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As Jelly Roll himself told it in his recent Billboard cover story, it was attending church with his daughter that inspired the raw, career-defining record Whitsitt Chapel. The rising Tennessee artist has become a sensation over the past two years building up to this release, with a number of accolades that have burgeoned his career and his story.
But this record was that final piece of the puzzle, and its artistic merits were matched by its commercial performance: The album debuted at No. 3 on the Billboard 200, No. 1 on Top Rock & Alternative Albums and, with 90,000 equivalent album units, became the largest week for an initial entry on Top Country Albums since the chart transitioned to a consumption-based methodology in February 2017.
As BMG Nashville president Jon Loba puts it, that’s down to Jelly Roll and the work he put into the music. But the success nonetheless earns Loba the title of Billboard’s Executive of the Week.
Here, Loba talks about the build-up to the album, the strategies the label used to maximize its impact and where they can go from here in building Jelly Roll’s career. “Going forward we will continue giving Jelly his creative and artistic freedom, while we continue to work on building the connection to new audiences and nurture the connection with his existing audience,” Loba says. “It’s really that simple. When you have your first experience or interaction with Jelly, you have a strong desire to go deeper — and tell others about him.”
This week, Jelly Roll’s Whitsitt Chapel debuted at No. 3 on the Billboard 200 and topped both the Rock & Alternative and Country Albums charts. What key decision did you make to help make this happen?
It of course all starts with the music. Jelly turned in an absolutely epic record that we have no doubt will stand the test of time. I think we will look back two decades from now and see this as the album that fully revealed the depth, texture, intellect and heart of Jelly Roll. The biggest decision I made was getting out of Jelly’s way and trusting him to turn in such a masterpiece. Initially, we had a collection of absolute slam dunk, commercial country hits Jelly wrote and was ready to record. After he attended his daughter’s church one Sunday, however, he called me up to say he felt the deep need to scrap all those songs and go on a musical and spiritual journey with his next record. We knew we had hit singles lined up, but I heard the conviction in his heart about this alternate path. His manager John Meneilly and I always say, “When in doubt, trust Jelly,” and that’s what we did. We didn’t know what this album would be, but we wanted to support him and his creativity. It turned out to be not only the right thing artistically but the right thing commercially.
The album had the biggest opening week for a first entry on the Top Country Albums chart since it went to a consumption-based methodology in 2017, almost tripling the previous record. How did you build the momentum leading up to this release?
Once you meet him, you are a fan for life. The buzz on Jelly started with “Save Me” and grew with “Dead Man Walking” and “Son of a Sinner,” so the commercial credibility was there to begin with. Our partners were really interested in his music and curious about him as we communicated how special he was. Once they met him one on one, it was a game changer. When you spend time with Jelly, you immediately root for him and want to create opportunities, which they did. Importantly, when they created those opportunities, Jelly always delivered for them and, in turn, [they] wanted to create more. Ultimately, the opportunities for his singles grew organically into opportunities for his album release.
What was your sales approach for this record?
First and foremost, making sure our partners heard the entire project well in advance. We knew the music would speak for itself and afterward our partners immediately came back to us with new creative opportunities for exposure. Wherever possible, we wanted Jelly to present it first-hand, to talk about his motivation and journey in creating Whitsitt Chapel. We also know Jelly has a passionate and committed fan base, so we wanted to be sure we had a strong focus on physical, as they are collectors… more so than most country consumers.
Jelly Roll’s music crosses several different genres, and Whitsitt Chapel is the latest in a line of albums that have reached the top echelon of both the Country radio charts and the Rock & Alternative radio charts. How do you work the same songs differently at different formats?
We don’t work them much differently. When Jelly and I first met, he had many questions about where his music would fit. He had a strong desire to have his music heard and accepted in the country genre, but he also wondered if some of it could work in rock and top 40. I was really firm in telling him not to worry about genres. All he needed to do was keep making music that connected with hearts and minds — music that saves and changes lives. You see examples of that at every Jelly show as you talk to his fans. He has this ability to connect with a wide variety of audiences because of his truth and willingness to be extremely open and share it. I said it in that first meeting, and I feel it even more strongly now: Jelly transcends genres. He is on the path to becoming a cultural icon.
Jelly Roll’s success has been considered one of the best examples of artist development in recent years. How do you continue to build on that in his career going forward?
