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Texas rapper BigXthaPlug has carved out a nice career for himself over the past half-decade, amassing 16 hits and three top 20s on the Hot R&B/Hip-Hop Songs chart, a handful of appearances on the back half of the Hot 100 and a successful touring base, emerging as one of the more distinctive voices of his generation of hip-hop artists. But he was always more than just a rapper, and his multi-genre Southern roots first came to the fore with his 2022 song “Texas,” the video for which saw him decked out in full cowboy regalia as he rapped about his home state over a country-inflected acoustic slide guitar.
The song, among other things, proved BigX’s versatility. But it also opened the door to something else: the country music community. And now, as his latest single “All The Way” featuring Bailey Zimmerman spends its second week in the top 10 of the Hot 100 after zooming in with a No. 4 debut last week, BigX has a bonafide smash hit country single, with a full country-infused project on the way.
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It’s a huge moment for BigX as he explores his country interests, and also a big pop moment for the Texas MC as well, representing far and away the biggest hit of his career so far. But it’s also a big moment for UnitedMasters, the company founded in 2017 by veteran record executive Steve Stoute that releases his music — and scored its own biggest hit so far with “All The Way,” too. (The song is officially credited as BigXthaPlug/UnitedMasters/Atlantic.) And it helps UnitedMasters vp of music/head of A&R Mike Weiss earn the title of Billboard’s Executive of the Week.
Here, Weiss talks about what went into making the record, BigX’s country “side quest,” the crowded distribution space of the music business and how UM has helped develop BigX by following his vision. “The plan is simple: stay true to BigX, lean into organic collaborations and let the music speak,” Weiss says. “We’re not mashing together genres for the sake of it. We’re building something that reflects all sides of who he is as an artist and a person.”
This week, BigXthaPlug and Bailey Zimmerman’s “All The Way” spends its second week in the top 10 of the Hot 100, at number eight. What key decisions did you make to help make that happen?
This record didn’t happen overnight. It took a complete team effort to get us here with a vision for an overarching artist plan, rather than one single. My partner David Melhado and I sat down a year ago with the idea to start mapping out a course for a country-inspired BigX project. We knew from the start that authenticity had to be the foundation. If BigX didn’t feel it, it wasn’t going to happen and that filter guided every decision we made.
Around that time, BigX started spending time with a number of country artists who had become fans after his breakout single “Texas.” We knew there was an opportunity here. We have an amazing team of core producers in Charley Cooks, Tony Coles and Bandplay. They started working on ideas for a country direction that stayed true to BigX’s roots. The initial demo to “All the Way” was Ben Johnson’s vocals over a guitar that hinted at something special. We knew it needed to be “BigX-ified,” so Bandplay built a sound that was unmistakably BigX. We have an amazing A&R team that played it for BigX. He loved the record, and cut it immediately. BigX has some of the best instincts. He trusts his gut and doesn’t miss.
The song exploded out of the gate, debuting last week at No. 4 on the Hot 100 and soaring in at No. 1 on the Streaming Songs, Digital Song Sales and Hot Country Songs charts and at No. 3 on Hot Rap Songs. Why did the song have such a huge immediate impact?
Back in February, BigX teased an early version of the record on Instagram. There was no set release date at the time, but the response was immediate and explosive. Within days, fans ripped the sound from the Instagram post and flooded TikTok with tens of thousands of videos. It was clear we had something special on our hands.
Even with that momentum, we resisted the urge to drop the record prematurely. There was external pressure to release it fast and not “lose the heat,” but we knew that a moment this big deserved a proper runway. We took the time to create the right content, shoot the music video and prepare a full rollout that matched the energy we were seeing online. We were also mindful that this was the first single off the project, and once we launched, we needed to be ready to move with full force.
That patience and discipline paid off. By the time the song dropped, there was such pent up demand that the record exploded.
With a song like that with so much immediate interest, what can you guys do to keep the momentum going?
Our priority is building sustained momentum for BigX as an artist, not just capitalizing on a single moment. From the beginning, our focus has been longterm artist development, and this moment is just one chapter in a much bigger story that BigX is telling with this country-inspired project.
We have an incredible body of work lined up, and we’re deep in the process of mapping out the next singles and the full rollout. Consistency is everything. With BigX, we take the approach of always being on cycle. We’re keeping our foot on the gas and continuing to invest in the music, visuals and storytelling that got us here, while building towards the next big moment.
After landing 16 songs on the Hot R&B/Hip-Hop Songs chart, this is BigX’s first song that touches the country genre. What are your plans to make sure that his crossover there works?
Our intention isn’t to fully cross BigX into country. This project is more of a creative “side quest” that allows him to showcase his versatility and explore new territory without abandoning his core. It’s about expanding, not switching lanes.
This isn’t a trend-chasing move, it’s rooted in who BigX is. Back in 2022, we released “Texas,” a country-inspired hip-hop record where he was literally in cowboy boots and a cowboy hat in the video. That record sparked early interest from the country community and planted the seed for what we’re doing now. This moment is a natural evolution of that foundation, not a sudden shift.
The plan is simple: stay true to BigX, lean into organic collaborations and let the music speak. We’re not mashing together genres for the sake of it. We’re building something that reflects all sides of who he is as an artist and a person.
This is the biggest song in UnitedMasters’ history so far. What does that mean for the company?
