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Jimmy Humilde, CEO of Rancho Humilde, has teamed up with Sony Pictures and Sony Music Latin to release CLIKA, a feature film set to be executive directed by Humilde alongside Michael Greene. The project also includes Humilde’s business partners Jose “JB” Becerra and Roque “Rocky” Venegas.
“This film paves the way for a whole new era of opportunity and representation for Mexican American creators in Hollywood,” Humilde, who has been a force in growing música mexicana’s global movement, said in a statement. “We’ve been grinding in the background, but now we’re stepping into the spotlight, ready to show the world what we’re really about. This moment changes the game, not just for us, but for the next generation and everyone who’s ever felt like they didn’t have a seat at the table. We’re not just part of the conversation anymore—we’re leading it. This is just the beginning.”
CLIKA stars Rancho Humilde rising artist Jaydee (frontman of corridos tumbados group Herencia de Patrones) and follows the aspiring musician’s relentless fight to preserve his family’s legacy, marking a pivotal moment in the global representation of Mexican American stories, according to an official description of the film.
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“Jimmy is a visionary producer whose groundbreaking approach has reshaped the sound of Mexican music. Now, his significant contributions in the world of music open the door for new voices, new kinds of stories, and new movie stars. We are thrilled to partner with Sony Music Latin to release his first feature film CLIKA,” added Sanford Panitch, president of Sony Pictures Motion Picture Group.
“We are very excited to be part of this film alongside Rancho Humilde and Sony Pictures,” said Alex Gallardo, president, Sony Music U.S. Latin. “Jimmy Humilde is a visionary who has revolutionized Mexican culture, and CLIKA is the first film born from his vision and creative drive. From the moment we first learned about the project, we knew we wanted to be a part of it and that Columbia Pictures was the ideal partner to bring it to life.”
The film is executive produced by Humilde, Venegas, Becerra and Jaydee, alongside producer Sean McBride. CLIKA will be released in theaters Aug. 15 by Columbia Pictures and Sony Music Vision.
A2IM (The American Association of Independent Music), is relaunching its annual Sync Up event on April 14 at the SLS Beverly Hills Hotel in Beverly Hills, Calif., in partnership with Sync Summit.
The event will feature the presentation of the inaugural Independent Sync Champion Award presented by Ghidrah Music, which is designed to honor a music supervisor who has championed independent music in synch licensing throughout their career. The inaugural recipient is Jen Malone of Black & White Music, who has received four Primetime Emmy nominations for outstanding music supervision since 2018 for her work on Atlanta, Euphoria and Mr. & Mrs. Smith.
“We are thrilled to bring back the Sync Up event in Los Angeles, providing a valuable opportunity for the independent music community,” Dr. Richard James Burgess, president/CEO of A2IM, said in a statement. “We are also very excited to launch the Independent Sync Champion Award, honoring music supervisors who strongly support independent musicians and labels.”
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Added Mark Frieser, CEO of Sync Summit: “We’re delighted to collaborate with A2IM on the presentation of the first Independent Sync Champion Award to Music Supervisor Jen Malone in recognition of her incredible creativity in music supervision and her consistent efforts to feature independent music prominently in her projects.”
“Independent music has shaped my life and career — it’s where artistry and storytelling collide,” notes Malone. “Receiving the Independent Sync Champion Award from A2IM is an honor that affirms my belief: indie music is essential. From supporting emerging artists to helping their music reach new audiences through film and TV, my passion has always been about amplifying independent voices. I’m so grateful to be part of this vibrant community.”
Malone is a music supervisor and head of Black & White Music, an all-female full-service music supervision company. She started her career as a music publicist in 2000 when she founded Black & White PR, a boutique indie rock public relations firm out of Boston. In 2009, Malone moved to L.A. to pursue a career in music supervision.
The April 14 lunch event, which is set to run from 1 p.m. to 4 p.m., will include a featured panel; networking with top music supervisors, independent labels, publishers and synch houses; and more from the A2IM member community. Tickets are available here.
