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BRISBANE, Australia — George Ash is stepping down as president of Universal Music Australia and New Zealand.
In a surprise announcement that hit inboxes as the music industry settled in for the first day of the working week, Universal Music Group announced Ash would retire from his position at the end of the year.
“The time is right for me to step down from Universal,” says the outgoing executive in a corporate statement. “I feel confident that with the brilliant leadership group we have now, the organization will continue to grow and thrive.
New Zealand-born Ash will leave UMA as part of a “long-planned personal decision to focus on new goals and projects,” reads the statement, “whilst leaving the company under the leadership of a new generation of executives, who will continue to build on the legacy of creative and commercial success that has flourished during his tenure.”
With Ash at the helm of the Sydney-based business, UMA helped establish the careers of a long list of artists from these parts, including Lorde, Baker Boy, Amyl and The Sniffers, Tame Impala, Gotye, Dean Lewis, Troye Sivan and many others.
“Under George’s leadership, the UMA team has delivered countless local and international artist successes in this incredibly dynamic market,” comments Lucian Grainge, chairman and CEO, Universal Music Group. “We are grateful to George for his dedication to, and passion for, our artists, and for the historic achievements of UMA during his tenure.”
A musician early in his career, Ash relocated to Australia in 2001 to become managing director at UMA, and was promoted to president in 2010, with duties for Universal Music’s companies on both sides of the Tasman. In 2013, he added duties for the Asia Pacific region.
During his tenure, Ash also served a member of the ARIA board and as chairman of Phonographic Performance Company of Australia (PPCA) board.
Prior to his move west, Ash enjoyed stints at BMG NZ and PolyGram in his homeland, and was instrumental in the creation of MCA Geffen, Universal Music’s first operations in New Zealand, back in 1995.
In an internal message to staff, seen by Billboard, Ash writes: “Having been with the company for nearly three decades, the time feels right. I am so confident in, and proud of, the brilliant leadership team we have in place, as well as the positive changes we have made in the past couple of years, and I am excited to see the company, staff, labels, and artists continue to grow and thrive in the years ahead.”
The company is “filled with exceptional people, and it has been a privilege to share this journey with you all. My heartfelt thanks go to Sir Lucian Grainge for his incredible support and guidance, and to Boyd Muir, with whom I have worked since the very beginning of my time at UMG.”
As previously reported, Ash last year initiated an investigation into workplace culture at UMA, following allegations of inappropriate behavior within its ranks. Ash tapped Darren Perry at law firm Seyfarth Shaw, to conduct a probe into workplace culture, after a string of allegations emerged online and an internal complaint was lodged with HR.
“After 35 years working in music, my love for it has not diminished,” comments Ash in his message to staff on Monday (Dec. 12), “and I’m as excited for the future as I was back then, when I was working the nightshift in the Polygram pressing plant in Wellington.”
A successor will be announced “at a later date,” reads a statement.
Read Ash’s message to staff:
Dear colleagues,
I am writing to let you all know that I will be stepping down from my role as President of UMA at the end of the year.
This is something that I have been planning for a long time, as I still have many areas of personal interest and passions that I want to explore.
Having been with the company for nearly three decades, the time feels right. I am so confident in, and proud of, the brilliant leadership team we have in place, as well as the positive changes we have made in the past couple of years, and I am excited to see the company, staff, labels, and artists continue to grow and thrive in the years ahead.
I am also proud of the role that I have played in transforming UMA into the market-leading music company. It has been an honor to work with so many talented and creative artists, including Lorde, Baker Boy, Amyl and The Sniffers, Tame Impala, Gotye, Hayley Westenra, Wolfmother, Dean Lewis, Hilltop Hoods, Troye Sivan, Empire of the Sun, A.B. Original, Tina Arena, Havana Brown, The Presets, Boy & Bear, Powderfinger, Bernard Fanning, Sarah Blasko, Tkay Maidza and countless others, especially those that we have helped introduce to new audiences around the world. It has also been a pleasure to welcome so many of UMG’s international artists to our shores, and to help them achieve great success here.
This company is filled with exceptional people, and it has been a privilege to share this journey with you all. My heartfelt thanks go to Sir Lucian Grainge for his incredible support and guidance, and to Boyd Muir, with whom I have worked since the very beginning of my time at UMG.
