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Australia’s music community has reached a “crisis” point, as myriad factors contribute to the closure of grassroots venues and popular festivals, and a generation of homegrown artists are essentially overlooked and locked out of the sales charts.
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Artist managers are proposing a solution.
Announced Friday (May 3), the Association of Artist Managers (AAM) unveils “Michael’s Rule,” a policy that would ensure at least one local artist would be among the support acts on every international tour of these parts.
The campaign bears the name of Michael McMartin, the late, great artist manager who guided the career of Hoodoo Gurus for more than 40 years, and is broken down into three main tenets: every international artist must include an Australian artist among their opening acts; the Australian artist must appear on the same stage at the international artist using reasonable sound and lighting; and the Australian artist must be announced at the same time as the tour so that they benefit from all the marketing and promotion.
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The Rule came from a discussion amongst senior members of the artist management fraternity in the lead-in to the 2024 AAM Awards in Sydney, and is born out of the frustration at the limited options for the discoverability of artists in Australia.
These challenges have been recognized by governments across Australia in recent years, notes Maggie Collins, executive director of the AAM, the trade body that represents more than 300 artist managers.
“Promoters received significant public funding during the pandemic and they understandably continue to receive public support for some of their major events,” she explains in a statement. “We think it is only reasonable that, in return, they should ‘do their bit’ to help give Australian artists a leg up by the simple means of including at least one local act on every international tour.”
Collins used the platform of the 2024 AAM Awards to present “Michael’s Rule.”
“If there’s one overarching issue that managers have been flagging time and time again, it is this: we need more Australians loving more Australian music. We have a major discoverability problem and if we don’t solve this issue, which is both economical and cultural,” she explained to a full house at Sydney’s Crowbar.
Had “Michael’s Rule” existed for major international tours, such as Taylor Swift’s seven-date The Eras Tour, which visited Sydney and Melbourne in 2023, “how many more fans could we have introduced to a local artist and started creating our own megastar of the future.”
The support act rule had once been a widely accepted industry code after lobbying by artist managers in the early 2000s. With the launch of “Michael’s Rule,” a voluntary code, senior artist managers call for its reintroduction “at this time of crisis for Australian music,” reads a statement from AAM.
If promoters are not willing to agree, the trade body insists it make formal representations for federal government to step in and make it a condition of issuing visas that international artists touring Australia must comply.Labels body ARIA welcomes “Michael’s Rule.” “Doing whatever we can to get our local artists in front of new audiences is the most important issue facing our local industry,” says ARIA CEO Annabelle Herd in a separate media release, “and as such the Michael’s Rule is a fantastic initiative, which we are confident can be implemented in a way that doesn’t impact the viability of international touring.”ARIA’s latest year-end charts spelled out the problem. Just four Australian albums cracked the top 100 last year, led by INXS hits collection The Very Best (at No. 58), and only three Australian-made singles impacted the top 100, none of which were released in 2023. The best-placed Australian track was The Kid Laroi’s 2021 collaboration with Justin Bieber, “Stay.”Other initiatives, including “looking to broaden venues like sports stadiums to multi-use facilities in NSW is a really important step to increase the availability of entertainment for everyone outside of sport,” adds Herd, “and continue to increase opportunities to see local artists alongside global icons.”The unveiling of the industry code closely follows the announcement that Brisbane’s The Zoo, one of the country’s longest-operating grassroots music venues, would close its doors due to crushing financial pressures, and a string of music festivals, including Splendour in the Grass, would skip this year – or close for good.
BOYNEXTDOOR scores its second top 10, and highest-charting album yet, on Billboard’s Top Album Sales ranking as How? enters at No. 7 on the May 4-dated chart. The set launches with 11,000 copies sold in the U.S. in the week ending April 25, according to Luminate – the act’s best sales week ever. The South Korean pop ensemble previously visited the top 10 with the No. 10-peaking Why in 2023.
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Also in the top 10 of the new Top Album Sales chart: Taylor Swift’s The Tortured Poets Department makes a smashing debut at No. 1, Pearl Jam’s Dark Matter bows at No. 2 and Anne Wilson’s Rebel starts at No. 10.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
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Of the 11,000 copies sold of How?, physical sales comprise essentially all of that sum – and all from the CD configuration. The album’s sales were supported by its availability across 17 different collectible CD packages, including exclusive variants for Barnes & Noble, Target and Walmart. All editions contained branded paper merchandise, including some randomized items.