Duetti, a growing catalog acquisition company that works with independent artists, said on Tuesday it has secured $200 million from Viola Credit and another bank. Duetti says it will use the new lines of credit to finance the acquisitions of royalty and publishing catalogs, masters rights, and an expansion into “catalog management and marketing opportunities […]
The breakout rap hit “Tweaker” from the middle Ball brother, LiAngelo Ball, has generated nearly $640,000 since it first began its meteoric rise from NBA locker rooms to the Billboard Hot 100 chart. Released on Jan. 3 under the moniker GELO — Ball also raps under the alias G3 —“Tweaker” came out on Ball’s family label, Born […]
Ty Baisden, co-founder of the creative/business partnership company COLTURE, is announcing the launch of the firm’s Empower U Grant, dedicated to uplifting and supporting women entrepreneurs from underserved communities. Kicking off this year, the annual Women’s History Month initiative will select five women-led ventures to receive $10,000 grants and 12 months of mentorship to help […]
Juanita Stephens, a barrier-breaking music industry veteran who helmed media and artist relations departments at major labels such as Warner Bros., MCA and Polygram, died March 1 in Atlanta after a lengthy battle with cancer.
Stephens’ industry background also includes a tenure with Bad Boy Worldwide. After that, the well-respected executive launched her own media and publicity firm, JS Media Relations, with bases in New York and Atlanta. Under that banner, she helped oversee the solo career of Grammy-winning artist Bobby Brown.
“Juanita Stephens was a true trailblazer — one of the first Black female executives to shatter barriers in the music industry,” veteran entertainment attorney and longtime friend Rev. Dr. Denise J. Brown tells Billboard.
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Founder of the faith-based entertainment content incubator Oikeo Ministries, Brown (no relation to the singer) also remembers Stephens as “a consummate professional and relentless perfectionist. She never accepted ‘no’ as an answer, fiercely championing every artist and project she believed in. Her impact was profound, her presence commanding and her legacy unshakable. The industry has lost a pioneer, and she will be deeply missed.”
Stephens was born in New York’s Spanish Harlem, moving with her family to Queens as a young child. Her initial entry into the music business occurred in 1987 when she joined MCA Records as assistant to the vp of publicity, longtime friend Katie Valk. With no prior record company experience, Stephens learned the ropes by helping to organize national and international campaigns for a roster of pop, heavy metal and country artists that included superstars such as Elton John, Dolly Parton and The Kinks.
Later tapped as director of publicity by the heads of MCA’s Black music division, Jheryl Busby and Louil Silas, Stephens oversaw campaigns for Bobby Womack, Patti LaBelle, New Edition, Jody Watley and The Jets, among others. From there, Stephens became the first Black female vp of publicity and artist development appointed at MCA, working with Bobby Brown along with a multi-genre roster that included hip-hop, alternative, jazz, gospel and reggae acts.
In a comment sent to Billboard, Bobby Brown notes, “Juanita was a beautiful and gifted sister. We had decades of memories, and I could always count on her wisdom and kindness. I love you, Juanita. You will be deeply missed.”
After MCA, Stephens segued to similar senior executive-level posts with Polygram in 1992, Warner Bros. Records (now Warner Records) in 1995 and then Bad Boy Worldwide in 1998. She exited the in-house label publicity circuit to establish JS Media Relations in 2000; its clients included Charlie Wilson and Tito Jackson.
Through JS Media Relations, Stephens handled publicity for tours featuring LaBelle and Stephanie Mills in addition to Brown and Wilson. Among the various media events with which JS Media Relations collaborated were the BET Awards, American Music Awards, Trumpet Awards, VH1 Music Awards and the Otis Redding 70th Birthday Tribute.