My adoration, respect and gratitude go to so many of my colleagues here in Australia, New Zealand and around the world. I have so many fond memories, favorite shows, and most of all friendships from my time here.
After 35 years working in music, my love for it has not diminished, and I’m as excited for the future as I was back then, when I was working the nightshift in the Polygram pressing plant in Wellington.
My enduring thanks and admiration.
Penske Media Corporation’s music, art and food festival LA3C closed its inaugural edition on Sunday (Dec. 11) with a Latin music-centered lineup, a nod to Los Angeles County’s’ Hispanic population, where more than 4.8 million Hispanics live, accounting for almost half of the county’s population.
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The second day of LA3C — which started off gloomy and rainy — included performances by Colombian hitmaker Maluma, regional Mexican star Gerardo Ortiz and Mexican-American rapper Snow tha Product.
Check out Sunday’s best moments below.
El Pana Con Más Flow Just as the sun peeked through the clouds for some much needed sunshine, Panamanian artist Chicocurlyhead marked his first main stage performance at a festival in the U.S. Wearing a monochromatic military green outfit and black sunglasses, Chico effortlessly zigzagged through R&B, trap and rock showcasing his versatility. “For those that don’t know me, I’m Chicocurlyhead. I was born in Panama and raised in Atlanta,” he told a small but mighty crowd. “That’s what you hear in my music. Spanglish. The real deal. I’m ‘El Pana con Flow.’”
Welcome to my paradiseMexican-American singer-songwriter Monogem delivered a soulful performance. With a set that began 50 minutes late, the crowd was forgiving offering her a warm L.A. welcome. One fan ran towards the stage holding a vinyl of the artist’s Gardenia, her first Spanish-language album. “I see you,” Monogem acknowledged the fan. “I’m so happy to be here. Soy mitad mexicana (I’m half Mexican) and it’s an honor to celebrate my Latin roots.” Mid-set, she welcomed fans to her paraíso and proceded to ask fans: “Is it ok if I get high with you guys? I mean we’re in L.A. My hometown.” However, she couldn’t light her joint due to the wind.
Os prometo que hemos ensayadoFrom Spain to L.A.! Marc Seguí and his band — who all wore bright colored t-shirts (red, yellow, blue and pink — one that had “we promise we rehearsed” written across it) — delivered a breezy performance paired with groovy visuals from outer space, the ocean and flowers. In the middle of his 30-minute set, the Spaniard brought a friend out to join him onstage. “I haven’t come alone. A big round of applause for Xavibo.” The pair were like best friends onstage enjoying every second of the performance — which included Segui’s “360” and his and Xavibo’s “Contigo Loca” — jumping up and down to pump up the crowd.
PR In the House“Hace un frío cabron aquí afuera,” Chesca said at the top of her performance,acknowledging the colder temperatures. The Puerto Rican artist delivered a high-energy performance with a troupe of dancers. “I feel so proud to be here with all of you,” she said just minutes before introducing her special guest, who flew in from Mexico just to join her onstage. It was none other than her fellow Puerto Rican hitmaker Villano Antillano, marking the first time she performs in L.A. “Thank you LA3C for having me. Latinos to the top. You should all feel so proud.”
Music of todayColombian singer-songwriter Fonseca got everyone dancing with his vallenato anthems. He kicked off with “Vine a Buscarte” and then got emotional with a heartfelt speech. “We’re very happy to be here tonight. It feels amazing to be back in L.A. We’re proud to be part of a festival that is featuring so many genres from all over the world. It represents the music of today.” The artist, who’s celebrating 20 years in music, went on to sing “Volvámonos a Enamorar” and of course the highly-anticipated “Te Mando Flores.” “Thank you for being part of this dream. Cheers to 2023, I hope it’s filled with good health, friends and family.”
Long live regional Mexican musicRegional Mexican star Gerardo Ortiz, who was born in Pasadena, Calif., enjoyed a homecoming with a set that proved to be a highlight of the night. Transforming the stage into a Mexican party — with a banda and norteño group in tow — Ortiz didn’t waste any minute belting out anthems such as “Quién Se Anima,” “Tranquilito,” “Por Qué Terminamos” and “Recordando a Manuel.” Wearing black jeans, a leather jacket with blue patches and silver studs styled with a cowboy hat and pointy boots, Ortiz, a much-experienced artist whose dynamic and interaction with his fans throughout proved to pull in not only fans who were there to see him, but also new ones who were just discovering him. Never too late to join the Gerardo Ortiz club.
