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Music stocks bounced back — and performed better than major U.S. indexes— for a second week after President Trump’s tariff policy sent markets into a tailspin.
The 20-company Billboard Global Music Index (BGMI) rose 3.6% to 2,446.90, its second consecutive gain after falling 8.2% the week ended April 4. Fourteen of the 20 stocks were winners and five had gains exceeding 5%. The largest companies were among the week’s winners, which had an outsized impact on the index’s value, while the four worst performers are the index’s least valuable companies.
The BGMI outperformed the Nasdaq and S&P 500, which lost 2.6% and 1.5%, respectively, but fell short of the FTSE 100’s 3.9% improvement. South Korea’s KOSPI composite index gained 2.1% and China’s SSE Composite Index rose 1.2%.
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Streaming companies, which analysts believe are well-suited to survive the impacts of the U.S. tariff policy, were among the week’s best performers. Cloud Music was the week’s biggest gainer, rising 10.5% to 156.40 HKD ($20.15). Deezer was the third-best performer with a 6.7% gain.
Spotify, the most valuable music company, rose 5.6% to $574.25. UBS lowered its Spotify price target on Tuesday to $680 from $690 but maintained its buy rating. Tencent Music Entertainment improved just 0.4%, giving it a 10.2% gain in 2025.
Multi-sector companies, particularly those from South Korea, also performed well. YG Entertainment rose 10.0% to 66,800 KRW ($47.10). SM Entertainment rose 9.3% to 116,300 KRW ($81.99) and JYP Entertainment improved 6.2% to 63,300 KRW ($44.63). HYBE rose 2.0% to 230,500 KRW ($162.51).
Universal Music Group rose 3.2% to 23.96 euros ($27.25), turning a deficit into a year-to-date gain of 0.2%. Warner Music Group rose 0.3%, bringing its loss in 2025 to 6.1%.
Live entertainment companies had mixed results. German promoter CTS Eventim gained 4.2% to 97.20 euros ($110.54) and MSG Entertainment rose 1.2% to $30.69. Live Nation fell 1.8% to $127.22. Sphere Entertainment Co. dropped 6.3% to $25.38. The company, which owns the Sphere venue in Las Vegas, has fallen 40.2% year to date.
Radio companies continued their decline. iHeartMedia dropped 14.8%, bringing its year-to-date loss to 54%. Cumulus Media’s 19.4% fall took its year-to-date deficit to 67.5%.
Tariffs continued to be a dominant theme in the financial world this week. Apple and other tech companies that import phones, computers and chips from China and other Asian countries gained a reprieve from the most burdensome tariffs. The announcement, which came on April 11, sent Apple’s stock up 2% on Monday (April 14) and pushed its market capitalization back past $3 trillion. On Thursday, the Trump administration announced new fees on Chinese-made ships entering U.S. ports. Some of those fees were quickly walked back, however, by exempting ships that travel between U.S. ports of call, and from domestic ports to Caribbean islands or U.S. territories.
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This Tuesday (April 15), hundreds of people from across the music industry gathered in Hollywood for the second annual Music Sustainability Summit.
Organized by the Music Sustainability Alliance (MSA), the event again brought together thought-leaders and innovators from the live music, labels, waste management, merch, food, design and production sectors. Panels and breakout sessions — curated around the event’s “progress through collaboration” theme — focused on the challenges and, more crucially, the many solutions that currently exist and can be implemented at scale as the industry takes on the ongoing climate crisis that’s affecting touring, events, the supply chain and the health and wellness of artists, teams, fans and the Earth itself.
“Sustainability is good for the planet and it’s good for business, and it’s being led by the people in this room,” MSA CEO/co-founder Amy Morrison said at the start of the day, “but we’re not done. There’s still more to learn, more to share and more to do. And let’s be honest, this work is only getting more important as some political forces pull back from climate commitments and even try to undermine environmental progress. It’s falling on industries like ours to step up and lead.”
The day began with a stirring performance from singer and environmental activist Antonique Smith and a rousing conversation with activist Reverend Lennox Yearwood Jr., who emphasized the importance of artists and not just engaging in performative activism, but truly engaging with the people who are feeling the very real effects of the climate crisis. “You have to be amongst the people,” Yearwood Jr. told the rapt crowd. “Not only will it make you a better artist, but you will transform yourself by being with the people and feeling the crisis. It will allow you to create art that is divine, that is otherworldly. You will begin to create something that isn’t just pain and depression, but something that could actually change and save this world.
The day of conversations went on to provide huge insights on the many ways the music industry can transition to greater sustainability and do its part in humanity’s greatest challenge, via panel topics that included live music emissions in the U.S. and U.K., why paying attention to menus at venues at events is important, the evolving clean energy sector, strategies that are being used in film, sports and live theater, sustainability in contracts and more.
Here are five things we learned from the conference.
