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At 5:10 p.m. ET on Thursday evening (May 1), Sara Landry’s agents got the call that would send their next three days into turmoil.
A rep from New York City venue Brooklyn Mirage was on the phone to say that Landry’s show at the club that night was canceled. The sold-out performance was meant to be Mirage’s first concert upon reopening after a months-long closure and extensive remodel, but the venue was forced to nix Landry’s show after building inspectors declined to grant the facility a permit to open.
Less than an hour after delivering this news to Landry’s team, Mirage posted an announcement explaining the situation to its hundreds of thousands of social media followers. The update was especially head-spinning for Landry’s team, given that they’d had dinner with Mirage operators the night prior and no one had mentioned there might be an issue.
“I had been paying very close attention and asking for lots of updates,” Landry tells Billboard of Mirage’s reopening. “Like ‘How are we looking? Is this going to happen?’ The response was, ‘We’re going to open; we have all the permits; everything’s on schedule.’ But when [the cancellation] happened, there was a part of me that was like, ‘Okay, this was a statistical possibility.’”
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When the call came, Landry was in a 2026 planning meeting with her entire team at the WME office in Manhattan. Their meeting space quickly became, as Landry now calls it, “the situation room,” where she, her agents, her publicist and the rest of her team scrambled to find another venue for the DJ and the 6,000 people who were scheduled to see her at the Mirage that same evening. It was a situation they’d repeat the next day when The Mirage announced it also could not open on Friday (May 2), effectively canceling Landry’s second show at the venue. (Additional opening weekend shows by party brand CityFox and South African producer Black Coffee were also cancelled, and Brooklyn Mirage has since announced that its reopening is delayed “indefinitely.”)
“Obviously, opening the Mirage was a big deal for us, especially coming out of such a massive Coachella,” says Tracey Manner, Landry’s publicist and founder of PR agency Sequel. “We had been working on things to make this another moment for her.”
The Mirage was meant to host the New York debut of a large-scale show called Eternalism that the hard techno producer and her team had spent the last year creating, which made its U.S. debut last month at Coachella’s Sahara tent and which by Thursday was set up inside the Mirage for a performance that, as it turned out, was never going to happen.
By the time Manner got the cancellation update and left another meeting to join the team at WME, she says, “Sara had eight agents in the room, everyone on a call with another venue, talking to legal, talking about ticketing with Dice, about how this could all work. WME pulled into one room… and every single person pulled out their own version of expertise.”
“There was never going to be an option where I sat in my hotel room without doing anything, knowing that thousands of people spent money in this economy to buy tickets and fly in,” says Landry.
While Landry’s agents, Bailey Greenwood and Annie Chung, along with other WME agents, including the agency’s head of electronic music Stephanie LaFera, worked the phones, Landry and Manner strategized on messaging. They decided it was important to post videos of Landry explaining the situation, so fans could see and hear her, a move they knew would humanize the situation.
“We talked about getting things across as clearly as possible and not getting stuck in anything about the Mirage,” says Manner. “We were always going to take the high road.”
“The key piece is always being transparent,” says Chung. “In the absence of information, people tend to start creating their own narratives or spinning out, and so it was important for us to update people as we went along and say, ‘This is what we know right now. This is what’s feasible.’ Fans were so receptive to Sara being the face of trying to make something happen.”
Within an hour of getting the news of the Thursday cancellation, Landry posted a video of herself to her social media accounts explaining that she and her team were working on solutions. An hour after that, the WME team had secured the Brooklyn Storehouse for a show that would happen the following day, Friday (May 2). Landry went back on social media and posted another video explaining that Brooklyn Mirage Thursday ticketholders would have their original tickets refunded by Mirage and receive an email with tickets to the Brooklyn Storehouse show.
Not long after, Landry posted another video saying she and her team had also secured Knockdown Center in Queens for a show that night, Thursday (May 1). Anyone, whether they had a Mirage ticket or not, could RSVP for free to this show, with Landry requesting that people who lived in New York skip this Thursday night set and go to the Friday show at Storehouse, to prioritize people who’d traveled to New York for the Thursday event. By this point, it was impossible for the Eternalism production to be moved to either venue, necessitating a much sparer set-up for these shows.
While Landry’s team was reconfiguring her Thursday performance, they also had to prepare for the possibility of Friday’s show cancelling, which it ultimately was. When this Friday cancellation happened, Landry’s team was able to add two more shows at Knockdown, one on Friday night and the other on Saturday afternoon (May 3), to accommodate the roughly 6,000 Mirage ticketholders at the 3,100 capacity Knockdown.
Meanwhile, the team combed through emails to prioritize getting tickets to the Thursday show to people who needed to see it that night, including those who’d traveled to New York and could only stay in the city for one day (this included a couple who’d received Thursday night tickets as a wedding gift). As the WME team was working through the complicated process of getting new tickets sent out through Dice, Manner was responding to comments on social media to help clarify the situation.
