State Champ Radio bbnews
Page: 6
Trending on Billboard
Another Kylie Christmas is coming.
Kylie Minogue will ring in the holiday period with the 10th anniversary edition of Kylie Christmas, featuring four newly-recorded tracks.
Due out Dec. 5, Kylie Christmas (Fully Wrapped) (via Warner Records) includes the new yuletide tunes “Hot In December,” “This Time Of Year,” “Office Party” and “XMAS,” an Amazon Music Original.
Pronounced X – M – A – S, the party number is available now to stream from Amazon Music, and is available as a stocking filler on CD, 7” gold vinyl and 12” zoetrope vinyl from the Australian pop princess’s official store.
Explore
See latest videos, charts and news
The album proper should make for a handy present for fans, and is available to preorder in several limited-edition vinyls, from candy cane to transparent red and pink and white marble color-ways. The Amazon exclusive album vinyl is a transparent green.
“Revisiting Kylie Christmas ten years on has been so much fun,” Minogue says in a statement. “Fully Wrapped has given me the chance to write and record four new songs and add a little extra sparkle – I can’t wait for everyone to turn up the volume on the new single, ‘XMAS’!”
Kylie is three decades-and-counting into her stellar career, and there’s a sense that she’s not yet hit her peak.
Raised in Melbourne, the pop veteran’s 2023 album Tension led the national charts in the United Kingdom and Australia, peaked at No. 21 on the Billboard 200, and spawned the global hit “Padam Padam,” which scooped a Grammy Award (best pop dance recording). Followup Tension II also led the charts in the U.K., Australia and cracked the top 100 in the U.S.
Kylie’s hot streak has included Las Vegas residencies, ARIA Awards; a deal with United Talent Agency (UTA) for live representation in the U.S. and Canada and acting roles worldwide; the Global Icon Award at the 2024 BRIT Awards, becoming just the second woman to win it following Taylor Swift in 2021; and the Billboard Women in Music Icon Award.
More recently, the Aussie legend was a guest on PinkPantheress’s all-star remix project of her Fancy That mixtape, which dropped last month, and she performed alongside ATEEZ for Apple TV+’s new music competition series KPOPPED.
Kylie Christmas (Fully Wrapped) – Amazon Music Editions tracklist:1. It’s The Most Wonderful Time Of The Year2. XMAS (Amazon Original)3. Santa Baby4. Hot In December5. At Christmas6. Santa Claus Is Coming To Town (Featuring Frank Sinatra)7. This Time Of Year8. 100 Degrees (Featuring Dannii Minogue)9. Office Party10. White December11. Let It Snow12. Christmas Isn’t Christmas Til You Get Here13. Have Yourself A Merry Little Christmas
All other formats1. It’s The Most Wonderful Time Of The Year2. Santa Baby3. Hot In December4. At Christmas5. Santa Claus Is Coming To Town (Featuring Frank Sinatra)6. This Time Of Year7. 100 Degrees (Featuring Dannii Minogue)8. Office Party9. White December10. Let It Snow11. Christmas Isn’t Christmas Til You Get Here12. Have Yourself A Merry Little Christmas
Trending on Billboard
SYDNEY, Australia — More than three-and-a-half years after the siren sounded, the Australian government is activating local content quotas for popular streaming video on-demand platforms operating on these shores.
Confirmed Tuesday, Nov. 4, the new obligation will require those services with over 1 million domestic subscribers to invest 10% of total program expenditure here, or 7.5% of their total Australian revenue, to supporting local storytelling.
Related
Netflix, Disney, Amazon and other SVOD services will be compelled to comply by the legislation, which will be introduced to Parliament this week, the ABC reports.
Those quotas must pass that bar set by the Australian Content and Children’s Television Standard (ACCTS), meeting or exceeding the same requirements currently applied to commercial and subscription television services.
“We have Australian content requirements on free-to-air television and pay television, but until now, there has been no guarantee that we could see our own stories on streaming services,” minister for the arts Tony Burke remarked.
