and ensure global team alignment. With over 34 years of experience at Sony, he has played a key role in SMP’s IT advancements, including developing the Tempo copyright and royalty system and leading cloud computing initiatives. Naldjian, who previously helped build Sony Music Entertainment’s global royalty system, expressed his passion for supporting songwriters: “In a world where technology evolves at the speed of thought, our greatest asset is not the code we write, but the empowerment we provide to our songwriters and clients.”
The MSG Family of Companies — MSG Entertainment, MSG Sports and Sphere Entertainment — appointed Stephanie Andino as executive vp of people practices, effective Feb. 24. Reporting to executive chairman and CEO Jim Dolan, she will oversee benefits, compensation, employee engagement, talent acquisition and policy compliance at the venue and live entertainment giant. Andino arrives from Crate and Barrel, where she served as chief human resources officer, and brings extensive experience from roles at Victoria’s Secret, Legends Hospitality, PepsiCo, Fox, JWT, and Gap Inc. Dolan praised her ability to develop impactful programs in dynamic organizations, adding, “we look forward to leveraging her expertise to lead this critical area.”
Concord Music Publishing nudged Kourtney Kirkpatrick to senior vp of synchronization and Matt Turner to vp of A&R in its Nashville office. Kirkpatrick will continue to lead the television sync division, managing a team across New York, Los Angeles and Nashville, and promoting catalogs from artists like Phil Collins, and John Fogerty. Her team has secured placements in popular shows such as Euphoria and Stranger Things, and trailers for brands like Netflix and Apple. She also leads Concord’s annual Nashville sync camp, which has resulted in over 350 placements globally. Previously, Kirkpatrick worked at Razor & Tie and Big Yellow Dog Music. Turner, meanwhile, will focus on signing and developing talent across country. His efforts have led to multiple radio staples for artists like Morgan Wallen and Dan + Shay, and he has also secured publishing deals for Josh Miller, Andy Albert and other writers. Turner’s previous experience includes roles at Big Loud and Downtown Music Publishing, where he helped launch the careers of Morgan Wallen and Chris Lane.
Jordan Saxemard‘s brief tenure as chief marketing officer of Sonos is over. Saxemard, who joined Sonos last May from Dyson and previously spent a decade at Coty, leaves amid backlash over a poorly received app update that damaged the company’s reputation with customers. His exit, effective immediately according to The Verge, comes a month after Patrick Spence’s resignation as CEO. In the interim, Lindsay Whitworth, a 20-year veteran of Sonos, will take over brand marketing leadership as the company navigates the fallout from the update and works to restore consumer confidence.
The Academy of Country Music made several key promotions and new hires. Christina Bartko joins as vp of accounting and finance, bringing experience from Warner Music Group and Live Nation, and will report to CEO Damon Whiteside. Haley Montgomery has been promoted to head of artist relations and awards, overseeing artist relations, membership, awards voting and governance, and will also report to Whiteside. Steve Mekler is now senior director of creative and marketing, leading marketing campaigns and content strategy, reporting to evp and chief business officer Gil Beverly. Jennifer Davis has been promoted to director of live events and production, managing logistics for major ACM events, and will report to vp of live events and production Ben Carter. Lastly, Karson Leighton joins as executive assistant to the CEO and CBO, handling internal operations.
Entertainment business management firm FBMM announced that Dan Killian is now an owner and shareholder of the company. Killian, who has nearly 15 years of music business experience, and more than a dozen years with FBMM, is now the youngest owner in FBMM’s history. In addition to managing business needs of clients spanning various genres of music, Killian also plays a key role in internal initiatives including creating a health and wellness program, leadership training and mentorship, and business development. FBMM was founded in 1990 and has offices in Los Angeles, New York City and Nashville. –Jessica Nicholson
TuneCore named Kevin Ferguson as senior vp of technology, tasked with driving innovation, scalability and user experience. Reporting to chief technology and product officer Luxi Huang, Ferguson will enhance TuneCore’s platform and programs like TuneCore Accelerator, focusing on digital tools that help artists connect with audiences and monetize their work. Ferguson brings extensive experience from BentoBox, where he scaled operations globally and integrated technology post-acquisition by FiServ. He has also held leadership roles at Audible, Morgan Stanley and the Vanguard Group. Huang praised Ferguson’s ability to lead high-performing teams, saying his “strategic foresight—makes him the ideal leader to further accelerate our innovation and ensure we remain at the forefront of the evolving music industry.” Ferguson expressed excitement about using technology to empower independent artists and strengthen TuneCore’s impact in the music industry, “all while ensuring that every artist has access to the most intuitive and powerful set of tools.”
