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Young Thug and concert giant AEG have quietly settled their multi-million dollar legal battle over a touring partnership gone sour.
The lawsuit, first filed in 2020 but delayed for years by Thug’s high-profile criminal case, claimed that the star owed more than $5 million under a 2017 touring agreement — and that he was obligated to hand over some of his music rights to pay down that debt.
But in a motion filed in federal court on Feb. 14, attorneys for both sides said they had “entered into a settlement” to resolve the dispute. Terms of the agreement were not disclosed in court filings, and neither side immediately returned requests for comment. The deal was later finalized by a judge on Feb. 18.
The settlement came as Thug is gearing up to start performing in concert again for the first time since he took a plea deal to end the years-long criminal drama in Atlanta. That agreement imposed strict conditions, but allowed Thug to avoid prison time and resume his music career.
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AEG sued Thug in December 2020 over allegations that he had breached the earlier touring agreement, which gave the company the exclusive right to promote his concerts. AEG alleged that Thug had “immediately failed and refused to honor” the deal after it had been signed, including by performing shows without the promoter’s involvement and pocketing the proceeds.
Under the terms of the deal, AEG claimed Thug was paid a $5.3 million advance – a sum the company claimed was never paid back. More significantly, AEG claimed that debt was secured with Thug’s copyrights to his songs as collateral – and that AEG can now claim an interest in the revenue generated by such intellectual property.
In more recent court filings, AEG claimed Thug had sold off more than 400 copyrighted songs for more than $16 million to an unknown third-party in 2021, and suggested that such a transfer mid-lawsuit might have been fraudulent.
The case was put on indefinite hold in May 2022, when the rapper was charged in a sweeping racketeering indictment that claimed his YSL group was a violent gang that had wrought “havoc” on Atlanta. Following the longest-running trial in Georgia history and a two-year stint in jail, Thug pleaded guilty last month and was sentenced to serve only probation.
Shortly after Thug struck that deal, attorneys for AEG pushed to restart the civil lawsuit, saying it was no longer “hampered” by the criminal case. But little additional litigation took place before the settlement was reached.
A2IM (The American Association of Independent Music), is relaunching its annual Sync Up event on April 14 at the SLS Beverly Hills Hotel in Beverly Hills, Calif., in partnership with Sync Summit.
The event will feature the presentation of the inaugural Independent Sync Champion Award presented by Ghidrah Music, which is designed to honor a music supervisor who has championed independent music in synch licensing throughout their career. The inaugural recipient is Jen Malone of Black & White Music, who has received four Primetime Emmy nominations for outstanding music supervision since 2018 for her work on Atlanta, Euphoria and Mr. & Mrs. Smith.
“We are thrilled to bring back the Sync Up event in Los Angeles, providing a valuable opportunity for the independent music community,” Dr. Richard James Burgess, president/CEO of A2IM, said in a statement. “We are also very excited to launch the Independent Sync Champion Award, honoring music supervisors who strongly support independent musicians and labels.”
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Added Mark Frieser, CEO of Sync Summit: “We’re delighted to collaborate with A2IM on the presentation of the first Independent Sync Champion Award to Music Supervisor Jen Malone in recognition of her incredible creativity in music supervision and her consistent efforts to feature independent music prominently in her projects.”
“Independent music has shaped my life and career — it’s where artistry and storytelling collide,” notes Malone. “Receiving the Independent Sync Champion Award from A2IM is an honor that affirms my belief: indie music is essential. From supporting emerging artists to helping their music reach new audiences through film and TV, my passion has always been about amplifying independent voices. I’m so grateful to be part of this vibrant community.”
Malone is a music supervisor and head of Black & White Music, an all-female full-service music supervision company. She started her career as a music publicist in 2000 when she founded Black & White PR, a boutique indie rock public relations firm out of Boston. In 2009, Malone moved to L.A. to pursue a career in music supervision.
The April 14 lunch event, which is set to run from 1 p.m. to 4 p.m., will include a featured panel; networking with top music supervisors, independent labels, publishers and synch houses; and more from the A2IM member community. Tickets are available here.