This is an exciting moment for the company and for our team. We’ve been a partner to BigX for four years with a deep belief in artist development and doing what’s best for our artists. This shows that we can compete with anyone. We touched every aspect of the A&R process, rollout, marketing, digital and overarching strategy. This win further affirms that our model works. That independent artists with the right support can not only compete, but lead.
Just last year, we had a major global success with FloyyMenor’s “Gata Only,” the fastest Latin song in Spotify history to hit a billion streams. That was a global moment. But with “All The Way,” we’ve shown we can dominate domestically, too, and drive immediate, culture-shifting impact in the U.S. market. Delivering on both fronts shows that our approach scales. The exciting part is we’re still just getting started.
The distribution space is getting crowded. How do you make sure UnitedMasters stands apart from the competition?
We don’t see ourselves as just a distribution company, and we don’t operate like one. At UnitedMasters, we’re aiming to reimagine what a modern music company can be. Our mission is to reshape the industry by building something that lives at the intersection of a forward-thinking label, a tech-driven platform and a premium distributor.
What sets us apart is the ability to support artists at every stage of their journey, from emerging creators to global superstars, with a tiered system that scales alongside their growth. We’ve invested in world-class technology and paired it with an elite label services team that delivers across A&R, marketing, strategy and beyond. We’re not focused on just getting music to DSPs, we’re focused on building careers.
Prosecutors are firing back at efforts by Sean “Diddy” Combs to bar an infamous 2016 surveillance video from his upcoming sex trafficking trial, calling it a “desperate” attempt to avoid “crushing” evidence.
With his trial looming next month, Diddy’s attorneys argued last week that the clip — showing him assaulting his former girlfriend Cassie Ventura in the hallway of a Los Angeles hotel — has been deceptively edited and would “unfairly confuse and mislead the jury.”
But in a response filing Friday, prosecutors say those arguments are “overblown” and are merely a pretext to prevent jurors from seeing “some of the most damning evidence of his sex trafficking.”
“The defendant has been overwhelmingly concerned with the existence of the video surveillance since the assault occurred and has taken great measures to ensure it was not released,” prosecutors write. “Now facing trial, the defendant attempts to keep this devastating proof from the jury. His grasping arguments to preclude this crushing evidence should be quickly dismissed.”
Combs was indicted in September, charged with running a sprawling criminal operation that aimed to “fulfill his sexual desires.” The case centers on elaborate “freak off” parties in which Combs and others would allegedly ply victims with drugs and then coerce them into having sex, as well as on alleged acts of violence to keep victims silent.
Jury selection is currently set to start on May 5, with opening statements scheduled for May 12. If convicted on all of the charges, which include sex trafficking and racketeering, Combs faces a potential life prison sentence.
The Cassie video, which aired on CNN in May, showed him attacking her at the Intercontinental Hotel in March 2016. The clip drew far more public attention to the accusations against the star — who was then only facing civil lawsuits — and prompted an apology from Combs shortly after it aired.
“My behavior on that video is inexcusable,” Combs said at the time. “I take full responsibility for my actions in that video. I was disgusted then when I did it. I’m disgusted now. I went and I sought out professional help. I got into going to therapy, going to rehab. I had to ask God for his mercy and grace. I’m so sorry.”
In the lead up to the trial, Combs’ lawyers have repeatedly targeted the Cassie tape, accusing prosecutors of unfairly leaking it and alleging that CNN had unfairly edited it. Last week, they formally moved to ban it from the trial, calling it “inaccurate” and “unreliable” because of edits that were “specifically designed to inflame the passions” of viewers.
But in Friday’s response, the feds said those issues were quibbles that could easily be fixed at trial, not valid reasons to withhold the tape from jurors entirely. They pointed out that Combs himself had apologized over the clip and had not disputed its content; and they said that any problems with finding the original footage were caused by Diddy’s own efforts to destroy it.
“It is by the defendant’s own hand that the original version of this damning footage no longer exists: it was deleted and given to the defendant as part of a cover-up orchestrated by the defendant and his co-conspirators,” prosecutors write. “The Court must not reward the defendant for his actions by precluding the video that remains available despite the defendant’s obstructive efforts.”
MSG Networks, a subsidiary of Sphere Entertainment Co., was able to negotiate a reduction in debt and the fees it pays to MSG Sports to broadcast professional basketball and hockey games, the company announced Friday (April 25).
The regional sports network’s borrowers forgave $514 million of debt. Along with cash contributions by Sphere Entertainment and MSG Networks, the old debt of $804 million was reduced to $210 million. Sphere Entertainment will pay $15 million to the borrowers while MSG Networks will contribute $65 million.
Sphere Entertainment Co. and MSG Sports are part of the entertainment empire owned by the Dolan family. James Dolan is CEO of both companies as well as live events company MSG Entertainment.
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All parties have agreed to the term sheet. Per the SEC filing, the consenting stakeholders “have agreed to implement the Transactions by June 27, 2025, which date may be extended or waived in writing by each of the Consenting Stakeholders and MSG Networks.”
The news provided a bounce to Sphere Entertainment’s share price, which has fallen sharply since President Trump announced his global tariff policy on April 2. Shares of Sphere Entertainment jumped 13.2% in early morning trading and had settled to $28.70, up 8.4%, by late morning. Even after the bounce on good news, the share price is down 32.4% year to date.