“Since their introduction in Australia, streaming services have created some extraordinary shows. This obligation will ensure that those stories — our stories — continue to be made.”
APRA AMCOS celebrated the announcement as an “incredible first step for Australia.” Whether the next step is a long-mooted content quotas for streaming music platforms, time will tell.
The Australian-made regulation, says Dean Ormston, CEO of APRA AMCOS, is a critical mechanism “within a global content market where extraordinary local stories and local music can be drowned out by content from major overseas markets.”
Critically, he adds, “the obligation includes requirements to spend on post-production in Australia, opening the door for Australian screen composers and local music to play a central role in telling our stories. This represents a significant new opportunity for Australia’s music creators.”
The Albanese government’s announcement follows the presentation last week of APRA AMCOS’s 2025 Screen Music Awards, and delivers on Canberra’s commitment in its national cultural policy, the five-year action plan dubbed Revive.
With its presentation in January 2023, the federal government mapped out a timeline for legislation that would enforce local content quotas on streaming platforms. “For video streaming,” federal minister of the arts Tony Burke said at the time, “the timeline is locked in.”
The new rules should’ve been implemented in 2024 but were delayed over concerns on how they might create a stumbling block for Australia’s trade agreement with the United States.
The champagne corks aren’t exactly flying, but the Australian creative community has cause to celebrate. The government’s commitment to investing in Australian storytelling comes on the heels of last week’s decision that there would be no exception for big tech in Australia’s copyright regime to allow for text and data mining.
“This announcement marks a landmark day for the Australian screen industry,” enthuses Screen Producers Australia CEO Matthew Deaner. “For too long, our local production sector has operated in an uneven environment where global streaming services could reap the benefits of doing business in Australia without contributing fairly to the creation of Australian stories.”
The commitment is “the result of years of advocacy,” he continues. “It recognizes that Australian stories matter, and that they deserve to be seen and heard on every platform.”
Trending on Billboard
Robert Irwin, Alix Earle and Whitney Leavitt rocked, so too did Chicago, while one unfortunate couple rolled out of the competition as Dancing With The Stars celebrated Rock & Roll Hall of Fame Night.
Explore
See latest videos, charts and news
On Tuesday night (Oct. 4), all eyes were on Irwin, once again, as the Australian conversationist and his dancing pro partner Witney Carson hit the main floor.
Drenched in red light, Irwin, son of the late “Crocodile Hunter” Steve Irwin and younger brother of Bindi, who won the 21st season of DWTS, in 2015, transformed into a matador for a paso doble to The White Stripes’ “Icky Thump.”
The judges loved the routine, as Irwin and Carson were awarded 38 out of 40, matching their season-high from last week’s Halloween Night. Only the teams of Alix Earle and Val Chmerkovskiy, and Whitney Leavitt and Mark Ballas (both with 39/40), fared better.
No pairing has yet landed a perfect score in this 34th season of DWTS.
However, Danielle Fishel and Pasha Pashkov failed to hit the right note with their contemporary dance to “Dream On” by Aerosmith, which came in at the bottom of the pack with 34/40. The lowest score of the night means elimination, so the actress and her pro partner are out. Live votes are cast during the East Coast airing and ends shortly after the final performance is completed.
Also on Rock Hall night, the group dances returned with a bang as the cast was evenly split in two, and teamed up alongside one of the co-hosts, Julianne Hough and Alfonso Ribeiro.
The winner was Ribeiro’s “Team Chicago” performance, with Danielle (team captain) and Pasha; Whitney and Mark; Jordan and Ezra; and Dylan and Daniella, earning a perfect 40/40.
Chicago, which was inducted into the Rock Hall in the class of 2016, provided the score with a rendition of “25 or 6 to 4.”
Dancing with the Stars airs live Tuesdays on ABC and Disney+, and streams the next day on Hulu. The finale will be on Nov. 25.
