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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: Universal Music Group asks a judge to dismiss Drake’s defamation lawsuit over Kendrick Lamar’s “Not Like Us”; Live Nation loses an early battle in the Justice Department’s antitrust lawsuit; Karol G is accused of copyright infringement over a song from her chart-topping album Mañana Será Bonito; and much more.
THE BIG STORY: “A Misguided Attempt To Salve His Wounds”
In its first court response to Drake’s defamation lawsuit over Kendrick Lamar’s diss track “Not Like Us,” the world’s biggest music company didn’t exactly hold back.
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Universal Music Group filed a scathing motion seeking to dismiss the libel case this week – not only arguing that it was “meritless,” but also ridiculing Drake for filing it in the first place.
“Plaintiff, one of the most successful recording artists of all time, lost a rap battle that he provoked and in which he willingly participated,” UMG’s lawyers wrote. “Instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds.”
Twisting the knife further, the label cited a 2022 petition in which Drake and other stars demanded that prosecutors stop citing rap lyrics as evidence in criminal trials: “Drake was right then and is wrong now. The complaint’s unjustified claims against UMG are no more than Drake’s attempt to save face for his unsuccessful rap battle with Lamar.”
For more, go read the full story here, which includes access to the actual motion filed in court by UMG.
Other top stories this week…
LIVE NATION RULING – A federal judge ruled that the Justice Department can move ahead with a key allegation in its antitrust case against Live Nation: That the company illegally forces artists to use its promotion services if they want to perform in its massive network of amphitheaters. The ruling denied Live Nation’s bid to dismiss that claim, known as “tying” in antitrust law parlance, at the outset of the government’s sweeping monopoly case.
KAROL G LAWSUIT – Two producers filed a copyright lawsuit against Karol G and UMG over accusations that a track called “Gatúbela,” from the Colombian superstar’s chart-topping album Mañana Será Bonito, stole key elements from their earlier song called “Punto G.” In an unusual twist, the plaintiffs claim that one of Karol G’s producers tacitly admitted the charge in an exchange on social media.
OFFSET SUES PRODUCER – The former Migos member launched a lawsuit against ChaseTheMoney, a producer who worked on his 2023 album Set It Off, claiming the one-time collaborator has been demanding a large increase in fees and royalties long after the deal was done. The case is a “declaratory judgment” lawsuit, meaning Offset is preemptively seeking a court ruling that the original contract with Chase was valid and that he did nothing wrong by sticking to it.
SONY MUSIC v. USC – Sony Music sued the University of Southern California (USC) for more than $25 million over claims that the college sports powerhouse illegally used songs by Michael Jackson, Beyonce and AC/DC in TikTok and Instagram videos hyping its teams. The lawsuit, which claims USC was warned multiple times over several years, is the latest in a string of copyright cases filed against brands that use the vast music libraries provided by social media platforms for what rightsholders say are simply digital advertisements.
CLINTON CLASH – George Clinton filed a lawsuit over allegations that his one-time business partner, Armen Boladian, fraudulently obtained the rights to the vast majority of the funk pioneer’s music catalog. The case, which accuses Boladian and his Bridgeport Music of “abusive, deceptive, and fraudulent practices,” is only the latest time the music legend and his former agent have sparred in court. Boladian’s attorneys told Billboard that Clinton has “lost each and every time” and that they would quickly seek to dismiss the latest case.
DIDDY VIDEO – Attorneys for Sean “Diddy” Combs’ alleged in court filings that CNN “substantially altered” and then destroyed the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura. CNN quickly responded by flatly denying the charge, saying it “never altered the video and did not destroy the original copy of the footage.” Prosecutors later reportedly revealed at a hearing that they have a recording of the original surveillance footage.
DEFAMATION DISMISSED – A federal judge dismissed a defamation lawsuit filed by Diana Copeland, a former assistant to R. Kelly, against Netflix and Lifetime over how she was portrayed in the documentary “Surviving R. Kelly.” The judge ruled that Copeland had failed to clear the “high bar” for filing libel cases over newsworthy subjects: “The First Amendment demands ‘adequate breathing space’ for the free flow of ideas, especially about public figures on matters of public controversy.”
CASE CLOSED – The rapper Plies dropped a copyright lawsuit he’d filed against Megan Thee Stallion, GloRilla, Cardi B and Souja Boy over accusations that the 2024 song “Wanna Be” featured an uncleared sample. Filed last year, the case claimed that Megan and GloRilla stole Plies’ material indirectly by legally sampling a Soulja Boy song – a track that the lawsuit alleged had itself illegally used material from his 2008 track “Me & My Goons.”