The fees paid to MSG Sports to broadcast games by the New York Knicks and the New York Rangers dropped by 28% and 18%, respectively. Neither team will receive annual rights fee increases. In return, MSG Networks will issue to MSG Sports penny warrants exercisable for 19.9% of equity interest in MSG Networks.
Sphere Entertainment Group and its subsidiaries will not be obligated to fund the borrowings of MSG Networks’ new term loan or pledge its assets as security.
The company and its borrowers had agreed to numerous forbearance agreements leading up to the agreement announced Friday. MSG Networks first announced in October it was attempting to refinance its term loan and had entered into a forbearance with its lenders. The latest forbearance period ended Thursday (April 24).
According to a report at the New York Post, the renegotiated debt paves the way for a merger of MSG Sports and the YES Network, the regional sports network that airs the games of the New York Yankees and Brooklyn Nets.
It’s time to tighten our belts for another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been a gob of staffing news this week, so let’s hop to it.
Dawn Gates, senior vp of digital business and creative development at Universal Music Group Nashville (UMGN), announced her departure after nearly 20 years to launch Seven Note Enterprises, a consulting and management firm. Her exit coincides with UMGN’s rebranding as MCA under new leadership by CEO Mike Harris and chief creative officer Dave Cobb, who came aboard in early February following the departure of Cindy Mabe. During her tenure with UMG Nashville, Gates most recently served as the core liaison for global digital businesses, integration strategies and marketing initiatives. Gates initiated the launch of and oversaw Sing Me Back Home Productions, a production arm of UMG Nashville, established in 2024. Gates, who recently welcomed twins with her wife, Harper Grae, expressed gratitude for her time at UMGN and excitement for her new venture.
“After 19 transformative years with Universal Music Group, I’m stepping away to write the next chapters of my career,” said Gates, who can be reached at dawn@seven-note.com. “I’m deeply grateful to UMG – especially Mike Dungan and Cindy Mabe – for the belief in my vision and the support in taking bold, often unconventional, risks. I’ve had the privilege of working alongside some of the most innovative and driven minds in music. However, the industry continues to shift and the way we develop artists, build stories, and connect with audiences is changing – and so am I.”
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Meanwhile…
Universal Music UK appointed Rachel Tregenza and Charlotte Allan to lead its communications and policy team, reporting to svp of communications and policy Tom Williams. Tregenza, a Universal Music Group veteran of over a decade, steps into the role of senior director of communications and global artist strategy. She will focus on international storytelling for UMUK artists and collaborate with the audience and media division. Allan joins as vp of global communications and public policy from Milltown Partners, where she advised clients across creative and tech sectors. Her responsibilities will include corporate communications and UK policy initiatives. Williams, who has led global communications campaigns for UMG, will now oversee all communications and public policy efforts for Universal Music UK. Jonathan Badyal, who has spent eight years at UMUK, most recently as director of communications, will depart this summer for a new opportunity. UMUK president Dickon Stainer praised Tregenza and Allan for bringing a dynamic perspective and thanked Badyal for his contributions. “With Tom’s guidance, they have a fresh and ambitious perspective both for our communications and storytelling in the UK, as well as the international storylines of our UK artists overseas,” said Stainer.
iHeartMedia appointed David Hillman as executive vice president, chief legal officer and secretary. Hillman, who is based in Los Angeles, will oversee all legal matters, including compliance, regulatory, corporate governance, government and business affairs, and privacy teams. He brings extensive media experience, having recently served as chief legal officer at Venu Sports, a joint venture between ESPN, FOX, and Warner Bros. Discovery. Hillman also held roles at Paramount Global, Simon & Schuster and Westwood One. Bob Pittman, iHeartMedia’s chairman and CEO, praised Hillman’s relevant experience and “familiarity with the audio industry.” Hillman added: “I look forward to working with iHeart’s leadership, partners, and the talented Legal team to help advance the company across every corner of the audio landscape.”
Virgin Music Group promoted Hannah Thompson-Waitt to senior vice president of commercial strategy. In her new role, she’ll lead the U.S. commercial team from the company’s Los Angeles headquarters, focusing on streaming strategy, analysis and fan acquisition across a wide swath of artists. Thompson-Waitt, who reports to Zack Gershen, evp of global commercial and digital strategy, previously served as vp of commercial strategy and held senior roles at mtheory, with a career that began in 2014 when she launched her own K-pop media company. Her experience includes work with Clairo, St. Vincent and others. She also sits on the advisory board of Queer Capita and holds degrees from the University of Texas and NYU.
Michael Beckerman has been named the next dean of The UCLA Herb Alpert School of Music, beginning no later than Oct. 1 of this year. A leading musicologist known for his work in Czech and Eastern European music, Beckerman has held academic positions at NYU, UC Santa Barbara and Washington University in St. Louis, and has authored seven books and received prestigious honors such as the Dvořák and Janáček Medals. Beckerman holds degrees from Hofstra and Columbia, and serves on various academic boards. UCLA executive vice chancellor and provost Darnell Hunt lauded Beckerman’s credentials, saying his “academic, professional and administrative experience and achievements, coupled with his UC roots, position him well to lead The UCLA Herb Alpert School of Music at this pivotal moment.” Beckerman, in turn, emphasized his passion for music and dedication to supporting students and expanding the school’s reach locally and internationally. The UCLA Herb Alpert School of Music combines performance, scholarship and music industry training in its program.