The Music Industry Could Be Greener Through More Strategic Planning
Investors seeking shelter from the chaos unleashed by President Trump’s often incoherent tariff policy can find safety in companies without direct exposure to tariffs or the teetering advertising market. And music, especially digital music, will be able to weather the storm, say many analysts — with one major exception.
To understand what people are thinking about tariffs’ impact on the business world, look no further than stock prices. The performance of various music-related stocks reveals how investors are betting that economic uncertainty will affect various companies.
Many stocks — especially those of companies traded on U.S. exchanges — have taken a hit as investors fled for safer alternatives. The Nasdaq and S&P 500, U.S. indexes, are down 6.2% and 6.7%, respectively, since April 1, the day before President Trump announced his tariff plans. Elsewhere in the world, indexes have generally performed better. South Korea’s KOSPI is down just 2.0%. Japan’s Nikkei 225 is off 3.5%. The U.K.’s FTSE 100 is down 4.2%. Germany’s DAX has lost 5.9%.
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Within music, companies that get most of their revenue from streaming are faring relatively well. Since April 1, Spotify and Deezer have each gained 4.0%, two of the better showings for music stocks. Cloud Music improved 3.9%. Tencent Music Entertainment, on the other hand, has fallen 15.1%, although its share price remains up 8.1% year to date.
Record labels and publishers have also been holding up well, in relative terms, particularly outside the U.S. Since April 1, shares of Universal Music Group (UMG) — which is headquartered in the U.S. but trades in Amsterdam — and Warner Music Group (WMG) are down 8.0% and 7.1%, respectively. Reservoir Media lost 3.0%. K-pop companies — much like South Korean companies in general — have fared well. Since April 1, SM Entertainment has gained 7.9%, YG Entertainment is up 1.1% and JYP Entertainment has gained 0.7%. HYBE fell 3.4%.
UMG and WMG’s post-tariff declines are slightly greater than the drops in the Nasdaq and S&P 500 of 6.7% and 6.2%, respectively. But both UMG and WMG had strong starts to 2025, and their year-to-date losses of 4.5% and 6.1% are far better than the S&P 500’s 10.2% drop and the Nasdaq’s 15.7% year-to-date decline.
Some live music companies’ stocks have been resilient, too. Live Nation shares are down 3.7% since April 1, while German concert promoter CTS Eventim is up 3.2%. Sphere Entertainment Co., owner of the Sphere venue in Las Vegas, is an exception. Sphere Entertainment shares have plummeted 23.1% since President Trump’s tariff announcement, a far more significant drop than the stocks of other companies — Caesars Entertainment, Wynn Resorts, MGM Resorts — that rely on consumers’ willingness to part with their money in Las Vegas.
For many U.S. media stocks, the direct impact of tariffs is “relatively muted,” wrote Citi analysts in an April 7 report, as many of the companies rely on discretionary spending, not ad revenue. Apple and other tech companies, for example, got an exemption from the 145% tariffs on Chinese imports but must still pay the blanket 20% tariff. Companies that get much of their revenues from subscriptions — Netflix, Spotify, UMG and WMG — will be less impacted.
Music streaming, most notably subscription services, is considered by equity analysts to be safe from whatever tariff-induced economic chaos awaits the global market. “Digital goods are unaffected by tariffs,” wrote TD Cowen analysts in an April 14 investor report. Subscription services, they argued, provide enough bang for the buck, and customers have such an emotional attachment to music that subscribers are unlikely to leave in “meaningful” numbers if the economy goes south.
Streaming and subscription growth slowed in 2024, but many analysts expect improvements to come from a regular drumbeat of price increases, renewed licensing deals and super-premium tiers. That said, analysts believe that Spotify’s latest licensing deals with UMG and WMG, and upcoming deals with other rights holders, better reward labels and publishers for price increases. As a result, TD Cowen slightly lowered its estimates for Spotify’s revenue, gross profit margin and operating income in 2025. Likewise, in an April 4 note to investors, Guggenheim analysts lowered their estimate for Spotify’s gross margin in the second half of 2025.
Companies reliant on advertising revenue will also take an indirect hit. Citi estimates that $4 trillion of imports could generate $700 billion in tariffs and reduce personal consumer and ad spending by 1.9%. Tariffs have ripple effects, too. Because household net worth and personal spending are highly correlated, says Citi, the recent declines in stock prices could reduce personal and advertising spending by 3.0%.
Consumer spending is at the heart of the concert business, but analysts agree that fans’ affection for their favorite artists protects live music from economic downturns. As a result, Live Nation has “less risk than the average business that depends on discretionary spending,” according to TD Cowen analysts.
Advertising-related businesses aren’t so lucky, though. As tariffs raise prices and household wealth declines, personal spending also declines, and, in turn, brands pull back on their advertising spending. Investors’ expectations for advertising-dependent businesses were apparent before April but have become clearer since President Trump’s April 2 tariff announcement. iHeartMedia, which closed on Thursday (April 17) below $1.00 per share for the first time since June 4, 2024, has dropped 35.3% since April 1 and fallen 50.3% year to date. Cumulus Media has fared even worse, dropping 47.5% since April 1 and 62.7% year to date. Townsquare Media has fallen 12.8% in the tariff era and 23.8% year to date.