“We all split up the tasks and called different people, purely based on everyone’s relationships and who we could probably get the quickest answer from,” says Greenwood. “For example, Knockdown Center did the two shows with Sara last year and have booked her for years, so it was honestly a really great moment for them to have her back, and they were heroes.”
Chung, Greenwood and the team were cognizant, however, of the organization required when relocating thousands of people to a new venue. They note that most city “takeovers” by artists, which find acts playing myriad venues over a couple of days, typically take months of planning.
“When you do a pop-up at that capacity and scope, there’s always the chance that it can do more harm than good in terms of creating chaos and sending people to a venue that can’t withstand the demand,” says Chung. “For us, it was springing into action to figure out a game plan that made it possible for everyone who was planning to see Sara to safely see her.”
Sara Landry at Brooklyn Storehouse
Simon’s Playground
Greenwood also nods to the strength of the local dance music community in having Knockdown Center and Brooklyn Storehouse fully staffed and ready in terms of lighting and sound with just hours’ notice. Ultimately, Landry played the pop-up show at Knockdown Center on Thursday night, the Friday early evening show at Brooklyn Storehouse, then another show later that night at Knockdown Center and another Knockdown Center show on Saturday, performing for 15,000 people altogether over the weekend — a number exceeding the 12,000 she’d been scheduled to play for at Mirage — all of whom were admitted free of charge.
The artists who’d flown in to be her support acts at the Mirage, Amsterdam-based producer Diøn and French artist Shlømo, both also got to play, as did the local support acts who’d been booked on the Mirage bills. The financial elements of the entire weekend are still being worked through by WME and the various venues involved. (Typically, with these types of cancellations, the venue is on the hook for paying 100% of the artist fee.)
Landry adds that “obviously I wanted nothing more than to go through with things at The Mirage, and I know for a fact that the Mirage team wanted nothing more than for that to go ahead. They had so many people on the ground that were working hard and passionately to bring their vision to life. I think that, unfortunately, sometimes the construction gods are not on your side and sometimes the bureaucracy gods are just not on your side. Stuff can always go wrong.”
While New York has yet to see Eternalism, Landry says, “I did give them four crazy underground type sets, so I think they were happy.” (She ultimately DJ-ed for nine hours over the weekend, and when we talk on Tuesday morning, she’s planted in bed, where she’s been since Sunday, intermittently napping, eating artichoke pizza, scrolling TikTok and watching Hacks.)
Greenwood, Chung and Manner all agree the vibe was extra special at the Storehouse and Knockdown shows, with the cheers a bit louder and longer, as people seemed grateful just to be in the room.
“It definitely felt extra special for us,” Greenwood says. “This was really a stress test. Cancellations happen; production stuff happens. This is where our training and expertise are the most important, in how quickly can you pivot.”
Warner Music Group has announced the beta launch of WMG Pulse, a new bespoke platform designed to provide artists and songwriters with helpful insights into their streaming performance, fan engagement and even earnings.
The label said WMG Pulse will consolidate real-time data from various sources into a single view, offering detailed information on streaming, audience, social media and user-generated content (UGC) performance. Additionally, Pulse provides an up-to-date snapshot of an artist’s earnings across royalties, physical sales, sync deals and more.
The platform aims to support artists and songwriters at all stages of their careers, whether they are managing a diverse catalog or striving to achieve their first major hit. Currently, WMG Pulse is in beta testing with over 100 WMG artists and songwriters, who will provide feedback to developers. In the coming months, WMG Pulse will incorporate features such as forecasting, release planning and collaboration tools based on that input from beta testers.
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For now, Pulse will complement WMG’s other analytics tools, one being AMP, which is designed for artists and managers. According to a WMG spokesperson, the in-house created Pulse offers significantly more data and insights than the other tools, although it does incorporate some of the best features from them. As Pulse evolves and adds new functionalities — and exits its Beta phase — it is expected to eventually become the label’s comprehensive locale for all artist analytics needs.
The platform is currently available to a limited group of WMG artists and songwriters and will be widely rolled out later this year.
Ariel Bardin, president of technology at WMG, emphasized the platform’s role in providing greater transparency across the music ecosystem, “including data from every major streaming and social media platform,” adding, “the app offers a seamless, easy to use experience, giving deeper insights into careers and fan bases, with even more sophisticated updates still to come. It’s about empowering artists and songwriters with clarity, and helping them make smarter, data-driven decisions with their teams.”
Other major label platforms offering real-time insights for artists include UMG’s Universal Music Artists and Sony Music’s Real-Time Insights, among others.
Five years ago, fitness companies looked like the next big thing for music rights owners as the onset of the COVID-19 lockdown turned Peloton, the maker of high-tech stationary bicycles and treadmills, into a household name and the leader in a suddenly hot connected fitness market.