At No. 1 on Top Album Sales, Swift’s The Tortured Poets Department swoops in with a whopping 1.914 million copies sold in its first week. It’s Swift’s 14th No. 1. That volume marks Swift’s best sales week ever, and the third-largest sales week for any album since Luminate began electronically tracking sales in 1991. The set’s sales were bolstered by its availability across 19 different collectible physical editions (nine CDs, six vinyl LPs and four cassettes, some of which were exclusive to Target and Swift’s webstore) and two digital download albums. Some of the physical iterations of the album contained branded merchandise.
Swift has half of the top 10 on new Top Album Sales chart, as Poets is joined by her former No. 1s Lover (rising 8-3 with 14,000; up 79%), 1989 (Taylor’s Version) (10-4 with 13,000; up 100%), Midnights (11-5 with 12,000; up 130%) and Folklore (13-9 with 10,000; up 112%).
Pearl Jam’s Dark Matter debuts at No. 2 with 52,000 copies (with 24,000 on vinyl), marking the 18th top 10-charting effort for the band. Dark Matter’s first-week sales got a boost from its availability across 12 different color vinyl variants.
Beyoncé’s former No. 1 Cowboy Carter falls 1-6 in its fourth week on the list, selling a little over 11,000 copies (down 59%). Pink Floyd’s The Dark Side of the Moon rises 35-8 with nearly 11,000 sold (up 329%), largely thanks to sales generated by the April 19 release of a collector’s edition of the album on 180-gram crystal clear double vinyl.
Anne Wilson’s new Rebel rounds out the top 10 of Top Album Sales, as the set starts at No. 10 with 10,000 copies sold. It’s the second top 10-charting effort, and best sales week, for the artist. The album’s sales were supported by its availability across four vinyl variants and five CD variants (three of which were signed by the artist).
It’s Thursday, May 2nd, and Nicki Minaj brings out Cyndi Lauper & Kai Cenat at her concert, Selena Gomez turns off her Instagram comments and Britney Spears settles divorce. We sat down with Billboard cover star T-Pain and went down memory lane to find out the stories behind some of his biggest hits including: “Buy […]
On this week’s TikTok Billboard Top 50, we have Taylor Swift coming in hot in the top 5, with Phoebe Bridgers and Shaboozey in the top 10, but who’s at No. 1? Watch to find out more! Tetris Kelly:Lay Bankz holds strong while three big names debut in the top 10. Lay Bankz’s “Tell Ur […]
Bhavi, Seven Kayne, Milo J, Tiago PZK, Khea and Neo Pistea lead this week’s Billboard Argentina Hot 100 chart (dated May 4), as “Bésame (Remix)” lands at No. 1 in its second week. It’s the first win for Bhavi, Seven Kayne and Neo Pistea.
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“Bésame (Remix)” climbs seven rankings, from No. 8 to No. 1 in its second week, the second-largest trek in 2024, following “Una Foto” by Mesita, Nicki Nicole, Tiago PZK and Emilia, which journeyed from No. 30 to No. 1 (list dated Jan. 30) in its 18th week. The latter holds at No. 2 for a sixth non-consecutive week.. Further, “Bésame” unseats Tini’s “Pa” from the summit, and sends it to No. 11, after one week in charge.
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While the top 10 remains nearly the same as the week prior, Taylor Swift’s new No. 1 album, The Tortured Poets Department, contributes significant activity below the top 20, with 10 simultaneous songs on the tally. “Fortnight,” featuring Post Malone, leads the new recruits, joining at No. 22 as the Hot Shot Debut of the week.
Here’s a recap of Swift’s 10 concurrent entries on the Billboard Argentina Hot 100:
No. 22: “Fortnight,” featuring Post MaloneNo. 52: “So Long, London”No. 56: “Down Bad”No. 58: “My Boy Only Breaks His Favorite Toys”No. 60: “The Tortured Poets Department”No. 64: “I Can Do It With A Broken Heart”No. 80: “But Daddy I Love Him”No. 85: “Who’s Afraid Of Little Old Me?”No. 91: “Florida!!!,” featuring Florence + The MachineNo. 96: “Guilty As Sin?”
The Greatest Gainer of the week goes to Young Miko and Feid’s “Offline,” which climbs 56 spots, from No. 91 to No. 35.