Duetti, a growing catalog acquisition company that works with independent artists, said on Tuesday it has secured $200 million from Viola Credit and another bank. Duetti says it will use the new lines of credit to finance the acquisitions of royalty and publishing catalogs, masters rights, and an expansion into “catalog management and marketing opportunities […]
The breakout rap hit “Tweaker” from the middle Ball brother, LiAngelo Ball, has generated nearly $640,000 since it first began its meteoric rise from NBA locker rooms to the Billboard Hot 100 chart. Released on Jan. 3 under the moniker GELO — Ball also raps under the alias G3 —“Tweaker” came out on Ball’s family label, Born […]
Richard Vega and Stephen Schulcz have been promoted to partners in the music divison at WME.
Vega is based out of Miami, where he relocated in 2024 as part of WME’s continued global expansion of the agency’s Latin business. His clients at the agency include Alvaro Diaz, Becky G, Café Tacvba, Humbe, Kevin Kaarl, LP, Saiko, Tainy, Will Smith and Xavi. Vega has worked with super producer TAINY since 2018 and has been one of the main strategists in shifting him into the live space, culminating last year with his first ever sold-out arena show in Puerto Rico to more than 17,000 fans, according to the agency. He has also worked with indie regional Mexican sensation Ivan Cornejo since 2022, taking him from clubs to arenas in a matter of years, and was an early believer in the corridos tumbados movement out of Mexico, signing top acts like Natanael Cano.
Vega began his career playing drums for various bands in Bogota, Colombia, and over time transitioned to the business side of the industry. After seven years in Colombia, he relocated to Nashville, where he graduated from Belmont University. After interning for a year at WME, Vega would go on to work for the agency in Nashville and Los Angeles.
Richard has played a major role in expanding the visibility of Argentine artists in North America and Europe. His client Khea performed across 11 countries in Europe in 2019, while two of his other clients, Bizarrap and Nicki Nicole, have both had major moments at Coachella.
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Schulcz, who is head of domestic festivals for the agency, oversees a roster that includes Givēon, Weezer, Kid Cudi, Swae Lee, Macklemore, Sam Fender, Livingston, Coheed and Cambria, Oliver Tree, ian, Nicki Nicole, Mike Campbell, Mark Ambor, Montell Fish, David Kushner, The Avalanches, Passion Pit and Jean Dawson. He has worked with Teddy Swims since 2020, helping propel his career from clubs to arenas in a matter of years. He also helped orchestrate Victoria Monét’s sold-out Jaguar tour.
Schulcz was born and raised in Los Angeles and graduated from the UCLA. He has been with the agency for more than a decade, starting right out of college in the mailroom.
There’s big changes afoot in the leadership team at Universal Music New Zealand, with longtime Managing Director and Chairman Adam Holt announcing his retirement.
News of the leadership transition was announced by Universal Music Australia & New Zealand President and CEO, Sean Warner on Tuesday, March. 4 (New Zealand time). Holt’s decision to retire comes after 24 years successfully leading the company, and 34 years spent at Universal Music Group and predecessor company Polygram. Holt’s retirement will take effect on April 30, with successors Myra Hemara and Matt Kidd being promoted to Co-Managing Directors, effective May 1.
“Adam’s commitment to our company, our artists, our people, and the greater New Zealand music industry has been nothing short of exemplary,” Warner said in a statement. “Throughout his tenure he consistently promoted a positive culture of both UMNZ and UMA garnering him enormous respect from both employees and artists alike. Adam is a passionate music man, caring mentor and consummate professional, who led from the front and made lifelong friends across the UMG, the artist community artists and with our partners around the world.”
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“Leading the New Zealand company for UMG has been the experience of my life,” added Holt. “I am immensely proud of what we have achieved and the challenges we have successfully navigated over the years, but it’s time for me and the company to start the next chapter. A big thank you to Sir Lucian Grainge and Sean for trusting me with UMNZ for so long, and a huge thank you to the entire Universal Music team across New Zealand and Australia. You are an amazing group of people and I will miss you immensely. Most importantly, thank you to all the artists I have had the honour to serve in my time at Universal. I remain in complete awe of you all.”
“I am thrilled to announce that the current UMNZ General Managers, Myra Hemara and Matt Kidd, will become the new Co-Managing Directors of the company,” Warner continued. “Matt and Myra have incredible experience within UMNZ and have been at the forefront of the changes we have made in New Zealand over the past couple of years, Together, with the support of UMNZ Chief Financial Officer & Commercial Director, Tony Jenks, they will form a strong executive leadership team that will drive a new era of success for Universal Music New Zealand.”