Beatport is growing its presence in Mexico as electronic music consumption expands on the digital download platform for DJs.
A representative for the company tells Billboard that download revenue from Mexico on Beatport increased by 25% in 2024, with the percentage of tracks downloaded increasing by 16%.
A number of electronic genres in particular saw large consumptions surges in Mexico on Beatport, with the consumption of Afro-House increasing by 105%, the consumption of psy-trance increasing by 42%, minimal/deep tech going up by 39%, house up by 32%, deep house up by 27%, melodic house and techno up by 26%, tech house up by 21% and dance pop up by 21%.
Meanwhile, Beatport Streaming subscribers in Mexico increased by 28% in 2024.
As such, Beatport is growing its presence in the country, hosting its first ever Beatport Connect summit in Mexico City this Friday, March 21. The event will bring together industry professionals, artists and fans for panel discussions, workshops and DJ sets. The event will also offer Beatport and Beatsource workshops with artists Jessica Audiffred, Zarina/SADGAL and DJ Fucci each participating in sessions focused on trends and insights in music production.
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“Mexico’s music industry is experiencing remarkable growth, with a rapidly evolving electronic music scene and passionate audience,” says The Beatport Group’s Chief Revenue Officer, Helen Sartory. “With Mexico’s digital music segment expected to surpass 26 million users by 2027, the demand for electronic music is stronger than ever. Mexico City, in particular, has earned its reputation as a ‘trigger city,’ shaping international listening habits through its substantial digital consumption. As the country continues to emerge as a major player in the global music landscape, Beatport is proud to invest in this growth.”
Beatport is now also offering subscriptions in local currency and reducing prices of Beatport and Beatsource streaming up to 40%. The Beatport site also now automatically translates into Spanish for users in Mexico, with a “Discover Mexico” page featuring fresh music from the country.
“Mexico has long been a vibrant hub for electronic music, and we’re thrilled to deepen our investment in the region,” says Sofia Ilyas, Chief Community Officer of The Beatport Group. “By launching Beatport Connect: Mexico City and lowering prices for local markets, we’re making it easier for DJs and producers to access the tools they need to create, connect, and perform. As Beatport continues to expand globally, Mexico remains a key market in our mission to provide cutting-edge tools, educational resources, and community-driven events that empower the next generation of DJs and producers.”
David Browne
Global fandom platform Stationhead, which allows fans to host listening parties for their favorite artists — with the artists themselves occasionally joining in — is bringing e-commerce to the platform with a new feature. Dubbed Stationhead Shop, the new e-commerce experience will allow artists to offer merch directly on Stationhead by hosting their own “Shops,” […]
Singer-songwriter, producer and multi-instrumentalist Amelia Moore has signed with Republic Records, the label tells Billboard. Born in Georgia and now based in Los Angeles, Moore is known for tracks including “next door” featuring ASTN and “see through,” the latter of which spawned a remix featuring Coco Jones, Absolutely and Samara Cyn last year. Moore’s first […]
Nearly three decades after launching NYC’s Fleadh Festival celebrating global Irish culture, two of Fleadh’s founders Joe Killian and Liam Lynch are again joining forces to premiere Seisiún, an Irish music and cultural gathering at Suffolk Downs in Boston.
The Sept. 6-7 event will be produced in partnership with The Bowery Presents, Lynch and Killian, featuring The Pogues and Boston’s own Dropkick Murphys as headlining artists. The Pogues will include original members like banjoist and songwriter Jem Finer, accordionist James Fearnley and tin whistler and singer Spider Stacy. Seisiún will be the Pogue’s first show in the U.S. since the passing of former frontman Shane McGowan in 2023 and the set will celebrate the Irish folk-punkers entire body of work “while honoring Shane, leaving space for alchemy and magic from very special guest performances,” a press release announcing the show reads. A statement from the band confirmed appearances from “such incomparable artists as Lisa O’Neill, John Francis Flynn and The Bad Seeds.”
The band also said: “We are stoked to return to Boston, pretty much a second home for The Pogues in the US – a city where we have shared many unforgettable performances and experiences. We’re looking forward not just to raising a glass or two but also to raising the roof with our fans and friends, old and new, to celebrate the music we’ve made and the alliances we’ve formed over the years.”