Peloton’s founder, John Foley, had created an online version of music-driven, brick-and-mortar studios such as SoulCycle. Unlike the staid strength and cardio products of earlier years, the new breed of bikes and treadmills manufactured by the company were internet-ready and could stream live or pre-recorded workouts. Other startups took notice, with competitors like Tonal and Hydrow vying for market share.
“There were fitness companies who saw what Peloton was doing, which was really putting music at the center of their workouts,” says Vickie Nauman, a licensing expert and founder/CEO of CrossBorderWorks. Instructors, some of whom would become small-time celebrities, used music to create identities and build communities. “This was the original founder’s vision,” she says.
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Flush with investment capital, fitness companies followed Peloton into expensive licensing agreements with rights holders to infuse music into their at-home products. Royalties from connected fitness companies, as well as social media and other new revenue streams, went from about 3% of the average catalog’s revenue in 2021 to “something like 7%” in 2023, according to Jake Devries, a director in Citrin Cooperman’s music and entertainment valuation services practice.
As it turned out, 2020 and 2021 were peak at-home fitness. The financial impact of the post-pandemic fitness bubble was seen in Universal Music Group’s results for the fourth quarter of 2024: A decline in its fitness business accounted for a nearly one percentage-point decline in its subscription growth rate, equal to approximately $12.5 million. And during its most recent earnings call on April 29, the company noted that fitness revenue was flat in the first quarter.
After pandemic restrictions ended, the stay-at-home fitness business ran into competition from gyms and fitness studios as people returned to public life. As a result, according to numerous people who spoke with Billboard, connected fitness companies had less cash to put into music licensing and, realizing they didn’t need massive catalogs and didn’t have the expertise to properly manage the rights and issue royalty payments, looked for more affordable, less arduous options.
Peloton, founded in 2012, was a trailblazer in at-home fitness. Its studio-quality bikes, which currently cost between $1,445 and $2,495, are outfitted with touchscreens that stream live and on-demand content for an additional $44 per month. Music is a focal point for the online classes, just as brick-and-mortar studios like SoulCycle incorporate popular songs into their workouts. Despite the high prices of Peloton’s bikes, online content has a greater financial impact: In its latest fiscal year, subscriptions accounted for 63% of the company’s $2.7 billion of revenue and 96% of its $1.2 billion of gross profit.
Music enhances online workouts in the same way it makes going to a fitness studio or a gym more enjoyable. But building cycle workouts around setlists of specific songs isn’t straightforward. Unlike brick-and-mortar locations that require only blanket licenses from performance rights organizations such as ASCAP and BMI, Peloton required more expensive direct licenses to incorporate music into its streaming content. After being sued by music publishers for copyright infringement in 2019, Peloton settled the following year and began negotiating the proper licenses.
Such a license had never been done for a fitness company, so major labels and publishers modeled custom licenses for Peloton based on their deals with Spotify and other on-demand music platforms, according to a licensing executive familiar with the negotiations. The agreements called for Peloton to pay rights holders based on a monthly per-subscriber fee, and the pool of royalties would then be proportionally divided based on usage, according to this person.
Peloton had built a name for itself in the fitness community by 2019, but it was supercharged the following year by the COVID-19 pandemic. As people stayed away from public places such as gyms and fitness studios, Peloton’s revenue jumped from $384 million in fiscal 2019 to $1.45 billion two years later, and its share price climbed from $27 following its September 2019 initial public offering to $171 in January 2021.
The enthusiasm for at-home fitness also benefited Peloton’s competitors. Hydrow, which offers rowing machines with Peloton-like streaming content, raised $25 million in June 2020 and another $55 million in March 2022. Tonal, a connected strength training platform, had raised a total of $90 million by 2019, before the pandemic piqued interest, then raised $110 million in September 2020 and $380 million in two funding rounds in 2021 and 2023 — the latter at a lower valuation.
As other connected fitness companies quickly sought music licenses to replicate Peloton’s success, rights holders offered them a version of the Peloton license, which provided them rights to large catalogs. (Peloton, the lone publicly traded company of the bunch, revealed in its 2021 annual report that it had a catalog of 2.6 million tracks.) “Once there was a model, it was always going to be easier to replicate a model you think is working than create a new licensing deal,” says the licensing executive.
But these fitness startups, desperate to corner share in a fast-growing market, initially made some missteps. “Because it was such a race, I think that many online fitness companies saw this as an existential opportunity, and they did not take the time to investigate what they were getting into,” says Nauman. “And so, they licensed all of this music, and that sent a signal to rights holders all over the world that fitness was going to be an enormous new line of business.”
