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AEG Presents is the latest music-related company to announce a move to the Nashville mixed-use district Nashville Yards, which is being co-developed by AEG and Southwest Value Partners.
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AEG Presents will relocate its regional office to Nashville Yards in 2025. The company’s new location will be comprised of the company’s regional office, members of its global touring division and the Nashville outpost of AEG Presents partner Messina Touring Group. Combined, these three entities oversee everything from bookings at intimate clubs to stadium tour dates, having promoted tours for artists including Kelsea Ballerini, Zach Bryan, Kenny Chesney, Eric Church and more.
AEG will also book and operate the upcoming 4,500-capacity music venue that’s slated to open in Nashville Yards in 2025.
Rick Mueller, president of AEG Presents North America, said in a statement: “We’ve been hyper-focused on expanding our presence in Nashville for a few years now. It’s a big opportunity for us to be consolidating all our operations under one roof at what’s soon to be one of the most popular destinations in the city, and to be booking and operating a new, state-of-the-art music venue on-site makes it that much more exciting.”
“We have an exceptional partnership with AEG, and together we believe we are constructing one of the most uniquely attractive music, retail and creative workplace environments in the world,” added Cary Mack, managing partner of Southwest Value Partners. “Independent of that, AEG Presents is a preeminent entertainment brand and operator of world class entertainment venues, and we are very excited to have their extended presence at Nashville Yards.”
In November, booking agency CAA announced that its Nashville office will also relocate to Nashville Yards in 2025. Upon completion, the 19-acre mixed-used development will feature pedestrian pathways, open green spaces, plazas and Class A+ office, residential, hospitality, entertainment, retail and culinary offerings.
Nonprofit organization Live Music Society is continuing its efforts to support small venues and listening rooms across the country. Today, the organization announced more than $200,000 in additional grants distributed to 31 independent venues, which brings its annual granted funds to over $800,000 so far.
The so-called Toolbox grants are designed for uses including regulatory compliance, enhanced accessibility and upgrading crucial systems such as ticketing and sales. This month’s recipients include xBk in Des Moines, Iowa, which will be installing a portable wheelchair ramp and ADA-compliant stage to better serve artists with disabilities; and The Hideout in Chicago, which will be hiring a social media consultant to improve its understanding of audience metrics and social media management systems and marketing practices. Another recipient, Moe’s Alley in Santa Cruz, Calif., will be installing a large flatscreen behind the stage to serve bands with visual elements in a space that cannot accommodate projection.
“These grants go beyond just supporting performance spaces; they foster a vibrant community where venues exchange knowledge, evolve together, and weave a richer cultural tapestry for our nation,” said Live Music Society founder Pete Muller in a release. “This expansion isn’t just about financial assistance; it’s about helping to create an ecosystem where artists and audiences flourish hand in hand.”
Additional venues assisted by this month’s grants include Alex’s Bar, Roots Music Project, Jalopy Theatre, One Longfellow Square, 20 Front Street, Beat Kitchen, Belltown Yacht Club, Cafe Colonial, Casbah, Drkmttr, Floyd Country Store, Hoosier Dome, La Peña Cultural Center, Moe’s Alley, Natalie’s Grandview, Next Stage Arts, New Deal Café, No Class, Opolis, PAUSA art house, Portland House of Music, Rambling House Music Bar, Real Art Tacoma, ShapeShifter Lab, The Egremont Barn, The Goodfoot, The Hideout, The Lost Church, The Parlor Room and The Venue.
“Small venues are the heartbeat of musical growth — they’re where artists learn, make mistakes, and connect with communities,” added Live Music Society board member and singer/activist Nona Hendryx. “Our commitment lies in supporting these venues and understanding that they’re vital launchpads for artists, where songs transform from garage or bedroom creations to stage sensations. Without them, stepping stones in the artist’s journey are missing.”
Live Music Society has continued to expand its programming since its inception in 2020 in response to mass gathering bans that impacted music venues during the height of the COVID-19 pandemic. Earlier in 2023, it provided $100,000 in Toolbox grants and an additional $500,000 for its Music in Action initiative, which helps venues develop and implement creative ideas to engage their communities, expand audiences and generate new revenue sources.