We would love to take credit for Jelly’s artist development, but that wouldn’t be honest — Jelly is responsible for his artist development over the years of making music, touring and speaking his truth. We were fortunate that before us, there had not been a full team out there strategically telling his story, introducing him to partners and passionately laying down in the road for him as we asked for exposure opportunities. Going forward we will continue giving Jelly his creative and artistic freedom, while we continue to work on building the connection to new audiences and nurture the connection with his existing audience. It’s really that simple. When you have your first experience or interaction with Jelly, you have a strong desire to go deeper — and tell others about him.
Jason Ellis joined independent dance music label Armada Music as global senior A&R director. Ellis will also serve as an acquisition consultant for BEAT Music Fund, the company’s recently launched dance music investment arm. Based in London, Ellis will be responsible for sourcing and developing up-and-coming talent while consulting on future BEAT acquisitions. He joins […]
The suspect in a mass shooting at a Colorado Springs gay nightclub is expected to strike a plea deal to state murder and hate charges that would ensure at least a life sentence for the attack that killed five people and wounded 17, several survivors told The Associated Press.
Word of a possible legal resolution of last year’s Club Q massacre follows a series of jailhouse phone calls from the suspect to the AP expressing remorse and the intention to face the consequences at the next scheduled court hearing this month.
“I have to take responsibility for what happened,” 23-year-old Anderson Lee Aldrich said in their first public comments about the case.
Federal and state authorities and defense attorneys declined to comment on a possible plea deal. But Colorado law requires victims to be notified of such deals, and several people who lost loved ones or were wounded in the attack told the AP that state prosecutors have given them advance word that Aldrich will plead guilty to charges that would ensure the maximum state sentence of life behind bars.
Prosecutors also recently asked survivors to prepare for the June 26 hearing by writing victim-impact statements and steeling themselves emotionally for the possible release of the Club Q surveillance video of the attack.
“Someone’s gone that can never be brought back through the justice system,” said Wyatt Kent, who was celebrating his 23rd birthday in Club Q when Aldrich opened fire, gunning down Kent’s partner, Daniel Aston, who was working behind the bar. “We are all still missing a lot, a partner, a son, a daughter, a best friend.”
Jonathan Pullen, the suspect’s step-grandfather who plans to watch the upcoming hearing on a livestream, said Aldrich “has to realize what happened on that terrible night. It’s truly beginning to dawn on him.”
Aldrich faces more than 300 state counts, including murder and hate crimes. And the U.S. Justice Department is considering filing federal hate crime charges, according to a senior law enforcement official familiar with the matter who spoke to AP on condition of anonymity to discuss the ongoing case. It’s unclear whether the anticipated resolution to the state prosecution will also resolve the ongoing FBI investigation.
Some survivors who listened to the suspect’s recorded comments to the AP lambasted them as a calculated attempt to avoid the federal death penalty, noting they stopped short of discussing a motive, put much of the blame on drugs and characterized the crime in passive, generalities such as “I just can’t believe what happened” and “I wish I could turn back time.” Such language, they said, belied by the maps, diagrams, online rants and other evidence that showed months of plotting and premeditation.
“No one has sympathy for him,” said Michael Anderson, who was bartending at Club Q when the shooting broke out and ducked as several patrons were gunned down around him. “This community has to live with what happened, with collective trauma, with PTSD, trying to grieve the loss of our friends, to move past emotional wounds and move past what we heard, saw and smelled.”
Terror erupted just before midnight on Nov. 19 when the suspect walked into Club Q, a longtime sanctuary for the LGBTQ community in this mostly conservative city of 480,000, and fired an AR-15-style semiautomatic rifle indiscriminately. Disbelief gave way to screaming and confusion as the music continued to play. Partygoers dove across a bloody dance floor for cover. Friends frantically tried to protect each other and plugged wounds with napkins.
The killing only stopped after a Navy petty officer grabbed the barrel of the suspect’s rifle, burning his hand because it was so hot. An Army veteran joined in to help subdue and beat Aldrich until police arrived, finding the shooter had emptied one high-capacity magazine and was armed with several more.
Aldrich, who since their arrest has identified as nonbinary and uses the pronouns they and them, allegedly visited Club Q at least six times in the years before the attack. District Attorney Michael Allen told a judge that the suspect’s mother made Aldrich go to the club “against his will and sort of forced that culture on him.”