The Peloton-style licenses weren’t cheap. Record labels and publishers were “aggressive with the rates they were asking for a lot of the services,” says an attorney familiar with the terms of the licensing contracts. An app-based product would likely pay 30% of revenue to music rights holders, according to this person, while hardware-based products with higher overhead and costs would pay approximately 16% of revenue. “That’s a pretty big share of revenue for a company that is not a music company,” the attorney adds.
The Peloton-style sync licenses also came with more complexity than fitness companies could handle. Managing a music catalog requires technology and know-how that fitness companies don’t have. They needed help matching compositions to sound recordings to ensure licenses were acquired from all rights holders, and the reporting required for PROs and making direct payments to record labels and publishers were outside of the fitness companies’ expertise.
As fitness companies dealt with stagnant growth, they laid off staff and tightened their budgets. From February 2022 to May 2024, founder/CEOs at Peloton, Tonal and Hydrow were forced out. When Peloton replaced Foley with former Spotify CFO Barry McCarthy in February 2022 and announced plans to lay off 20% of its corporate staff, its share price was trading under $30, down more than 82% from its high mark just 13 months earlier. Tonal and Hydrow each laid off about 35% of their workforces in 2022, and Hydrow further thinned its staff in 2023.
Sync licenses are crucial to Peloton because classes are often built around playlists, and music is crucial to the indoor cycling experience. But not every connected fitness product needs to integrate music in a way that requires a more expensive, Peloton-style license. For many other companies, a non-interactive, DMCA-compliant radio service with pre-cleared music is more than adequate.
Constrained by tighter budgets, some connected fitness companies started looking for alternatives to their original licenses. Today’s connected fitness CEOs tend to be most concerned about the cost and complexity of music licensing and the likelihood of being sued, says Jeff Yasuda, founder/CEO of Feed.fm, a provider of licensed music to connected fitness companies such as Hydrow, Tonal, Future and Ergatta. Being able to use popular music in their apps isn’t a priority.
“For a fitness company, your job is to make the best jumping jack app on the planet,” says Yasuda. Making a mistake handling music rights would put a company in jeopardy of facing lawsuits brought by music rights holders. “It’s just not worth the risk,” he says.
Feed.fm assures clients that the rights are compatible with various laws in different countries. It provides pre-cleared catalogs from Sony Music, Warner Music Group, Merlin, Insomniac Music Group and A Train Entertainment, and it works with record labels to create thematic stations, including one curated by CYRIL, a recording artist for Warner-owned Spinnin’ Records, and a Brat-inspired station featuring Charlie xcx, Dua Lipa, Chappell Roan and other artists that represent the brat summer of 2024. A rights holder itself, Feed.fm has signed 40 to 50 artists, which its vp of music affairs, Bryn Boughton, says gives it greater flexibility in licensing.
Outsourcing the licensing ultimately saves fitness companies money, says Con Raso, co-founder/managing director of Australia-based Tuned Global. Raso’s pitch to fitness companies is to invest money in marketing and let companies like Tuned Global handle the technology. “We don’t think, unless you’re doing it on a massive scale, you’re going to save money,” he says. Raso estimates that Tuned Global can remove 70% of clients’ costs versus licensing music and managing rights themselves.
Beyond traditional fitness apps, there’s big potential for licensing ambient or mood music for a new wave of mental health-focused apps. In the last six months, Raso has seen an uptick in demand for licensed music from companies more broadly associated with health and medical care. Consumers have a wide choice of apps for yoga, meditation, mindfulness and sleeping that incorporate music. Led by companies such as Calm, the market for spiritual wellness apps hit $2.16 billion in 2024, according to Researchandmarkets.com, and will grow nearly 15% annually to $4.84 billion by 2030. Record labels have already made forays into this space. Universal Music Group, for example, formed a partnership in 2021 with MedRhythms, which uses software and music to restore functions lost to neurological disease or injury.
The COVID-era boom of connected fitness products, though, seems all but over, having failed to live up to lofty expectations. Chalk it up to the chaotic nature of the pandemic and fast-moving startups battling for market share, says Nauman. “I don’t think it’s anybody’s fault,” she says. “I think it was such a lightning-in-a-bottle time that they were in a race to get to market as fast as they possibly could.”
Additional reporting by Liz Dilts Marshall.
Illenium has signed with Republic Records. The move comes after the electronic producer’s tenure at Warner Records, where he released two albums dating back to 2021. Prior to that, he was signed to UMG and the indie labels Seeking Blue and Kasaya Records.
“This is a completely new chapter for me,” the artist born Nick Miller tells Billboard of signing with Republic. “When I had my meeting with Republic, I just felt a family sort of love. I want people working my music that are as passionate as I am and truly have my best interest in mind. Republic absolutely has that for me.”
“I just felt an energy at Republic that was really inspiring,” he continues. “They’re also the best at what they do, so it’s hard to even consider anywhere else.”