Hemara joined UMNZ in 2006, working on establishing their digital department and strategy upon her addition to the team. In 2017, Hemara was appointed General Manager, taking on the additional responsibilities of leading UMNZ’s international artist marketing and audience development teams.
Kidd, meanwhile, has been with UMNZ for the past 12 years, having begun his career in promotions and public relations before leading their domestic repertoire and business development teams. Since 2017, Kidd’s role as General Manager has seen him focus on exporting New Zealand talent on a global scale.
“Being given this opportunity to lead Universal Music New Zealand alongside Matt is a great privilege and honour,” Hemara said. “The legacy Adam has created for our artists and staff has provided an incredible foundation for Matt and I to build on. I’m looking forward to fostering a culture of connection, creativity and collaboration and delivering even more success for our incredibly talented artists.”
“Thank you to Sean for giving Myra and I the opportunity to lead this great company,” added Kidd. “It’s exciting to take on this new role at a thrilling point in the business, where the landscape and scope for how we can work with and develop our artists is changing dramatically. I’m beyond excited to be a part of the best team in the country and to continue driving excellence and innovation for our artists in New Zealand, and around the world.”
Jay-Z is filing a lawsuit against the unnamed woman who accused him of rape last year, claiming she has now directly admitted that she fabricated those explosive allegations.
The new case, filed weeks after the lawsuit against Jay-Z (Shawn Carter) was abruptly dropped last month, alleges that the Jane Doe accuser and her attorney, Tony Buzbee, carried out an “evil conspiracy” to extort a settlement from the superstar by making “false and malicious” allegations against him.
Notably, the new lawsuit says the Doe accuser has now “voluntarily admitted” directly to Jay-Z’s team that the star did not assault her and that Buzbee “pushed” her to make those allegations.
“Mr. Carter does not commence this action lightly,” his lawyers write in a complaint filed Monday (March 3) in Alabama federal court. “But the extortion and abuse of Mr. Carter by Doe and her lawyers must stop.”
In a statement to Billboard, Buzbee sharply denied the allegations: “This case is baloney and has no legal merit. Shawn Carter’s investigators have repeatedly harassed, threatened and harangued this poor woman for weeks trying to intimidate her and make her recant her story. She won’t. Instead she has stated repeatedly she stands by her claims. These same group of investigators have been caught on tape offering to pay people to sue me and my firm. This is just another attempt to intimidate and bully this poor woman that we will deal with in due course.”
The blockbuster case against Jay-Z, filed in December, claimed that he and Sean “Diddy” Combs drugged and raped a 13-year-old girl at an after-party following the 2000 MTV Video Music Awards. It represented a shocking expansion of the already-sprawling claims against Combs and came amid speculation that other stars might be implicated in Diddy’s alleged decades of abusive behavior.
Jay-Z forcefully denied the allegations, calling them a “blackmail attempt.” He accused Buzbee of trying to extort settlements from innocent celebrities by falsely tying them to Diddy and vowed to fight back and never pay his accuser.
Last month, Doe abruptly dropped the case — without explanation and without any kind of payment from Jay-Z. Though he celebrated it as a “victory,” the star hinted he would seek to further clear his name: “When they quickly realize that the money grab is going to fail, they get to walk away with no repercussions. The system has failed.”
In filing Monday’s lawsuit, attorneys for the star are essentially seeking to impose those kinds of repercussions. They accuse Doe and Buzbee of counts of malicious prosecution, abuse of process and civil conspiracy, claiming they teamed up to abuse the court system to “assassinate the impeccable and lifetime-earned character of Shawn Corey Carter” in an effort to score a payday.
“Defendants devised and executed their plan to accuse Mr. Carter of sexual assault and used national news and media outlets to disseminate the fabricated accusations to millions despite the falsity of the accusation,” his lawyers write. “Defendants’ actions were willful and purposeful in order to maximize the reputational harm to Mr. Carter and induce Mr. Carter to pay them.”