Allen also has said the suspect administered a website that posted a “neo-Nazi white supremacist” shooting training video. Online gaming friends said Aldrich expressed hatred for the police, LGBTQ people and minorities and used anti-Black and anti-gay slurs. And a police detective testified that Aldrich sent an online message with a photo of a rifle scope trained on a gay pride parade.
Defense attorneys in previous hearings have not disputed Aldrich’s role in the shooting but have pushed back against allegations it was motivated by hate, arguing the suspect was drugged up on cocaine and medication the night of the attack.
“I don’t know if this is common knowledge but I was on a very large plethora of drugs,” Aldrich told the AP. “I had been up for days. I was abusing steroids. … I’ve finally been able to get off that crap I was on.”
Aldrich didn’t answer directly when asked whether the attack was motivated by hate, saying only that’s “completely off base.”
Even a former friend of Aldrich found their remarks to be disingenuous. “I’m really glad he’s trying to take accountability but it’s like the ‘why’ is being shoved under the rug,” said Xavier Kraus, who lived across the hall from Aldrich at a Colorado Springs apartment complex.
The AP sent Aldrich a handwritten letter several months ago asking them to discuss a 2021 kidnapping arrest following a standoff with a SWAT team, a prosecution that had been dismissed and sealed despite video evidence of Aldrich’s crimes. In that case, just months before the Club Q shooting, they threatened to become “the next mass killer” and stockpiled guns, ammo, body armor and a homemade bomb. The incident was livestreamed on Facebook and prompted the evacuation of 10 nearby homes as authorities discovered a tub with more than 100 pounds of explosive materials.
The alleged shooter, who lived with their grandparents at the time and was upset about their plans to move to Florida, threatened to kill the couple and “go out in a blaze,” authorities said. “You guys die today and I’m taking you with me,” they quoted the suspect as saying. “I’m loaded and ready.”
The charges were dismissed even after relatives wrote a judge warning that Aldrich was “certain” to commit murder if freed. District Attorney Allen, facing heavy criticism, later attributed the dismissal of the case to Aldrich’s family members refusing to cooperate and repeatedly dodging out-of-state subpoenas.
In response to AP’s letter, Aldrich first phoned a reporter in March and asked to be paid for an interview, a request that was declined. They called back late last month, days after prosecutors wrote in a court filing that there was “near-unanimous sentiment” among the victims for “the most expedient determination of case-related issues.”
In a series of six calls, each limited by an automated jail phone system to 15 minutes, the suspect said: “Nothing’s ever going to bring back their loved ones. People are going to have to live with injury that can’t be repaired.”
Asked why it happened, they said, “I don’t know. That’s why I think it’s so hard to comprehend that it did happen. … I’m either going to get the death penalty federally or I will go to prison for life, that’s a given.”
While the AP normally would not provide a platform to someone alleged to have committed such a crime, editors judged that the suspect’s stated intent to accept responsibility and expression of remorse were newsworthy and should be reported.
Former Club Q bartender Anderson was among survivors who told prosecutors they wanted a fast resolution of the criminal case.
“My fear is that if this takes years, that prevents the processing and moving on and finding peace beyond this case,” he said. “I would love this wrapped up as quickly as possible under the guarantee that justice is served.”
President Joe Biden announced a major accomplishment in his battle against ticketing junk fees Thursday (June 15), but the impact is likely to be minimal.
After meeting with executives at Ticketmaster, SeatGeek and Dice, among others, those companies agreed to adopt all-in ticket pricing for their sales. For Ticketmaster, that will specifically impact shows at the more than 250 venues owned by parent company Live Nation in the United States — not all its ticketing clients.
The companies’ commitments to all-in pricing are part of a larger effort under the Biden administration and the Federal Trade Commission to reign in billions of dollars in junk fees charged to consumers by banks, hotel companies and entertainment groups. And while the buy-in from some of the world’s largest ticketing companies is an important milestone, the voluntary change will likely only impact a small percentage of tickets and give ticket sellers who conceal add-on fees to consumers until the end of the checkout process a competitive advantage over firms who display the full price at checkout.
The limited impact of Thursday’s announcement underscores the challenges lawmakers face as they attempt to come up with legislative fixes for the ticketing industry in the wake of disruptions to Taylor Swift’s high profile Eras tour. While politicians like Senator Amy Klobuchar (D-Minn.) have pointed the finger at Ticketmaster’s dominant market share, a growing coalition of music industry insiders under the #FixTheTix banner have blamed scalpers for the disruptions to the Taylor Swift sale and continued bot attacks on the ticketing industry.