Daniel McCartney and Brandon Frankel have joined 33 & West, the L.A.-based booking agency founded in 2018 by JJ Cassiere, Matt Pike and Dan Rozenblum. McCartney, a former agent at UTA, will join 33 & West as an agent with his current roster, while Frankel will serve as marketing and branding lead. Both are scheduled to start on Jan. 8.
A mainstay in the music industry, McCartney brings a decade of experience from his time at UTA, having worked with acts such as Young Thug, Demi Lovato, Mod Sun, Burna Boy, and grandson. Prior to UTA, he spent seven years touring with his band. Frankel brings nearly 20 years of music marketing and touring experience to 33 & West following past roles at Atlantic Records, CAA and, most recently, The Windish Agency, where he worked in brand partnerships and marketing for renowned artists such as Diplo and alt-J prior to its acquisition by Paradigm.
“I’ve long admired what 33 & West have built and was so impressed with their success and growth in only a few years,” said McCartney. “For an independent agency to do full-service (music, touring, film, TV, comedy), it allows us to compete at a high level, which is something important that our clients need.”
In his new role, Frankel will lead 33 & West’s tour marketing and branding division, strategizing to propel the agency’s current roster — which includes Santa Fe Klan, Dance Gavin Dance and Devo — further along in their careers.
“I couldn’t be more excited to join 33 & West, an agency so deeply committed to the long-term visions of their clients,” said Frankel. “I look forward to collaborating with our stellar team to create opportunities that spotlight artists at key career moments.”
The new hires is part of a rapid expansion at 33 & West as of late. The company’s agent roster also includes Shan Patrick, Ian Fintak, Russell Brantley and Peter DeSantis, who serves as head of talent and music crossover.
“Now more than ever, managers and artists are seeing that they don’t need to be at one of the big three letter companies to be successful,” said Cassiere. “We provide a service for artists to represent them properly — we’re not trying to be a big multimedia company or stray away from the real goal which is artist representation.”
Cassiere added, “Being an independent agency, and now being able to provide the services that the other companies do provide, allows us to deploy a very hands-on white glove approach though a very boutique experience. And we know our clients want that type of experience and want to grow their careers with us.”
Former Grammys CEO Mike Greene and the Recording Academy are facing a lawsuit alleging Greene sexually assaulted an Academy employee in the 1990s.
In a complaint filed Wednesday (Dec. 6) in Los Angeles court, Terri McIntyre claims that during her tenure at the Academy from 1994 to 1996, she was “forced to endure pervasive, incessant and routine sexual harassment and/or sexual assault” from Greene, who oversaw the Grammys ceremony for 14 years.
The lawsuit accuses Greene of sexual assault and battery and accuses the Academy itself of negligence and other forms of wrongdoing for allegedly enabling the abuse, including by trying to “actively cover-up, conceal and/or repeatedly excuse Greene’s sexual misconduct.”
Greene did not immediately return a request for comment. In a statement, the Academy said: “In light of pending litigation, the Academy declines to comment on these allegations, which occurred nearly 30 years ago. Today’s Recording Academy has a zero tolerance policy when it comes to sexual misconduct and we will remain steadfast in that commitment.”
The new case comes just weeks after another former Recording Academy CEO, Neil Portnow, was sued by an unnamed female musician who says he drugged and sexually assaulted her in 2018. That case, which also named the Academy as a defendant, was filed by the same law firm as Wednesday’s new suit.
Greene, who transformed the Grammy Awards from an industry ritual into a global television event, abruptly resigned from the Academy in 2002 amid accusations of sexual harassment. Though an internal Academy investigation cleared him of wrongdoing and he was paid an $8 million severance, Greene had long been dogged by criticism that ran the organization “almost as a personal fiefdom.”
In Wednesday’s lawsuit, McIntyre says that shortly after starting her “dream job” as the Academy’s Los Angeles chapter executive director in 1994, Greene began to sexually harass her — including by allegedly telling her directly that “he expected plaintiff to perform sex acts for defendant Greene in order to remain employed and progress at defendant Academy.”
“Defendant Greene repeatedly told plaintiff that she needed to ‘give some head to get ahead’,” her lawyers write in the complaint.