Rock And Roll Hall of Fame Night Scores
Dylan Efron and Daniella Karagach: 36/40Alix Earle and Val Chmerkovskiy: 39/40Andy Richter and Emma Slater: 30/40Whitney Leavitt and Mark Ballas: 39/40Danielle Fishel and Pasha Pashkov: 34/40 (ELIMINATED)Elaine Hendrix and Alan Bersten: 37/40Jordan Chiles and Ezra Sosa: 38/40Robert Irwin and Witney Carson: 38/40
Trending on Billboard
Robert Taylor, former lead guitarist and backing vocalist with ARIA Hall of Fame-inducted rock band Dragon, has died aged 74.
Taylor’s passing was confirmed in a social post by ex-drummer Kerry Jacobson.
“I’m writing to share the unexpected and devastating news of the passing of my mentor, my partner in crime for some of the best times, my musical comrade through the hardest of times and my dear friend of decades…the irreplacable (sic) Robert Taylor,” he writes.
“Many admired his songwriting and his musical talent and, after all these years people would still speak to me with great reverence of his talent and contribution to Australian music.
Explore
See latest videos, charts and news
“I admired his loyalty, I treasured his mateship, I valued his consistency and I absolutely loved it when often the phone would ring and he was up for a chat.”
Born in Waipukarau, New Zealand, Taylor had a hand in some of the most enduring Australasian songs of a generation.
Dragon was formed in Auckland, NZ, and relocated to Sydney, Australia in the mid-70s. Led by the band’s flamboyant and self-destructive frontman Marc Hunter, Dragon pumped out the hits, initially in the back-end of the 1970s with “Are You Old Enough?,” “April Sun In Cuba” and “Still In Love With You”.
The ‘80s wasn’t kind to many bands from the previous decade, but Dragon orchestrated an impressive comeback with the 1983 album Body and the Beat, which spawned the hits “Rain,” “Cry,” and “Magic.” The first of those, “Rain,” poured down for a Billboard Hot 100 appearance in 1984, peaking at No. 88.
Taylor was there as Dragon spread its wings for two distinct heydays, performing in the band from 1974–1979, and again from 1982–1985.
Dragon continued to breathe chart fire through the ‘80s with “Speak No Evil,” “Dreams of Ordinary Men,” “Young Years” and a cover of Kool & The Gang’s “Celebration.”
Dragon was inducted into the ARIA Hall of Fame in 2008, ten years after Hunter died with throat cancer, at the age of 44. Taylor joined his surviving Dragon bandmates for the special Hall of Fame presentation at Melbourne Town Hall.
Taylor “had a dry wit, was a keen observer and had a memory like a razor but mostly he was just one of the good ones,” writes Jacobson. “That’s what has stuck in my head today “he was one of the good ones” and I think that sums it up. I will miss him terribly. My love and condolences to Carol, Lesley and Alex.”
Today, Dragon continues to tour and record with a lineup featuring co-founder and bass player Todd Hunter — Marc’s brother — and Mark Williams on vocals.
Trending on Billboard
The reunion of Oasis, of the long-feuding Gallagher brothers, isn’t so much the stuff of legend, a surprise no one saw coming, or a comeback of the ages. Chalk it down as a rock ‘n’ roll miracle.
Explore
See latest videos, charts and news
Fans had given up hope long ago.
Oasis split proper in 2009, following another backstage row, and any flicker of hope was snuffed out two years later when acrimony turned legal. Even the Gallaghers’ mom Peggy stepped in, pleading for her boys to bury the hatchet. All to no avail.
That was half a world away, a lifetime ago. Miracles do happen. Australians were witness to one Friday night, Oct. 31, as Oasis swept into Melbourne’s Marvel Stadium, the opener for the Australian lap of their Live ’25 world tour, and their first show on these shores in 19 years.