Former Atlantic Music Group chairman/CEO Julie Greenwald is being welcomed as executive-in-residence at the Clive Davis Institute of Recorded Music (CDI) at New York University’s Tisch School of the Arts for the spring 2025 semester, it was announced on Monday (March 3).
In the role, Greenwald will present marketing case studies, hold workshops on business plan development, curate a series of conversations with music industry executives and participate in A&R pitch sessions with students. She will hold office hours at the institute’s Brooklyn campus.
Over her career, Greenwald has played a role in the success of superstars such as Ed Sheeran, Bruno Mars, Cardi B, Charli XCX and Twenty One Pilots, among many others. After attending Tulane University, followed by a stint teaching in the New Orleans public school systems in the Calliope projects through Teach for America, she started her music industry career as Lyor Cohen‘s assistant at Rush Management. Three months later, she was named promotions coordinator at Def Jam Records, where she rose through the ranks. Following the merger of Def Jam, Island and Mercury Records, she and Cohen built Island Def Jam Music Group. She was named Billboard‘s Women in Music executive of the year in 2017.
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“I have always been so fortunate to get my unequal fair share of talented interns from NYU,” said Greenwald in a statement. “I am thrilled to have this opportunity to work so closely with not only the students, but the incredible faculty at the Clive Davis Institute.”
Record producer Nick Sansano, who serves as associate chair, director of production curriculum and co-director of the musicianship and performance curriculum at the Clive Davis Institute, said in a statement that Greenwald’s “presence at CDI is incredibly meaningful in so many ways. As a groundbreaking woman executive in the music business, she is a source of inspiration for the next generation of industry leaders. As one of the most successful music business executives of all time, she is a unique source of a breadth of professional wisdom. Julie has been very clear that she is doing this for no other reason than to pass on all she can to our students; like all laudable teachers, she is setting the groundwork to enable long-term success for our students, and the music making industry at large. Julie won’t be using a textbook, she is the textbook.”
In August, Greenwald announced she would step down from her role at Atlantic Music Group, where she was succeeded by Elliot Grainge following a major restructuring at Warner Music Group.
Employees of DistroKid are still working without a contract 10 months after they voted to unionize — and now their union is hoping to raise awareness of their plight after more than 40% of the company’s staff was terminated and their jobs outsourced to the Philippines late last year.
Bill Bores, chapter president of the National Association of Broadcast Employees and Technicians-Communication Workers of America Local 15 (NABET-CAW) — the union representing the DistroKid employees — estimates that 37 jobs were lost in the recent purge at the New York-based company, which operates virtually with nearly all employees working from home.
At the time of the layoffs, DistroKid management said the cuts were part of a larger effort to fix issues around customer service, specifically “by expanding to 24/7 customer service with faster response times.” The company mostly serves independent artists, acting as a digital music distribution service to help musicians upload and monetize their music through sites like Spotify, Apple Music and YouTube Music. The site was valued at $1.3 billion in 2021 following a recapitalization deal with New York investment firm Insight Partners and reportedly has a customer base of two million artists.
In April, more than 63% of DistroKid employees voted to unionize with NABET-CAW, and the victory was later certified by the National Labor Relations Board (NLRB). Company management and union officials even sat for their first collective bargaining session in July, but talks have been slow due to a lack of availability to meet, says Bores.
“We finally got something on the calendar with them for October, when the company’s attorney called me and said they’re going to fire half the unit,” says Bores, referring to the 37 employees who were initially placed on “administrative leave” before being terminated. Bores says many of the terminated employees had backed the union efforts and that many had worked in both customer and artist services roles. The employees were eventually replaced by a support team operating out of the Philippines, managed by offshoring company Concentrix.
“My union knows that company very well because they have been involved in providing scabs and people to cross picket lines and thwart union drives,” Bores says. ”So not only did they lay off American workers who are unionizing, they sent their work to the Philippines to workers there that make very little compared to the workers here in New York.”