Elsewhere, Nigerian singer-songwriter, Oyinkansola Sarah Aderibigbe, better known for her stage name Ayra Starr, claims her first entry on the tally with her Rvssian and Rauw Alejandro collab “Santa” which opens at No. 81.
Two other collabs debut this week: Camilo and Carin Leon’s “Una Vida Pasada” at No. 90, while “Quítenme el Teléfono” by The Academy: Segunda Misión, Sech, Lenny Tavarez, Justin Quiles, Dalex, Dimelo Flow, featuring Yandel and Jay Wheeler, starts at No. 100.
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Jeremy Furze was named as manager of the year at the 2024 AAM Awards in Sydney on Wednesday, May 1, recognition for his behind-the-scenes work guiding the Teskey Brothers’ stellar year.
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Furze collected the top honor at the third annual AAM Awards, following a stretch during which the Teskeys could do no wrong.
The Teskeys, Josh and Sam, hail from Warrandyte, Victoria, and had the touring world at their feet, selling 15,000 tickets in London, 12,000 tickets in Amsterdam, and 6,000 tickets in Los Angeles; their third studio album The Winding Way opened at No. 1 on the ARIA Chart; and the band won ARIA and Rolling Stone Awards. Just hours after the AAM Awards wrapped, another piece of silverware for the Teskeys, as they nabbed songwriters of the year at the 2024 APRA Music Awards.
Furze, founder of Applejack Music, is “an engaged member of the artist management community, recognizing the importance of mentorship and shared knowledge,” reads a statement from the Association of Artist Managers, the trade body that produces the annual awards. “He has mentored under the Co-Pilot program for the past two years and frequently opens his door to independent artists and managers for informal support and career consultation.”
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As festivals fall over, venues close and Australian artists struggle to impact the national sales charts, Furze told his peers from the stage, “We’re in a pretty deep crisis. It’s going to be up to all the people around this room to keep us on track in the next few years, and we need support ourselves…we’ve got to do it for each other.”
Other winners at the AAM Awards included Megan Rasmussen and Harry White (Future Classic) for breakthrough manager of the year; Kerry Kennell, chief of Kennell & Co, for community engagement award; Our Golden Friend’s Lorrae McKenna for the patron’s gift – an initiative of the late Michael McMartin; and Hayley-Jane Ayres, 360 Artist Logistics, who was the recipient of the APRA AMCOS Lighthouse Award, which includes a A$5,000 cash prize to support her business and professional pursuits.
As previously announced, Tame Impala manager Jodie Regan, founder of Spinning Top Music, scooped the Legacy Award. Presenting the award, Damien Trotter, managing director of Sony Music Publishing Australia, remarked that Regan, who is based in the remote Western Australia capital, Perth, led with “loyalty, trust and integrity,” and got about her work “without a hint of arrogance.”
AAM executive director Maggie Collins delivered the quote of the day when she told the house that AI “will never replace artist managers, because even robots wouldn’t want to do our job.” Collins also unveiled a touring initiative, “Michael’s Rule,” named after McMartin, that the management community hopes will give homegrown artists a much-needed lift.
Guest speakers at a packed Sydney Crowbar included John Graham special minister of state, minister for roads, minister for arts minister for music and the night-time economy, and minister for jobs and tourism; and performers included Folk Bitch Trio and Miss Kaninna.
The AAM represents over 300 active managers, who in turn represent over 1,000 artists in contemporary music.
2024 AAM Awards winners:
Manager of the Year (Presented by Oztix)Jeremy Furze, Applejack Music
Breakthrough Manager of the Year (Presented by DMT Law Firm)Megan Rasmussen and Harry White, Future Classic
Community Engagement Award (Presented by Live Event Logistics)Kerry Kennell, Kennell & Co
Legacy Award (Presented by Sony Music Publishing)Jodie Regan, Spinning Top Music
Patron’s Gift (Presented by AAM Patrons)Lorrae McKenna, Our Golden Friend
APRA/AMCOS Lighthouse AwardHayley-Jane Ayres, 360 Artist Logistics
K-pop giant HYBE posted its lowest total revenue in two years as its recorded music segment sank to its lowest level in seven quarters, the South Korean company announced Thursday (May 2).
