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Within Christian music, few artists of the past decade have made as many waves as Brandon Lake. The singer, songwriter and guitarist, who got his start by crowdfunding his first album, 2016’s Closer, has emerged as one of the genre’s leading lights in recent years, having racked up six Billboard Hot Christian Songs No. 1s, five Christian Airplay No. 1s and one Christian Albums chart-topper, 2023’s Coat of Many Colors.
It was that last album, his first for Provident Entertainment, that really kicked his career into high gear — even beyond the traditional confines of Christian music. As COMC was still producing charting singles, Lake began teasing new music on tour and on TikTok, which started connecting with an audience broader than what he was used to. “With each release, Brandon, his team, and Provident kept raising the ceiling on what was possible and setting a new floor of success for where we could go,” Provident’s president Holly Zabka tells Billboard. By last July, that led to the release of the song “That’s Who I Praise,” which tied the record for longest run at No. 1 on Christian Airplay this decade. But it was his next release that would catapult him into the mainstream.
After teasing the song on TikTok and at shows, Provident released “Hard Fought Hallelujah” in November, months before they had planned, due to fan demand. The response sent the song to No. 1 on Hot Christian Songs, and this week, it not only spends its 20th week at the summit of that chart — making Lake the only artist with three 20-week No. 1s there — but reaches No. 40 on the Hot 100, his first entry on the mainstream chart and the marker of a bonafide crossover smash. And as “Hallelujah” — which also got a high-profile remix from Jelly Roll — continues to gain steam, Provident’s Zabka is Billboard’s Executive of the Week.
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Here, Zabka talks about building into the success of “Hallelujah,” the effects of the Jelly Roll remix and TikTok on the song’s upward trajectory, and why Christian music is growing in popularity right now. “There’s a quote from Moneyball that says, ‘The first one through the wall always gets bloody, always,’” Zabka says. “At Provident, we operate from the perspective of being the first ones through the wall, leading the way for our creators and the genre.”
This week, Brandon Lake’s “Hard Fought Hallelujah” spends its 20th week at No. 1 on Hot Christian Songs, making him the only artist with three songs to lead that chart for that amount of time. What key decisions did you make to help make that happen?
From the moment we signed Brandon, our goal has been to throw out the “rulebook” of how we historically would release music and, as a team, challenge ourselves to think differently at every turn.
Last year, we were roughly seven months into working Brandon’s first release on Provident, Coat of Many Colors, when he started teasing new songs on socials and the road. At that time, we were successfully working two different songs to Christian radio, with DSPs focusing on a third single. Conventional wisdom would say we shouldn’t move on to new music; there was still a lot of gas left in the tank on COMC. We watched and learned that Brandon’s audience had the capacity and hunger to consume the current release while also making room for what was coming next. While the data showed a growing appetite for more music, we also had to listen and watch how his fans engaged, and then trust our instincts, because ultimately, the fans indicate how artists should release content.
By July, we released a new single called “That’s Who I Praise” that doubled our biggest single from the previous record. With each release, Brandon, his team, and Provident kept raising the ceiling on what was possible and setting a new floor of success for where we could go. “Hard Fought Hallelujah” was the second single to be teased way back in the spring. Before there was a plan for a record, we were two singles in, and “HFH” released in late fall, again doubling anything Brandon had previously released. Not only was the current record holding its activity, but everything new kept exceeding expectations.
The song also got a remix with Jelly Roll. How did that help boost its traction?
Obviously, we recognized that adding an incredible artist like Jelly Roll would attract a new audience to the song. Brandon’s solo version of “Hard Fought Hallelujah,” released in November of ’24, exceeded every goal and demonstrated that his audience was already expanding. Before a collaboration was possible, Jelly had heard and been affected by the song, making the request for a potential collaboration feel organic and natural. The combination of Jelly, who is very open about his faith, and Brandon, whose artistry had already begun to transcend the genre, created broader access and opportunities for discovery in new spaces.
How did TikTok play a role in the song’s success?
In early 2024, Brandon began playing the verse and chorus of “Hard Fought Hallelujah” at a few shows and then each night of his summer arena tour. Even in fragments, you could feel people connecting to the message and posting videos of their experiences with the song, proving that something special and unique was happening; people were asking for it. All of this occurred before a release date was scheduled, but everything indicated that this song had already ignited a deep connection.