While much of the battle between Ticketmaster and secondary sites like Stubhub and SeatGeek comes down to fundamental disagreements over artists’ rights to control their tickets and consumers’ rights to buy and sell tickets at whatever price the market will bear, the elimination of last minute fees added to tickets at checkout — sometimes as high as 25% to 35% of the face value of the ticket — had support from both primary and secondary ticket sellers.
In order for the all-in pricing to work, however, most experts agree that it must be mandated by law. Otherwise, many ticketing companies, sports teams and venues are unlikely to voluntarily change their pricing policy out of concern it could be a competitive disadvantage for their facility.
Even Thursday’s commitment from Ticketmaster has no impact on the hundreds of sports venues that sell millions of tickets to games and concerts each year. That’s because Ticketmaster cannot force teams within National Hockey League, National Basketball Association and National Football League to adopt all-in pricing at their stadiums and arenas, despite holding the exclusive ticketing rights to approximately 80% of the teams within those three leagues.
The same goes for the hundreds of independently owned venues for which Ticketmaster provides ticketing services.
Looking at the top 40 venues on Billboard‘s midyear Boxscore charts, while most are ticketed by Ticketmaster, none are owned by parent company Live Nation and none of the facilities will initially offer all-in pricing on their websites or ticket sales pages under the new commitment. The same goes for the hundreds of tours Live Nation promotes as well. That’s because standard ticketing contracts allow venues — and not Ticketmaster or other ticketing companies — to decide how tickets are sold, how much money in fees is added to a ticket, and how and when the breakdown between face value and add-ons like facility fees are displayed to consumers.
Studies show that ticketing companies that don’t use all in pricing have a competitive advantage over companies that show the full price of a ticket upfront. A consumer study by Stubhub in the 2010s shown that fans were more likely to purchase a ticket, even if it had a higher checkout price, if the initial price they were shown was lower than comparable tickets on other websites prices
“Live Nation’s promise today to give Americans price transparency at their venues is encouraging, but we need all-in pricing at all venues, for all live events, and on all ticket selling services now,” Rep. Bill Pascrell (D-N.J.) wrote in an email to Billboard, noting his bill, the BOSS and SWIFT ACT legislation would “mandate in law all-in pricing for true transparency.”
“Not until every seller offers all-in pricing can consumers get the comparison shopping experience for tickets that they deserve,” he wrote.
Critics of the BOSS and SWIFT ACT argue that while the legislation does improve transparency, it includes protections for ticket scalpers that would make it impossible for artists to protect their concert tickets from price gauging.
“Live Nation is proud to provide fans with a better ticketing buying experience,” said Tom See, president of Live Nation’s Venue Nation, in a statement. “We have thousands of crew working behind the scenes every day to help artists share their music live with fans, and we’ll continue advocating for innovations and reforms that protect that amazing connection.”
Stephen Parker, executive director of the National Independent Venue Association, told Billboard in an email, “Up-front pricing should be the start of comprehensive ticketing reform that protects consumers from price gouging and deceptive practices by predatory resellers.”
“We applaud the President for today’s meeting and look forward to working with his Administration and Congress to make comprehensive, bipartisan ticketing reform a reality,” Parker continued.
The National Independent Talent Organization, a group representing independent talent booking agents, applauded the voluntary change at Ticketmaster, but noted the change was “an important first step.”
“Until Congress acts to eliminate excessive fees and secondary ticketing is carefully regulated,” the organization said in a statement, “millions of consumers will still be the victim of predatory ticketing practices.”
During the National Music Publishers’ Association (NMPA) annual meeting on Wednesday, the trade organization announced its latest board of directors.
The latest executive board includes: Jody Gerson (Chair and CEO, Universal Music Publishing Group), Keith Hauprich (general counsel and executive vp, business and legal affairs, North America, BMG), Laurent Hubert (CEO, Kobalt), Carianne Marshall (co-chair and COO, Warner Chappell Music), Jon Platt (chair and CEO, Sony Music Publishing), Jim Selby (chief publishing executive, Concord).