The Victorian capital is always buzzing at this time of the year. The Melbourne Cup Carnival is underway, so too is Halloween, and at month’s end, the towering Melbourne Cricket Ground hosted an international cricket match, the visiting Indian men’s team taking on the national team.
On showday, Oasis t-shirts are the dress code for Melbourne’s CBD. In every café, on every sidewalk, an excitable punter in their Oasis kit. Bucket hats, branded Adidas jackets. The pop-up Oasis store in central has been booked out for the months, and the queues are disheartening. If merchandise is a good gauge, there’s only one show in town.
Marvel is an appropriate first stop. Once inside the Docklands sporting venue, fans can grab selfies with its superhero gatekeepers from the Marvel Cinematic Universe, including a massive “Hulkbuster” Iron Man replica.
The other superheroes would take the stage at 8.45pm.
Oasis’ band members, as they’ve done on previous dates, made their entrance to the pounding beats of the instrumental “F—in’g’ In The Bushes,” then switched on the jukebox for two hours of hits and fan-faves. The retractable roof was closed, a good decision after a day of uncertain weather, denying these these Manchester lads the comforts of home.
Kicking off with “Hello,” into which Liam inserted the lyrics “it’s good to be back,” then “Acquiesce,” and “Morning Glory,” provided an opening combination that hit hard and fast. “G’day,” Liam told the 58,000 gathered fans, Tina Arena and Jelly Roll among them. “Did you miss us? Because we missed you.”
This older, mature version of Liam is chattier than the chap we remember, and much less surly. Now aged 53, he loves a bit of banter. There’s a silly story about bumping into “Drew The Kangaroo” and regular words of encouragement to the audience.
The hits kept coming. “Cigarettes & Alcohol,” “Fade Away,” “Supersonic,” “Roll With It,” and a break for Liam, as Noel took the mic and the spotlight for his own mini-set, including “Talk Tonight,” “Half the World Away” and “Little by Little.”
For a late set rendition of “Whatever,” Liam interests the lyric from The Beatles’ “Octopus’s Garden,” a tip of the bucket hat to their own heroes.
Noel’s guitar work is note perfect. Each solo, complete and exact. The Gallaghers, when they’re sharing the stage, don’t tread on each other’s toes. But, importantly, they’re fully committed, and generous.
“Nice one for putting up with us for so many years,” Liam told the faithful in Melbourne, many of whom flew from interstate or New Zealand for the occasion. “We f***ing love ya.”
The Manchester rocker have always drawn a crowd. All seven of their studio albums hit No. 1 on the Official U.K. Chart, as did their 2010 hits compilation, Time Flies 1994-2009 – for a total of eight leaders. Along the way, the rockers have collected six BRIT Awards, including the Outstanding Contribution to British Music, two Ivor Novellos, and 17 NME Awards. Some 18 million people applied for tickets when dates for this world tour were first announced, with 2.6 million fans securing entry to the show. The only thing missing is entry in the Rock And Roll Hall of Fame. That will come.
This tour down under coincides with the 30th anniversary since the release of “Wonderwall” on Oct. 30, 1995, a song deeply embedded in Australian culture, which logged 11 consecutive weeks at No. 1 on the ARIA Chart and topped triple j ’s Hottest 100 songs of the past 20 years, which counted down in 2013.
“Wish this baby happy birthday. 30 years Wonderwall,” Liam remarked as Oasis dropped their signature song into the encore, bookended by “Don’t Look Back In Anger” and the final song, “Champagne Supernova.” Few bands can swing out three songs of this caliber at the end of their set.
A fan tried to hog the limelight, and create his own supernova, by lighting a flare several minutes from the end, earning a reprimand from Liam, who hissed “naughty naughty naughty,” channeling his best Mr C. He followed up with a strongly worded tweet.
The enduring image, however, wasn’t of a moment of stupidity from a fan, but a moment of brotherly love, as the Gallaghers briefly hugged it out before leaving the stage.