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Illenium says that within the next six months, he’ll reveal information about a new project that he calls “my most ambitious, without a doubt.” He doesn’t say whether or not this project is a new album, but notes that “I’m working every day, but don’t have an exact ETA yet. But I’m moving at light speed.”
The last Illenium album was a 2023 self-titled project and an attendant remix album. Since then, the Colorado-based producer has released a handful of singles and remixes. His forthcoming work will include what he calls “a sick drum n bass style song” with Kid Kudi. He also says that “Ryan Tedder and I wrote something beautiful with Amy Allen and Lostboy,” and there additionally is “a bunch of other stuff that’s awesome but not ready to share yet.” On Tuesday (May 6), Illenium and Hayla also teased a new collaboration they say is “coming soon.”
“We are thrilled to welcome Illenium and his expert team to the Republic family,” Glenn Mendlinger, the evp of Republic Records and president of IMPERIAL & Casablanca Records tells Billboard. “The world he has created and the fandom he has built over the last decade is nothing short of remarkable. Nick is a true pioneer in the electronic music landscape and has carved out a lane that is distinctly Illenium. His anthemic, emotional music and signature production has touched people globally and his landmark live shows have created incredible communal moments for his fans. Together our ambitions are grand and the team is already setting up for a historic year ahead.”
In addition to his recorded music, Illenium has carved out a wildly successful touring career, becoming one of the few electronic artists able to play and sell out stadiums and arenas. His Trilogy shows have taken place at a handful of stadiums across the U.S., with a 2023 show in Denver grossing $3.9 million and selling 47,000 tickets, according to numbers reported to Billboard Boxscore.
With the Music Business Association getting ready to hold its annual conference for the first time in Atlanta after nearly 10 years in Nashville, some longtime attendees thought the move might diminish turnout. But the organization’s president, Portia Sabin, says the event (May 12-15) is on track to match last year’s total attendance of 2,200 industry executives. More importantly, she adds that sponsorships for the convention are outpacing last year’s numbers.
That’s a crucial factor, because this conference — and others the organization hosts throughout the year — provides about 60% of Music Biz’s revenue, according to its most recently available 990 form, which nonprofit organizations are required to file annually with the IRS. For the year ended Sept. 30, 2023, $1.85 million of Music Biz’s $3.07 million in revenue came from its programs, while another $1.214 million came from membership fees, contributions, and grants. That revenue supports the organization’s staff, which consists of 10 employees, as well as covers the expenses of its operations, including its Nashville office and events.
Since taking the helm in 2019, Sabin has led the organization’s evolution from a trade group focused on music merchandisers into one that serves the broader music business. As part of that mission, she has helped the organization grow into an international force, with executives from 168 overseas music companies coming to Atlanta for this year’s conference. She has also worked to diversify the organization, increasing the presence of women and minorities on its board of directors, which has been expanded to 25 members to ensure Music Biz represents all sectors of the industry. “We’re always trying to be inclusive here,” she says.
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In preparation for this year’s event, Billboard caught up with Sabin to discuss what attendees can expect.
So are you and the Music Biz Assn. staff ready to rock and roll?
We are so ready to rock and roll!
How is the conference shaping up so far?
It’s shaping up amazingly. Our sponsorships are off the charts—way over what we budgeted for. Our hotel has been sold out for months, and all the overflow hotels are sold out too. So it’s shaping up great.
Where does attendance stand compared to last year?
We’re on track — about the same as last year [when 2,200 attended]. Attendance at this conference is always a little unpredictable because people book their hotels really early, but many wait until after South by Southwest to register. It’s just how it is.
Why did you decide to move the conference to Atlanta after nearly a decade in Nashville?
Multiple reasons. One was that I wanted to return to the older model where we moved around to great music cities, like Atlanta. The music industry is in many great cities in America, it’s not all just Los Angeles, New York and Nashville. Another reason was financial. Nashville has become increasingly expensive, and we didn’t want to raise conference fees or see hotel room prices skyrocket. So, we really wanted to keep costs down for our members and for our attendees and keep make sure the conference is reasonably priced.
What’s the makeup of this year’s attendees?
When I was hired in 2019, the board expressed that they wanted Music Biz to become a global organization that reflects the fact that the music industry is global. I think we’re really achieving that. A lot of people from overseas have gotten excited about the conference—they’ve seen it as a value add to their business. This year we’ve got 256 attendees from 168 companies coming from overseas.
Is the Trump-era tariff chaos affecting attendance?
There may be a person here or there who feels like they are not willing to travel at this time. But, we saw a similar thing the first year back after the pandemic, right? Then some people said, ‘Listen, I just can’t travel, and just I don’t feel safe.’ I feel like there’s always something going on where some people won’t attend for one reason or another.
Beyond the international presence, how else has the conference evolved over the last five years?