“My favorite thing is women supporting women”Snow Tha Product meant business when she took the stage at LA3C. The Mexican-American rapper performed a riveting one-hour set where she showed off her slick verses and rapping skills. Her performance also included shots straight from a tequila and champagne bottle, a sea of women twerking onstage and Snow’s proud mom. She started off with a quick homage to Vicente Fernandez, who passed away one year ago. She took a shot in his memory. She then brought her mom onstage to take a shot with her and celebrate her success. “I didn’t go to college and I’m doing pretty good,” Snow said. “I told my mom I’d be the most famous lesbian Mexican rapper that ever existed. Mom, say a few things while I take a shot.” Her mom took the mic and started with, “Cómo estan todos (how is everyone doing)? I love you all so much for loving and respecting my daughter. God bless you all.”
She also invited multiple women to join her onstage and dance up there for the remainder of her show. “My favorite thing is women supporting women,” she declared. During her performance, she made sure she got what she paid for and give fans the best performance she could. After production wouldn’t light the fire effect onstage because the dancers “weren’t behind an orange line,” she protested. “I paid $5,000 to have the fire, I should have the fire. The apply rules to a woman that they wouldn’t to a man. If I don’t get fire in this next song, return my money.” She left her fans with advice: “In 2023, go where you’re loved and appreciated.”
Maluma BabyBefore the Colombian hitmaker took the stage, a short video played in front of a crowd that gathered to see Maluma front and center. “Today, my heart stops like if it was the first time [performing],” he said in the video. “Now, I give you my heart.” Then, the man of the hour appeared. Wearing black leather pants, a Supreme biker jacket and red leather gloves, he kicked off his one-hour set with the smash hit “Hawái.” “Good night, L.A. I’m Papi Juancho,” he greeted the audience. In a span of 60 minutes, Maluma delivered a show-stopping performance powered by fireworks and back-to-back hits including “Borró Cassette,” “Felices Los 4,” “Sobrio,” “Chantaje,” “Vente Pa’ Acá,” “11PM” and “Corazón.”
“Where are my Latinos?” he asked. “Los Angeles are you ready? It’s good to be back in one of my favorite cities.” Toward the end of his set, he reflected on his trajectory. “How cool that we’re all here. Is everyone drinking here because I am definitely drinking tonight. We’re ending the year and I want to thank you for the love you give me every single day. Without it, I wouldn’t be anyone. It’s been 11 years since I began my career but we’re just starting. There’s Maluma for many more years. Cheers.”
Penske Media Corporation is the parent company of Billboard.
Olly Murs lands his fifth U.K. No. 1 with Marry Me (EMI), which bows at No. 1.
Marry Me is the British singer and songwriter’s seventh album, with In Case You Didn’t Know (2011), Right Place Right Time (2012), Never Been Better (2014), 24 HRS (2016) and now Marry Me all reaching the summit of the weekly survey.
The X Factor alum brushed-off controversy surrounding the lyrics to album track “I Hate You When You’re Drunk” to lead at the halfway point, and then on Friday, Dec. 9 when the chart proper was published.
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Murs outpaces Taylor Swift‘s former leader Midnights (EMI), which lifts 3-2 on the latest survey, published Dec. 9.
Meanwhile, Atlanta recording artist and producer Metro Boomin blasts to No. 3 with Heroes & Villains (Island). That’s easily his highest charting album in the U.K., ahead of 2018’s Not All Heroes Wear Capes, which peaked at No. 16, and 2020’s Savage Mode II, a collaborative LP with 21 Savage that enjoyed a No. 10 best.
The U.K. singles chart is dominated by holiday singles, and, in particular, one “queen of Christmas.” It’s a similar tale on the albums survey, where festive sets by Cliff Richard (Christmas With Cliff down 2-4 via EastWest/Rhino), Michael Bublé (Christmas up 13-5 via Reprise), André Rieu and the Johann Strauss Orchestra (Silver Bells up 8-6 via Decca) and the Bocellis (A Family Christmas down 4-7 via Decca) impact the top 10.