Earlier, Brisbane’s Ball Park Music warmed up with songs from their own deep catalog, including the right-on-queue “Please Don’t Move To Melbourne,” lifted from their domestic chart-topping 2025 album Like Love. Being here supporting Oasis is “a dream come true,” remarked frontman Sam Cromack, wearing an AC/DC shirt, a band that will be playing stadiums in the weeks ahead. For thousands at Marvel, being in the room with an active Oasis is a dream come true.
With their swagger, attitude, style, and songs that could live forever, Oasis might be the last great rock ‘n’ roll band. This tour is off to a blinder, a result for anyone in the place who wanted, waited for this band, and used the opportunity to go let it all out, and sing at to the top of their lungs.
Produced by Live Nation Australia Oasis’ Live ’25 tour continues Saturday (Nov. 1) and Tuesday (Nov. 4) at Marvel Stadium, then moves to Sydney for back-to-back shows at Accor Stadium on Friday, Nov. 7 and Saturday, Nov. 8.
Oasis setlist at Melbourne’s Marvel Stadium, Friday, 31st October
HelloAcquiesceMorning GlorySome Might SayBring It on DownCigarettes & AlcoholFade AwaySupersonicRoll With ItTalk Tonight (sung by Noel)Half the World Away (sung by Noel)Little By Little (sung by Noel)D’You Know What I Mean?Stand By MeCast No ShadowSlide AwayWhateverLive ForeverRock ’n’ Roll StarEncoreThe Masterplan (sung by Noel)Don’t Look Back in Anger (sung by Noel)WonderwallChampagne Supernova
Trending on Billboard
Reneé Rapp’s North America trek has come to a premature end, on doctor’s orders.
After health problems forced her to delay shows in Atlanta (Oct. 26) and Tampa (Oct. 27), the pop singer and former Sex Lives of College Girls star has postponed a third consecutive show — the homecoming finale on this Bite Me Tour, originally scheduled for tonight, Oct. 29 at Spectrum Center in Charlotte, NC.
“As of right now,” she writes on Instagram Stories, “I still don’t have a voice. I’m recovering slowly,” she adds, “but still not in a place where I am able to perform safely” at her hometown show. “I am so sorry and heartbroken that I have to postpone”.
Explore
See latest videos, charts and news
The Charlotte show has been rescheduled for Nov. 7, and all original tickets will be valid for the new date.
As previously reported, the Tampa show is now set for Nov. 4 and the Atlanta stop has been nudged to Nov. 5.
“Again,” she continues, “I want to stress that I know the time and effort and preparation attending a show takes. I promise you it doesn’t go unnoticed or unseen. I’m taking this time to recover and then next week for these rescheduled shows I will give you the best version of me. The best version of this show that I love so much. The show you deserve to see.”
On the weekend, Rapp revealed she had never had to reschedule a concert — until now. “I’ve been pushing through an illness but my body has finally given out,” she wrote. “My doctors have told me that it isn’t safe to perform due to the need for vocal rest and physical recovery.”
After completing those North American dates, Rapp will cross the Atlantic in early 2026 for a European jaunt that’s booked to star March 11 at Lotto Arena in Antwerp, Belgium, followed by dates in the Netherlands, Germany, France, and the United Kingdom, where here sophomore collection Bite Me hit No. 1 in August, for her first leader.
Trending on Billboard
Halloween came to Dancing With The Stars on Tuesday night, Oct. 28, and Robert Irwin completed a routine that was bloody excellent.
For week seven’s Halloween Night, the Australian conservationist and his dancing partner Witney Carson performed a Tango to “Sweet Dreams are Made of This” by The Hampton String Quartet.
In the clip, which can be seen in full below, Irwin, dressed-up like the Prince of Darkness, tangles with Carson on a fog-filled stage before taking the action to the main floor. Staying in theme to the bitter end, Irwin collects himself from the hardwood and is dragged to hell (or backstage) by dark forces, returning to face the judges with his face splattered in fake blood.