In a statement to Billboard, DistroKid officials defended the staffing change, writing, “DistroKid remains focused on delivering a best-in-class support experience for independent artists worldwide. Since initiating our ramp-up to 24/7 support late last year, artist response times have improved by 74% over the past three months and 90% year-over-year. In the coming weeks, we’ll also roll out live chat for the highest-volume categories, further enhancing accessibility and efficiency for artists everywhere. Achieving this level of service required making difficult decisions that impacted valued team members, and we are deeply grateful for their contributions.”
Former employee Wilson Rahn, a customer service employee who lost his job during the October purge, says DistroKid’s claims don’t align with what he experienced at the company.
“My perception is that they were not bargaining in good faith,” says Rahn, who is still looking for work. “I worked on their customer support funnel, made it faster and more effective and had a record of showing that I was succeeding in that. So my firing is pretty clearly, in my opinion, just because I was vocally supportive of the union.”
Bores has filed four complaints against DistroKid with the NLRB but said the labor body has effectively been rendered powerless by President Donald Trump. On Jan. 27, Trump fired NLRB member Gwynne Wilcox, leaving the board with only two members — one below the minimum number needed to legally function. The firing has left the NLRB unable to certify union elections or hear complaints from workers. Without an enforcement option from the federal government, Bores says there is little his union can do to force DistroKid back to the bargaining table aside from applying public pressure campaigns.
In the worst-case scenario, says Bores, DistroKid could hold out until the one-year anniversary of the unionization vote, at which point it would be legally allowed to challenge the union’s right to continue representing employees. But he says he’s hopeful it won’t come to that and that the two sides will have a final contract ready to sign by next month.
The Billboard Live Stage is coming to Canada, and it will happen at the site of NXNE’s most beloved performances.
On June 12, 2025, Billboard Canada will present a performance of major chart-topping artists, culminating in a highly anticipated headlining performance by a global music icon. The show will take place at Sankofa Square (formerly Yonge-Dundas Square), the bustling public square at the heart of downtown Toronto.
It’s a fitting return to the place where NXNE presented some of its biggest shows on the festival’s 30th anniversary, and it marks the festival’s first show in partnership with Billboard Canada and its parent company, ArtsHouse Media Group.
“For 30 years, NXNE has been a defining force in Canada’s music landscape, championing talent and shaping the future of live performance,” said Amanda Dorenberg, CEO of ArtsHouse Media Group and Billboard Canada, in a statement. “As Billboard Canada and ArtsHouse Media Group continue to support music’s evolution, we’re proud to celebrate NXNE’s 30th anniversary with the Billboard Live Stage at Sankofa Square, further extending its legacy by giving artists a platform to reach new audiences and make a global impact.”
NXNE is no stranger to the square. It’s been the site of performances by massive acts including The National, The Flaming Lips, Sloan, multiple members of Wu-Tang Clan, Devo, Ludacris and many more, including a legendary blowout free public performance by Iggy Pop & The Stooges in 2010. The festival’s history goes way back to the opening of the public square, remembers co-founding NXNE president/CEO Michael Hollett.
“We were honoured to present the first ever concert in the Square when Gord Downie [of the Tragically Hip] played NXNE in 2003 and we had the biggest crowd ever for Iggy and the Stooges in 2010,” he says. “With Flaming Lips, St. Vincent, Raekwon and so many great shows, we have a great history at Yonge and Dundas, and we are thrilled to return on our 30th anniversary to the freshly named Sankofa Square to again bring incredible, free live music to the city and the world.”
The show will take place on Thursday (June 12). As previously announced, NXNE will also be home to this year’s Billboard Canada Power Players event.
NXNE has already unveiled its first wave of showcasing artists, which includes more than 100 emerging acts from Canada and across the globe. The festival will take over 23 venues throughout Toronto. – Richard Trapunski
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Drake & PARTYNEXTDOOR Debut at No. 1 on the Billboard Canadian Albums Chart with ‘$ome $exy $ongs 4 U’
Drake is back on top of the world — or, at least, the CN Tower.