Merlin appointed Sarah McNabb as director of content integrity, effective immediately. Based in London, McNabb joins from Audoo, where in three years she rose to head of partnerships, enhancing music royalties with advanced recognition technology. In her role at Merlin, she’ll work with members and digital platforms to maintain high content integrity standards. McNabb’s extensive experience with PROs and CMOs while at her last gig make her “uniquely suited to spearhead Merlin’s efforts to combat streaming manipulation and fraud,” the indie digital rights nonprofit said. Previously, she advocated for diversity and inclusion at Tech Talent Charter, a UK not-for-profit promoting gender parity in the IT sector.
RADIO, RADIO: Jenna Weiss-Berman stepped down as evp of podcasts at Audacy to become head of audio at Amy Poehler’s Paper Kite Productions. In her new role, she’ll lead the expansion of the company’s podcasting and digital audio content. Weiss-Berman, who co-founded Pineapple Street Studios before its acquisition by Audacy in 2019, will continue consulting for Audacy … Townsquare created three new upper-management positions and promoted executives to the roles. Cristina Cipolla steps up to chief data officer from senior vp of data and analytics, Matt Kiger rises to chief revenue officer from senior vp of sales, and Kelly Quinn is lifted to the Ignite division’s chief revenue officer from senior vp of sales.
Humanable appointed Tim Wipperman as its first chief executive officer, announced by president Lili McGrady. Wipperman, a Billboard Country Power Player in 2022, has had a distinguished career, starting in Nashville in the 1970s. He has led Vector Music Publishing, Cedarwood Publishing and Combine Music, working with writers like Kris Kristofferson. He notably spent nearly three decades at Warner Bros. Music (later Warner Chappell) and led Equity Music Group, Wipperman Music Group, Rezonant Music Group, and held roles at Anthem Music Publishing Nashville and ONErpm. Humanable’s software certifies that creators’ work is made without Generative AI, reducing fraud in the supply chain. The certification provides a unique identifier to protect against AI-generated music, with 3.4 million songs certified to date. Wipperman emphasized the importance of protecting artists, stating, “Humanable is a first-to-market, author-driven way to mitigate the danger GenAI poses to creators.”
Drew Silverstein joined SourceAudio as president and head of AI strategy. The hire coincides with the launch of SongLab, SourceAudio’s new AI-powered suite of music tools designed to credit and compensate artists for AI-generated works. Silverstein, co-founder and former CEO of Amper Music, is tasked with leading all AI initiatives, focusing on forming partnerships with companies seeking ethically sourced AI training data and ensuring that all 33 million songs in the SourceAudio catalog can be used with full creator consent. Silverstein, a former vp of music at Shutterstock, will report to SourceAudio CEO Geoffrey Harding.
Big Loud Rock named Brooks Roach as senior vp of marketing. In this role, Roach will oversee the label’s marketing strategy, reporting to Big Loud partner Joey Moi and evp/general manager Lloyd Norman. Roach brings extensive industry experience, having previously served as svp of marketing at Giant Music, vp of marketing at Atlantic Records, and head of marketing and brand partnerships for Coldplay at Dave Holmes Management. He began his career at The Agency Group.