As fans of Fleetwood Mac digest the sad news of Christine McVie’s death Nov. 30, aged 79, two of the Rock Hall-inducted band’s LPs appear in the U.K. top 20: Rumours (up 24-11 via Rhino/Warner Bros) and career retrospective 50 Years – Don’t Stop (up 23-15 via Rhino).
Finally, veteran electronic act Leftfield land in the top 20 with This Is What We Do (Virgin Music), their first studio album release in seven years. The duo (Neil Barnes and Adam Wren) have three previous top 10 appearances, starting with their classic debut from 1995’s Leftism (No. 3), followup Rhythm And Stealth in 1999 (No. 1) and 2015’s Alternative Light Source (No. 6).
The Christmas invasion is in full swing on the U.K. singles chart, as Mariah Carey‘s “All I Want For Christmas Is You” (via Columbia) returns to the summit.
Carey’s 1994 holidays classic took 26 years to reach No. 1 on the Official U.K. Singles Chart, a record-setting feat it finally achieved in 2020. It’s right back at the top, having returned to the top 40 earlier than usual.
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“All I Want For Christmas Is You” rockets 8-1, with 10.8 million streams during the latest cycle, the Official Charts Company reports, to unseat Taylor Swift’s “Anti-Hero” (down 1-5 via EMI) after six weeks.
It’s the second stint at No. 1 for Carey’s “Christmas,” which, in 2020, set a new mark for weeks spent in the top 40 before reaching the summit.
As the mercury dives in the U.K., Christmas songs warm the chart. No less than five yuletide numbers impact the top 10, including Wham’s “Last Christmas” (up 9-3 via RCA), Ed Sheeran & Elton John’s “Merry Christmas” (up 15-4 via Atlantic), Brenda Lee’s “Rockin’ Around The Christmas Tree” (up 18-6 via MCA) and Michael Buble’s “It’s Beginning To Look A Lot Like Christmas” (up 20-10 via Reprise).
A total of 24 Christmas songs, new and old, impact the top 40, published Dec. 9. It’s a list that includes Shakin’ Stevens’ “Merry Christmas Everyone” (up 26-12 via RCA), The Pogues ft. Kirsty MacColl’s “Fairytale of New York” (up 30-14 via Atlantic), Ariana Grande’s “Santa Tell Me” (up 28-16 via Republic Records), Kelly Clarkson’s “Underneath The Tree” (31-17 via RCA), Band Aid’s “Do They Know It’s Christmas?” (up 34-18 via Mercury) and Bobby Helms’ “Jingle Bell Rock” (up 36-19 via MCA).
The highest debut on the latest chart belongs to Raye, with “Escapism” (Human Re Sources) featuring 070 Shake. “Escapism” lifts 6-2, a new solo career high for the British singer and songwriter.
Grime star Stormzy bags a 14th top 10 single with “Firebabe” (0207/Merky), a ballad lifted from his third and latest No. 1 album, This Is What I Mean. “Firebabe” rises 11-9.
U.S. producer and artist Metro Boomin bags two top 40 debuts with “Creepin’” (via Republic Records) featuring The Weeknd and 21 Savage, new at No. 13, and “Superhero” “(Heroes & Villains)” with Future and Chris Brown, new at No. 39. Both appear on Metro Boomin’s new album Heroes & Villains.
Finally, Scottish singer and songwriter Lewis Capaldi scores a seventh top 40 appearance with “Pointless” (Vertigo), co-written with Ed Sheeran. It’s new at No. 20.
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Phoenix links its third consecutive, and total, No. 1 on Billboard’s Adult Alternative Airplay chart, as “Tonight” climbs to the top of the Dec. 10-dated survey.
The song features Vampire Weekend’s Ezra Koenig, who leads in his first solo appearance on the list. Vampire Weekend as tallied two Adult Alternative Airplay No. 1s, both in 2019.
“Tonight” follows the two-week rules each for Phoenix’s “Alpha Zulu” in August and “Identical” in late 2020. The band first hit the top 10 with “1901” in 2010. It has also scored a top 10 with “J-Boy” in 2017.
Phoenix is the first act to earn three straight Adult Alternative Airplay No. 1s since Cage the Elephant, which snagged three in a row in 2019-20: “Ready to Let Go,” “Social Cues” and “Black Madonna.”