He officially began teasing it across all social media in August, and we had planned for a January 2025 release, given the success he was already enjoying with his previous releases. However, demand for the song was undeniable, amassing over 10 million views and 35,000 short-form creations before it was released in November.
“Hard Fought Hallelujah” hit No. 40 on the Hot 100 this week, Lake’s first-ever Hot 100 entry, suggesting it has major mainstream appeal. It’s also one of just three songs to chart on both the Hot 100 and Hot Christian Songs since 2020. What’s behind that surge, and how have you helped fuel it?
Brandon and his co-writers have written a song that beautifully captures the authentic experiences many people have in their faith journeys. Life is hard, and maintaining faith during those difficult seasons can be challenging. Everyone can relate to the idea of struggling through something, holding onto hope, and emerging on the other side. That’s what has sparked the surge. The song resonates with people right where they are.
We fueled that surge by not allowing the artist’s past to dictate or limit the song’s potential. We focused on the connection the song was making across various audiences and leaned into that in every possible direction. We have had Jelly Roll on Christian radio, Brandon at country radio, and featured on country playlists, faith playlists, and worship playlists; the song has been sung in churches and now at Stagecoach, breaking through typical genre barriers. Regardless of how successful a song or artist becomes, we consistently ask what we can do to help it reach more people. This mindset, shared by everyone on Brandon’s team, continues to drive the growth of the song and the artist.
Christian music in general has been surging lately. What is behind that, and how has Provident been able to benefit from it?
When songs like Lauren Daigle’s “You Say” or Brandon’s “Hard Fought Hallelujah” impact culture beyond the Christian music genre, they inspire the creative community to elevate songwriting, artist development and expression. They attract fans who may not have previously explored an artist or a song in our genre, primarily because the song or artist connects to something deeper.
Provident has seen remarkable growth over the last two years with artists like Brandon, Elevation Worship, Seph Schlueter and Leanna Crawford. These artists have contributed to the genre’s expansion and are shaping the future of Christian music.
The Christian genre has experienced double-digit growth in the past two years, during which time Provident has gained eight frontline market share points. We’ve outpaced the growth of the genre because, instead of merely benefiting from the increasing interest in Christian music, we’ve aimed to be the driving force behind it. We will continue to foster growth by remaining curious, continuing to learn and maintaining our willingness to break down genre barriers for every artist signed and yet to be signed to the roster.
How do you see Christian music continuing to grow moving forward?
There’s a quote from Moneyball that says, “The first one through the wall always gets bloody, always.” At Provident, we operate from the perspective of being the first ones through the wall, leading the way for our creators and the genre.
We must be willing to try, fail, take risks, push boundaries and explore new spaces with our music. In the past, for a song in the Christian genre to cross over, we had to take the best our genre had to offer and give it to the mainstream. This surge in Christian music is proving we can attract that audience to us. As the genre walls continue to disappear, more and more “mainstream” audiences are discovering that Christian music authentically represents a part of their life, faith and daily experience that can be supported through our music. The growth of the genre isn’t slowing down, and we will continue to lead the way and challenge perceptions of Christian music through the quality, diversity, and authenticity of our songs and artists.
President Donald Trump signed an executive order late Thursday aimed at ending federal funding for NPR and PBS, accusing the organizations in a social media post of spreading “radical, woke propaganda.” The official order, found on the White House website, directs the Corporation for Public Broadcasting (CPB) and other agencies to halt both direct and indirect public financing to the public broadcasters.
“Today the media landscape is filled with abundant, diverse, and innovative news options,” the order states. “Government funding of news media in this environment is not only outdated and unnecessary but corrosive to the appearance of journalistic independence.”
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This move follows a pattern of Trump leveraging executive powers to defund or dismantle institutions he deems oppositional, including cultural and educational organizations like the Kennedy Center and National Endowment for the Humanities.
The legality of Trump’s order is in question, however, as CPB is a private nonprofit entity and not a federal agency.
CPB CEO Patricia Harrison emphasized its independence from presidential authority, stating the executive order is not legally binding. “Congress directly authorized and funded CPB to be a private nonprofit corporation wholly independent of the federal government,” she said.