J.P. Morgan analysts believe iHeartMedia’s full-year guidance of $770 million is “somewhat optimistic” given economic uncertainties and ongoing pressures in the radio business. It forecasts full-year EBITDA of $725 million — nearly 6% lower than iHeartMedia’s guidance. If things wind up going more the way J.P. Morgan predicts than iHeart, it would be a big blow to the company and an unfortunate bellwether for the already struggling radio business. While other music industry sectors look to ride out the tariffs at least in the shorter term, the economic uncertainty introduced by the Trump administration may only hasten radio’s ongoing decline.
As Billboard has noted numerous times in recent weeks, investors are attracted to music assets because they are counter-cyclical, meaning they don’t follow the typical ups and downs of the economy. Consumers will, by and large, stick with their music subscription services and continue going to concerts. But by introducing the tariffs, the Trump regime exposed one of radio’s greatest weaknesses as a business: a greater exposure, due to its reliance on advertising, to the state of the wider economy.
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A Manhattan federal judge on Friday denied a bid by Sean “Diddy” Combs to delay his sex trafficking and racketeering trial by two months, ruling that the request was made too close to his trial date.
The star’s lawyers asked for the delay on Wednesday (April 16), arguing they didn’t have enough time to prepare for trial after prosecutors added new charges earlier this month. But according to Reuters, Judge Arun Subramanian denied that motion at a court hearing on Friday (April 18).
Endorsing an argument made by the prosecutors, Subramanian said that the new indictment largely overlapped with earlier charging papers. According to CNN, the judge told Combs’ lawyers that it was “unclear why there isn’t sufficient time to prepare.”
Friday’s ruling means that, barring any last-minute disruptions, jury selection will begin on May 5 and testimony will begin on May 12. Representatives for Combs’ legal team did not immediately return a request for comment.
Combs was indicted in September, charged with running a sprawling criminal operation that aimed to “fulfill his sexual desires” by subjecting numerous women to abuse. 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.
A trial has long been set to start in May. If convicted on all of the charges, which include sex trafficking and racketeering, Combs faces a potential life prison sentence.
In a letter to the judge filed Wednesday, the star’s lawyers claimed the feds were dragging their feet on turning over crucial evidence, and that the extra two months would give them “the necessary time to prepare his defense” for a new superseding indictment filed April 3.
The request — far longer than the two-week delay Diddy’s lawyers had hinted they might seek — was opposed by prosecutors, who said the new charges were not sufficiently different to require any delay at all, and that Combs was not entitled to the evidence he claimed he was owed.
In addition to denying the delay, Subramanian made another important ruling Friday. According to Matthew Russell Lee of Inner City Press, the judge granted a request from prosecutors to allow three alleged victims to testify under Jane Doe pseudonyms. Diddy’s lawyers had called the move “a blatant violation of Mr. Combs’s Sixth Amendment rights to confront witnesses,” but prosecutors said it was necessary to protect them from harassment and embarrassment.
The judge seemingly left at least one big pretrial issue unresolved: a motion filed by Combs on Thursday seeking to ban prosecutors from showing jurors the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura. Combs says the clips has been edited and will “confuse and mislead the jury”; prosecutors says it’s a “damning piece of evidence” that must be admitted.
Canadian musicians and music organizations are speaking out ahead of the federal election on April 28.
Indie folk artist The Weather Station took to Instagram on April 15 to make an impassioned plea to Canadians not to check out of this election. She had just returned from a tour in the U.S., supporting her new album Humanhood, and told followers that now is the time to prevent Canada from following in America’s footsteps.
“I cannot articulate the level of relief I felt this time crossing the border back into Canada,” she says. “I think we have no lived understanding of how bad things could get.”
The Weather Station, whose name is Tamara Lindeman, has previously spoken out about the U.S. administration, citing authoritarianism, threats to free speech and the right to protest, and dismantling of public services serving climate, education, health care and social security.
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In her new video, she highlights the people fighting for those issues and to build community amidst the crisis south of the border.
“Loved the shows, loved all the people we met, but it’s so incredibly painful to see what people are going through,” she says. “People feel exhausted, they feel afraid and at risk, they feel powerless…a lot of people increasingly feel kind of silenced, which is really scary.”
Speaking to Billboard Canada about why she felt compelled to share the video, Lindeman adds that when it comes to this election, the stakes couldn’t be higher. “For an avalanche of reasons — from Trump’s threats of annexation, to how misinformation and MAGA-style politics are moving across the border, to the immensity of the climate crisis, to the affordability crisis across this country,” she elaborates.
She also points out Conservative leader Pierre Poilievre‘s desire to defund the CBC as particularly concerning for musicians, given how the public broadcaster supports Canadian music through radio airplay and events.