Our fastest-growing membership sector is tech, which I think reflects what’s going on in the industry as a whole. And it’s different now. Ten or 15 years ago, tech companies entered music with no real understanding — they were like, ‘I’ve got a cool idea for an app.’ And it was just dumb stuff that was not needed. Now, they’re more informed, trying to solve real problems. We’re seeing real solutions with real benefits. But now [the tech] people got more with the program, and they are like ‘let’s learn about the music industry and then figure out what problems need to be solved.’ So we’re seeing people coming into the industry with real solutions that give benefits to various players in the industry. Our tech sector has grown a lot.
What other changes have you seen?
Since I’ve been here, we have really worked hard to be more inclusive. So we have more publishing members now. We have people from the live sector—ticketing and touring. It’s become abundantly clear that the music industry has to work together here. We can’t just silo ourselves like maybe once we thought we could, 25 or 30 years ago.
From a publishing perspective, the CMOs (collective management organizations) seem to be getting a lot of attention this year.
Our programming is totally crowd-sourced, so we open the call for proposals, and then we just work through the proposals. The interest in publishing at the conference is huge, and we got a lot of proposals for CMOs programming this year, and a lot of it was coming from European members. So we have some really great, high level attendance from those folks. People were very excited about publishing and we even have a dedicated publishing track this year that’s sponsored by EMPIRE.
You mentioned a growing tech presence. Does that have its own track too?
One of the new themes is “new tech trends” and its programming that focuses on the new stuff that is happening in tech that people can learn from. For instance, one panel I’m really excited about is “From Piracy to Profit: What Adult Entertainment’s Digital Revolution Can Teach Us About the Future of Music.” This panel sounds really futuristic but it’s also about learning from other sectors in digital entertainment.
Will there be programming for DIY artists?
Yes, absolutely. We offer a special ticket price of $49 for artist and we give them a full day of programming on Monday (May 12) where they can get information on making and running a business and it’s topped off with the Spotify party at night.We also do the Roadshow were we visit 3-7 cities a year. We just did one last month in Toronto, as our first international show.
What other programming highlights can you share?
We have a new track called Human of Music, focused on workforce well-being. Another favorite is Workflow Workshop, which focuses on what we do and how we can do it better. And we are still doing the “Let’s Talk Physical” track, which we also do quarterly through online webinars. At the conference it will be on Monday. And there is always the Record Store Day Town Hall [on Wednesday, May 14]. We love the retail sector; it is very near and dear to my heart. We try to support that sector as much as possible.
Is there an AI track this year? What about metadata?
Last year we did a track on AI because it is just so ubiquitous. This year we said, let’s just intersperse it through the programming. So in every track there is at least one panel that’s got something to do with AI, because that was just what was submitted when we made the call out for programming. As for the Metadata summit, because there are so many other pieces, it’s become like the Metadata Technology and Rights Summit; and that’s on Wednesday morning.
You crowd-source your panel programming, but how do you evaluate the success of sessions afterward?
One thing I want to say about the surveys is people would sometimes say the panelists were great but the moderator was boring. So over the last two years, we have been offering moderator training pre-conference, just to improve their skills. We did it in April with a professional moderator trainer, and it’s free for a moderator on the program.
Having attended for years, I know the hotel layout really matters. How does this year’s venue stack up?
This year’s hotel, in my opinion, is more conducive for the conference than the JW Marriott in Nashville — because it’s just really straightforward. You walk in and there’s a big lobby, then you go up the escalator, and there’s a big atrium, and that’s the central hub of where everything will be, with the programming panel rooms branching off from there. That central hub, sponsored by Downtown, will have seating and tables; it’s the sort of place where everyone can hang out. Downtown will have a DJ there at different times of the day, which is awesome.
Will there be live music?
Yes! Every evening event features music. The Spotify-sponsored welcome bash on Monday night will have live performances. The Wednesday night Bizzy Awards, sponsored by Warner Music Group, will also feature live artists. Performing artists include Kayla Park and Yami Sadie.
Will there be a trade show floor?
No, but there will be companies displaying what they do in spaces around the central hub. We call that “activations” and they are all filled.
How are you handling the private meetings that are a big part of the conference?
The private meetings will be happening. All the meeting rooms sell out quickly. We know that is a big thing for people so we structure our programming and try to build it so there is a block open for lunch and other meetings. And while we love the panels, there are other ways for people to interact. So this year, we have a bunch of round tables. We have sync round tables. We have women’s leadership round tables. We’ve got the Startup Lab, where startups can meet with [potential] investors and with people who have been in the industry for a while who can act as advisors for startups.
Now the big question: where’s the bar?
There are two bars in the lobby—one is a standard hotel bar, and the other is a sunken bar sponsored by TuneCore.
Last question. Last year, you said the Atlanta conference would feel like summer camp. Is that happening?