Other board members include: Marti Cuevas (founder and president, Mayimba Music), Justin Kalifowitz (executive chairman, Downtown Music Publishing), Golnar Khosrowshahi (founder and CEO, Reservoir), Jody Klein (owner and CEO, ABKCO), Kenny MacPherson (CEO, Hipgnosis Songs Group), Chip McLean (svp, head of business affairs and business development, Disney Music Group), Larry Mestel (founder and CEO, Primary Wave), Michael Molinar (general manager, Big Machine Music), Jeff Pachman (general manager, Domino Publishing), Ralph Peer II (executive chair, peermusic), Irwin Robinson (vp, Richmond Organization), Jon Singer (chairman, Spirit Music Group).
The 20-member board comprises an executive board featuring leaders from the six largest companies according to revenue from the previous year, a general board of 12 additional publishing leaders, and two songwriters representing creatives’ point of view. To represent songwriters, the board elected Laura Veltz to replace Liz Rose, who recently reached her term limit of four years. Ross Golan is returning as the other songwriter representative.
Domino’s Pachman is this year’s only new publisher to join the board, replacing Leeds Levy.
All board members receive equal voting power and will meet four times annually to oversee the activity and budget of the NMPA. The board plays a major role in determining the legal actions of the trade organization, which is known to fight aggressively for fair pay and licensing for compositions.
This year, the NMPA is focused on new legal action it is taking against Twitter, which was also announced at Wednesday’s event. According to the complaint, the NMPA — along with over a dozen of music publishers — is suing Twitter over allegations of widespread copyright infringement, seeking as much as $255 million in damages.
Billboard is introducing a peer-voted award to run alongside its annual R&B/Hip-Hop Power Players list of the genres’ most influential executives. This new R&B/Hip-Hop Power Players’ Choice Award will honor the executive in the genres whose peers believe has had the greatest impact across the music business over the past year, from recording and publishing […]
Sen. Ted Cruz (R-Texas) and many liberal Democrats have two things in common, and perhaps only two: They hate the way concert and sports ticket sales work — specifically the company selling most of them, Ticketmaster — and they love Taylor Swift. Or, at least, they acknowledge that ingratiating themselves to Swift’s fan army as she sells out stadiums in their states is an efficient way to build up constituent support.
Over the past couple of months, Cruz, Sen. Amy Klobuchar (D-Minn.), Massachusetts Sen. John Velis (D-Hampden and Hampshire) and others have presented a variety of bills intended to reform the ticket-selling business, invoking Swift and fans’ displeasure with Ticketmaster’s Eras Tour on-sale fiasco in November, when more than 100,000 fans were kicked out of the online sale queue. Following a Senate subcommittee hearing focused on Ticketmaster in January, politicians clearly see positioning themselves against the ticketing giant and attaching themselves to Swift’s millions of passionate fans as a winning combination. They’re even naming their bills after her.
“There’s a growing awareness of the problem, and the Taylor Swift concert debacle played a part in focusing a lot of attention on the issue,” Cruz tells Billboard, adding that his 12-year-old daughter recently attended an Eras Tour show.
That debacle, Ticketmaster declared at the time, was due to unprecedented levels of illegal bots attacking the online sale. But that claim did little to satisfy fans and politicians, who during a January Senate hearing instead chose to focus on monopolistic behavior by Ticketmaster and its owner, promoter Live Nation, often referencing Swift lyrics between swipes at the company. Since then, the rhetoric has changed slightly. While politicians continue to scrutinize the concert giant — Klobuchar says the Department of Justice is investigating Live Nation and Ticketmaster for possible violations of their 2010 consent decree — senators and congresspeople at federal and state levels are proposing solutions to potentially more manageable issues.
In Massachusetts, Velis and his co-sponsor, Rep. Dan Carey (D-Easthampton), have introduced what they nicknamed the “Taylor Swift bill,” which aims to abolish hidden ticket fees and require sellers such as Ticketmaster and SeatGeek to disclose service charges and costs upfront. A similar law already exists in New York state, and Live Nation actually supports the issue — including it in the company’s own proposed legislation outline. “Taylor Swift obviously sells out every concert,” Velis says, “but she’s also got this support ecosystem that lends itself to, ‘If you want to do something about this, why not use something that’s absolutely going to get the public’s attention?’”
But at a time when opposing Ticketmaster is good politics, one source in touring suggested politicians do not want to be seen aligning with the corporate giant. That political strategy may even be holding back legislation on other subjects where there’s popular consensus. Other bills, like the one Klobuchar and Sen. Richard Blumenthal (D-Conn.) introduced in April, limit exclusive deals with venues and therefore more directly target Ticketmaster.