Her post received positive comments from fellow Canadian musicians like Jill Barber and Bells Larsen. Larsen, a folk singer-songwriter, last week shared that he cannot tour in the U.S. due to changes in Visa application policy that target trans musicians, requiring legal ID to match sex assigned at birth.
Canadian music organizations have also been emphasizing the importance of this election across party affiliations, against the backdrop of American politics.
Allistair Elliott, AFM vice president from Canada, sent out a message today to American Federation of Musicians members in Canada titled “Make Your Vote Count.”
“The upcoming election is critical for Canadians — no matter your political leanings, your vote matters,” Elliott writes. “Look south of the border to understand what can happen. In the last U.S. election, 32% of votes went to Republicans and 31% to Democrats. That means 68% of U.S. voters did not vote for the current president. True democracy is achieved when everyone votes. Plan, do your research, and most importantly, vote. It really matters, can, and will make a difference.”
The message stops short of endorsing particular parties or candidates, but highlights policy areas that affect musicians and arts workers, such as generative artificial intelligence, diversity equity and inclusion, trade tariffs, and strengthening public health care.
The Canadian Live Music Association published a note last week from President Erin Benjamin, emphasizing the importance of the live music industry in Canada to both the country’s economy and its cultural identity.
Benjamin called on supporters to send a letter to federal election candidates of all parties, calling on them to leverage Canadian music for the future.
The Canadian federal election is Monday, April 28. –Rosie Long Decter
Hamilton Indie Label Sonic Unyon Launches SUM Artist Management, Headed By Wayne Pett
Hamilton-based independent label and music company Sonic Unyon Records has unveiled its latest initiative, SUM Artist Management. It’s a new arm of the company dedicated to representing and developing artists, identifying and opening opportunities to them.
Taking the helm as both director of artist management at SUM Artist Management and label operations for Sonic Unyon Records is Wayne Petti, a well-known figure on the Canadian music scene as frontman for highly-regarded roots-rockers Cuff the Duke. At SUM, Petti will work in league with Sonic Unyon owner/CEO Tim Potocic, representing a musically diverse and notable roster of clients.
That includes roots-rock singer-songwriter Terra Lightfoot, Polaris Prize-winning auteur Owen Pallett, Hamilton shoegaze combo Basement Revolver, American feminist performance artist and electro-rocker JD Samson (Le Tigre), retro cover band Born in the Eighties, multi-instrumentalist and composer Michael Peter Olsen, and three bands at the forefront of an Indigenous wave in Canadian rock, Zoon, OMBIIGIZI and Status/Non-Status.
“We’re about constant evolution,” says Potocic. “As a label, we’ve signed newcomers and longtime favourites as well as bigger bands like Danko Jones and Big Wreck. All of that is super exciting and some of the best music we’ve ever released. At the same time, this is not an industry that rewards sitting still. It’s a challenging time and a tough landscape, but opportunities still abound. We’ve always believed in the value of our artists, and artists more generally, so artist management is the natural outgrowth of that.”
In an interview with Billboard Canada, Petti notes that, “I’ve been involved in artist management for close to 10 years now. I have a unique perspective on the music business having both experienced what it’s like to be a recording artist and everything that goes along with that, plus experiencing working with artists and helping to guide them through their own careers. I’m very much an ‘artist first’ type of manager. I don’t chase things just for the money. I want the artists I work for to feel supported. I want them to focus on being creative and unique artists and I’m just there to help facilitate their vision and goals artistically.”
“Our main goal at SUM is to work with unique artists regardless of whether they are Canadian, American or from somewhere else around the world,” he continues. “I think we’re off to a great start.”
Petti previously made a major mark in artist management during eight years with Hamilton-based Straight & Narrow Management, which handles major international stars The National, as well as Broken Social Scene, Hannah Georgas, Kevin Drew and Georgia Harmer.
The creation of SUM Artist Management aligns with Sonic Unyon’s expansion into industry sectors beyond the traditional duties of a record label. Sonic Unyon Distribution was founded in 1998 to distribute Sonic Unyon and other labels in Canada, going on to build a roster that included dozens of domestic imprints and the exclusive representation of over 200 international independent labels in Canada. –Kerry Doole
For Alex Warren, it’s been a long, steady ascent to get to this point. After first coming to prominence through videos on TikTok and other social media platforms and as a co-founder of the Hype House content creator hub, the young singer started releasing music in 2021 before signing to Atlantic Records the following year. Since then, a steady stream of singles led to increasingly positive returns, and Warren made his first appearance on the Billboard Hot 100 last fall with “Burning Down,” which peaked at No. 69 in October.