Concurrently, “Tonight” lifts 15-12 on Alternative Airplay, where it’s the band’s highest rank since “Trying to Be Cool” peaked at No. 10 in 2013. The band boasts a top 10 there via “1901” in 2010 and an additional top five with “Lisztomania” later that year.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Tonight” jumps 19-13 with 2.4 million audience impressions, up 38%, according to Luminate. The band last ranked that high in 2010, when “Lisztomania” hit No. 5 (its all-time best, “1901,” peaked at No. 3).
“Tonight” is the third single from Phoenix’s seventh album, Alpha Zulu, following “Identical” and the title track. The set was released in November and has earned 20,000 equivalent album units to date.
Paul Kelly scores an early Christmas gift, as the veteran Australian singer, songwriter and wordsmith bags the chart crown with his holiday collection.
Kelly’s “2022 Edition” of Christmas Train (GAWD/EMI) stops at No. 1 on the ARIA Albums Chart, published Dec. 9. That’s one better than Christmas Train’s No. 2 debut and peak position following its original release in 2021, an effort that made it the highest-charting Christmas album of the year in Australia.
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Christmas Train collects a batch of classics, and features a new recording of Ron Sexsmith’s “Maybe This Christmas” — recorded with Kelly’s live band at Soundpark Studios in Melbourne — and, of course, Kelly’s own holiday standard, “How to Make Gravy,” a tale of a prisoner reflecting on the friends and family he’ll miss while he’s locked up for Christmas.
Guest vocalists on the LP include Marlon Williams, Waleed Aly, Lior, Emma Donovan, Kasey Chambers, Kate Miller-Heidke, Vika & Linda Bull, and more.
With another Aussie Christmas set blazing to No. 1 last week, Jimmy Barnes’ Blue Christmas (down 4-1 this cycle), ARIA CEO Annabelle Herd is calling the result “amazing” and “one more thing to celebrate as we enter the festive season. Congratulations to Paul for his success, it’s fantastic to see such an accomplished and important national storyteller continue to reach new heights.”
Kelly had to wait for his first No. 1. It finally came in 2017 with Life Is Fine, his 23rd studio album. Its followup, 2018’s Nature, also scaled the summit.
A smattering of Christmas gifts are placed on the ARIA Charts, including Michael Bublé’s Christmas (Reprise/Warner), up 36-8 on the albums survey, and the Bocellis’ A Family Christmas (Decca/Universal), which holds at No. 9.
Leaping in at No. 3 on the ARIA Albums Chart, just behind Taylor Swift’s Midnights (Universal), is Australian Frog Calls: Songs of Disappearance (via MGM), an album that features calls from 43 of Australia’s most threatened frogs.
The set is a collaborative project of Australia Museum FrogID project, the Bowerbird Collective, Listening Earth and Mervyn Street of Mangkaja Arts, and aims to raise awareness for Australia’s declining frog population. Currently, one in six Australian native frog species are threatened.
The amphibian benefit recording is from the same well as Australian Bird Calls: Songs of Disappearance, an album of bird songs that reached No. 2 on the national chart in 2021.
Also new to the ARIA Albums Chart is Metro Boomin’s Heroes & Villains (Republic/Universal), new at No. 5, while BTS star RM’s starts at No. 26 with his solo debut Indigo (Interscope/Universal), and Magic Dirt singer Adalita bows at No. 29 with Inland (Liberation/Universal).
Over on the ARIA Singles Chart, Sam Smith & Kim Petras’ “Unholy” (Capitol/Universal) unseats “Taylor Swift’s “Anti-Hero” (Universal) after six weeks, while Mariah Carey’s “All I Want For Christmas Is You” (Columbia/Sony) races 11-3.
Metro Boomin’ has the top debut on the singles survey with his Heroes & Villains release, “Creepin’” featuring the Weeknd and 21 Savage. It’s new at No. 8.
When Guns N’ Roses come to an arena or stadium near you, there won’t be any chance of Axl Rose’s microphone smacking you in the face.
The reunited rock legends’ front man has pledged to quit throwing his mic into the crowd, a decades-long tradition, after a fan apparently sustained facial injuries when she was hit during a concert in Australia.
According to the Adelaide Advertiser, Rebecca Howe was left with two black eyes and a bloody nose when Rose threw his mic at the completion of their set.
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Following a rendition of the final song “Paradise City,” Rose “took a bow and then he launched the microphone out to the crowd … and then bang, right on the bridge of my nose,” she told the title.