Velis said he and Carey plan to meet with Ticketmaster executives in the coming weeks to discuss their bill. “The more you can firm up a piece of legislation to get rid of unintended consequences, you’re better off,” Velis says. “That being said, as it relates to just telling a consumer, ‘This is what you’re going to spend if you want to go to this concert’ — I can’t think of anything remotely close to approaching how someone can convince me that’s not a good idea.”
To help wade through the many different pro-Swift, Ticketmaster-targeting bills out there, here’s a rundown of what they each intend to achieve — and what each legislator gets out of sponsoring them:
Unlocking Tickets Markets Act, in the U.S. Senate
Gloria Trevi will not renew her contract with Universal Music Latino after 15 years with the label, Billboard Español can exclusively report.
The Mexican superstar will now be an independent artist through her own company, Great Talent Records, Trevi’s publicist, Mayna Nevarez, confirmed. She has also signed a new distribution deal with Tango, and another one with ByteDance’s SoundOn for TikTok.
Furthermore, she has an agreement with Live Nation for an upcoming U.S. tour.
“This new stage is very exciting for me,” Trevi said in a statement to Billboard Español. “With our label, I will be able to have more investment, open new markets and work with dream collaborations. I love being the head of my own label now, Great Talent Records.”
On Friday (June 16), Trevi’s fans will be able to hear her first independent release, “Medusa,” a techno dance beat track produced by Dabruk, Manu Chalud and Alcover that will be available on all digital platforms.
During her years with Universal Music Latino, Trevi, known for classics like “Pelo suelto” and “Dr. Psiquiatra”, reached No. 1 on Billboard‘s Top Latin Albums chart with Gloria (2011), El Amor (2015), Inmortal (2016) and Versus (2017), the latter a joint album with Alejandra Guzmán.
Prior to Universal Music Latino, Trevi was previously with Sony BMG Mexico (1989-2004) and Univision (2005-2008).
The news of Trevi’s departure from Universal comes amid a wave of other major Latin music artists switching labels. On Wednesday (June 14), Billboard exclusively reported that Spaniard star Alejandro Sanz left Universal and joined Sony Music. And in April, Anitta and Warner Music Group announced their separation; the Brazilian star subsequently signed with Republic Records and will work closely with Universal Music Latino.
Lawyers for Sony Music Entertainment have spent months trying to find a TikTok rapper who the label is suing for copyright infringement, even going to his mom’s house on Mother’s Day “in hopes that he would be there to celebrate with her.” Now, a judge now says they can just slide into his DMs.
In an order issued Wednesday, Judge Mark T. Pittman ruled that Sony had exhausted all reasonable routes to locate Trefuego — the artist behind a popular TikTok song called “90mh,” which Sony claims features a “flagrant” unlicensed sample from an earlier song.
Faced with that situation, the judge said Sony’s lawyers could instead reach out to his Instagram, Twitter, TikTok and Soundcloud accounts, which have remained active since Sony filed its lawsuit.
“Plaintiffs have shown that serving process via these social media platforms will be reasonably effective in giving Trefuego notice of this suit,” Judge Pittman wrote.
Sony has been pursuing Trefuego in some form since January 2021, when the company notified him that his “90mh” — a track that’s been featured in 155,000 videos on TikTok and streamed 100 million times on Spotify — was built on an illegal sample from Japanese composer Toshifumi Hinata. After filing takedown requests in August 2022 to get the song pulled, Sony finally launched a lawsuit in December.
Wednesday’s ruling highlights the extraordinary lengths that litigants like Sony must sometimes go to “serve” filings on opponents — a key procedural requirement in any lawsuit.
The same problem recently confronted lawyers repping Kanye West, who desperately wanted to drop the embattled rapper as a client but couldn’t find him to do so. And NBA legend Shaquille O’Neal spent months avoiding a lawsuit over his endorsement of failed cryptocurrency exchange FTX — only to finally be located and served at a Heat-Celtics game last month.
In his decision on Sony’s case, Judge Pittman said the company’s lawyers had made “extensive efforts” and “gone to great lengths” to find Trefuego. They made “seven separate attempts” to serve him with the lawsuit, the judge said, including hiring a private investigator and scouring his social media pages.