But then came “Ordinary,” his latest single, initially released Feb. 7. The song quickly flew onto the Hot 100, debuting at No. 61, and picked up steam on social media — and the steady ascent began. With several television appearances, including on Jimmy Fallon and a Love Is Blind reunion episode, the song began climbing the charts, not just in the U.S., but internationally, reaching No. 1 in the U.K. (where it has remained for four weeks), Australia and Canada. This week, it rose into the top 10 of the Hot 100 at No. 7 — helping Atlantic Records vp of A&R Michael Parker earn the title of Billboard’s Executive of the Week.
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Here, Parker talks about Warren’s journey as a songwriter since signing him three years ago and what has made “Ordinary” such an extraordinary breakout hit. “Alex saw the whole path forward from moment one on that song,” Parker says. “He had the vision, the drive and he knew exactly how to finish it and promote it. So naturally, the record took off on this amazing path and immediately connected with his fans.”
This week, Alex Warren’s “Ordinary” reached the top 10 of the Hot 100 for the first time, after a nine-week climb. What key decision did you make to help make that happen?
Of course, it starts with the music. I’m a firm believer that every artist needs the right people they connect deeply with around them, and that they have access to all of the tools to help realize their vision. “Ordinary” was a track made during recording sessions late last year with his closest collaborators. It was one of those songs that the second you hear it, you just know. Alex saw the whole path forward from moment one on that song. He had the vision, the drive and he knew exactly how to finish it and promote it. So naturally, the record took off on this amazing path and immediately connected with his fans.
The amazing group of people who have worked alongside Alex deserve a shoutout: Adam Yaron, Mags Duval, Cal Shapiro, who have written and produced the album with Alex. Brian Sokolik, the best manager, and the incredible teams at Atlantic and Wasserman.
You first signed Alex in 2022. How have you seen him develop since then, and what role have you played in that?
Since we first signed Alex, he’s truly continued to raise the bar song after song. My job is to keep that bar held up and to never let it fall. Alex has earned the trust of everyone he works with over that time span because we know that if he has a vision for it, he will make it happen. That confidence in himself and his music is infectious to the rest of us, and it’s been amazing to see that develop over the years. Every artist I work with needs support in different ways, and I look to do so by piecing together the right team and being their musical confidant, and that’s exactly what I aim to be for Alex.
He got his start in the public eye as an influencer. How did that affect his career? Did it help or hurt?
Alex has always been a musician first. Connecting with people came naturally to him, and using his platform helped him to do so. Just by being himself and sharing music with his fans, he was able to do what he loves and have a deep connection with them. It’s been great to watch the wonderful interaction between Alex and his fans.
This song is not just blowing up in the U.S., but it’s also hit No. 1 in several countries in Europe, including the U.K., as well as places like Australia and Canada. Why do you think it’s resonating so much around the world?
Alex makes really universal music. It doesn’t matter where you are in the world, what age you are, how much money you have, what you believe in. Alex’s songs are personal and powerful, and all true stories ripped right out of his life that most can relate to. It’s also a huge testament to our U.S. and international teams working closely together to achieve global success. It’s incredible to see the global reach that Alex and his music are having.
How have you guys helped to continue to promote this song over the course of the year so far?
We try to amplify every step along the way. Incredible content, syncs, new versions, new performance opportunities. Each thing that came in has propelled it a little bit further. A first-ever Love is Blind live reunion performance that sent the already soaring song off like a rocket ship, as well as making his late-night TV debut on The Tonight Show Starring Jimmy Fallon!
In this era where it can be harder than ever to break an act, what is your approach to A&R?
Alex really changed my perspective in that regard. His work ethic makes all the difference. Now, all I care about are artists or projects that want to approach this industry in a different way. As long as the artists I’m working with are equally or more passionate than me, I know they won’t quit on that dream.
To decorate their Coachella stage like a beach party in their seaside home region of La Guaira, Venezuela, Rawayana hauled in inflatable SUVs, palm trees and tiki huts — all designed to make the Grammy-winning band’s YouTube festival livestream last weekend more colorful and magnetic. “It’s a live TV broadcast,” says Carlos Framil, Rawayana’s co-manager. “They knew it was going to be livestreamed. It was a prominent part of the strategic planning.”
The plan paid off. Rawayana’s streams, and ticket sales for its upcoming tour, spiked in the days after the first-weekend performance, narrated as part of YouTube’s new “Watch With” program by influencers Bryan and Eddy Skabeche. “We’re seeing it as a Coachella bump,” says Framil, of Miami-based Sound of Light. “And we’re attributing that to the livestream.”
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Coachella’s live YouTube feed, now in its 13th year, is the “gold standard” of festival livestreaming, according to Lee Anderson, president of Wasserman, the talent agency whose many Coachella acts this year include Ravyn Lenae, Viagra Boys and A.G. Cook. “When the streams started, most people didn’t want them, or thought they should be compensated. It was a big fight,” he says, adding that the Coachella livestream really took off just before the pandemic, which then boosted the popularity of watching live events at home. “The Coachella one went from people being upset that they were on it to being upset that they weren’t on it.”