The microphone then reportedly bounced into the hands of another concertgoer.
“My mind went, ‘Oh my God, my face is caved in,” she continued, adding that she was left hyperventilating following the incident, and in a state of “shock”.
Rose heard the story, he saw the photos, and he’ll change the show accordingly.
“It’s come to my attention that a fan may have been hurt at r show in Adelaide Australia possible being hit by the microphone at the end of the show when I traditionally toss the mic to the fans,” he writes in a social post.
“If true obviously we don’t want anyone getting hurt or to somehow in anyway hurt anyone at any of r shows anywhere,” Rose wrote.
Having tossed the mic at the end of show for over 30 years, the singer continued, the band felt “it was a known part” the performance “that fans wanted and were aware of to have an opportunity to catch the mic.”
That said, “in the interest of public safety from now on we’ll refrain from tossing the mic or anything to the fans during or at r performances.”
GNR’s stadium tour down under wraps this Saturday (Dec. 10) at Eden Park in Auckland, New Zealand, the finale of an eight-city swing. TEG Dainty is producing the Australia and NZ leg, which features the classic line-up of Axl, Slash and Duff McKagan, with The Chats, Cosmic Psychos and Alien Weaponry in support.
ABC will no longer air its planned Backstreet Boys holiday special this month, The Hollywood Reporter has learned.
A Very Backstreet Holiday was scheduled for Dec. 14 but has been pulled from the network’s schedule, and comedy reruns will air in its place. The special was set to feature the boy band singing tunes from its holiday album of the same name that was released in October.
The decision to pull the special follows a lawsuit filed Thursday alleging that Backstreet Boys member Nick Carter raped a 17-year-old fan on his tour bus after a 2001 concert in Tacoma, Washington. According to the civil suit filed in Nevada, now-39-year-old Shannon “Shay” Ruth claims that the singer chose her amid a group of autograph seekers to join him on the tour bus, gave her an alcoholic beverage called “VIP juice” and assaulted her.
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The lawsuit alleges that three other anonymous Jane Doe accusers experienced similar assaults by Carter between 2003 and 2006. One of the three unnamed accusers was allegedly underage.
In a statement shared with Page Six, Carter’s attorney Michael Holtz called the allegations “not only legally meritless but also entirely untrue.”
These are not the first accusations leveled against the pop singer. In 2017, Melissa Schuman, a former member of singing group Dream, publicly accused him of sexually assaulting her in 2003 when she was 18 years old. At the time, Carter denied the allegations by saying Schuman hadn’t previously expressed to him that “anything we did was not consensual.”
Prosecutors investigated Schuman’s claims and declined to bring criminal charges against the star, citing the statute of limitations having expired.
This article originally appeared in THR.com.
Earlier this week, superstar rappers Future, A$AP Rocky, 21 Savage and Playboi Carti were victims of a massive music leak, which included over 200 unreleased songs.
Future, Rocky, and Savage had two songs leaked, while Playboi Carti had three. The YSL duo of Young Thug and Gunna each experienced losses on a bigger scale, losing 20 records, respectively. SahBabii had 41 tracks leaked, while Yung Nudy suffered the most brutal blow with 172.
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Nudy responded to the leaks in a video posted online saying, “I’m a say this sh– one time, bro. I don’t know if y’all know, I’m not like other rappers, bro. I’m 100 percent finna take my time out to find out 100 percent who exactly is leaking my music. And I’m 100 percent gonna pull up at whatever studio it is, and I’m 100 percent gon’ beat your ass, on my mama.”
The unreleased records featured some promising collaborations. For Gunna, he has a potential song with Lil Baby titled “Sunfall” and another one called “On Sight” with Roddy Ricch. On the list, A$AP Rocky has two records with Playboi Carti, one named “Go.”
Two weeks ago, Latto underwent a similar issue when she reportedly had 130 songs leak online, including unreleased collaborations and reference tracks for several prominent songs such as Bia’s “Whole Lotta Money” and Coi Leray’s “Blick Blick.” Bia quashed claims of any possible ghostwriting help, tweeting: “No London jae wrote the hook, I wrote the pre and verse it’s not rocket science.”
Billboard reached out to the reps of Young Thug, Gunna, Playboi Carti, A$AP Rocky and Future for comment.