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HYBE had first quarter revenue of 360.9 billion won ($271.5 million), down 12.1% year over year and the lowest since posting 285 billion won ($214.4 million) in the first quarter of 2022. Operating profit fell precipitously to 14.4 billion won ($10.8 million), down 72.6% from the prior-year period.
HYBE’s share price was barely affected by the slowest quarter in years. The share price initially rose 1.7% to 205,500 won ($149.23) but my midday had fallen to 201,500 ($146.33), down 0.2%. The stock is down 13.7% year to date, however, and fell 12.6% last week following news that HYBE will report the CEO of its ADOR imprint, Min Hee-jin, to the police for “breach of trust and other related allegations.”
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Earnings before interest, taxes, depreciation and amortization (EBITDA), a measure of profitability that strips out non-cash items, was 39.8 billion won ($29.9 million), down 45% year over year and the lowest since the first quarter of 2021.
Concerts revenue of 44 billion won ($33.1 million) was up 74.5% year over year. Although that was the biggest year-over-year increase of any category, the first quarter of 2023 was abnormally slow. HYBE’s latest quarter was on par with 45.3 billion won ($34.1 million) of concert revenue in the fourth quarter of 2021, the first quarter the company had performances after COVID-19 restrictions shut down the touring industry.
Recorded music, the company’s largest segment at 40.2% of total revenue, fell 21.3% to 145.1 billion won ($109.2 million). HYBE successfully debuted two new groups during the quarter. Sparkling Blue, the debut EP by PLEDIS Entertainment boy band TWS, sold 260,000 units in its first week for and accumulated 500,000 units in the first nine weeks of release. Girl group ILLIT’s EP, Super Real Me, released through BELIFT LAB, sold 380,000 units in its debut week and reached the 500,000-unit mark in just four weeks. The single “Magnetic” debuted at No. 91 on the Billboard Hot 100 singles chart in April.
Merchandising and licensing fell 11.9% to 60.7 billion won ($45.7 million). Contents fared worse, dropping 29.8% to 61.1 billion won ($46 million).
Weverse, HYBE’s social media platform, saw its monthly active users (MAUs) decline for the second quarter. After reaching a peak of 10.6 million MAUs in the third quarter of 2023, MAUs fell to 10.1 million in the fourth quarter and 9.2 million in the first quarter. Both average revenue per paying user and payment amount fell below levels reached in 2022 and 2023; HYBE does not provide specific numbers for either metric.
Universal Music Group (UMG) and TikTok have struck a new licensing agreement which will soon bring UMG’s catalog of millions of sound recordings and songs back to TikTok after three months off the platform. Though it is unclear exactly when all of UMG’s catalog will return to the app, a press release about the new license says it will return in “due course” and the two companies are “working expeditiously” to return the music.
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UMG’s last license with TikTok expired at the end of January after negotiations soured between the two companies. UMG announced that its music would be pulled from the app starting Feb. 1 in a letter to its artists and songwriters, saying that TikTok refused to pay the “fair value” of music and that it had concerns about TikTok’s stance on AI and artist safety.
Eventually, over the course of February, millions of sound recordings and compositions in the UMG catalog were removed from TikTok, which has been known as perhaps the most effective artist promotion and marketing platform of the 2020s. This included the removal of superstars like Taylor Swift, BTS, Drake, Ariana Grande, The Weeknd, Lady Gaga, Lana Del Rey, Billie Eilish, Eminem, Nicki Minaj, Justin Bieber, Karol G and Post Malone. Its impact stretched even wider when UMG’s publishing interests were also removed from TikTok, which included many recordings released by other record companies.
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According to a press release about their new deal, UMG and TikTok will now enter a “new era of strategic collaboration” and that the deal “improves remuneration for UMG’s and artists, new promotional and engagement opportunities for their recordings and songs and industry-leading protections with respect to generative AI.”
The two companies will now collaborate to realize more monetization opportunities within TikTok’s ecommerce services, which the short-form video app has been leaning into in recent months, particularly with the launch of TikTok Shop. TikTok will also invest “significant resources into building artist-centric tools.” This will include integrating ticketing capabilities and better data and analytics.
To address UMG’s concerns about AI and artist safety, the press release says the app will strengthen safety for artists and fans and that the two companies will work together to remove unauthorized AI-generated music from the platform. Since the anonymous TikTok user Ghostwriter used the platform to release his song “Heart On My Sleeve” last year, which featured the AI voices of Drake and the Weeknd, TikTok has been a destination for AI voice parody songs, including one particularly popular original sound that paired an AI Lana Del Rey’s voice with Mitski’s “My Love Mine All Mine.”