PBS president Paula Kerger condemned the executive order as “blatantly unlawful,” adding that it jeopardizes the broadcaster’s long-standing public service mission. She highlighted PBS’s bipartisan congressional support and its role in delivering educational and cultural programming.
NPR also pushed back at the order, vowing to defend itself through all legal avenues. The organization asserted that Trump’s action is not about fiscal responsibility, as public broadcasting receives less than 0.0001% of the federal budget, but rather an attack on First Amendment rights and press freedom. “We will vigorously defend our right to provide essential news, information and life-saving services to the American public,” the organization said. “We will challenge this Executive Order using all means available.”
Each year, CPB allocates about $535 million in taxpayer funds to public broadcasters and content producers. Although NPR and PBS have anticipated funding threats since Trump’s 2016 election, the administration’s latest action escalates those concerns. The Trump administration has also proposed a $9.1 billion budget cut package that includes rescinding CPB funding, though the proposal has yet to reach Congress.
This action mirrors similar efforts by the administration to suppress institutions that provide independent or critical viewpoints. It also coincides with attempts to dismantle the agency in charge of Voice of America and Radio Free Europe/Radio Liberty. Federal courts have previously intervened in cases where the administration withheld congressionally approved funds from media outlets, raising doubts about the legal sustainability of Trump’s latest move targeting public broadcasters.
Critics argue that cutting funding to NPR and PBS could significantly hinder access to trusted educational and cultural programming, especially in underserved communities. Trump’s executive order may also face strong legal and political resistance, as both public broadcasters have traditionally enjoyed bipartisan support in Congress.
“There’s nothing more American than PBS, and our work is only possible because of the bipartisan support we have always received from Congress,” Kerger said last month. “This public-private partnership allows us to help prepare millions of children for success in school and in life and also supports enriching and inspiring programs of the highest quality.”
The CPB has already sued Trump over his attempt to remove three board members, which would have left the board unable to function due to lack of quorum.
The Associated Press contributed to this report.
Apple approved Spotify’s app update in the U.S. on Friday (May 2), marking “a significant milestone for developers and entrepreneurs everywhere who want to build and compete on a more level playing field,” according to the streamer.
The announcement followed the news that a judge told Apple to stop collecting a commission on some app sales. “After nearly a decade, this will finally allow us to freely show clear pricing information and links to purchase, fostering transparency and choice for U.S. consumers,” Spotify wrote in a blog post. “We can now give consumers lower prices, more control, and easier access to the Spotify experience.”
Epic Games, the company behind the wildly popular game Fortnite, sued Apple over its App Store policies — which ensured that Apple took a 30% cut of any payments — in 2020.
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Epic Games was not the only company that disliked this arrangement: Horacio Gutierrez, Spotify’s chief legal officer, said in 2020 that Apple “acts as the stadium owner, referee and player, and tilts the playing field in favor of its own services.”
The following year, Yvonne Gonzalez Rogers, a judge in the U.S. District Court for the Northern District of California, ruled that Apple had violated the state’s laws prohibiting unfair competition.
Despite that ruling, the same judge said this week that Apple put a new system in place that required apps with external sales to pay a 27% commission. The company “sought to maintain a revenue stream worth billions in direct defiance of this court’s injunction,” the judge wrote.
The judge demanded that Apple stop collecting that commission. “We strongly disagree with the decision,” an Apple spokeswoman told The New York Times. “We will comply with the court’s order, and we will appeal.”
Spotify hailed the development as “a great day” for its U.S. users. “The ruling made it clear that Apple deliberately abused its market power to intentionally harm others and benefit only itself,” the company wrote.
Moving forward, Spotify said U.S. users will now have visibility into “pricing details on subscriptions and information about promotions that will save money,” have the option to pay for subscriptions outside of Apple’s system, and have the ability to easily upgrade from their account or change their subscription plan.
“The fact that we haven’t been able to deliver these basic services, which were permitted by the judge’s order four years ago, is absurd,” Spotify added.
It’s time to drop the needle on another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been a bit of staffing news this week, so let’s hop to it.