Messina Touring Group made a round of promotions. The company has elevated Nick Ayoub to head of digital strategy and operations, to lead MTG’s overall digital operations. Ayoub also leads digital strategy for record-breaking stadium tours, including those by Taylor Swift, Ed Sheeran and more. Kara Smoak rises to director of digital marketing and continuing to lead digital marketing and creative strategy for all MTG country artists, including George Strait, Kenny Chesney, Eric Church, Blake Shelton and more. Meesha Kosciolek has been promoted to director of production, MTG Nashville, while Alvin Abshire has risen to digital operations manager. Lucy Freeman has been promoted to digital marketing manager, and Madison Machen has been elevated to manager, partnerships and branding. –Jessica Nicholson
Black River Entertainment named LeAnn Bennett as vice president of label services. In her new role, Bennett will oversee business affairs, A&R administration and sync licensing, reporting to EVP Rick Froio. A longtime consultant for Black River, she officially joins the team with over 30 years of industry experience, including past roles at Capitol Records Nashville, Compass Records and the Country Music Hall of Fame. Since 2010, she has also led Bennett Entertainment Group. Froio praised the move, calling it “a natural fit,” while Bennett called the BRE “the best in the business.”
NASHVILLE NOTES: Curb Records elevated Allyson Gelnett (Massey) to national director of promotion & strategic initiatives, up from her previous role as director of promotion. Since joining the label in 2018, Gelnett has played a key role in developing artist campaigns and driving success across country radio. In her expanded role, she’ll work alongside svp of promotion RJ Meacham to craft and implement strategies aimed at growing fanbases and boosting airplay in top markets … Warner Music Nashville promoted two members of its commercial partnerships team: Katherine Firsching shifted to partnerships director from manager of video strategy, and Blair Poirier stepped up to division manager from coordinator.
Darkroom Records named Nina Lee as head of communications and publicity. Based in New York, Lee will lead the label’s communication strategies and publicity campaigns, collaborating closely with CEO Justin Lubliner and the Darkroom team. With over ten years of experience in music, tech and entertainment PR, Lee will manage publicity for artists including d4vd, John Summit, and Wisp. Meanwhile, Alexandra Baker of High Rise PR continues to oversee campaigns for Billie Eilish and FINNEAS. Previously, Lee held senior roles at Shore Fire Media and The Oriel Company. A first-gen Korean American and NYU alum, she is a strong advocate for equity in entertainment and mentors through the Next Gem Femme program. Lubliner praised Lee’s creative approach and deep understanding of artist development, noting “she understands the importance of narrative and works closely with artists to help them best tell their stories.”
Ikenna Nwagboso and Camillo Doregos launched Hi-Way 89 Entertainment, a new music company based between Toronto and Calgary, with distribution through Vydia/gamma. The company focuses on artist development and label services, highlighting talent from Canada and Africa. Their first major signing is Canadian pop/R&B singer Chrissy Spratt, whose debut single “In Too Deep” releases on April 25. Nwagboso, co-founder of emPawa Africa, has launched careers for artists like Joeboy and Fave. Doregos, founder of DC Talent Agency, has worked with artists like Pheelz and booked talent for major festivals. Both hail from Nigeria, and Hi-Way 89 has also signed Nigerian artist Siraheem and South African DJ Chelsea Sloan, aiming to bridge African and Canadian music markets.
BOARD SHORTS: The MLC put out an APB seeking candidates for its board of directors and several key committees. Several terms for publisher reps are expiring this year, with elections for open seats taking place soon. Selected members will serve three-year terms, with the possibility of renewal. Current openings include one publisher seat on the Dispute Resolution Committee, two on the Operations Advisory Committee, and two on the Unclaimed Royalties Oversight Committee. These groups provide policy and procedural recommendations to the board. Suggestions are due by May 22 and can be submitted via this form … AEG Presents executive Brent Fedrizzi was elected to his second non-consecutive term as board president of the North American Concert Promoters Association, following the trade group’s annual meeting April 15 at the Beverly Wilshire in Los Angeles. (His initial term ended in 2022, with Jodi Goodman succeeding him.) NACPA also elected 2025 board members, including Anthony Nicolaidis (Live Nation), Chuck Steedman (The Live Co.), Jodi Goodman (Live Nation) and John Valentino (AEG).
Shelby Paul launched boutique public relations firm Evolvance PR, specializing in strategic communications, media relations, story development and more. Paul previously worked as director of communications at Big Machine Label Group, leading media strategy for the label and its publishing arm Big Machine Music. At BMLG, she worked with artists including Carly Pearce, Conner Smith, Thomas Rhett, Lady A, Rascal Flatts, songwriters Jessie Jo Dillon and Laura Veltz, and more. Paul’s prior stops include the Academy of Country Music, Detroit Pistons and Allied Global Marketing. –J.N.
Trent Allison has been promoted to senior director of sales and special events for AEG Presents‘ venues in Georgia and Tennessee. Based in Nashville, he will oversee certain events at The Pinnacle, AEG’s new flagship venue, while continuing his leadership at The Eastern, Terminal West, Variety Playhouse and Georgia Theater. Reporting to regional vp Mike DuCharme, Allison brings over 25 years of sales experience and a strong track record in revenue growth. Margarita Rios will become director of sales in Georgia, and Dell Ressl will be promoted to sales and operations manager, both reporting to Allison. Allison has been key to AEG’s venue expansion in Georgia since 2013.