The new lawsuit is most notable in that it claims the accuser herself has admitted the allegations against Jay-Z are false. A headline-grabbing interview with NBC News exposed serious inconsistencies in her story, and Jay-Z’s team repeatedly argued the lawsuit was frivolous. But in Monday’s complaint, his attorneys now say Doe herself has confirmed to them that the bombshell charge was not true.
“Doe has now voluntarily admitted directly to representatives of Mr. Carter that the story brought before the world in court and on global television was just that: a false, malicious story,” the lawsuit says. “She has admitted that Mr. Carter did not assault her; and that indeed it was Buzbee himself … who pushed her to go forward with the false narrative of the assault by Mr. Carter in order to leverage a maximum payday.”
It’s unclear from the complaint when exactly Doe made such admissions to Jay-Z’s representatives or in what context. Reps for his attorneys did not immediately return a request for comment.
In addition to focusing on the old lawsuit, Jay-Z’s lawyers also say the star is now facing new “extortionate threats” from Buzbee. They claim Doe’s attorneys warned them last week that if they reveal Doe’s statements admitting her story was false, they’ll issue a press release claiming she’s been “harassed” by Jay-Z’s team and that she “dropped the lawsuit only because she was afraid for her life.”
“Thus, the threats of extortion and further defamation continue to this day, necessitating that Mr. Carter take action to prevent unscrupulous actors from further preying on him,” his attorneys write.
The new case isn’t the first time Jay-Z has gone on the legal counteroffensive. Weeks before the headline-grabbing rape case was filed against him in December, attorneys for the star secretly filed a preemptive lawsuit under a John Doe pseudonym accusing Buzbee of extortion and defamation. Jay-Z’s role as the mystery plaintiff in that case was later revealed after Doe filed her rape lawsuit.
At a hearing in that case last week, a Los Angeles judge said he would likely dismiss the star’s extortion claims against Buzbee but that he would likely allow the defamation claims against the lawyer to proceed toward trial.
Vermillio, an AI licensing and protection platform, raised $16 million in Series A funding led by Sony Music and DNS Capital, the company announced on Monday (March 3). This marks the first time Sony Music has invested in an AI music company.
Sony Music’s relationship with Vermillio dates back to 2023, when the two companies collaborated on a project for The Orb and David Gilmour. Through the partnership, fans could use Vermillio’s proprietary AI tech to create personalized remixes of the acts’ 2010 ambient album Metallic Spheres.
According to a press release, Vermillio plans to use the funds to scale operations and “continue building out solutions for a generative AI internet that enables talent, studios, record labels, and more to protect and monetize their content.”
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Vermillio’s goal is to create an AI platform that securely licenses intellectual property (IP). One of its core products is TraceID, which provides protection and third-party attribution for artists. Through it, the company claims artists and rights holders can control their data and AI rights.
Apart from its collaboration with Sony Music for the AI remix project, Vermillio has also worked with top talent agency WME to shield its clients from IP theft and find opportunities to monetize their name, image and likeness rights by licensing their data. Sony Pictures also worked with Vermillio to create an AI engine that allowed fans to make their own unique digital avatars in the style of Spider-Verse animation. Each of the fan generations were then tracked using TraceID so that all works could be tied back to the filmmakers’ original IP.
“We are setting a new standard for AI licensing — one that proactively enables consent, credit, and compensation for innovative opportunities,” said Dan Neely, co-founder/CEO of Vermillio, in a statement. “With the support of an innovation leader like Sony Music, Vermillio will continue building our products that ensure generative AI is utilized ethically and securely. At this critical moment in determining the future of AI and how to hold platforms accountable, we are proud to protect the world’s most beloved content and talent.”
“Sony Music is focused on developing responsible generative AI use cases that enhance the creativity and goals of our talent, protect their work, excite fans, and create new commercial possibilities,” added Dennis Kooker, president of global digital business at Sony Music Entertainment. “Dan Neely and the team at Vermillio share our vision that prioritizing proper consent, clear attribution and appropriate compensation for professional creators is foundational to unlocking monetization opportunities in this space. We look forward to expanding our successful collaboration with them as we work to support the growth of trusted platforms by enabling secure AI solutions that are mutually beneficial for technology innovators, artists and rightsholders.”
Sphere Entertainment reported quarterly revenue of $308.3 million, slightly lower than the year-ago period, owing to half-a-dozen fewer shows, the Las Vegas venue company reported on Monday (March 3).