Well, I bought some footie pajamas so I can walk around the hotel in them. And yes, it will feel really summer campy because every floor is going to be filled with just our people so it will be a lot of fun.
Smokey Robinson and his wife have been hit with an explosive new lawsuit that seeks $50 million in damages over claims that the legendary Motown singer repeatedly raped four housekeepers over nearly two decades.
In the suit, filed on Tuesday (May 6) in Los Angeles County Superior Court, four anonymous women say William “Smokey” Robinson Jr. had a habit of forcing housekeepers to have sex with him in the bedroom of his residence, located in the Chatsworth neighborhood of Los Angeles, between 2007 and 2024.
“Plaintiffs did not consent to defendant Smokey Robinson’s sexual contact or touching,” wrote John W. Harris, an attorney representing the four housekeepers. “Plaintiffs explicitly told defendant Robinson on numerous occasions that they were not interested in his advances and objected to his forceful, physical, sexual and harmful conduct.”
The four women — called Jane Doe 1, Jane Doe 2, Jane Doe 3 and Jane Doe 4 in the lawsuit — claim Robinson followed a consistent pattern of assault over the years. The complaint alleges that the 85-year-old R&B singer and record executive would regularly get housekeepers alone in his blue bedroom wearing only his underwear, put a towel down on the bed, and force them to have oral and vaginal sex without a condom.
Jane Doe 1 says Robinson assaulted her in this manner at least seven times while she worked for him between 2023 and 2024. Jane Doe 2 claims she was raped at least 23 times in Robinson’s bedroom, as well as in the house’s laundry room and garage, during her employment with him between 2014 and 2020.
Jane Doe 3, who says she worked as Robinson’s housekeeper from 2012 to 2024, alleges she was assaulted at least 20 times. Jane Doe 4 does not specify how many times she was allegedly raped but says Robinson “would often create a situation” to get her alone and abuse her between 2007 and 2024.
Each of the four women claim they did not report Robinson’s conduct to law enforcement “due to her fear of losing her livelihood, familial reprisal, public embarrassment, shame and humiliation to her and her family, the possible adverse effect on her immigration status, as well as being threatened and intimidated by defendant Smokey Robinson’s well-recognized celebrity status and his influential friends and associates.”
The housekeepers say Robinson’s wife, Frances, shares the blame for these assaults. According to the plaintiffs, Frances Robinson did nothing to protect them, even though she knew her husband had a history of sexual misconduct and that he’d previously struck settlements with alleged assault victims.
The women say Frances also created a hostile work environment by “regularly screaming” and using racial slurs, and that they were paid below minimum wage and did not receive overtime or legally-mandated work breaks.
“Despite having full knowledge of defendant Smokey Robinson’s conduct, defendant Frances Robinson would further perpetuate hostilities towards plaintiffs instead of preventing further harassment and assaults,” writes the housekeepers’ lawyer. “Instead, defendant Frances Robinson, throughout plaintiffs’ employment, berated plaintiffs with derogatory, racially-charged epithets, assign[ed] additional arduous tasks, and forbid plaintiffs from exercising their rights to meals and rest periods.”
The lawsuit brings a total of 16 claims, including sexual battery, assault, false imprisonment, gender violence and negligence. The four housekeepers are seeking at least $50 million in damages from Smokey and Frances for economic, emotional and physical harm.
Representatives for Smokey Robinson did not immediately return requests for comment on Tuesday.
Blue Note Jazz Club has confirmed that plans to open a new venue in London, England will proceed following the granting of a late license by the local council. The 350-capacity venue will be the first Blue Note Jazz Club to be established in the U.K. and is slated for an early 2026 opening.
The news follows reports of opposition by the Metropolitan Police Service and local residents. In February a Licensing Sub-Committee Report from the City of Westminster outlined a number of objections from the local police enforcement, who objected to the venue’s opening on the grounds it would undermine the licensing objective of “prevention of crime and disorder”.
The move was criticised by a number of local musicians and industry figures, with claims that the council was stifling the capital’s nightlife scene. The venue was initially granted a license that would see the club close at 11:30 p.m., but Steven Bensusan – president of Blue Note Entertainment Group and son of the original Blue Note Cafe founder Danny Bensusan – told Sky News that the opening of its planned European flagship venue may not be viable without a late license. “If they’re not giving us a late license, I can’t imagine how they would be supportive of other smaller venues, which are important for the ecosystem in general.”
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However the Westminster City Council has since reversed its opposition and said that the “venue management have engaged extensively with local people to improve their application and address the concerns that were raised by the police.”
The venue will be based in the basement of the St Martins Lane hotel in Covent Garden in central London. The license will allow the club to open until 1 a.m. on Monday to Saturday, to midnight on Sundays.
The Blue Note Jazz Club will host two performance spaces: a main room with 250 person capacity, alongside a secondary 100 person capacity space. The venue will host a full-service kitchen and beverage menu and will be open for dinner throughout the week.