Discord appointed Humam Sakhnini as chief executive officer, effective April 28. He will also join the board of directors. Co-founder Jason Citron will transition to an advisor role while remaining on the board, and Stanislav Vishnevskiy continues as chief technology officer. Sakhnini, with over 15 years of gaming industry experience, previously held leadership roles at Activision Blizzard and King Digital Entertainment. His appointment aligns with Discord’s renewed focus on gaming, including expansions into advertising, micro-transactions, and developer tools. Discord serves over 200 million monthly active users, who spend 2 billion hours gaming each month, and has seen strong revenue growth.
ALL IN THE FAMILY: Tim Chan is promoted to vp of e-commerce at PMC. In his new role, he will lead editorial strategy and performance across PMC’s e-commerce initiatives, collaborating with editorial, sales, and revenue teams to meet commerce goals. Chan will oversee shopping, hospitality and consumer tech content for PMC’s fashion and entertainment brands, including Billboard, and spearhead projects to grow revenue and audience reach. Chan joined PMC in 2016 as the founding editor of Spy.com and later became lifestyle editor at Rolling Stone. He has also worked at Snapchat, founded the independent fashion magazine Corduroy, and began his career in Canada as a producer for E! Network and MuchMusic. Craig Perreault, PMC’s chief strategy officer, praised Chan’s talent and creativity since joining the company nearly a decade ago: “He brings his deep talent, creativity and natural business instincts to everything he does and is responsible for significantly growing our e-commerce programs across the portfolio.”
ICYMI:
Nicole George-Middleton
Universal Music Group Nashville is rebranding as MCA under CEO Mike Harris and chief creative officer Dave Cobb. Staffing changes include Katie McCartney as executive vp and general manager and Tom LaScola as head of artist and audience strategy, reflecting the new direction … Atlantic veteran Gina Tucci launched a new independent dance label, 146 Records … Nicole George-Middleton was elevated to evp and head of creative membership at ASCAP. [Keep Reading]
Last Week’s Turntable: Island Elevates Its Head of Analytics
50 Cent has filed a lawsuit aimed at blocking the release of an upcoming horror movie in which he plays the starring role, claiming he never signed a final agreement and has not been paid.
In a complaint filed Friday against producer Ryan Kavanaugh and others, the rapper (Curtis Jackson) says he filmed the entirety of SkillHouse because he trusted that he would eventually reach a deal covering his compensation for the movie.
“That trust was misplaced. No final agreement was ever signed,” 50’s lawyers write. “Nevertheless, defendants have billed Jackson as the star and producer of the film [and] have shamelessly and deceptively marketed the film as a ‘50 Cent Movie’ and ‘produced by 50 Cent,’ when it is nothing of the sort.”
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Despite being listed as a producer, 50 says he was given “no creative input into the film” – an arrangement he says he “never would have agreed to” because it might harm his “carefully curated and award-winning reputation as a film and television producer.” Adding “insult to injury,” the rapper’s attorneys say the producers “have not paid Jackson a dime” to date.
“Despite plaintiffs’ repeated objections and demands to cease and desist, defendants continue to infringe and misappropriate plaintiffs’ intellectual property rights and intend to release the film in the coming weeks (if not days),” 50’s attorneys write. “Should the film be released publicly, Jackson faces irreparable harm to his valuable brand and reputation.”
The lawsuit isn’t unexpected. Last week, the rapper warned on Instagram: “They can’t release this MOVIE SKILL HOUSE without my signature which they do not have. What kinda business are they doing? I’d hate to have to demonstrate.” In another post, he later added: “This guy Ryan Kavanaugh is doing everything in his power to make me kill this movie. This one is going in the trash can.”
In Thursday’s complaint, 50 says he only draft term sheets were exchanged, and that he believed a full contract would eventually be negotiated and signed. In order to “avoid unnecessary delay and based on a mistaken good-faith belief in Kavanaugh’s promises and reputation,” he says he filmed his scenes without that final paperwork signed.
Without such a deal, his lawyers say that releasing the movie would violate his intellectual property rights, including his trademarks and his likeness rights. And they say the producers are already infringing those rights by using his name and image to promote the movie and Kavanaugh’s GenTV streaming service.
“Defendants have made Jackson the centerpiece of their promotional and marketing efforts for the Film,” the star’s lawyers write. “Despite having raised concerns months ago, Jackson’s name, image, and trademarks still feature prominently across the GenTV platform.”
Kavanaugh did not immediately return a request for comment on Friday.
Northern Irish hip-hop trio Kneecap have split with their booking agent IAG (Independent Artist Group) following the controversy caused by their recent Coachella performances.
The news was confirmed by an IAG representative to The Hollywood Reporter. The report states that the Belfast group and IAG, which includes Metallica, Billy Joel and 50 Cent on its roster, split between Coachella’s first and second weekends. A spokesperson for Kneecap told Billboard U.K. that they would not be commenting on the split.
During the first weekend, the group claimed that the YouTube stream of their live performance had been cut following anti-Margaret Thatcher and pro-Palestine chants by the group and crowd. Thatcher was the U.K. prime minister between 1979 and 1990, and played a pivotal role during the violent Troubles in Northern Ireland during that span; she died in 2013, aged 87. The group have long expressed support for a united Ireland, and frequently spoken out on the war on Gaza at their shows and in interviews.