Peermusic executive Frank Handy was elected national chair of the Association of Independent Music Publishers (AIMP) for 2025-2026 term. In this role, he will work with the executive committee, including chapter brass, to unify all four AIMP Chapters (Los Angeles, New York, Nashville, Atlanta) in educating the independent music publishing community on industry trends. Handy will also serve as president of the LA Chapter. With years of involvement in AIMP’s LA outpost, Handy has previously served as treasurer and vp. Currently vp of catalog royalties administration at peermusic, Handy has held leadership roles at Position Music and AllTrack Performing Rights.
The Capitol Theatre in Port Chester, NY, welcomed back Stefanie May as its marketing director. May, a seasoned live music marketer, previously held various roles at the venue from 2014 to 2022, including marketing coordinator, manager and director. She joins general manager Alyssa Kitchen as part of the Cap’s leadership team. May brings over a decade of industry experience, having worked with Brooklyn Made Presents and the Fairfield Theatre Company. She also played a key role in the National Independent Venue Association’s successful campaign to pass the Save Our Stages Act.
Laura Gonzalez has been promoted to vp of marketing at Disney Music Group. She will lead the Disney-branded marketing team, overseeing music and soundtrack strategies for Disney Animation Studios, Pixar, Marvel Studios, Disney Theatrical and Disney Parks. She’ll also manage marketing for DMG playlists, music franchises, and activations at D23 Ultimate Fan Events. Since joining DMG in 2008, Gonzalez has played a key role in major marketing initiatives, contributing to the success of projects like Encanto, Turning Red, Moana 2, and Frozen on Broadway.
Tape Room Music added Katherine Godwin as manager of A&R, where she will focus on maximizing catalog constructs and managing calendars for writers on the Tape Room Music roster. Godwin began interning with Big Machine Label Group’s publishing arm while completing her undergrad degree at Vanderbilt University. She then worked as a publishing assistant at BMLG’s publishing division before serving as a creative coordinator, managing a catalog of over 14,000 songs for three years. -J.N.
NASHVILLE NOTES: UMG Nashville director of media marketing Jodi Dawes exited the label after a three-and-a-half year run … Mtheory expanded its Nashville office with two new hires. Branden Bosler joins as vp of artist services and business development, bringing experience from Stand Together Music, BMI and Warner Music Nashville. Carine Abraham has been appointed as a day-to-day manager, overseeing the career of Mickey Guyton. She previously worked as a project manager at UMG Nashville … The Touring Career Workshop rebranded as ECCHO, an acronym for Education, Community, Connection, Health and Opportunity.
Calling All Crows, an advocate for feminist actions in the music industry, appointed Ben Whitehair as its new executive director, succeeding Heatherjean MacNeil. Whitehair, formerly the executive vp of SAG-AFTRA, brings nearly two decades of entertainment and leadership experience. Board chair Monica Hinojos-Capes said Whitehair’s “ability to catalyze communities, foster impactful partnerships, and drive meaningful change aligns seamlessly with our mission to mobilize music fans and artists to fuel feminist movements and social activism.” Co-founded by Chadwick Stokes and Sybil Gallagher, the nonprofit engages music fans, artists and venues in activism. It has donated over $1 million and facilitated over 50,000 actions for feminist causes, the org said. Under MacNeil’s leadership, initiatives like Here For The Music, promoting safer music spaces, gained national traction.
ICYMI:
Deborah F. Rutter
In a totally normal move, Donald Trump fired Kennedy Center president Deborah F. Rutter and installed himself as chair … Sony Music Nashville restructured its promo team, appointing Dennis Reese as svp of radio marketing & promo and letting several staffers go … WMG announced Tomás Talarico as new managing director in Argentina and Chile … the label also expanded its corporate development team by appointing Alfonso Perez-Soto as evp of corp dev and Michael LoBiondo as svp of corp dev … and Ronald Day is out at Telemundo. [Keep Reading]
Last Week’s Turntable: Capitol Gets ‘Busy’ and Atlantic Picks ‘Figs’
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Drake and PND flip the script, Sabrina Carpenter makes Short a little longer, and JISOO arrives as a solo star. Check out all of this week’s picks below:
Drake & PARTYNEXTDOOR, $ome $exy $ongs 4 U
Drake wants you to forget about the Kendrick Lamar chatter, and remember that it’s Valentine’s Day. With $ome $exy $ongs 4 U, a new project with his pal PARTYNEXTDOOR that functions like the R&B version of Her Loss as a full-length collaboration, Drizzy focuses on personal opulence and romantic entanglements while occasionally nodding toward current events: “F–k a rap beef, I’m tryna get the party lit,” he sneers on “Gimme a Hug.”