The new venue will continue the expansion of Blue Note Jazz Clubs internationally. The original club in New York City was opened in 1981, and new venues have since opened in Milan, Beijing, Shanghai, Tokyo, Rio de Janeiro and São Paulo. Stevie Wonder, Tony Bennett, Ezra Collective and more have all performed at the club and its sister institutions.
Steven Bensusan, president of Blue Note Entertainment Group said in a statement, “We’re excited to be coming to London and grateful to Westminster Council for recognising what Blue Note can bring to the city’s nightlife. As we prepare to open in early 2026, we’re looking forward to bringing world-class jazz and a deep cultural legacy to one of the greatest music cities in the world.”
Jury selection began at Diddy’s sex trafficking and racketeering trial on Monday (May 4), and some celebrities like Kid Cudi and actor Michael B. Jordan were mentioned during the selection process. Explore See latest videos, charts and news See latest videos, charts and news According to CNN, the Sinners actor won’t be called to testify […]
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Prosecutors delete Lil Durk’s lyrics from his murder-for-hire case, jury selection begins in Diddy’s sex-trafficking trial, Led Zeppelin’s Jimmy Page is sued over a decades-old credits dispute and much more.
THE BIG STORY: Rap On Trial — Or Not?
When federal prosecutors indicted Lil Durk on murder-for-hire charges last year, they quoted from one of his songs, claiming the lyrics were a direct reference to the alleged shooting and evidence of his guilt.
That was a controversial choice. The use of rap music as evidence in criminal cases has drawn pushback in recent years, as critics argue it threatens free speech and can sway juries by tapping into racial biases. Some states have moved to restrict the practice, but many have not — and there are no such rules in federal prosecutions.
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In Durk’s case, his lawyers strongly objected to the use of his music, arguing the song in question was written and recorded months before the shooting even took place. They called the lyric allegations “false evidence” that had been unfairly used to indict him and to deny him pre-trial release. In a public statement, Durk’s family said he had been the latest rapper to be “criminalized for their creativity.”
Prosecutors initially defended the move, arguing that Durk had “repeatedly used his pulpit as a voice of violence.” But in an updated version of the indictment released last week, they backed down — removing all reference to his lyrics and instead focusing on other allegations tying him to the shooting.
The case against Durk will continue — in a separate filing, the feds stressed that the new indictment still contains “significant allegations that show defendant’s alleged role in the execution-style murder” — but it will do so without his lyrics.
Other top stories this week…
DIDDY TRIAL, EXPLAINED – Jury selection is officially underway in the sex trafficking trial of Sean “Diddy” Combs, ahead of opening statements next week. To get you up to speed before the trial gets underway, I put together an exhaustive explainer on everything you need to know about the Diddy trial — from the exact charges he’s facing, to key players in the courtroom, to the Cassie Ventura tape and much more.
AIN’T OVER YET – A federal appeals court revived a lawsuit claiming Sam Smith and Normani stole key elements of their 2019 hit “Dancing With a Stranger” from an earlier track, ruling that a judge prematurely dismissed the case and should have sent it to a jury. That’s a worrying ruling for any artist hit with a song-theft lawsuit; if such disputes must be litigated all the way to trial to be decided, they become dramatically more expensive.
WHOLE LOTTA LITIGATION – Led Zeppelin‘s Jimmy Page was hit with a new lawsuit over the credits to “Dazed and Confused,” reviving a decades-old dispute over the iconic track. Jake Holmes has claimed for years that he actually wrote the song, and he reached a legal settlement with Page back in 2012 to resolve those allegations. But in the new case, Holmes says Page is effectively ignoring the settlement and has released archival recordings that infringe Holmes’ copyrights.
SCENT SETTLEMENT – Revlon and Elizabeth Arden have fully settled a corporate espionage lawsuit, filed last year, that claimed several former employees “sabotaged” the companies’ decades-old fragrance partnership with Britney Spears and took the business to an upstart rival called Give Back Beauty. The settlements clear the way for Give Back Beauty to formally take over Britney’s lucrative perfume brand, which reportedly earns tens of millions per year.
JAY V. BUZBEE GOES ON – Jay-Z filed an unusual new allegation in his legal war with attorney Tony Buzbee, accusing the lawyer of ordering employees at his law firm to edit Wikipedia pages in an effort to damage the rapper’s reputation. The new claim was the latest salvo in a bitter fight that started when Buzbee filed a shocking lawsuit accusing Jay-Z of raping an unnamed girl decades ago.
Content creator and streamer N3ON has signed a record deal with EMPIRE, the company tells Billboard. Through the agreement, which EMPIRE calls the first of its kind with a streamer, the label will release a collaborative project from N3ON and his network of creatives. Jake Moritt at Proper Loud, a management company that specializes in […]