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During the band’s second set at Coachella, a projected message stated: “Israel is committing genocide against the Palestinian people. It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.” The set was not livestreamed on YouTube, but images from the onstage projections were widely shared on social media.
Since the band’s set, they have faced a wave of criticism from industry figures. Sharon Osbourne, wife and manager of husband Ozzy, called for their U.S. work visas to be revoked, saying that “At a time when the world is experiencing significant unrest, music should serve as an escape, not a stage for political discourse.” She also criticised Goldenvoice, Coachella’s organiser alongside AEG, for allowing the band to be booked. A previous report in The Hollywood Reporter said that Goldenvoice was “blindsided” by the messaging.
On Wednesday, London’s Metropolitan Police confirmed they were assessing a video taken of a band member appearing to say “up Hamas, up Hezbollah” at a headline performance in the capital in November. The two militant groups have been ascribed “terrorist group” status by the U.K. Government and expressing support for either is forbidden under the Terrorism Act 2000.
Following the fallout, the group have shared a number of messages on social media from Palestinians thanking them for speaking out. Kneecap member Mo Chara responded to the criticism on Wednesday, telling Rolling Stone that their message is “about [the Israeli government’s] government’s sickening actions, not ordinary people.”
Kneecap released their second studio album Fine Art in June 2024 on Heavenly Recordings. Their 2024 music biopic Kneecap, starring Michael Fassbender, was nominated for two Academy Awards, and in February director Rich Peppiat won a prize for his work on the film at the BAFTAs (British Academy Film Awards). The group will play a number of shows in Europe this summer including at Primavera Sound in Barcelona, Spain and Glastonbury Festival in England. They will return to North American for a headline tour in October.
The European Commission said on Friday it will investigate Universal Music Group’s planned acquisition of Downtown Music Holdings, according to a statement.
The investigation will determine whether “the transaction threatens to significantly affect competition in certain markets of the music value chain, where both companies are active, in Austria and in the Netherlands,” which requested the probe, according to an announcement by the EC. UMG is legally registered in the Netherlands and its stock trades on the Euronext Amsterdam.
A UMG spokesperson said a statement that the company looks “forward to continuing to co-operate with the European Commission in the weeks ahead. We are confident that we will close this acquisition in the second half of the year, on its original timeline.”
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UMG, the world’s largest music company, announced plans late last year to acquire Downtown for $775 million. The deal would significantly expand UMG’s presence in the market catering to do-it-yourself artists, songwriters and indie labels.
New York-based Downtown is the owner of the direct-to-creator distributor CD Baby, and the direct-to-business technology and distribution platform FUGA, the administration business SongTrust, and royalty and financial services companies, including Curve.
The fast-growing sector of the music business serving artists and companies that want to maintain greater control of their works has seen a flurry of investment and acquisitions in recent years.
In addition to its bid for Downtown, UMG acquired a controlling stake in the indie label group [PIAS], an expansion of its 2022 investment in the London-based business.
IMPALA, the European association of independent music companies, which has been critical of UMG’s prior acquisitions, said it welcomed the EC’s investigation and hopes regulators will stop “UMG’s juggernaut strategy.”
“The acquisition would further entrench UMG’s position across European music markets, squeezing out competition, narrowing opportunities for independents and the artists they work with and allowing UMG to exercise more control over streaming services,” IMPALA said in a statement.
In a research note published this week, analysts at J.P. Morgan agreed the deal would increase UMG and Virgin Music’s reach, and said it would enhance UMG’s “support of independent music entrepreneurs … [and] double Downtown’s [earnings before interest, taxes, depreciation, and amortization] over 2-3 years.”
UMG’s deal must receive regulatory approval to proceed, and the European Commission said it has asked UMG to officially report the deal.
Veteran record label executive Gina Tucci has launched a new independent dance label, 146 Records. Today’s launch happens in conjunction with the label’s first release, “Sunrise,” by rising Swedish producer Discrete.
146 Records is based in New York City and currently has a team of four. Distribution is being handled by Virgin Music Group, where, Tucci says, “we benefit from their extensive industry expertise, global reach and robust distribution capabilities to effectively launch and scale our artists’ music.”
“For years, I’ve envisioned an electronic dance music label that nurtures artists with a song-first approach, prioritizing the music above all else,” she continues. “At 146, we provide artists the necessary time, resources and attention to produce their best work. My goal is to discover and develop the next generation of dance music talent, crafting the kind of hits that become classics, hits that resonate decades from now. I want 146 to feel like a creative home — a place artists can experiment, collaborate closely with me and our team, and leverage cutting-edge technology. The goal is to build enduring music catalogs that sustain lifelong careers.”
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Prior to founding 146, Tucci was the longtime head of Atlantic Records’ dance imprint Big Beat Records, the label founded by Atlantic Records CEO Craig Kallman in 1986. Here, Tucci helped lead the label’s 2010 relaunch and over the next 14 years broke acts including Skrillex, Clean Bandit, Icona Pop and Joel Corry, bringing dance music to new levels of visibility in tandem with the genre’s early 2010’s explosion in America. In the role she also led A&R creative for Galantis, Martin Solveig, Cash Cash, The Knocks, 100 gecs, Tiësto and more. Tucci has appeared on myriad Billboard Dance Power lists through the years.