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Sabrina Carpenter, Short n’ Sweet (Deluxe)
Although Sabrina Carpenter’s commercial breakthrough Short n’ Sweet was released less than six months ago, the pop star has been on such a hot streak that she added five new tracks to the short, sweet full-length: this deluxe edition not only boasts a Dolly Parton-assisted version of the No. 1 hit “Please Please Please,” but a new synth-pop confection, “Busy Woman,” that sounds like it could be Carpenter’s next innuendo-heavy smash.
JISOO, Amortgage
As her BLACKPINK group mates ROSÉ, LISA and JENNIE have all made their solo bids in recent months, JISOO has dropped a head-turning project of her own: Amortgage is miles beyond her 2023 double-single ME as far as sonic identity and vocal confidence, as tracks like the kinetic single “Earthquake” and snappy dance track “Hugs & Kisses” recall delicious turn-of-the-century bubblegum, streamlined for a new generation.
Selena Gomez & Benny Blanco, “Scared of Loving You”
The newly engaged Selena Gomez and Benny Blanco have also teamed up for a collaborative album, I Said I Love You First, that arrives in March, and while “Scared of Loving You” launches that project with muted vulnerability, the track also represents the welcome return of Gomez as one of our most thoughtful pop stars, five years removed from her last solo album.
Addison Rae, “High Fashion”
Fans of Addison Rae’s smoky delivery and sensual lyricism on last year’s “Diet Pepsi” have received a worthy sequel with “High Fashion,” as the former social media star and rising pop siren sounds increasingly confident while delivering lines like “I don’t need your drugs / I’d rather get, rather get high fashion.”
The Lumineers, Automatic
Rustic folk-rock has certainly made its way back into the mainstream thanks in part to troubadours like Noah Kahan and Hozier, although the Lumineers, who planted their flag in that area over a decade ago, aren’t interested in trend-chasing on new album Automatic, which finds the veteran band tossing out racing anthems rather than getting lost in banjo side quests.
Sam Smith, “Love is a Stillness”
A press release describes Sam Smith’s latest single as “a Valentine’s gift to their fans,” and if you’re a longtime supporter of Smith’s honey-voiced piano balladry, “Love is a Stillness” harkens back to their career beginnings, swerving away from pop experimentation to remind listeners how sturdy that classic vocal power remains.
Editor’s Pick: Bon Iver, “Everything is Peaceful Love”
“Everything is Peaceful Love,” the latest taste of Bon Iver’s long-awaited fifth album, has softer features than classics like “Skinny Love” and even “Holocene,” but has the same sort of immediate accessibility: Justin Vernon weaves his falsetto into multi-part harmonies and vibes out to the soft-rock synthesizers, creating another blissful anthem for patio listening in the summertime.
You know how it is when you’re lost in the riff, head banging so hard that you unleash a torrent of embarrassing white flakes. No, not that kind. That’s the dilemma facing Saturday Night Live cast mates Bowen Yang and Sarah Sherman in a new CeraVe shampoo ad in which they portray the lead singers […]
Look at your favorite album from the past year, and there’s a good chance that 10 to 30 different producers contributed to it. And yet in this “age of collaboration” that continues to produce culture-defining hits, we have a problem: How do we handle all these producer contracts?