The Toronto superstar and his collaborator PARTYNEXTDOOR have the No. 1 spot on the Billboard Canadian Albums chart dated March 1 with their new R&B album, $ome $exy $ongs 4 U.
It’s Drake’s first full-length release since his reputation took a beating during his beef with Kendrick Lamar in 2024. The latter went on to win record and song of the year at the 2025 Grammys for his Drake diss track “Not Like Us,” which went to No. 1 in Canada when he performed it at the Super Bowl halftime show.
The joint album has flooded the Billboard Canadian Hot 100 this week, with every single one of the album’s 21 songs charting on the tally, as they did on the U.S. Hot 100.
The upbeat flip phone nostalgia track “Nokia” is charting highest at No. 5, followed by the high energy (and disconcertingly titled) “Gimme A Hug” at No. 10.
While Drake is leading the albums chart, Kendrick has fallen off the top of the Billboard Canadian Hot 100, where his song “Not Like Us” rose to No. 1 for the first time last week. On the Hot 100 in the U.S., Kendrick Lamar’s SZA collab “Luther” has the top spot, but on the Canadian Hot 100 for the week dated March 1, No. 1 belongs to Bruno Mars and ROSÉ’s “APT” — a new peak for the song in its 18th week on the chart.
Read more on the Canadian charts here. – Rosie Long Decter
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Allison Russell Affirms the Power of Community at Montreal’s Folk Alliance International
For Allison Russell, the 37th Folk Alliance International conference was a homecoming.
The annual gathering, which takes place in a different city each year, took over Montreal’s downtown Sheraton Centre from Feb. 19 to 23.
The Nashville-based singer-songwriter gave the conference’s keynote presentation in conversation with NPR’s Ann Powers — which, for the Grammy-winning singer, meant returning to her hometown of Montreal. At a conference themed around the idea of illumination, Russell was a beacon of light.
Russell opened the keynote by sharing that as a teen, she would sleep in the pews of a cathedral less than a kilometre away from the conference centre where the gathering was held. Her high school was just down the road, too.
“We bring with us every version of ourselves,” Russell said. “All the ages of myself are so present in this town.”
But Montreal wasn’t the only home Russell returned to, as the conference has also been a constant for the singer-songwriter across more than two decades of her professional music career.
Speaking with Billboard Canada after the keynote, Russell recalls that her first Folk International Alliance conference was the 2001 edition in Vancouver. At the time, she was a roadie for Canadian folk group The Be Good Tanyas, who were having a breakout year.
“I was still in the closet as a songwriter,” she remembers.
That conference was where Russell would meet JT Nero — her partner in life, child-rearing and music-making. And now, 24 years later, she’s one of Canada’s most celebrated contemporary songwriters.
Russell was still coming down from Hadestown, the musical she’s been starring in on Broadway — 15 weeks, 8 shows a week, without missing a day — when she landed in Montreal. At the conference, she spoke about the danger that comes from living in denial of trauma and hardship on a micro and macro level.
“We are going through a phase of unfortunately a fascist resurfacing, rooted in fear, rooted in denialism, rooted in trying to hide the past or re-write it instead of simply facing it,” she said in her keynote. “Nothing can be changed unless it’s faced.”
She linked the current American administration to her performance in Hadestown, a musical about an authoritarian leader who builds a wall to keep newcomers out.
“These fearful demagogues who root their hoarding of power in fear, in othering, in scapegoating,” she said, “they are not originals. They are following a very, very boring and terrible playbook.”
Russell currently has a third solo album in the works, with singles coming soon. Titled In The Hour of Chaos, Russell says it’s an album for her community, inspired by mutual aid during tough times. In the studio with Nero and her Returner collaborators, she says she’s having a blast working on new material.
“It’s my community that has been uplifting and upholding me,” she says. “I hopefully do the same for them.”