Music festivals have live streamed performances since the early 2000s, when Bonnaroo partnered with America Online; YouTube then helped turn live performances into music-business revenue in 2010, when it removed its 15-minute cap on video lengths, thus enabling long concert videos that could be festooned with money-making advertising clips. Artists’ initial reluctance has “long been resolved and it’s an old issue,” says Lyor Cohen, YouTube’s head of music and a longtime ex-major-label exec, referring to a “super-valuable” partnership with AEG-owned Goldenvoice, Coachella’s promoter. “The Goldenvoice team feel like it’s a two plus two equals five opportunity.”
Coachella performances often boost headliners’ streaming numbers — this year, Charli XCX earned 12.7 million on-demand streams in the days after her Saturday performance, a 27% increase. Lady Gaga scored a similar spike; Green Day‘s jump was 17%. As for the livestream, YouTube reps won’t provide viewer metrics, but the Google-owned streaming giant reports huge bumps in international consumption. Over the past three Coachellas, more than half of the views came from outside the U.S., as Brazil views doubled, Mexico views jumped fivefold, India views increased 900% and Korea views increased 1,400%. The festival has scored more than 1 billion YouTube views overall.
Cohen suggests Goldenvoice has booked more international acts in recent years due to the livestream’s global-viewership increases — this year’s lineup includes Thailand-born K-pop star Lisa, Nigeria’s Seun Kuti & Egypt 80 and Egypt’s Mohamed Ramadan, among many others. “I don’t think there’s actually science in representing the amount of people sitting in any given living room in Mexico or Nigeria or Korea,” Cohen says. “They’re not watching alone. You can bring your friends over.”
The Watch With collaboration, adds Christian Oestlien, YouTube’s vp of product management, was inspired by “watch-along” commentary by social-media creators for soccer and other sporting events. YouTube’s research showed 50% of viewers preferred “hearing a creator walk them through a live event than watching the live event themselves,” according to Oestlien, and Coachella posted regional YouTube curators in Brazil and elsewhere for commentary on top headliners like Lady Gaga. “In every market, we’re trying to appeal to local fandom,” he says.
For Alok, a Brazilian DJ and producer, last weekend’s Watch With show with Bloguerinha was a way of linking the Coachella livestream audience with the influencer’s 4.3 million Instagram followers and 1.8 million YouTube subscribers. “This enriches and enhances the experience we can offer around an artist, so this is a very powerful tool,” says Fabio Soares, Alok’s creative director. Filipi Minatel, manager of Alok’s label, adds that the first-week Coachella livestream has led to more social-media and streaming activity. “Coachella makes this massive exposure,” he says. “It’s not only the live broadcast. It is everything that happens after that.”
A TikTok user who says she created the viral “Apple dance” to a Charli XCX song is suing Roblox over allegations that the company violated copyright law by selling her dance moves as an “emote.”
In a lawsuit filed last week in Los Angeles federal court, Kelley Heyer says the online game platform used the dance – a viral sensation set to Charli’s “Apple” that was emulated by scores of celebrities and influencers – in a version of its “Dress To Impress” game that featured the singer Brat singer.
Though Roblox allegedly reached out to negotiate a license, Heyer says the talks never led to a deal – and that the company simply used her dance moves without permission.
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“Roblox proudly advertises that its platform allows creators to ‘create, scale and monetize,’” her lawyers write. “Yet, it has prevented Ms. Heyer from the crucial monetization of her work on the Roblox platform.”
Charli XCX is not named in the lawsuit nor accused of any wrongdoing.
Numerous copyright lawsuits have been filed in recent years over viral dance moves featured in online video games. Alfonso Ribeiro, who played Carlton on The Fresh Prince of Bel-Air, sued Fortnite owner Epic Games over the use of his heavily-memed “Carlton dance” as an emote, as did the mother of Russell Horning, the so-called Backpack Kid who helped popularize the viral “Floss” dance.
For years, those cases faced skeptical judges who questioned whether simple dance moves were covered by copyright law. In 2020, a federal judge sided with Epic and tossed out a case filed by two former college basketball players over their “running man” dance. But in 2023 a federal appeals court issued a first-of-its-kind ruling reviving such a lawsuit against Epic Games, in which a panel of judges said they “see no reason to treat choreography differently” from longer dance routines.
In her lawsuit, Heyer says her dance was clearly protected by copyright law – and that Epic and Netflix have both struck licensing deals with her to use it. She says Roblox earned $123,000 in sales from selling the dance to users, but has refused to pay her any of it.
“Roblox has substantially benefitted and profited from its unlawful infringement of Ms. Heyer’s copyright and other uninvited misappropriations of Ms. Heyer’s intellectual property and proprietary rights in the Apple Dance,” her lawyers write.
In a statement responding to the lawsuit, Roblox denied any wrongdoing: “Roblox takes the protection of intellectual property very seriously and is committed to protecting intellectual property rights of independent developers and creators to brands and artists both on and off the platform,” the company said. “Roblox is confident in its position and the propriety of its dealings in this matter and looks forward to responding in court.”