In the U.S. model, producer deals are seldom discussed until after a label signs a recording agreement with an artist. Once the deal is set, the artist contracts directly with any producers working on their music — a requirement in the artist’s deal with the label. The artist then requests that the label pay, credit and account to the producer per the terms of their agreement. Unfortunately, this complicated process often becomes a game of broken telephone.
Discussions on this topic can quickly lead to finger-pointing. But the issues that producers are facing today, speaking generally, are not a matter of “us versus them.” The label, which has no direct contractual relationship with the producers, is asked by the artist on multiple occasions to honor deal terms that the label had little role in negotiating. Even if the producer agreement says the producer will be paid within five days of signing, unless the label agrees to pay within that timeframe, that schedule won’t be honored and the producer’s only option is to take it up with the artist.
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This disconnect becomes even more problematic when the volume increases. I currently represent over 30 producers and, on average, my office handles 20 to 40 producer agreements a week. That includes review on behalf of our producers as well as drafting agreements for our artist clients, the latter of which could require multiple agreements — even as many as five or six — to clear one song. For a boutique firm like mine, it keeps us busy and the clearances can be a big headache if not done in a correct and timely way. In some cases, they can hold up release dates and, if not executed properly, result in copyright infringement claims that could lead to lawsuits.
When negotiating a record deal for an artist, I make sure to have pointed conversations with the label about how they pay and account to producers because securing clarity in advance about the label’s policies is an absolute must.
It hasn’t always been this way. In the past, prior to the start of recording a project, artists would submit a budget proposal to the label encompassing all the creators on a given project. Oftentimes, the artist would use the label-provided budget to hire one producer, who would be responsible for hiring, managing and paying the musicians and other creatives needed to complete the album.
Today, however, unless you’re already an industry-leading producer, the odds are you’re coming into the studio on spec. This means that you and over 20 other hopeful producers work with the artist on 40 or so songs, with 12 to 15 songs typically making the final cut for the album. The songs that don’t make it are considered speculative, trial-based work done for free. If one or more songs by a given producer do make the cut, the hope is that that producer’s lawyer can negotiate good terms.
Unfortunately, there’s a lot of good music that doesn’t see the light of day due to clearance issues, not to mention music that gets removed from streaming services after release due to a failure to adhere to producer deals (or a failure to do them at all). But even in the best-case scenario when things can be worked out, most producers typically have to wait a long time before they get a single cent due to an overly complicated process.
In the first step of this process, the agreement has to be signed by both the artist and producer, a sometimes daunting task if that artist is touring. After that, the label has to accept the agreement (which can sometimes conflict with the recording deal originally inked with the artist), receive an invoice (sometimes multiple times before it’s actually “received” and in line with label policies) and new vendor paperwork, and wait for the producer to register with the label’s specific payment system.
“A lot of people think that all we do is push a button and money goes out, but there are so many checks and balances that admin does on the back end to ensure that payments are processed properly and within a timely fashion,” says one senior executive at a major label who asked to remain unnamed. Of course, we have to understand the logistical burdens and practical business realities that label employees are up against. But at the same time, we have to recognize the plight of producers who, despite making money for the label, are forced to wait on the payments they depend on to feed their families. Many employees at the labels understand this and know the system has to change.
“There is a huge disconnect when it comes to paying creatives in a decent time frame,” says Malita Rice, vp of A&R at Warner Records. “We have to keep their livelihood in mind and not only think from a label and artist perspective. If you can’t walk out the grocery store without paying, why should music be released without the creative getting paid or waiting months or years to be paid?”
While these systems and disconnects continue to exist, producers who have “made it” will continue to struggle to pay bills, even while their music becomes a viral TikTok sound.
Managing these clearances is such a burden on resources that any lawyer aspiring to make it in music should learn clearance docs first. And for producers who want to put themselves in a better situation? My friend and colleague, Bob Celestin, shares this advice: “One of the many obstacles to producers and songwriters getting paid their publishing monies is the neglect or outright refusal, at times, to document their respective ownership interests in songs they jointly create,” he says. “The easiest way to solve this problem is by utilizing split sheets at some point after they’ve jointly created a song.”