According to the lawsuit, harassment then progressed into assault. McIntyre claims that after she drank champagne with Greene and others in his hotel room during a May 1994 work trip to Hawaii, she “quickly began to feel unwell and began to lose control of her physical movements.” She says she then awoke nude in his bed the next morning.
“Plaintiff knew what defendant had done to her,” her lawyers write. “Plaintiff felt wetness between her legs and smelled of intercourse.”
McIntyre says she did not report the incident because Greene “held the power to effectively block her from any further positions in the music industry.” But she claims that he continued to subject her to harassment and unwanted touching, including “groping her buttocks” and breasts.
In another incident, McIntyre says Greene brought her to his home under the guise of a work meeting but then forced her to perform oral sex on him, including by grabbing her by the back of the head and forcing her to continue as she “tried to get away.”
When she finally reported Greene’s behavior to her supervisor, McIntyre says she was told that she “should just find a way to get along” with Green and that if she could not do so, she “would not be successful, or employed, at defendant Academy for very long.”
The lawsuit says McIntyre later resigned and was forced to quit the music industry entirely, moving to her hometown and applying for entry-level jobs. “Plaintiff came to understand that her hopes, dreams, and aspirations to work in the music industry were defunct and unreachable,” her lawyers say, after she spent two years “being prey to a predator that defendant Academy could have stopped.”
McIntyre’s case was filed under California’s AB 2777, a state law that created a temporary window for survivors of sexual assault to file lawsuits that would normally be barred by the statute of limitations. The law, which doesn’t expire until 2026, is similar to New York’s Adult Survivors Act, which led to a flurry of sexual abuse cases in that state over the past month.
Enrique Iglesias and Influence Media Partners have struck a major partnership deal, it was announced Wednesday (Dec. 6).
According to a press release, Influence and Iglesias have partnered on the rights management of his pre-2021 recorded music rights, including his independent masters and his Universal recorded music royalties, along with name, image and likeness (NIL) rights to expand future licensing opportunities for the singer.
This marks the first NIL deal for Influence Media, which last year partnered with Black Rock and Warner Music Group for funding and infrastructure.
“My songs hold immense significance for both my fans and me,” Iglesias said in a statement. “I’m excited to be working with the Influence Media team. I feel confident we will build an enduring partnership for my music and future projects.”
“Enrique is a global icon and having him as a part of our Influence Media family is a game-changing moment for us,” added Lylette Pizarro, Influence Media founder/co-managing partner. “For a quarter of a century, he has captivated fans globally with chart-topping and record-breaking hits. From ‘Experiencia Religiosa’ to ‘Hero’ and ‘Bailando’ to ‘I Like It’ and ‘Be With You,’ there are few artists who come close to accomplishing what Enrique has achieved commercially. He has played a pivotal role in introducing bilingual music to the masses. We couldn’t be more excited to partner with one of the most recognizable figures in modern music.”
With a career that spans over three decades, Iglesias is one of the first Spanish-language acts to successfully cross over into the English-language market. He has placed five top 10 hits on the Billboard Hot 100, including “I Like It,” “Tonight (I’m Lovin’ You)” and “Hero.” He’s also placed three top 10 albums on the Billboard 200 (Escape, Euphoria and Sex And Love) and 27 No. 1 hits on the Hot Latin Songs chart.
Currently on the U.S. Trilogy Tour with Pitbull and Ricky Martin, Iglesias most recently scored his eighth No. 1 on the Tropical Airplay chart with his bachata collab “Así Es La Vida” with Maria Becerra. The 48-year-old artist is set to drop his new album, Final Vol. 2, next year.
Iglesias was represented by Mitch Tenzer and John Branca from Ziffren Brittenham LLP. Influence was represented by Lisa Alter from Alter, Kendrick and Baron.
Influence Media previously acquired the commercially-released master recording catalog of Blake Shelton for his 2001-2019 output, Future’s song publishing catalog and Puerto Rican songwriter-producer Tainy‘s song publishing catalog from 2005-2021, among other investments.