Whitaker Elledge stepped into the lead role at Nashville-based label Dualtone, following the passing in December of former president Paul Roper after a battle with cancer. Elledge will remain based in Nashville and will report to MNRK Music Group’s COO Chris Moncada. Since joining Dualtone in 2018, Elledge has held several roles in A&R and artist development, before being promoted to general manager/senior vp in 2023. Dualtone was founded in 2021 and has a current roster that includes The Lumineers, Langhorne Slim, Shovels & Rope, Gregory Alan Isakov and Kathleen Edwards. The Dualtone team also includes Daniel Higbee (vp, synch), Julie Muncy (senior vp, promotion), Joey Luscinsky (senior vp, production & design), Alyssa Austin (senior director, eCommerce + strategy), Dana Murray (director, artist development), Emily Allen (senior manager of operations and marketing), and Sidney Campbell (manager of operations & marketing). —Jessica Nicholson
Kobalt appointed music industry veteran Jason Feinberg as senior vice president and head of KOSIGN, its new platform designed to support the creator middle class. Feinberg brings a strong background in artist-focused technology and marketing, previously serving as managing partner at 138 Strategic, svp of marketing at Universal Music Group, and head of artist marketing at Pandora AMP. KOSIGN also promoted David Waite to operations lead and Jacob Paul to vp of platform growth and brand strategy. Launched earlier this year, KOSIGN enables artists, songwriters and producers to collect publishing royalties with flexibility and transparency. Built on Kobalt’s global infrastructure, KOSIGN offers global royalty collection, real-time transparency and an 80/20 royalty split in favor of writers. “I’m passionate about everything that KOSIGN stands for,” said Feinberg. “The platform empowers artists to collect their publishing revenue around the world, providing them the freedom and support they deserve.”
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Henri Lanz gave Sony the slip and joined Warner Music Nordics as the label’s new senior international A&R and creative advisor. Known artistically as MGI, Lanz previously founded M-Eazy Music and served as CEO of Sony Music Finland and Sony Music Baltics from 2019 to 2024. (Over the past year, he has worked as chief creative advisor at Sony Music Finland.) In his new role, Lanz aims to elevate Warner Music Nordics’ international repertoire by fostering artist partnerships and leveraging the company’s creative and global network. Over the years he has collaborated with 50 Cent, French Montana, Justin Bieber and Sia, and played a pivotal role in the careers of Finnish stars like Cheek and Evelina. Warner execs praised Lanz’s talent-spotting ability and global vision, highlighting his potential to strengthen Warner Music’s creative edge across Nordic and international markets. “With access to our entire Nordic and global A&R network, Henri adds a fresh creative edge and further strengthens our position,” said WMF managing director Ramona Forsström.
Downtown Music’s artist direct distribution and music services platform CD Baby named Sean Hallarman as senior vp of product, and Craig May as senior vp of artist and fan development. Both roles report to CD Baby president, Molly Neuman. Hallarman previously held roles at Sonos, Meta and Amazon Music, and in his new role will lead product vision and execution. May previously served as senior vp of global marketing services at FUGA, and in his new role will oversee artist and fan development initiatives. —J.N.
Avex Music Group promoted Justin Hunter to vice president, where he will support company operations and work closely with CEO Brandon Silverstein to guide leadership across Avex and S10. Hunter began his career in 2018 as an assistant to Endeavor exec Patrick Whitesell before joining S10 Entertainment, where he served in multiple roles, including chief of staff and head of S10 Records. Based in Los Angeles, he will help drive Avex’s U.S. strategy following the Japanese entertainment company’s expanded investment in S10 and appointment of Silverstein as CEO in March. Silverstein praised Hunter’s entrepreneurial mindset and industry relationships, calling him “the perfect candidate to help execute AMG’s strategy in the U.S. and beyond.”
Liz Gateley, a veteran TV producer who created MTV’s Laguna Beach and executive produced its spin-off The Hills, left Spotify in late 2024 to launch Damsel Media, a production company targeting Gen Z women. At Spotify since 2019, Gateley led the creation of original podcasts, including the award-winning Wind of Change. She managed the Warner Bros./DC partnership, collaborated with Kim Kardashian and initiated Spotify Pictures, adapting podcasts into visual media, including RapCaviar Presents for Hulu. Prior to joining Spotify, Gateley was a programming executive at Lifetime, overseeing Unreal and Surviving R. Kelly. Her extensive experience in streaming and network television positions her to produce content for various platforms, including brands and AVOD platforms. Based in Los Angeles, Damsel Media will focus on creating premium content for young adult female audiences, leveraging the culture-defining storytelling that Gateley is known for.