Still, while being diligent about this can help producers, it doesn’t fix the overall problems with the system itself.
So what’s the path forward here? Suggestions have been floating around for years: Unionize producers. Leverage AI to cut down on admin work. Develop a new “default” producer agreement that kickstarts the process. Go the way of the U.K. music industry and have labels contract directly with producers.
The truth is, all of these so-called solutions would help alleviate the current problems while also creating new ones. This isn’t about producers versus labels versus artists but rather about fixing a problem that has negative ripple effects across the industry. It’s imperative that we bring everyone to the table to create a more just system.
Acclaimed attorney Matt Buser leads Buser Legal — the Miami-based law firm at the crossroads of entertainment, sports and intellectual property matters — dedicated to empowering creators and safeguarding elite talent with strategic, personalized counsel. Since its founding in 2014, his blend of deep legal expertise, business acumen, and a passion for the arts has earned the firm acknowledgment from Billboard to USA Today, embodying the innovative spirit behind #NotYourAverageLawFirm.
Sabrina Carpenter and Dolly Parton are a couple of smiling fugitives with a dark secret in the back of the truck in the charmingly felonious video for their collaboration on Sab’s 2024 Billboard Hot 100 hit “Please Please Please.”
In the new black and white video co-directed by Carpenter, 25, and Sean Price Williams that dropped on Friday morning (Feb. 14) as part of the expanded version of the pop singer’s Short n’ Sweet album, the women team up for a Thelma & Louise-style caper that involves kidnapping, at the very least.
The visual for the revamp of the song that adds some country twang and fiddle to the airy pop original that was Carpenter’s first Hot 100 chart-topper opens with the two women cruising down the road in a truck as Dolly, 79, reads the paper and Sabrina serves as her wheel woman. A flash of headlines hints at something sinister amid the grinning, cutting to banners announcing the killing of Butch Cassidy and the Sundance Kid in blaze of bullets, as well as breaking news about outlaws Frank and Jesse James, fictional women-on-the-fun Thelma and Louise, French pop royalty Jane Birkin and Serge Gainsbourg and 1950s serial killers Charles Starkweather and Caril Ann Fugate.
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Bolstered by banjos, acoustic guitars and brushed drums, the two women are in perfect harmony on the soaring chorus, though you knew Dolly wouldn’t go for the original NSFW refrain, replacing the “motherf–er” with the line, “I beg you don’t embarrass me/ Like the others.”
The two appear to be having a blast, blithely rolling down a dirt road as they sing to each other without a care as the camera pans out to reveal a truck bed filled with seemingly purloined cash and the writhing body of a man in a dirty white tank top and jeans with a burlap sack over his head.
Eagle-eyed fans noted that the new video appears to be a call-back to the original “Please Please Please” clip that starred Carpenter’s then-boyfriend Saltburn actor Barry Keoghan. In that one, the couple strike up a friendship after getting sprung from jail, before Keoghan goes back to his felonious ways and gets arrested again. Carpenter takes things into her own hands and handcuffs Keoghan — who is, ahem, wearing a white tank top and black jeans — to a chair at the end of that one, taping his mouth shut as he squirms.
By the end of the new video, Carpenter pulls over and shakes her head as the mystery man screams and bangs around in the back of the truck with police lights flashing in the distance. In an Instagram post promoting the new video, Carpenter gushed, “Dolly and me singing in a pickup truck!!!!!! I am so honored to have one of my biggest idols on a song that means so much to me.” Parton returned the sweet favor in a behind-the-scenes video featuring the two women joking about the “dirty words” in the original and how similar their voices sound, with Parton writing, “Turns out, two things can be short and sweet 😉”
The expanded version of Carpenter’s album features the new version of “Please Please Please,” as well as the bonus tracks “15 Minutes,” “Couldn’t Make It Any Harder,” “Busy Woman” and “Bad Reviews.”
Check out the “Please Please Please” video below.