Ice Spice has signed with WME for international representation in all areas, Billboard can confirm. A representative for the rapper confirms that veteran hip-hop agent Cara Lewis and C Lewis Group continue to represent her in North America and Canada. The news of the WME signing was originally reported by Variety. The Bronx rapper has […]
Luis Fernández has been appointed chairman of NBCUniversal Telemundo Enterprises. Fernández, who previously served as president of Telemundo’s news division, Noticias Telemundo, from 2015-2021, will report directly to Cesar Conde, chairman of NBCUniversal News Group. “Throughout his extraordinary career, Luis has time and again shown visionary leadership, building and growing the most successful Spanish language […]
Another woman – the fourth in three weeks – is suing Sean “Diddy” Combs over allegations of sexual assault.
In a lawsuit filed Wednesday in New York federal court, an unnamed Jane Doe accuser claims she was “sex trafficked” and “gang raped” by Combs, former Bad Boy Records president Harve Pierre and another man in 2003 when she was 17 years old.
“Ms. Doe has lived with her memories of this fateful night for 20 years, during which time she has suffered extreme emotional distress that has impacted nearly every aspect of her life and personal relationships,” the woman’s lawyers write. “Given the brave women who have come forward against Ms. Combs and Mr. Pierre in recent weeks, Ms. Doe is doing the same.
The new case comes just weeks after Combs was hit with explosive allegations of rape by R&B singer and longtime romantic partner Cassie. That case quickly settled, but Combs was then sued by two other women who say they were sexually assaulted by the hip hop mogul. Combs has strongly denied all of the allegations. Another case was filed against Pierre and Bad Boy, alleging sexual assault.
In the complaint filed in court Wednesday, the accuser’s lawyer Douglas Wigdor (the same attorney who represented Cassie) says the new allegations “are in many ways even more egregious” than the prior cases. “Given the brave women who have come forward against Ms. Combs and Mr. Pierre in recent weeks, Ms. Doe is doing the same.”
In a public statement in response to the new allegations, Combs said: “ENOUGH IS ENOUGH.”
“For the last couple of weeks, I have sat silently and watched people try to assassinate my character, destroy my reputation and my legacy,” Combs wrote. “Sickening allegations have been made against me by individuals looking for a quick payday. Let me be absolutely clear: I did not do any of the awful things being alleged. I will fight for my name, my family and for the truth.”
Pierre could not immediately be reached for comment.
The new lawsuit contains graphic allegations of sexual assault.
The alleged victim claims that she met Pierre at a Detroit club in 2003, when she was just a junior in high school. After he “smoked crack cocaine” and “sexually assaulted Ms. Doe by forcing her to give him oral sex,” she says she flew to New York on Combs’ private jet to visit him in his Manhattan recording studio.
While at the studio, the lawsuit claims that Combs, Pierre and an unnamed third man “plied Ms. Doe with drugs and alcohol” until she was so inebriated that she “she could not possibly have consented to having sex with anyone, much less someone twice her age.”
“While at the studio, Ms. Doe was gang raped by Mr. Combs, the Third Assailant and Mr. Pierre, in that order,” Wigdor writes in the lawsuit. The lawsuit claims the unnamed man “raped Ms. Doe as she told him to stop,” and that Pierre “violently forced her to give him oral sex, during which Ms. Doe was choking and struggling to breathe.”
After the attack, the lawsuit says the accuser “could barely stand up” and “had to be helped to walk out of the building and back into a car.” She says she was then flown back to Michigan.
“Defendants preyed on a vulnerable high school teenager,” Wigdor said in a statement announcing the lawsuit. “The depravity of these abhorrent acts has, not surprisingly, scarred our client for life.”
The previous cases against Combs – as well as the flurry of other high-profile sexual assault cases filed over the last month – were brought under New York’s Adult Survivors Act, a law that temporarily suspended the statute of limitations for bringing such cases.
Wednesday’s case was not filed under the ASA, because that law expired on Thanksgiving. Instead, it was filed under the Victims of Gender-Motivated Violence Protection Law, a New York City provision that created a similar “lookback” window that doesn’t expire until 2025.
A federal appeals court has sided with Vans and ruled that Tyga‘s “Wavy Baby” sneakers – a parody of the company’s classic Old Skool – likely violate the shoe company’s trademarks.
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Released last year by a New York art collective called MSCHF, the sneakers were a clear riff on the Vans shoe – a warped, surreal version of the Old Skool. Vans filed a lawsuit calling it “blatant trademark infringement, but the creators claimed that it was legal parody protected by the First Amendment, designed to criticize “sneakerhead” consumerist culture.