It’s time to drop the needle on 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 fair share of news this week, so let’s get cracking.
Sony Music Entertainment named Kevin Foo as managing director for Southeast Asia, overseeing operations in the Philippines, Indonesia and Thailand, effective immediately. Based in Singapore, Foo will lead efforts to expand SME’s presence in these rapidly growing music markets, focusing on artist development and audience engagement. He will report to Shridhar Subramaniam, president of Asia and Middle East, and manage a squad including general managers and a vp of international marketing for Southeast Asia. Foo brings a strong track record, having previously served as MD of RCA Records Greater China and GM of SME Taiwan. During the Covid-19 pandemic, he led a cross-border collaboration supporting Taiwanese artist Eric Chou’s charity initiative. Prior to joining the Sony family in 2022, Foo co-founded Umami Records, ran Beep Studios, managed artists through Foundation Music, and did some consulting for UMG. His appointment signals SME’s commitment to growth of local genres like P-pop and T-pop. “Kevin has a unique ability to connect artists, markets, and audiences in ways that drive both commercial and cultural impact,” said Subramaniam. “His deep understanding of the region, coupled with his passion for artist development, makes him an ideal leader to shape the next phase of our Southeast Asia strategy.”
Island Records elevated Matt Palazzolo from vp to senior vp and head of analytics at the UMG imprint. Based in New York, he’ll report directly to co-chairmen and CEOs Imran Majid and Justin Eshak. In his new role, Palazzolo will continue to enhance the label’s data capabilities and provide action-oriented insights to the organization, management partners and artists. Since joining Island in 2022 after a lengthy stint at Sony Music Publishing, Palazzolo and his team have excelled in using insights to support artist development. Eshak praised Palazzolo as “key to our culture of learning” at the label, adding, “he also has a real understanding of music and culture that’s indispensable to the delicate process of combining art and analytics.” Majid emphasized Palazzolo’s skill in integrating analytics into the label’s “DNA… He has an incredible ability to attune to what each department is doing and add value by way of his intensive and comprehensive research.”
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Big Machine Label Group hired Chris Koon as executive vice president of finance. Koon will report directly to BMLG president Andrew Kautz and HYBE America CFO Eric Holden. Koon has over three decades of financial experience across recorded music, distribution and publishing operations, holding financial leadership positions at Universal Music Group/Capitol CMG, managing business acquisitions and integrations. –Jessica Nicholson
Marc Eckō
Complex founder Marc Eckō is returning as chief creative and innovation officer, overseeing creative strategy and integrating technologies like artificial intelligence to boost audience engagement. Eckō founded Complex magazine in 2002, transforming how youth culture and streetwear are covered in media. Before Complex, he pioneered Eckō UNLTD., blending music and design. Complex, acquired by NTWRK in 2024 with strategic investment from UMG, Jimmy Iovine, Goldman Sachs and Main Street advisors, has expanded into e-commerce, revived its print magazine, and globally expanded ComplexCon. Additionally, Ray Elias joined as chief marketing officer, leading brand, growth and communications. Elias, with over 25 years of experience, has held pivotal roles at high-growth startups and market-leading brands, including CMO at HotelTonight and StubHub, driving significant business growth and industry disruption.
Smith Entertainment Law Group (SELG), known for its expertise in production counsel for awards shows, series, films, documentaries, and live events, named Lynn Elliot, Esq. as senior counsel. Based in NYC, Elliot brings extensive experience in film, television, music, live events, and new media, having worked on projects like Precious, Alive Inside, and The Rachel Zoe Project. Her clients include producers, writers, directors, musicians, and event promoters. Previously, she served as Associate General Counsel at Dayglo Presents, handling legal matters for ventures like Brooklyn Bowl and Relix Magazine. At SELG, Elliot will lead deal structuring, risk assessment, employment transactions, and business operations support. With a background in film, TV writing, and clinical psychology, she offers a unique blend of creative and legal insight. Kerry Smith, founder and managing partner of SELG, praised Elliot’s breadth of experience and noted “her passion for supporting creative visionaries will further elevate the comprehensive services we offer to our clients.”
Warner Music Nashville promoted Katherine Firsching to director of commercial partnerships and Blair Poirier to manager of commercial partnerships. Both will report to Kristen Williams, svp of radio and commercial partnerships. Firsching, who joined WMG in 2020 as an interactive marketing coordinator, later became manager of video strategy. Poirier joined WMG in 2022 as commercial partnerships coordinator after working at Pierce Public Relations. Williams praised Firsching’s ability to build relationships with partners and artists, highlighting her “driving spirit to learn and win,” while commending Poirier’s skills in DSP account management and her ability to manage workloads “while also building fantastic relationships with our premiere DSP accounts.” They can be reached at katherine.firsching@wmg.com and/or blair.poirier@wmg.com.