Explore
See latest videos, charts and news
The judges loved it, as Irwin and Carson collected 38 out of a possible 40 points, their best result yet in the competition which included two perfect 10s. It wasn’t enough, however, to take top spot on the night, as the pair was pipped by Alix Earle and Val Chmerkovskiy with 39/40.
Irwin, the son of the late “Crocodile Hunter” Steve Irwin, has a fine chance of emulating the success of his older sister Bindi, who won the 21st season of DWTS, in 2015.
Irwin and Carson had two rounds of action on Tuesday night. The remaining cast members took part in the “Dance Monster-thon,” a dance off which awarded five points to the last pair standing. In the end, those bonus points went to Whitney Leavitt and Mark Ballas, who shimmied to a score for the night of 37/40. Elaine Hendrix was a no-show on Tuesday, following an injury suffered during rehearsals.
The remaining contestants in this 34th season of Dancing With the Star includes TV personality Dylan Efron, Olympic gymnast Jordan Chiles, social media star Alix Earle, actress Danielle Fishel and actor Andy Richter. The list of contenders is shrinking. Jen Affleck and Jan Ravnik are no longer competing for the Len Goodman Mirrorball Trophy, following their elimination on Tuesday evening.
Dancing with the Stars airs live Tuesdays on ABC and Disney+, and streams the next day on Hulu. The finale will be on Nov. 25.
Trending on Billboard
When Michael Bublé suggested that “Wreck-It” Ralph Edwards could smash the competition in this 28th season of The Voice, he was onto something.
Edwards had just finished an impressive rendition of Teddy Swims’ “I Lose Control” in his Battle with Jerrell Melton, when Bublé let the love flow.
Explore
See latest videos, charts and news
The Fresno, California could “go far on the show,” he remarked.
There’s apparently no stopping Edwards, as he shifted gears from that final round of Battles on Monday night, Oct. 27, and leapt into the first wave of Knockouts.
Next up, the 30-year-old Team Snoop singer went for the heartstrings with a cover of Ed Sheeran’s “Dive.” Edwards, who proposed to his partner after his Blind Audition, didn’t have any trouble finding the emotional buttons.
“Wow, Ralph,” coach Niall Horan enthused. “The stuff that you were doing. I actually didn’t recognize it as your voice. It was so different than what we’ve heard. You could easily win this show, dude.”
Reba McEntire weighted in. “Wow. What a voice,” the coach and country star remarked. “It comes from your toenails. It’s just incredible.”
Bublé knows he’s looking at, and hearing, the real deal. “You have that grit in your voice, but man, you sort of saved it. You let us hear the sweetness and the softness,” the Canadian king of Christmas remarked. “It looked easy for you, dude.”
Snoop Dogg had a call to make. Edwards or Kenny Iko?
There could be only one. The rap legend tapped Edwards, while Iko goes home. “I think Ralph has the ‘it’ factor,” Snoop noted. “The ‘it’ factor is that he could actually win it, this competition. Knockout performances are really the groundbreaking, award-worthy, top of the line, performing at his highest level.”
Earlier, Snoop welcomed Zac Brown to mentor his team before the Knockouts. “My team is smoking,” Snoop remarked, with some authority.
The Knockout episodes will air every Monday on NBC until Nov. 24. Then, the Playoffs will beam out on Monday, Dec. 1 and Monday, Dec. 8 on NBC, with the Season 28 Live Finale set to spread over the two nights of Dec. 15 and 16. Episodes stream the following day on Peacock.
Watch Iko and Edwards’ Knockout performances below.
Trending on Billboard
Cornel Wilczek, Megan Washington and Bluey composer Joff Bush were in the winners’ circle Tuesday night, Oct. 28, as the 2025 Screen Music Awards were presented in Brisbane’s Fortitude Valley.