“I bring to 146 the rigorous standards and global perspective I developed running Big Beat at Atlantic Records under Craig Kallman for over a decade,” Tucci says. “At Big Beat, I learned firsthand the intricacies of successfully launching and breaking dance records globally, recognizing that each rollout requires a uniquely tailored strategy. Dance music has always thrived on global connectivity, and I’m adept at leveraging data-driven insights to map out precise, effective release strategies that connect deeply with audiences worldwide.”
Today’s release from Discrete begins a weekly release schedule where, says Tucci, “we’re diving headfirst into exploring the new sound designs and grooves, but the art of great melodies will always remain paramount.” Discrete’s upcoming tour dates include May shows at Elsewhere in New York City and EDC Las Vegas.
“A lot of today’s tracks flash moments of brilliance but don’t fully ignite,” Tucci continues. “At 146, we’re closing that gap. We’re committed to sweating every detail, inspiring our artists to leave no creative stone unturned. It’s about elevating dance music from disposable moments into timeless anthems.”
Jeremy Tucker of Raven Music Partners is content to operate in areas of the music business that attract relatively little attention. “I am certainly not going to pretend that I’m the coolest person at cocktail parties,” Tucker says, “and I’ve never signed any famous bands as a former A&R rep.”
As co-founder and managing member of the Nashville-based investment firm, Tucker isn’t focused on acquiring what he calls “trophy” catalogs — the Taylor Swifts, Bruce Springsteen and Queens of the world. Nor is he creating biopic films made for the artists in his catalog. Instead, he’s wringing out value from acquired music catalogs and trying to provide his investors a good, risk-adjusted return.
While interest in music rights from financial buyers has exploded in the last five years, Raven Music Partners launched in 2015 and has built a 15,000-song portfolio of assets including recorded music, music publishing and derivative rights such as producers’ royalties. Tucker and his team focus on the small- to medium-sized part of the market with deal sizes typically ranging from $5 million to $35 million but going up to $100 million.
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The world of music catalog investors can be broken into two camps: strategic buyers and financial buyers. Large music companies like Universal Music Group are called strategic buyers because they have a large infrastructure and creative talent to generate additional value from catalogs. These multi-faceted companies will pursue everything from movies to box sets to artist-branded jukeboxes in order to generate licensing income from their catalogs.
Raven Music Partners is a financial buyer, the kind of investor that treats music royalties as financial instruments similar to stocks, exchange-traded funds, mutual funds and debt. Financial buyers seek out catalogs with predictable cash flows and opportunities to generate a better return. Strategic buyers often pay a premium to control 100% of the rights; financial buyers are more willing to have fractional ownership of a recording or composition.
“What we’re focused on is the boring part of the business,” says Tucker, a former managing partner at Merrill Lynch who specialized in alternative asset classes.
Administration fees lack pizazz but are a good example of how a financial buyer can improve the returns on its investments. After an acquisition, Raven Music Partners will consolidate the rights under its rights management partner, Endurance Music Group, to cut out as many of the middleman fees as possible. Tucker says it’s not uncommon to see administration or distribution fees on acquired catalogs around 15% to 25%, and he’s seen catalogs with fees as high as 40%. Reducing fees isn’t the sexiest of accomplishments, but it increases the catalog’s net cash flows. “Saving 10% in collection fees can be pretty meaningful in terms of value-add,” he says.
There are also creative options for finding return on its catalog investments: re-releasing the masters in high-fidelity audio and Dolby Atmos, anniversary editions of albums or songs, and YouTube lyric videos, for example. Sometimes, says Tucker, there’s value in something as simple as a YouTube fan page or making sure all an artist’s tracks are available on the platform. “There are plenty of bands out there that might have several million repeat followers on Spotify or one of these other DSPs, but maybe they’re not that focused on all of the different media.”
Tucker says the Raven catalog has “a good amount” of rock, country, pop and Christian music, with some hip-hop and Latin. “From a genre standpoint, we are agnostic, and we think that all of these genres have value,” he says. “What’s important is that they have a fan base that cares.” The catalog includes well- known tracks by major artists, such as “Whiskey Glasses” by Morgan Wallen, “All About That Bass” by Meghan Trainor, and “Say You Won’t Let Go” by James Arthur.
There’s a lot more music for financial buyers like Raven Music Partners to acquire. Tucker puts a rough estimate of $500 billion on the total addressable market for recorded music and publishing assets. The majors probably own close to half of that number, he says, while financial buyers like Raven Music Partners probably own “less than $20 billion.” That leaves much of the market potentially for sale. And with more artists retaining ownership of their rights, Tucker believes there will continue to be investment opportunities.
“We don’t think that it’s gotten to the point where people can’t compete in this market. Some of the more iconic catalogs are, of course, going to have everyone in the space interested in owning them. But for us, because we focus on a small- to medium-sized part of the market where things are a little more fragmented, we just don’t see that much repeat competition from the same people.”
In March, Raven Music Partners formed a joint venture with Aquarian Holdings, an asset manager with nearly $22 billion of assets under management, to invest in music rights. Raven’s ability to unlock value from catalogs through “active management and creative monetization strategies” aligns with Aquarian’s belief that music can be “both culturally significant and financially compelling,” says Rudy Sahay, founder and managing partner of Aquarian Holdings.
“At Aquarian, we’re focused on backing high-quality, enduring assets — and few assets are as enduring as great music,” says Sahay. “We see real value in partnering with Raven Music Partners, whose investment strategy is rooted in both discipline and deep industry connectivity.”