Payday Music Publishing expanded its Los Angeles-based sync team with the hires of Jamey Sussman and Desiree Autobee, both reporting to founder & CEO Patrick Moxey. Sussman, formerly with Score A Score, joins as synch director of trailers and ads, while Autobee, previously at MNRK Music Group, will serve as synch director, TV and film. Based in Santa Monica, they’ll focus on securing media placements for Payday’s roster across film, television and advertising. Sussman brings experience from projects like Babylon and season two of The White Lotus, while Autobee has contributed to major syncs for Hulu, ESPN and Netflix. Payday has also expanded its L.A. studio presence and recently landed placements with brands such as Range Rover and Nissan, as well as TV shows including Grey’s Anatomy and Abbott Elementary. Recent signings include Reo Cragun and Gaidaa, who have worked with artists like David Guetta and Marshmello.
Crypto.com Arena promoted Michael Becker to the position of vp of event services and production. In his new role, Becker will oversee Crypto.com Arena’s events team and act as a liaison between the Los Angeles Lakers, LA Kings and Los Angeles Sparks and facilitate the dozens of concerts and other special events taking place inside the iconic Downtown Los Angeles arena each year. Becker came to the arena in 2010 as a guest services supervisor, rapidly learning the ropes before transitioning to the event services department as an event manager. –Dave Brooks
A cyclist passes Crypto.com Arena on March 20, 2024 in Los Angeles.
Mario Tama/Getty Images
Reed Smith welcomed David Long-Daniels as a partner in its labor and employment group, based in the firm’s Atlanta office. Previously with Squire Patton Boggs, Long-Daniels is known for handling high-profile litigation and has represented a wide range of artists including Steven Tyler, Greg Allman and Cissy Houston. He has tried over 90 jury trials and 20 bench trials, representing clients in industries like entertainment, hospitality, and food and beverage. Long-Daniels cited Reed Smith’s strong trial reputation and global platform as key reasons for joining. His addition supports the firm’s growth in Atlanta, where the office has expanded to nearly 40 lawyers since its January opening. Cindy Schmitt Minniti, chair of the firm’s labor & employment group, marveled at how Long-Daniels is “often asked to parachute into bet-the-company litigation just weeks before a case is set for trial” and that “he joins a group of Reed Smith lawyers well-known for that same skill set.”
Symphonic Distribution expanded its presence in Asia by appointing a new team of A&R client development leads across key territories. The team includes Christine Su for Greater China and Taiwan, Eleanor Phan for Vietnam, Twinky Lagdameo for Southeast Asia and Jay Choe for South Korea and Japan. Fiona Comendador joins as client manager for the APAC region. Reporting to territory manager Guji Lorenzana, the team will work with local artists and labels, providing market-specific strategies and support. The new hires bring plenty of experience: Su has led international music projects like the Golden Melody Awards; Phan managed label partnerships at The Orchard and MMUSIC; Choe has experience in K-pop group debuts (PIXY, from20) and songwriting (for EVO and Uki Satake); and Lagdameo has over two decades in artist development, marketing and publishing at companies like MTV and EMI. Comendador, formerly with Virgin Music and Kumu, will oversee client relations and project execution across APAC. This expansion follows recent signings, including DYNA Music Entertainment and Kafka By The Sea, aiming to support artist development across Asia.
Berklee has appointed Edward J. Lewis III as its new senior vice president of institutional advancement, effective May 15. With over 20 years of experience in higher education and the performing arts, Lewis will work with senior leadership to enhance Berklee’s global fundraising and engagement strategies. Previously, he was president and CEO of the Caramoor Center for Music and the Arts, where he launched the center’s first major gifts program and led a strategic plan through the COVID-19 pandemic. “Berklee’s mission to educate and empower the next generation of artists and creative leaders deeply resonates with me, both personally and professionally,” said Lewis, who like many Berklee staffers is also a musician. “I look forward to working with this entire community to build support for Berklee.”