Explore
See latest videos, charts and news
With two donut-shaped trophies, Wilczek, the Melbourne-based composer, was the big winner on the night, taking out best music for a television drama (Fake) alongside 2024 emerging screen composer of the year champion Alex Olijnyk; plus best opening title television theme with Thomas Rouch for the Netflix adaptation of the Jane Harper book, The Survivors.
Washington, winner of several ARIA Awards, including best female artist back in 2010, now has a Screen Music Award for her collection. The homegrown talent won for best original song composed for the Screen with “Dream On,” lifted from How to Make Gravy, the film adaptation of Paul Kelly’s beloved Christmas song.
The gravy kept flowing as Electric Fields, who performed the song in the movie, closed the evening with a stunning performance, accompanied by a choir led by Deline Briscoe.
Another Queensland creative, the celebrated children’s screen composer, Joff Bush, scooped most performed screen composer – overseas for his work on Bluey, the most-streamed show in the United States in 2024. Bush won the same category in 2023.
Meanwhile, Adam Gock and Dinesh Wicks extended their impressive streak, scoring most performed screen composer – Australia for the 11th time, thanks to their work on Farmer Wants a Wife, LEGO Masters, MasterChef and Travel Guides.
Jed Kurzel nabbed feature film score of the year for the British period action-drama Tornado, his fourth win in the category after Monkey Man (2024), Slow West (2015) and Snowtown (2011).
Veteran screen composer Christopher Gordon was awarded the coveted distinguished services to the Australian screen award in recognition of his “extraordinary body of work and enduring contribution to the screen music industry.”
Legendary Australian director Bruce Beresford was on hand to present the trophy to Gordon, with whom he has collaborated on several acclaimed films including Ladies in Black and Mao’s Last Dancer.
“I feel like such an imposter, there are so many people worthy of this award,” Gordon remarked, before exploring his self-destructive 20s and how he got a fresh, healthier mindset through his connections with the Screen Writers Guild. “I got my life together.” He continued, “the support that I felt and the sense of community with other composers was extremely important for me.” He also discussed the drought he experienced between film scores, something every creative needs to prepare for. “You really need patience in this business.”
Stage and screen star David Wenham hosted the ceremony alongside Mark Coles Smith and Nathalie Morris, with Erkki Veltheim returning as music director, helming a live orchestra performing selections from nominated works.
The evening got away with a bloody Halloween trick, with a creepy orchestral piece set to a grisly edit from Wolf Creek, the horror film which this year celebrates its 20th anniversary.
Wenham would describe the moment as “probably the most terrifying opening to an awards, ever.” It was a good thing the hundreds of guests at Fortitude Music Hall had finished their dinner.
Presented for the first time in the Sunshine State, the annual ceremony is an initiative of APRA AMCOS and the Australian Guild of Screen Composers (AGSC).
During his third and final speech leading the AGSC as president, Dale Cornelius touched on streaming quotas, AI, the human condition and more. Cornelius will hand the reins over to composer and Go-Betweens great Amanda Brown, who was in the audience, but not before he returned to the stage to collect the win for best music for a short film, for The Way Home.
Timing is everything. And, with the federal government on Monday ruling out a controversial proposed exemption to the Copyright Act that would allow for text and data mining, the timing wasn’t lost on guests and speakers.
“This is a massive win,” Jenny Morris, chair of APRA AMCOS, remarked from the podium. And not just for APRA AMCOS members, “but for every creator in the room and the country.” She continued, “we said ‘no.’ And importantly, we said no together…when we unite, when we speak with one voice, we are unstoppable.”
The music community, she continued, had real cause to celebrate after a such an “historic” victory.
Click here for the full list of 2025 Screen Music Awards winners.
Trending on Billboard AI music is no longer a fantasy or niche curiosity among internet sleuths — it’s here, and it’s already beginning to have an impact on Billboard’s charts. In just the past few months, at least six AI or AI-assisted artists have debuted on various Billboard rankings. That figure could be higher, as […]