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Other artists on the bill include The Hold Steady, The Waterboys, Cardinals, The Rumjacks and Lisa O’Neill. Additional artists will be announced in the future.
Seisiún was created as a two-day festival experience celebrating global Irish music and culture and honoring the memory of the first Fleadh Festival in 1997 on New York City’s Randall’s Island. More than 60,000 music fans attended Fleadh to see sets by McGowan and his band the Popes, Sinead O’Connor, John Prine, Van Morrison and more.
“We’re launching Seisiún at a time when Irish culture is once again witnessing another rich revival and resurgence. There is such an exciting wave of extraordinary cross-category Irish music talent,” explains Lynch. “With this two-day event our hope is to reignite some of that same sense of gathering, of revelry and of community, while also tapping into that emergent new interest in the genre. Let the music keep our spirits high.”
Tickets for Seisiún will go on sale to the general public on Friday at 10 a.m. ET via AXS.com, the official ticketing outlet for The Stage at Suffolk Downs. Visit StageAtSuffolkDowns.com for more information.
AEG Presents is finally planting its flag in Austin.
While the city has long been the home of Messina Touring Group — AEG Presents’ highly successful global touring outfit — the live music giant hasn’t held any real estate in the fast-growing metroplex.
That changes now that AEG has announced plans to open a 4,000-capacity indoor venue in the so-called “live music capital of the world.” The 65,000-square-foot, yet-to-be-named venue will anchor River Park, a 109-acre mixed-use development in East Austin that will combine residential housing with office space, retail and restaurants.
“Designed for both world-class performances and unforgettable events, the venue will feature state-of-the-art sound and lighting, luxury suites, VIP seating, and best-in-class hospitality — all with a front-row feel no matter where you’re standing,” a press release announcing the project reads. “The artist experience is just as carefully considered with spacious, artist-friendly dressing rooms, green rooms, and top-tier production capabilities.”
AEG Presents attorney Shawn Trell explained that the company has “always wanted to build a venue from the ground up in Austin, but we wanted to make sure the timing and location were right, and we had partners aligned with our vision.” Those partners include Texas developers Presidium and Partners Group.
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Austin has seen a number of new venues open in recent years, dating back to the opening of ACL Live at The Moody Theater in 2011. A year later, Live Nation and the Formula 1 racing association opened the Circuit of the Americas, which features auto racing and large-scale concerts. And in April 2022, Oak View Group opened the Moody Center, an 18,000-capacity arena that is regularly listed on Billboard Boxscore’s chart of top venues with a capacity of over 15,000.
“We’re thrilled to bring a new venue to Austin, a city that lives and breathes live music,” said Robin Phillips, vp of AEG Presents Southwest, in a statement. “Our mission is to bring something new to the city that both honors the legacy of Austin and feels completely unique. Whether it’s a headlining show from a national touring act, or a local artist’s breakthrough moment, we want this space to feel like home for musicians and fans alike.”
Whether it was Shaboozey’s “A Bar Song (Tipsy),” LiAngelo Ball’s “Tweaker,” or the six songs at the heart of Drake and Kendrick Lamar’s epic rap battle last year, Billboard has recently spent a lot of time reporting on how much money a hit song generates.
For a look back at our coverage, we estimated how much the top 10 songs of 2024 earned, what GELO’s locker room anthem has netted, and the millions made from Drake and Lamar’s diss tracks.
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These stories sparked questions from readers, including one that came up repeatedly: Does a hit song today make more money than a hit did before streaming took off?
We asked this question of roughly a dozen music economists, entertainment industry bankers, and record label and streaming company executives, and they largely agreed that streaming has increased the long-term value of a hit song. However, hit songs used to drive album sales, which may have been more lucrative upfront.
It is difficult to directly compare the value of a hit song in 2024 to a hit song in 1999 — the year that record industry revenue peaked in the modern era — because the business largely moved away from issuing singles by the late 1990s. To hear a hit song, then, a fan would buy an album for as much as $18.98.
In 1999, when albums were the dominant configuration for music, 88 albums sold more than 1 million units in the U.S., according to Billboard. Albums often sold for more than their wholesale price of $12, which could mean certain older hits had a greater upfront value. However, the sources Billboard spoke with for this story all agreed that after a fan owned an album, they had little incentive to pay for that particular music again — so after about 12-18 months, the album would stop making much money.