ALL IN THE FAMILY: The Hollywood Reporter announced the addition of Ada Guerin as creative director and Tony Maglio as television editor to its editorial team. Guerin, who previously served as creative director at Los Angeles Magazine and TheWrap, will manage the visual aspects of THR’s editorial properties, including the print mag and website, from Los Angeles. Maglio, most recently executive editor of news and business at IndieWire, will oversee THR’s television coverage from New York City.
ICYMI:
Mike Van
Apple Music named Ole Obermann and Rachel Newman as the company’s new co-heads … Penske Media executive Jenny Connelly was appointed director in charge of SXSW … Leslie Fram, former svp of music and talent for CMT, launched FEMco, a Nashville-based consulting company … and Mike Van was elevated to the role of CEO of Billboard — the first time anyone has held the role. [Keep Reading]
Last Week’s Turntable: UCLA’s Herb Alpert School Hires New Brass
Sean “Diddy” Combs is about to go on trial over accusations of sexual abuse. But what exactly are the charges he’s facing? Is Cassie Ventura testifying against him? And what in the world are “freak offs”? Before the trial starts, let’s get you up to speed.
The once-all-powerful hip-hop mogul was arrested in September, charged by federal prosecutors with running a large-scale criminal operation aimed at his own “sexual gratification.” For decades, the feds say, Diddy “abused, threatened and coerced women” into giving him what he wanted, including participating in drug-fueled sex parties.
Combs, who has denied all of the allegations, will finally head to trial next week to face a jury of his peers. Before he does, here are answers to all your Diddy trial questions.
What are the charges against Diddy?
Prosecutors have built much of the case against Diddy under the Racketeer Influenced and Corrupt Organizations Act, the “RICO” law used against mobsters and drug cartels. RICO, which allows the feds to target an entire illicit organization over many individual crimes, was designed to target organized crime, where bosses often insulate themselves from actual illegal acts.
In Diddy’s case, prosecutors say the star served as his own kind of crime boss, exploiting the “employees, resources and the influence of his multi-faceted business empire” to carry out a decades-long campaign of sexual abuse. That operation included numerous sexual and physical assaults, the feds say, but also forced labor, kidnapping, arson, bribery, witness tampering, drug crimes and more.
Separately, Diddy is also charged with violating a federal sex trafficking statute, which makes it illegal to use force, fraud, or coercion to compel someone to engage in commercial sex acts. He’s also accused of violating the Mann Act, an older statute that made it illegal to transport people across state lines for the purposes of prostitution.
What’s a “freak off”?
At the very center of the case against Diddy are allegations about so-called “freak offs” — drug-fueled orgies in which victims were allegedly coerced into having sex with male sex workers while Combs looked on.
Prosecutors say these “elaborate and produced sex performances,” which Combs “masturbated during,” were a regular occurrence and “sometimes lasted multiple days.” The rapper and his associates allegedly plied victims with illegal drugs, which prosecutors say was designed in part to “keep the victims obedient and compliant.”
According to charging documents, freak offs were “often electronically recorded,” sometimes without the knowledge of those being filmed — and the footage was then later used as a form of “collateral” to keep victims from speaking out.
The events were so complex that they required substantial logistical efforts by Diddy’s associates to pull off, the feds say — including booking hotel rooms, arranging travel, delivering large sums of cash to pay sex workers, cleaning up to “mitigate room damage,” and providing supplies. Among those supplies were “more than 1000 bottles of baby oil” — a headline-grabbing allegation when it was included in September’s initial indictment.
Who are the alleged victims?
Diddy has been hit with civil lawsuits by dozens of alleged victims, but the criminal charges against him formally center on just four people, identified in court documents as Victim-1, Victim-2, Victim-3 and Victim-4.
While technically still anonymous in filings, Victim-1 is strongly believed to be Cassie Ventura, Combs’ longtime girlfriend whose civil rape lawsuit in November 2023 helped to spark the rapper’s downfall. Prosecutors have said Victim-1 will testify in the courtroom under her real name, setting the stage for a potentially blockbuster moment at the trial.
The identities of the other three victims remain unknown, and prosecutors have sought to keep it that way. In a motion last month, they cited recent cases against R. Kelly, Ghislaine Maxwell and others in which judges allowed alleged victims to remain anonymous to avoid “harassment from the media and others” amid a case that has received an “exceptional amount of media coverage.”
At a hearing last week, the judge ruled that the three other victims could testify without revealing their names.