TikTok will also “improve artist and songwriter attribution” as part of the deal, which will ultimately help UMG’s talent get paid for uses on the platform.
Lucian Grainge, Chairman and CEO, Universal Music Group, says of the deal: “This new chapter in our relationship with TikTok focuses on the value of music, the primacy of human artistry and the welfare of the creative community. We look forward to collaborating with the team at TikTok to further the interests of our artists and songwriters and drive innovation in fan engagement while advancing social music monetization.”
Shou Chew, CEO of TikTok, adds: “Music is an integral part of the TikTok ecosystem and we are pleased to have found a path forward with Universal Music Group. We are committed to working together to drive value, discovery and promotion for all of UMG’s amazing artists and songwriters, and deepen their ability to grow, connect and engage with the TikTok community.”
Ole Obermann, TikTok’s Global Head of Music Business Development, said: “We are delighted to welcome UMG and UMPG back to TikTok. We look forward to working together to forge a path that creates deeper connections between artists, creators, and fans. In particular, we will work together to make sure that AI tools are developed responsibly to enable a new era of musical creativity and fan engagement while protecting human creativity”.
Michael Nash, Chief Digital Officer and EVP, Universal Music Group said:“Developing transformational partnerships with important innovators is critical to UMG’s commitment to promoting an environment in which artists and songwriters prosper. We’re gratified to renew our relationship with TikTok predicated on significant advancements in commercial and marketing opportunities as well as protections provided to our industry-leading roster on their platform. With the constantly evolving ways that social interaction, fan engagement, music discovery and artistic ingenuity converge on TikTok, we see great potential in our collaboration going forward.”
Troye Sivan scooped song of the year at the 2024 APRA Music Awards, held Wednesday, May 1 at ICC Sydney.
The Australian pop artist nabbed the peer-voted category, the top honor at the APRAs, for “Rush,” co-written with Styalz Fuego, and lifted from Sivan’s third studio album Something to Give Each Other, which bowed at No. 1 on the ARIA Chart in October 2023.
Fuego was on hand to receive the ring-shaped award, the final presented on the night.
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“As a creative when I work with an artist that I’m already a fan of, I think like ‘don’t f— this us.’ It’s always like, I imagine this song could ruin their career,” he remarked. “I’m so happy that with Troye we did something that people ended up loving.”
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Sivan has been in sparkling form at awards ceremonies, dominating the 2023 ARIAs with four wins, and landing a Grammy nomination with “Rush” (best pop dance recording). Sivan (2017) and Fuego (2013) are both former recipients of the APRA breakthrough songwriter of the year category.
Meanwhile, blues act The Teskey Brothers snagged songwriter of the year, following the release of their ARIA No. 1 album The Winding Way, adding to a collection that includes ARIA Awards and a Rolling Stone Australia Award, won earlier this year for best record. The coveted prize is decided by the APRA board of writer and publisher directors.
Singer and songwriter Dean Lewis doubled up with APRAs for “How Do I Say Goodbye,” a tear-jerker that captures his shock after learning of his dad’s cancer diagnosis. “Goodbye” won for most performed Australian work and most performed pop work, lifting his all-time APRAs tally to six. During his taped acceptance speeches, Lewis gave a shoutout to the “great Mike Taylor,” the former chief of Island Records Australia who died in January following a battle with cancer, aged 54. “Goodbye” was the last song they worked on together, Lewis explained.
Other winners at the APRAs included grentperez, the inaugural recipient of the emerging songwriter of the year award; Parkway Drive for the inaugural most performed hard rock/heavy metal work category; ONEFOUR for most performed hip hop / rap work; Sia, landing most performed Australian work overseas for the fifth time; and Taylor Swift for international work of the year.
One of the highlights of the night was the presentation of the Ted Albert Award for Outstanding Services to Australian Music to Bart Willoughby, singer, songwriter and drummer with pioneering Indigenous rock band No Fixed Address. Long-time friends Stephen Pigram and Don Walker of Cold Chisel did the honors.
The 2024 edition of the APRAs “was a memorable night where we honored several first-time winners as well as established national treasures, including the extraordinary Bart Willoughby,” comments APRA AMCOS CEO Dean Ormston.