Berklee appointed Edward J. Lewis III as senior vp of institutional advancement, effective May 15, a role in which he’ll work with Berklee’s top leadership to drive global fundraising and engagement initiatives. Lewis brings over 20 years of experience in higher education and the performing arts, with expertise in fundraising and strategic planning. Previously, Lewis was president and CEO of the Caramoor Center for music and the arts, where he launched its first major gifts program and advanced diversity and inclusion efforts. As vice chancellor for advancement at the University of North Carolina School of the Arts, he led a $75 million fundraising campaign and doubled the school’s endowment. A professional violist, Lewis also held development roles at the University of Maryland. “[Lewis’] extensive leadership and fundraising expertise, coupled with his community-focused approach, will help us realize our ambitious institutional advancement priorities across our campuses,” said president Jim Lucchese.
5B Artist Management announced internal promotions and the launch of its new creative and marketing agency, Pink Motel. Brad Fuhrman has been promoted to senior vp, managing artists like Lamb of God, BABYMETAL and Stone Sour. Lindsey Medina joins as senior manager of business development, bringing experience from Danny Wimmer Presents and Live Nation. In the UK, Adam Foster has been promoted to general manager, working with acts such as Behemoth and Slaughter to Prevail. Pink Motel, led by Stephen Reeder and Audrey Flynn, will focus on music marketing, brand campaigns and digital strategy. The agency already partners with top clients including Sony, BMG and Live Nation, while Reeder and Flynn continue their roles at 5B.
Jay Ahmed has been promoted to head of promotions at London-based promo agency Your Army, where he’ll lead the DJ, UK Radio, international radio and third party playlist departments. Having joined the company seven years ago as a national radio plugger, Ahmed has played a key role in successful campaigns for artists like BICEP, Barry Can’t Swim, Sub Focus, A Little Sound, salute, LF SYSTEM and KILIMANJARO. In his new position, he will oversee all promotional operations, develop global strategies and strengthen ties with media, artist management and label partners. Ahmed expressed gratitude for the opportunity and praised the Your Army team and artist roster, stating his excitement for what lies ahead in his expanded role.
ICYMI:
Armin Zerza
EMPIRE Publishing appointed producer !llmind as senior vp of A&R. Additionally, Al “Butter” McLean was elevated to executive vp of global creative, continuing to co-lead EP with Vinny Kumar … Opry Entertainment Group named Tim Jorgensen as vp of operations for its Austin team, overseeing ACL Live, 3TEN and W Austin … Warner Music Group hired Armin Zerza as evp and chief financial officer, effective May 5, bringing extensive leadership experience from his previous role as CFO of Activision Blizzard. [Keep Reading]
Last Week’s Turntable: Orchard Veteran Breaks Out on His Own
Attorneys for Sean “Diddy” Combs asked a federal judge Thursday (April 17) to exclude the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura from his upcoming sex trafficking trial, arguing it would “unfairly confuse and mislead the jury.”
The headline-grabbing clip, showing Combs striking his then-girlfriend in the hallway of a Los Angeles hotel in 2016, has been “altered, manipulated, sped-up, and edited to be out of sequence,” making it unusable as evidence at his trial next month, his lawyers told the judge.
“The admission of any of these inaccurate, unreliable video files would unfairly confuse and mislead the jury at Mr. Combs’s expense,” the star’s lawyers wrote in the filing. “Their admission would be infinitely more prejudicial than probative.”
In the lead up to the trial, Combs’ lawyers have repeatedly targeted the Cassie tape — likely a core piece of evidence that the government will present to jurors. In one motion, they argued that federal authorities had improperly leaked it to the press to “taint the jury pool.” Last month, they accused CNN of significantly altering the clip and then destroying the original before the network aired it last May.
With Thursday’s filing, Combs’ lawyers finally did what court-watchers were expecting: formally asking the judge to ban the clip from the trial. They cited a report from a forensic video expert that said the clip had been distorted beyond repair, including edits by CNN that Combs’ team says were intentionally made to make the video look worse.
“The manipulation of the videos was specifically designed to inflame the passions of CNN’s viewing audience, and that is what the government is hoping to leverage in this case,” Combs’ attorneys write. “The videos are sped up to make the violence look more violent. The sequence is reordered to leave the viewer with the impression that the woman has been dragged back to a hotel room. And the clips delete footage that provides important context making clear that the events were not as horrific as the government will suggest.”
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.
A trial is currently set for May 5, though Combs’ lawyers are currently seeking to push the trial back by two months. 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 a civil lawsuit — 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.”
Prosecutors and plaintiffs’ attorneys have criticized Combs and his lawyers over their efforts to bar the video from his trial. In one filing, the government said Combs was attacking the clip in an effort to “suppress a damning piece of evidence.” And Douglas Wigdor, Cassie’s attorney, called the star’s arguments “disingenuous” last month: “I am confident that the video fairly and accurately represents what happened, will be admitted into evidence, and that Combs will be held accountable for his depravity.”