Who are the key players in the courtroom?
Diddy’s trial will be overseen by U.S. District Judge Arun Subramanian, a relatively new federal judge nominated by President Joe Biden in 2022 after a long stint as a litigator at a prestigious New York law firm. Subramanian, confirmed to the post in March 2023, has an understandably short track record so far — though he is also currently handling the Justice Department’s high-profile antitrust lawsuit against Live Nation and Ticketmaster.
Diddy’s lead attorney is Marc Agnifilo, a veteran defense attorney with an extensive background in handling the kind of complex, high-profile charges that Combs now faces. After prosecuting RICO cases against mobsters in New Jersey, Agnifilo worked for years under legendary New York criminal lawyer Ben Brafman, where he represented Martin Shkreli, the so-called “Pharma Bro” convicted of securities fraud in 2017, and Keith Raniere, the leader of the upstate New York sex cult NXIVM.
Combs is also represented by Teny Geragos, another Brafman alum (and daughter of celebrity attorney Mark Geragos) who joined Agnifilo when he left to start his own firm last year; and Alexandra Shapiro, a well-known appellate law specialist. Brian Steel, a veteran Atlanta defense attorney who rose to fame last year by winning Young Thug’s release from jail on gang charges, joined the team at the last minute last month.
On the prosecution side, the charges against Combs were filed last year by Damian Williams, the top federal prosecutor for Manhattan, who is known for bringing cases against cryptocurrency entrepreneur Sam Bankman-Fried, former U.S. senator Bob Menendez and New York Mayor Eric Adams. Following November’s election, President Donald Trump has since appointed Jay Clayton, a longtime partner at the law firm Sullivan & Cromwell, to fill that post.
Unlike the case against Adams — which was controversially dropped in early April — there has been no indication that Trump or Clayton plan to back away from Combs. The same attorneys under Williams (Meredith Foster, Emily A. Johnson, Christy Slavik, Madison Reddick Smyser and Mitzi Steiner) are all still on board, and the district attorney’s office has since added Maurene Comey — one of the lead prosecutors in the sex trafficking case against Ghislaine Maxwell, a top accomplice of Jeffrey Epstein.
Go read Billboard’s full story on all the lawyers involved in the Diddy litigation.
When does the trial start and how long will it take?
The proceedings will kick off on Monday (May 5) with jury selection. Jurors will be pre-screened with a questionnaire about their backgrounds and beliefs; Combs’ lawyers said in earlier filings that they want to ask their opinions of “people with multiple sexual partners.” After a broader pool is established, the two sides will spar in court over how to pick 12 jurors who can impartially decide the case.
Once a jury is selected, the trial will really get under way on May 12, first with opening statements by both sides, then with witness testimony. The trial is widely expected to last at least eight weeks, though that’s only an estimate. Back in 2021, the trial of R. Kelly — another major musical artist facing RICO charges over allegations of sexual abuse — took six weeks to complete.
How will the prosecution make its case?
If R. Kelly’s trial is any guide, prosecutors are likely to offer jurors mountains of evidence and hours of witness testimony aimed at painting a vivid picture: of an all-powerful man abusing his role at the top of an organization to coerce women into sexual activity against their will.
That will likely include not just the alleged sexual assaults, but all that happened before and after them, including threats, isolation, financial dependence and blackmail. “These are the tools of coercive control,” Nadia Shihata, one of the prosecutors in the Kelly case, told Billboard last year. “In the R. Kelly case, we called it the ‘Predator’s Playbook’.”
In court documents filed early in the case, the feds said they had interviewed more than 50 witnesses during their investigation, “many of whom saw or experienced the defendant’s abuse.” They also said they had pulled evidence from over 120 cellphones, laptops and other electronic devices.
One explosive piece of evidence that jurors will definitely see is the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura in the hallway of a Los Angeles hotel. Though he initially apologized, Diddy’s lawyers have fought hard to keep it out of the trial, arguing the clip would “unfairly confuse and mislead the jury.” But prosecutors called that a “desperate” attempt to avoid “crushing” evidence, and Subramanian ruled last week that it could be played at the trial.
How will Diddy’s lawyers defend him?
Since the earliest days of the case, Diddy’s lawyers have signaled that they plan to build their narrative around the idea of consent — that the star’s sexual encounters with the alleged victims, while perhaps weird and unseemly, were ultimately still consensual.