Read more from Russell’s Folk Alliance International keynote and interview with Billboard Canada here. – RLD
HYBE shares closed the week up 4.9% to 245,500 won ($167.94) after the company teased the return of BTS in 2025 during its fourth-quarter earnings release on Tuesday (Feb. 25), effectively leading a strong week for K-pop stocks amid an overall down period for both music stocks and markets in general. Among other K-pop companies, YG Entertainment gained 8.8%, JYP Entertainment improved 2.4% and SM Entertainment rose 0.9%.
HYBE partially attributed its 38% decline in 2024 operating income to the BTS hiatus that began in 2023 when several of the group’s members were forced to step away to complete South Korea’s required military service. But the company said it believes operating profit will improve in 2025 “through the comeback of 21st-century icons BTS” and payoffs from investments in the company’s social media-superfan platform, Weverse.
The K-pop giant’s revenue increased 4% to $1.58 billion last year, with recorded music revenue, the company’s largest source of income, dipping 11.3% but concerts revenue jumping 25.6% as the number of performances rose from 125 in 2023 to 172 in 2024. HYBE’s South Korean labels generated 15% more streaming revenue internationally even as streaming fell 17% at home. Revenue from U.S. labels (Big Machine and Quality Control) fell 16%.
The 20-company Billboard Global Music Index (BGMI) had more losers than winners this week as it fell 2.3% to 2,613.79. Just seven of the index’s stocks finished in positive territory, and outside of K-pop stocks, none gained more than 2%.
Markets had a rough week owing to inflation and recession fears. Amidst talks of U.S. tariffs on foreign imports, the Federal Reserve Bank of Atlanta is now predicting U.S. gross domestic product, a measure of the country’s economic activity, will decline 1.5% in the first quarter. The S&P 500 finished the week down 1.0% to 5,954.44 while the tech-heavy Nasdaq composite, weighed down by Nvidia’s weaker-than-expected first-quarter guidance, fell 3.5% to 18,847.28. The U.K.’s FTSE 100 was an outlier, gaining 1.7% to 8,809.74. South Korea’s KOSPI composite index sank 4.6% to 2,532.78. China’s SSE composite index dropped 1.7% to 3,320.90.
Live Nation shares fell 4.1% to $149.48 — the concert promoter’s second consecutive weekly decline. Wolfe Research lowered its Live Nation price target to $165 from $175 and Citigroup raised Live Nation to $175 from $163. Despite those declines, the company’s shares are up 10.6% year-to-date and 47.5% over the last 52 weeks.
Universal Music Group (UMG) and Warner Music Group (WMG) fell 4.2% and 4.2%, respectively, with UMG slated to report fourth-quarter earnings on Thursday (March 6). Sphere Entertainment Co., which reports quarterly earnings on Monday (March 3), dropped 7.0% to $46.90, lowering its year-to-date gain to 2.8%.
Chinese music streamer Tencent Music Entertainment (TME) fell 15.3% to $14.40. On Friday (Feb. 28), the company announced a change on its board of directors, as Matthew Yun Ming Cheng retired from the board and was replaced by Wai Yip Tsang, the current financial controller of Tencent Holdings. In announcing Tsang’s appointment, Cussion Pang, executive chairman of Tencent Music Entertainment, said Tsang’s “deep financial background, extensive experience and business insights will be a tremendous asset to TME.”
iHeartMedia shares fell 15.3% on Friday and ended the week down 16.1% following the company’s fourth-quarter earnings release on Thursday (Feb. 27). The radio company said it expects first-quarter revenue to fall in the low single digits and forecasts full-year revenue will be flat compared to 2024.
The largest decline of the week came from Cumulus Media, which fell 20.0% on Friday and finished the week down 19.1% after the radio company released fourth-quarter earnings on Thursday. Cumulus’ revenue fell 1.2% in the fourth quarter and was down 2.1% for the full year.