Vobile, which provides AI-powered digital content protection and transaction services for entertainment companies, sports leagues, record labels and publishers, completed its acquisition of audio content identification platform Pex for an undisclosed amount. The team at Pex joined Vobile as part of the deal.
Live Nation Entertainment has expanded in Japan by acquiring Hayashi International Promotions (HIP), a leading live music promoter for both domestic and international artists in the country. Through the deal, the companies hope to elevate J-pop artists on the global stage while allowing international artists to gain more traction in the country. “HIP has been at the heart of Japan’s live music scene for over 40 years, and our focus has always been on delivering incredible concerts for fans,” said Kaori Hayashi, CEO at Hayashi International Promotions, in a statement. “Partnering with Live Nation allows us to keep doing this with greater scale, giving Japanese artists the opportunity to perform to new audiences and strengthening Japan’s position as a must-visit destination for major acts.”
Warner Music Group (WMG) partnered with Annual Acharia, an entrepreneur and talent strategist who founded the multi-platform production and distribution company Desi Hits! — which helped introduce Western artists like Lady Gaga and Britney Spears to South Asian audiences — to launch 5 Junction, a joint-venture label focused on discovering and developing U.S.-based artists of South Asian heritage while furthering the success of WMG’s existing artists from South Asia and its diaspora. The new label will collaborate closely with WMG’s India team, Los Angeles-based Warner Records and Toronto-based 91 North Records (a joint-venture label between Warner Music India and Warner Music Canada).
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EMPIRE signed a multi-year partnership with Cambodian music company Baramey Production. The deal will provide Baramey’s current and future roster — including its biggest star, VannDa — with global distribution, A&R support and industry connections. The Baramey roster also includes YuuHai, Vanthan, Zuana and North. “This deal is a game-changer,” said Laura Mam, CEO of Baramey Production, in a statement. “Now, Cambodian music is able to have a presence on the world stage, and EMPIRE will help us build careers for artists who have dreams to reach the international stage.”
Fan engagement platform Sesh announced it has raised $7 million in funding to date, led by Miura Global with participation from angel investors in the music and tech industries. Sesh will use the money to expand the capabilities of the platform, onboard more artists and enhance its technology. Announced simultaneously was the launch of Sesh’s “Member Card,” which lets fans “register and seamlessly download a digital pass to their phone’s wallet,” allowing them to receive direct push notifications from their favorite artists. Sesh allows artists full ownership of fan data, including email, location, name, date of birth and engagement insights, letting them cultivate their fan bases without going through third-party platforms. The company currently works with more than 250 artists, including Yeri Mua, Anitta, Alleh & Yorghaki, Mau y Ricky, Lasso, Timø, Nathy Peluso and Zoe Gotusso.
Dutch event management platform Stager signed a partnership with Spotify that will enable all users of the platform to list artists’ upcoming events at their venues and festivals directly on those artists’ official Spotify pages. According to Stager, more than 21,000 artists played a show at a venue, club or festival using the platform last year.
UnitedMasters partnered with EVEN, a direct-to-fan sales platform. Under the deal, UnitedMasters’ Partner artists (and, soon, its SELECT artists) will skip the waitlist and enjoy immediate access to EVEN resources, including direct music sales, daily payments, fan data ownership, marketing support and more. According to the companies, UnitedMasters artists such as Raheem DeVaughn, Casey Veggies, Stocks and Serayah have already enjoyed success on EVEN.
WieRok Entertainment Group acquired Christian music label Amplo Records, which was originally established in partnership with WieRok founders Lance and Tammie Wieland and Christian music industry executives Marcus Rixon and Jay Speight. Through the acquisition, singer/songwriter Nathan Sheridan, songwriters Phoebe Scott and Kolby Koloff, and songwriters/producers Andrew Barlow and Cole Tague will come solely under WieRok. The company, which launched its flagship WieRok Records label in January, also announced its expansion into the general market by establishing Wie3 Records, which signed “popera” vocalist David Ask.
Manifest Financial, a new financial solutions platform co-founded by Michael Cavallaro and Manny Alvarez that serves creators and artists, launched a business-banking mobile app and struck partnerships with music distributor Too Lost and hoo.be, an invite-only link-in-bio tool for brands and creators. “Creators face unique challenges that don’t fit conventional banking categories. That’s why we built Manifest Financial, to bridge this gap and provide the tailored financial services that the creator economy desperately needs,” said Cavallaro in a statement. Through the deal with Manifest, Too Lost founder/CEO Gregory Hirschhorn says Too Lost artists will enjoy “seamless access to smarter business banking solutions, faster payments, and financial tools designed for their careers.”
Honduran artist Key-Key’s indie label Latin Music Group — where he serves as partner alongside CEO/co-founder Neil Levine — announced a global distribution deal with The Orchard. As part of his strategic partnership with Latin Music Group, Key-Key will “now have access to a dedicated team and the resources to push his career even further, with global distribution ensuring his music reaches new international audiences,” according to a press release. “This isn’t just about making music; it’s about building something meaningful and lasting, and I’m incredibly grateful for the opportunity to turn my passion into a global and lasting impact,” the “Tengo Un Plan” singer said in a statement. — Griselda Flores
ASM Global struck a deal with Virginia Commonwealth University (VCU) to assume the management and operation of special events at the school’s 7,637-seat Stuart C. Siegel Center. Under the agreement, ASM will work to attract outside events, including concerts, to the arena.