“In recognizing the incredible talent in Australia’s music landscape, it’s important to acknowledge that as an organisation that champions gender diversity through advocacy, funding and creative opportunities, there’s more to do to address the disparity in the industry of male to women, non-binary and gender diverse award winners.” He continues, “We must continually question the absence of diversity in every facet of the industry—whether in rooms, executive offices, on stages, or across airwaves and streaming platforms—and commit to amplifying the entirety of Australia’s musical brilliance.”
Established in 1982, the Australasian Performing Right Association’s annual songwriters’ ceremony is one of the Australian music industry’s most treasured events, a worthy counterpart to Britain’s Ivor Novello Awards.
Full list of 2024 APRA Music Awards winners:
Peer-Voted APRA Song of the YearTitle: RushArtist: Troye SivanWriters: Troye Sivan / Styalz Fuego* / Alex Chapman^ / Kevin Hickey^ / Brett McLaughlin~ / Adam Novodor~Publishers: Universal/MCA Music Publishing / Universal Music Publishing* / Kobalt Music Publishing^ / Sony Music Publishing~
Ted Albert Award for Outstanding Services to Australian MusicBart WilloughbySongwriter of the Year The Teskey BrothersWriters: Josh Teskey / Sam TeskeyPublishers: Mushroom Music obo Ivy League Music
Emerging Songwriter of the YearWriter: grentperezPublisher: Mushroom MusicMost Performed Australian Work Title: How Do I Say GoodbyeArtist: Dean LewisWriters: Dean Lewis / Jon Hume*Publishers: Kobalt Music Publishing / Concord ANZ*Most Performed Alternative WorkTitle: DaylightArtist: Birds of TokyoWriters: Ian Berney / Ian Kenny / Glenn Sarangapany / Adam Spark / Adam WestonPublisher: Mushroom MusicMost Performed Blues & Roots Work Title: Dancing in the DarkArtist: Ziggy AlbertsWriter: Ziggy AlbertsPublisher: Kobalt Music Publishing
Most Performed Country Work Title: Summer NightsArtist: Casey BarnesWriters: Casey Barnes / Michael De Lorenzis / Michael PaynterPublisher: Mushroom Music
Most Performed Dance/Electronic Work Title: Never Let You GoArtist: Jason Derulo & ShouseWriters: Jack Madin* / Edward Service* / Sean Congues / Jason Desrouleaux^Publishers: ONELOVE Publishing* / Sentric Music Publishing / Universal Music Publishing^
Most Performed Hard Rock/Heavy Metal Work Title: Darker StillArtist: Parkway DriveWriters: Benjamin Gordon* / Luke Kilpatrick* / Jeffrey Ling* / Winston McCall* / George HadjichristouPublisher: Kobalt Music Publishing*Most Performed Hip Hop / Rap WorkTitle: COMMA’SArtist: ONEFOUR ft. CGWriters: Spencer Magalogo* / Jerome Misa* / Salec Su’a* / Bailey Pickles / Chandler Hammond / Hugo Hui / Caleb TiedemannPublisher: Sony Music Publishing*Most Performed Pop Work Title: How Do I Say GoodbyeArtist: Dean LewisWriters: Dean Lewis / Jon Hume*Publishers: Kobalt Music Publishing / Concord ANZ*
Most Performed R&B / Soul Work Title: CinderellaArtist: JKINGWriter: Jordan Samatua
Most Performed Rock Work Title: Good TimeArtist: Polish ClubWriters: David Novak / John-Henry Pajak / Robby De SaPublisher: Sony Music PublishingMost Performed Australian Work OverseasTitle: UnstoppableArtist: SiaWriter: Sia Furler / Christopher Braide*Publishers: Sony Music Publishing / Concord ANZ* Licensee of the YearAustralian Calisthenic Federation IncMost Performed International Work Title: Anti-HeroArtist: Taylor SwiftWriters: Taylor Swift / Jack Antonoff*Publishers: Universal/MCA Music Publishing / Sony Music Publishing*
It’s Wednesday, May 1st, and Drake possibly responded to Kendrick Lamar’s diss track “euphoria.” Drake joined Nicki Minaj during the Toronto stop of her tour, and although he didn’t respond to the diss track on the stage, he may have made a reference to it on his Instagram Story with a monologue from Julia Stiles’ […]