In contrast, streaming keeps all music closer to fans’ fingertips, and hits tend to continue making money over a longer period, as opposed to a brief hype window in the album sales era.
One longtime record label executive who asked to remain anonymous estimated that a gold record in 1999 generated more than $6 million in sales, based on a wholesale price of around $12. Adjusted for inflation, that’s the equivalent of $11.3 million in 2024 dollars, according to the U.S. Federal Reserve.
In 2024, the biggest hit was Shaboozey’s “A Bar Song (Tipsy),” and Billboard estimated it generated $10.7 million from U.S. audio, video and programmed streams, digital downloads, and radio airplay spins. But due to streaming’s long tail, which has helped keep “A Bar Song” in the top five of the Billboard Hot 100, the track has continued earning significant streams in 2025: more than 140 million on-demand audio and video streams, or $192,000 in additional streaming revenue, just this year.
“[Back then], after a huge spike in revenue, a hit would have decayed over time by 60%, 70%, 80%, and eventually the song would drop to a much lower base,” says Concord CEO Bob Valentine. “Now in the streaming world, a song comes out, you get the huge pop from consumption and revenue, and because of the way algorithms keep a song in playlists and rotation, the song is much stickier. It has a higher base.”
Valentine says this is why companies like his have been able to persuade outside investors that music royalties can be securitized and sold to institutional investors like insurance companies. Concord has become the music industry’s model for raising money from such asset backed securitizations (ABS), having raised more than $5 billion to date.
While Concord is known for owning famous catalogs from the 1960s, 1970s and 1980s, it scored a top 10 hit in 2024 with Tommy Richman’s “Million Dollar Baby,” which Billboard estimates generated around $7.4 million.
If Concord’s catalogs are like bonds — generating consistent revenue that can be relied on for decades — hits are more like venture capital. After an initial investment, a hit can present substantial upside, Valentine says. Concord is now comfortably the fourth or fifth largest music company thanks to the strength of its publishing division and catalog, so it can afford to take risks to get more hits, which is why it’s pushing to develop its front-line business to release more songs like “Million Dollar Baby.”
The music industry globally made $41.3 billion in 2023, according to the most recent data from the International Federation of the Phonographic Industry (IFPI) and the Confédération Internationale des Sociétés d´Auteurs et Compositeurs (CISAC).
The IFPI, which reports figures on an absolute dollar basis, not adjusted for inflation, says global recorded music revenues are at their highest level since it began tracking them in 1999.
Several sources interviewed for this story noted that, despite record-high revenues in the music industry, not everyone who contributes to making or performing a hit song makes more money today, and that many songwriters may have made more money in 1999.
For one thing, the number of songwriters credited on a hit song has increased significantly in the last decade, according to an analysis by Chris Dalla Riva in 2023. Dalla Riva found that the average number of songwriters per Hot 100 No. 1 hit rose from 1.8 during the 1970s to 5.3 in the 2010s. He noted that with interpolations, many songs credit far more songwriters: For example, Beyoncé’s Renaissance song “Alien Superstar” listed 24 songwriters.
“There is more money, we can all agree, but there are way more mouths to feed,” former Spotify chief economist and author Will Page said in an interview with the BBC in January.
Songwriters don’t just make less money because more of them work on major hits; they also make less because of the way streaming changed payouts, sources say. When the industry revolved around album sales, a songwriter on a less popular song earned the same as a songwriter on the album’s most popular song.
The rising tide effect no longer applies today because fans stream songs on a mostly a la carte basis.
Additional reporting was contributed by Ed Christman.
BMI is making a two-fold move to help music creators improve their career and lifestyle opportunities. First off, the PRO has created Spark, a program that will offer creators special discounts on music creation and technology tools while also providing educational content and health and wellness resources. Secondly, BMI will no longer charge an application […]
In a changing of the guard at one of Hollywood’s biggest talent agencies, UTA says that David Kramer will take over as CEO in June, succeeding longtime leader Jeremy Zimmer.
Zimmer, the UTA co-founder who has been CEO of the talent agency since 2012, is shifting to a role as board member and executive chairman. Paul Wachter will remain chairman of the board of UTA.
“We are thrilled to announce David as UTA’s next CEO. He is stepping into this role at an exciting time of growth, with UTA at the center of some of the most pivotal cultural moments across media, sports, and entertainment. We are confident that his leadership and client-centric approach will position the Company for continued success,” said Wachter in a statement. “I’ve known Jeremy and UTA for almost 30 years and have been impressed with Jeremy’s entrepreneurial nature and vision. It’s been remarkable how much the Company has grown and succeeded over that period. Jeremy’s years of dedicated service have left a strong and dynamic foundation for the Company’s future.”