In one particularly notable effort, Sony’s reps went “to his mother’s house on Mother’s Day in hopes that he would be there to celebrate with her” but still came up empty: “Sadly, he was not there, and his own mother claimed she did not know who he was,” the judge wrote.
A typical alternative to in-person service would be to print a notice of the lawsuit in the local papers — the same thing that Kanye’s estranged lawyers wanted to do in his case. But in Wednesday’s decision, Judge Pittman said that “modern problems require modern solutions.”
“This court has concerns as to whether SoundCloud and TikTok rapper extraordinaire Trefuego is a regular reader of the Fort Worth Star Telegram or that he regularly visits the information tab of Fort Worth’s city website,” the judge wrote.
Judge Pittman ruled that Sony could instead use “certain social media accounts” that “most certainly belong to the young bard.” Trefuego’s Instagram, Twitter, TikTok and SoundCloud pages all “appear to be substantially active,” the judge said, and indicate that he is a “frequent user” of those platforms.
Ahead of the decision, Sony had offered one other digital alternative: to email the rapper’s manager, with whom Sony had correspondence over the unlicensed sample before it resorted to litigation. But the judge rejected that route, noting that “all lines of communication have ceased” with the manager since the filing of the case.
“Given his own mother’s willingness to deny her relationship to him, it is not unlikely that his manager would also willingly delete emails or continue to ignore them,” the judge wrote. “Because communications through this line have proven futile already, the Court will not grant service through this already explored dead-end avenue.”
RIOTUSA, the hitmaking producer behind Ice Spice, has signed a publishing deal with Warner Chappell Music, Billboard can reveal.
“Warner Chappell showed me respect and made me excited to build,” said RIOTUSA in a statement. “Ryan [Press, president, North America at Warner Chappell Music] values my vision and goals as a creative, and I know what he’s brought to the table for other artists. I want to inspire others to chase their dreams, and Warner Chappell will help me achieve those goals.”
Press added, “Riot has quickly become one of the most exciting and in-demand producers to emerge from New York’s legendary hip-hop scene. He’s creating hit after hit with Ice Spice, and we’re super lucky to get to support him at this stage of his journey. I’ve had the opportunity to work with some of hip-hop’s biggest music producers during the early stages of their careers, and I know Riot is well on his way to being one of the best producers of his generation.”
During his interview for Ice Spice’s Billboard cover story in May, RIOTUSA said he started making beats on GarageBand at 10 years old and was inspired by his father — WQHT (Hot 97) New York DJ/radio personality DJ Enuff — to chase his own musical dreams. In 2021, he began producing songs for Ice Spice, whom he met while attending State University of New York (SUNY) Purchase. He has since played a key role in her rapid rise to fame.
RIOTUSA produced Ice Spice’s breakout, gold-certified single “Munch (Feelin U)” and executive produced Like..?, the 2023 EP that featured the track. Like..?, which reached No. 5 on Billboard‘s Top R&B/Hip-Hop Albums chart, also contains the hit singles “In Ha Mood” and “Gangsta Boo” (featuring Lil Tjay), the latter of which became Ice Spice’s career-first Billboard Hot 100 entry.
RIOTUSA has since earned credits on two top 10 hits on the Hot 100: Taylor Swift‘s “Karma” remix featuring Ice Spice (No. 2), which he co-wrote, and “Princess Diana” by Ice Spice and Nicki Minaj (No. 4), which he produced. He has also topped Billboard‘s R&B/Hip-Hop Producers chart for one week, the Rap Songwriters chart for two weeks and the Rap Producers chart for four weeks.
“After he scored multiple Billboard Hot 100 entries and radio hits, we knew it was the right time to find a publishing admin partner to support RIOT’s works in syncs, licensing, and collection,” said James Rosemond Jr., CEO/founder of Mastermind Artists and manager of both RIOTUSA and Ice Spice. “Ryan Press understood RIOT’s goals, vision, and worth, and this next chapter with Ryan and the global Warner Chappell team, as part of our extended family, is only going to amplify RIOT’s reach and raise his efforts to another level in this competitive space.”
In addition to his other credits, RIOTUSA produced Ice Spice and Nicki Minaj’s upcoming “Barbie World” track with Aqua from Barbie: The Album, the soundtrack to Greta Gerwig’s forthcoming big-screen feature Barbie. The track is slated for release on June 23 with an accompanying music video.