In a ruling Tuesday, the U.S. Court of Appeals for the Second Circuit didn’t buy that argument, upholding an earlier ruling that banned MSCHF from selling any more pairs of Wavy Baby. The court said that “no special First Amendment protections apply” and that the sneaker likely violates Vans’ trademark rights.
“If a parodic use of protected marks and trade dress leaves confusion as to the source of a product, the parody has not ‘succeeded’ for purposes of the [federal trademark law], and the infringement is unlawful,” the court wrote.
Tyga announced the Wavy Baby in April 2022, sparking plenty of buzz but also immediate comparisons to Vans. Footwear News said the shoe “appears to be loosely based on the classic Vans Old Skool” that had been altered with a “wave-like aesthetic.” The site HighSnobiety went with a bolder headline: “MSCHF & Tyga’s Insane Skate Shoes Look Like Liquified Vans.”
Three days before the shoes were set to drop on April 18, Vans filed a lawsuit – claiming MSCHF’s sneakers violated its trademark rights and demanding an immediate restraining order. (The lawsuit did not name Tyga, whose real name is Micheal Stevenson, as a defendant.) Legal trouble was nothing new for MSCHF: the group had previously partnered with Lil Nas X to release a “Satan Shoe” that looked like a pair of Nikes – and had been promptly hit with a similar infringement lawsuit from that sneaker giant.
In the case over Tyga’s sneaker, Vans that consumers would think Wavy Baby was an authorized product artist endorsement deal rather than a parody by a separate company. The company cited previous partnerships with A$AP Rocky, Metallica and Foo Fighters.
“Given Vans’ history of collaborations with musical artists, on information and belief, the collaboration between MSCHF and Michael Stevenson is intended to deceive consumers into believing they arepurchasing a product made by, sponsored by, approved by, or otherwise associated with Vans,” the company’s lawyers wrote at the time.
MSCHF fired back with the First Amendment. It admitted that the Wavy Baby was based on the Old Skool, but said it had a legal right to use the shoe as “the cultural and physical anchor when creating its art.” The company said it wanted to critique “consumerism inherent in sneakerhead culture” and “the phenomenon of sneaker companies collaborating with anyone to garner clout and shoe sales.”
Weeks later, a federal judge rejected those arguments and issued a restraining order banning MSCHF from selling any more Wavy Babys. In issuing his ruling, Judge William F. Kuntz said that he – and, more importantly, consumers – didn’t quite get the joke.
“Whatever the actual artistic merits of the Wavy Baby shoes, the shoes do not meet the requirements for a successful parody,” the judge wrote at the time. “While the manifesto accompanying the shoes may contain protected parodic expression, the Wavy Baby shoes and packaging in and of themselves fail to convey the satirical message.”
On Tuesday, the Second Circuit upheld Judge Kuntz’s ruling and injunction. Among other reasons, the court cited a recent Supreme Court ruling in which the justices ruled that Jack Daniels could sue over dog toys that parodied its whiskey bottles – a decision that lowered First Amendment protections for such parodies.
Attorneys for both sides did not immediately return requests for comment.
South by Southwest Music Festival 2024 has revealed a second slate of artists set to perform in Austin next year. Among the highlights are Glasser, SPRINTS, GRÓA, Gruff Rhys, Ho99o9, Holly Macve, Kikuo, LAIR, Pink Pablo, PVA, Pylon Reenactment Society and Ralphie Choo, all of whom will showcase their talents during the six-day festival.
Next year’s SXSW Music Festival will take place from March 11-16 throughout the Austin area. Other emerging acts announced on Wednesday (Dec. 6) include RUBIO, Sinkane, Sofia Kourtesis, Sycco, Tamera, TENGGER, 250, Alexander Biggs, Enola Gay, DICE, HALLEY, HIEN, Skateland, Yo Diablo, Water Damage, TENGGER, Sui Zhen and RUBIO. The festival has created playlists on Spotify and YouTube featuring the music of the showcasing artists.