The new role for Kramer is not completely unexpected, with the company describing the move as part of a long-planned succession process. Kramer was elevated to president of UTA in 2022.
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“These 35 years at UTA have been so incredibly rewarding,” said Zimmer in a statement. “While transition is never easy, this particular moment feels very right. David has been my chosen successor for many years and I’m certain that he will continue to uphold our great culture, support our amazing colleagues, and honor the privilege of serving our clients.”
“I am honored to be named UTA’s next CEO. We are all deeply grateful to Jeremy for his passion and dedication to this team and for helping to make UTA into one of the premier global talent agencies in the world,” Kramer added. “His vision and guidance were key to building our foundation and broadening our business to offer clients world-class capabilities across filmed entertainment, music, sports, the creator economy, and advisory services.”
Zimmer led UTA through a significant expansion period, completing some 19 acquisitions, per the company, and partnering with companies like Klutch Sports Group. UTA also secured private equity investment from EQT, in a bid to further turbocharge its growth.
In a note to staff obtained by The Hollywood Reporter, Kramer indicated that he intends to continue following that path.
“UTA has consistently taken chances, entered into new spaces, and defined categories with our work,” Kramer wrote in a memo to staff Monday. “Our focus will continue to be on nurturing and empowering that entrepreneurialism, and the unique strengths and capabilities that have allowed us to win in each category. Together, we will make sure that we foster real collaboration across our platform so that we can leverage our ability to see what’s next in culture to unlock greater opportunity for both our clients and the company as a whole.”
As for Zimmer, he will continue as executive chairman through 2025, telling employees in a note that “for the next several months I will be completely available to help transition divisions and relationships to the colleagues who will assume new responsibilities. I will also be available for lunches, laughs, and any sort of questions or concerns that I can be of help with.”
Though he added that he won’t be leaving the entertainment business entirely.
“I have been an agent for 45 years, and it’s now or never to see what else I will do. I’ve always been a builder, and I want to take the time to create something meaningful in this next chapter of my career,” he wrote. “Let’s be honest, the chances that I’m going to start an aluminum company in Alaska or a cement company in Cleveland are pretty slim. So this is not goodbye. I will remain on the board, and I will always be a friend, a supporter, and a fiercely loyal champion of this great company we’ve built together and that I love.”
You can read Kramer’s full email to UTA staff below.
TO: All Employees
FROM: DK
SUBJECT: Leadership Update
Team,
I’d like to start by saying that I am honored to be named UTA’s next CEO. We are all deeply grateful to Jeremy for his passion and dedication to this team and for helping to make UTA into one of the premier global talent agencies in the world. His vision and guidance were key to building our foundation and broadening our business to offer clients world-class capabilities across filmed entertainment, music, sports, the creator economy, and advisory services.
There is a reason that UTA has been my home for my entire career – I am incredibly fortunate to work alongside such a talented and dedicated team, and experience the impact our work has for our clients.
UTA has consistently taken chances, entered into new spaces, and defined categories with our work. Our focus will continue to be on nurturing and empowering that entrepreneurialism, and the unique strengths and capabilities that have allowed us to win in each category. Together, we will make sure that we foster real collaboration across our platform so that we can leverage our ability to see what’s next in culture to unlock greater opportunity for both our clients and the company as a whole.
UTA’s greatness isn’t just defined by the strength of our individual contributions or our ever-expanding scale; it’s our shared commitment to putting clients first and our relentless pursuit of discovering, creating and sustaining opportunity for great talent and brands. This will always be the foundation of our success and what differentiates us.
I’m excited to collaborate with each of you as we leverage the strength of the businesses we’ve built and guide this company into a new era of growth and innovation.
I look forward to spending time over the following weeks meeting with all of you and talking further about priorities ahead.
Please join me once again in thanking Jeremy for his incredible vision and leadership. And thank you for all you do to make UTA the company it is today.
Regards,
DK
This story was originally published by The Hollywood Reporter.
Austin’s annual SXSW conference and festival is set to scale back its 2026 edition. Next year, the event will run from March 12-18 — two days shorter than this year’s event — with its interactive, film/TV and music programs running concurrently. The news was first reported by the Austin American-Statesman. “A shorter SX gives attendees […]