Sphere — which chairman/CEO James Dolan reminded analysts on a call is still basically a brand-new company — reported an operating loss of $142.9 million, a $16.7 million improvement compared to the same quarter a year ago. Meanwhile, adjusted operating income of $32.9 million was down $18.6 million from the prior-year quarter and events-related revenue of $54.4 million was $800,000 less than the year ago period. The quarter included shows by the Eagles and Anyma as well as the Las Vegas Grand Prix, which returned to Sphere in November as part of a multi-year deal.
With additional shows from the Eagles and Anyma and upcoming residencies by country star Kenny Chesney and Backstreet Boys, Dolan said 2025 will be marked by continued demand and improved operating efficiency.
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“This year, the biggest opportunities are the nuts and bolts of how well we operate the business. That is going to provide a boost,” Dolan said on a call with analysts. “Longer term, the expansion of more Spheres is what is going to deliver the most [return].”
Sphere grossed $169 million, while MSG Networks generated $139.3 million, for the quarter ending Dec. 31. Sphere’s operating loss of $107.9 million on an adjusted basis was $800,000, while MSG Networks reported an operating loss of $35 million. On an adjusted basis, MSG reported an adjusted operating income of $33.7 million.
Advertising on the outside of Sphere, which the company calls Exosphere, plus suite license fees generated $20.3 million, a $2.7 million improvement from the prior-year quarter.
Here’s what else you need to know from the earnings call.
In addition to Sphere Abu Dhabi, the company is working on mini-Spheres.
Last fall, Sphere Entertainment announced plans for a second Sphere venue in Abu Dhabi, the capital city of the United Arab Emirates (UAE), that would be entirely funded by the UAE’s Department of Culture and Tourism. The new venue will be operated as a franchise, with Sphere Entertainment receiving a franchise initiation fee that grants Abu Dhabi the right to use the company’s intellectual property and content from The Sphere Experience, like Postcard from Earth and V-U2: An Immersive Concert Film.
As plans for Sphere in Abu Dhabi move forward, the company is exploring smaller versions of Sphere that could seat around 5,000, compared to the Las Vegas venue’s 20,000-seat design, Dolan said.
“We’re currently working on the architecture of our smaller Sphere” and identifying mid-sized cities that could present opportunities, Dolan said. “We’re looking to take advantage of the content we’ve created already and the business we’ve created already and bringing it out to other markets. Right now, we’re in the planning and design phase.”
While the cost of playing Sphere is “high” for artists, demand is higher.
Dolan acknowledged that playing Sphere, a first-of-its-kind venue, comes with a slew of costs that can set performing artists back. But acts like Chesney, who will kick off a 15-show residency in May, and Backstreet Boys, who start an 18-show residency this summer, save on the cost of touring multiple cities, Dolan said.
“We know that the content costs are high for a band, but they are offset by the fact that it’s a residency,” he said. “So a touring band has to go to 50 cities, move place to place. The bottom line for bands is they do better.”
In response to a question about the biggest opportunities ahead, Dolan said the demand from fans, artists and corporate sponsors is overwhelming. The Las Vegas venue has 55 shows planned for the first half of 2025, up from 37 in the first half of 2024.
“We have a desire to do those concerts, and artists have a desire to play the Sphere,” Dolan said. “If there is anything that is going to limit concerts, it’s probably going to be [demand].”
Expect more concert videos like the one made of U2’s Sphere show.
Dolan declined to share details about the newest The Sphere Experience, but he said it’s likely the company will do more concert films like V-U2 in the future owing to the success of that show and the low cost of creating content like it.
These films, which are akin to “attending the concert without having the band there,” cost less than $500,000 to record and create, Dolan said, adding that they have more performance recordings in the wings.
“The cost of that product is quite low, and I expect that we will continue to build up the library and that you’ll be seeing those kinds of experiences for years to come,” Dolan said.
Ty Baisden, co-founder of the creative/business partnership company COLTURE, is announcing the launch of the firm’s Empower U Grant, dedicated to uplifting and supporting women entrepreneurs from underserved communities. Kicking off this year, the annual Women’s History Month initiative will select five women-led ventures to receive $10,000 grants and 12 months of mentorship to help […]