The list of showcase partners for the 38th annual SXSW has also grown, with labels like New West Records and Bayonet Records, as well as promoter High Road Touring and agency Mint Talent Group, being announced. Elsewhere, newly announced presenters include Adult Decisions, All The Vibes, ATC Live, Atomic Music Group, Breakout West, CareFreeBlackGirl, Chicken Ranch Records, City Slang, Dear Life Records, Dedstrange, Don Giovanni Records, Everything R&B, Father/Daughter Records, Fierce Panda, FOCUS Wales, Island Wave, Italians Do It Better, Gorilla vs. Bear, Jazz Re:Freshed, The Line of Best Fit, The Loyalty Firm, M for Montreal, Music from Ireland, Now Wave, Pop Montreal, Reeperbahn Festival, The Smoke Out, Space Agency, The Spanish Wave, Synásthesie Festival, Taiwan Beats, Tokyo Calling, Traffic Music and Wide Days Scotland.
Founded in 1987 in Austin, SXSW has grown to encompass tech, film and TV, music, education and culture. The entirety of the 2024 conference and festival will run from March 8-16.
In April 2021, it was announced that SXSW signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.
See below for the full list of showcasing artists announced on Wednesday.
250 (Seoul SOUTH KOREA)Afternoon Bike Ride (Montreal CANADA)Akira Galaxy (Los Angeles CA)Ako（a子） (Himeji City JAPAN)Alexander Biggs (Melbourne AUSTRALIA)Alex Nicol (Montreal CANADA)Amis du Teche (Breaux Bridge LA)Angelo Moore and the Brand New Step (Austin TX)Anna Smyrk (Melbourne AUSTRALIA)Anna Vaverková (Prague CZECHIA)Another Sky (London UK-ENGLAND)Arches (Hong Kong HONG KONG)Askew (London UK-ENGLAND)Axel Flóvent (Reykjavik ICELAND)Äyanna (London UK-ENGLAND)The Ayoub Sisters (London UK-ENGLAND)Bad Bad Hats (Minneapolis MN)The Beatbox Collective (London UK-ENGLAND)beccs (Warehan MA)Bee Bee Sea (Castel Goffredo ITALY)Being Dead (Austin TX)Benjamin Walker (Chile MEXICO)Bess Atwell (Brighton UK-ENGLAND)Bleach Lab (London UK-ENGLAND)BLK JKS (Johannesburg SOUTH AFRICA)Bloomsday (Brooklyn NY)Blue Lake (Copenhagen DENMARK)Boy With Apple (Gothenburg SWEDEN)BROTHER DEGE (Lafayette LA)Buffalo Nichols (Milwaukee WI)Caleb Landry Jones (Garland TX)Camidoh (Accra GHANA)Carla Geneve (Perth AUSTRALIA)Certainly So (Nashville TN)Cha’keeta B (Austin TX)Chalk (Belfast UK-N. IRELAND)Chartreuse (The Black Country UK-ENGLAND)Chelsea Carmichael (London UK-ENGLAND)Chiaki Mayumura (Setagya JAPAN)Chief Cleopatra (Austin TX)China Bears (Bridgwater UK-ENGLAND)Chxrry22 (Toronto CANADA)CLT DRP (Brighton UK-ENGLAND)Conchur White (Portadown UK-N. IRELAND)CURRLS (Brighton UK-ENGLAND)Danny Bonilla (Dallas TX)Dasom Baek (Seoul SOUTH KOREA)Daydream Twins (Austin TX)Dead Tooth (Brooklyn NY)Delights (Manchester UK-ENGLAND)DICE (Perth AUSTRALIA)Dirt Buyer (Brooklyn NY)Discovery Zone (New York NY)Divorce (Nottingham UK-ENGLAND)Dobrawa Czocher (Warsaw POLAND)DOMICO (Tokyo JAPAN)Do Nothing (Nottingham UK-ENGLAND)Dream Nails (London UK-ENGLAND)Dumb Buoys Fishing Club (London UK-ENGLAND)dust (Newcastle AUSTRALIA)Earth Tongue (Wellington NEW ZEALAND)Eleni Drake (London UK-ENGLAND)Elisapie (Salluit CANADA)Elle Shimada (Melbourne AUSTRALIA)Ellie Bleach (London UK-ENGLAND)Emily Barker (Perth AUSTRALIA)Emily Frembgen (Brooklyn NY)Emma Aibara (Yokohama JAPAN)Enola Gay (Belfast UK-N. IRELAND)Etta Bond (London UK-ENGLAND)fantasy of a broken heart (Brooklyn NY)Fat Dog (London UK-ENGLAND)FAZI 法兹 (Xi’an CHINA)Field Guide (Winnipeg CANADA)Folk Bitch Trio (Melbourne AUSTRALIA)FONTINE (Winnipeg CANADA)Forest Claudette (Melbourne AUSTRALIA)Friedberg (Berlin GERMANY)Fust (Durham NC)Gavin James (Dublin IRELAND)Glasser (New York NY)Glixen (Phoenix AZ)Good Looks (Austin TX)Grandbrothers (Berlin GERMANY)GRÓA (Reykjavik ICELAND)Gruff Rhys (Cardiff UK-WALES)Gurriers (Dublin IRELAND)HALLEY (Waseda JAPAN)Harvest Thieves (Austin TX)Hause Plants (Lisbon PORTUGAL)The HawtThorns (Nashville TN)HIEN (Budapest HUNGARY)HighSchool (Melbourne AUSTRALIA)Hinako Omori (London UK-ENGLAND)HMS Morris (Cardiff UK-WALES)Ho99o9 (Newark NJ)Holly Macve (Brighton UK-ENGLAND)Hooks & The Huckleberries (Albuquerque NM)Hour (Philadelphia PA)The Howdies (Athens GA)Humour (Glasgow UK-SCOTLAND)HYPNOSIS THERAPY (Seoul SOUTH KOREA)IFE (New Orleans LA)Iona Zajac (Glasgow UK-SCOTLAND)Iris Jean (Alkmaar NETHERLANDS)Izo FitzRoy (London UK-ENGLAND)Jack Barksdale (Fort Worth TX)Jack Harris (Cleveland OH)JADA (London UK-ENGLAND)Jad Fair and the Placebos (Manor TX)Jaimee Harris (Nashville TN)JÁNA (Stockholm SWEDEN)Jazz re:freshed DJs (London UK-ENGLAND)Jeannel (Berlin GERMANY)Jeshi (London UK-ENGLAND)JFDR (Reykjavík ICELAND)JM Stevens (Austin TX)Jon Muq (Austin TX)Jon Vinyl (Toronto CANADA)Juani Mustard (Viña Del Mar CHILE)JUANPALITOSCHINOS (Mexico City MEXICO)Justin Webb (Nashville TN)Kali Claire (London UK-ENGLAND)Ken Yates (London CANADA)Kikuo (Tokyo JAPAN)Kroi (Tokyo JAPAN)LAIR (Jatiwangi INDONESIA)Laney Tripp (New Smyrna Beach CA)Larry Seaman (Austin TX)Laura-Mary Carter (Brighton UK-ENGLAND)Laura Misch (London UK-ENGLAND)Lauren Housley & The Northern Cowboys (Sheffield UK-ENGLAND)Lauren Lakis (Austin TX)L E M F R E C K (Newport UK-WALES)Library Card (Rotterdam NETHERLANDS)Lindsay Beaver & Brad Stivers (Austin TX)Lisa Morales (Austin TX)Logan Crosby (Milledgeville GA)Logan Halstead (Powell County KY)Los Cogelones (Mexico MEXICO)Lottery Winners (Leigh UK-ENGLAND)Madam Radar (Austin TX)Malugi (Berlin GERMANY)Mama Terra (Glasgow UK-SCOTLAND)The Manatees (Southampton UK-ENGLAND)maxime. (Montreal CANADA)May Rio (Brooklyn NY)Meagre Martin (Berlin GERMANY)Mia June (Perth AUSTRALIA)Mick Flannery (Cork IRELAND)Minas (Cardiff UK-WALES)Miranda and the Beat (Brooklyn NY)Miranda del Sol (New York NY)MØAA (Seattle WA)Moody Bank$ (Austin TX)Nagasaki Swim (Rotterdam NETHERLANDS)Natalie Jane Hill (Asheville NC)Native Harrow (Brighton UK-ENGLAND)néomí (Den Haag NETHERLANDS)NeOne Wonderer (Wolverhampton UK-ENGLAND)Neon Waltz (John O’groats UK-SCOTLAND)Night Lunch (Montreal CANADA)NOBRO (Montreal CANADA)O. 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