At a bail hearing days after Combs was arrested, Agnifilo hinted at that argument, telling the judge that the star and then-girlfriend Cassie had brought sex workers into their relationship because “that was the way these two adults chose to be intimate.” And at a hearing just days ago, Agnifilo suggested that Diddy was a “swinger.”“There’s a lifestyle called swingers, call it whatever you will, that he was in, that he might have thought was appropriate,” Agnifilo said, according to Reuters. “Part of the reason people think it’s appropriate is because it’s common.”
What happens if Diddy is found guilty?
Short answer: Lots of prison.
If Combs is convicted on the racketeering charge or either of the sex trafficking charges, he’s facing a potential life prison sentence; the trafficking charges alone have a mandatory minimum of 15 years, which would leave Diddy in federal prison until he was 70 years old. The Mann Act charges carry lesser penalties, with a maximum of 10 years in prison.
Recent RICO cases against alleged sex abusers don’t offer a rosy outlook for Diddy. In the R. Kelly case, the singer was sentenced to 31 years; Raniere, the NXIVM cult leader convicted of turning vulnerable women into sexual “slaves,” was sentenced to 120 years.
Even if acquitted on all charges — and court watchers aren’t optimistic — Combs is still facing a rough future. His reputation will be difficult to repair, and much of his once-formidable business empire is already crumbling. He’s also facing dozens of civil lawsuits, where he could still be held liable for monetary damages even if he’s cleared on the criminal charges.
While many public companies are struggling amid the backdrop of macroeconomic uncertainty and the looming threat of global tariffs, music company executives are beating the drum for music as a stable place to invest. Despite a plateauing of the growth curve, revenue from streaming subscriptions continues to drive relative stability at Spotify, Unversal Music Group […]
The Weeknd has signed with William Morris Endeavor (WME) in all areas, the agency announced on Thursday (May 1). He leaves Creative Arts Agency (CAA) after signing with them in 2021, having left WME. WME is also representing the superstar’s production company, Manic Phase, which produced his 2023 HBO series The Idol and his upcoming […]
In the historically slow first quarter, Live Nation’s revenue dropped 11% to $3.38 billion (an 8% decline in constant currency), but adjusted operating income (AOI) fared better, declining 6% (or 0.5% in constant currency) to $341.1 million.
As the U.S. economy teeters and businesses brace for a protracted and uncertain trade war, Live Nation, the world’s largest concert promoter and ticketing company, believes the business will recover from the slow start to the year. CEO Michael Rapino expects 2025 to be “a historic year for live music, with a strong start having us on track to deliver double-digit growth in operating income and AOI this year,” he said in a statement.
The first quarter is relatively slow as concerts are concentrated in clubs and theaters before festivals, stadium and amphitheater shows appear later in the year. In 2024, the first quarter accounted for just 16% of Live Nation’s full-year revenue, and the concerts division received just 15% of its 2024 revenue in the first quarter. The second and third quarters, in contrast, accounted for 59% of 2024 revenue.
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Various financial metrics portend well for a stronger finish to 2025. Through mid-April, event-related deferred revenue — money collected for future concerts — of $5.4 billion was up 24% year-over-year. The 95 million concert tickets sold for Live Nation concerts represented a double-digit increase. On-sale sell-through rates were at or better than the same period last year. Ticketmaster’s primary ticketing volume was up 5% and gross transaction value (GTV) was up 10%.
The various divisions expect to have similar margins to previous years. Concerts’ AOI margin should be consistent with the 3% achieved in 2024. Ticketmaster’s AOI margin should be in the high 30s and sponsorships in the low 60s.
Absent stadium and amphitheater shows that occur later in the year, Live Nation’s concerts business had $2.48 billion in revenue, down 14% (11% in constant currency) from the prior-year quarter, from 22.3 million fans who attended 11,300 events. Concerts’ adjusted AOI improved to $6.6 million from a $1.8 million loss a year earlier.
In the ticketing segment, revenue fell 4% (1% at constant currency) to $695 million, and adjusted AOI of $253.1 million was down 11% (7% in constant currency). Concerts’ primary GTV was up 9%. Of the 78 million fee-bearing tickets, a number that was consistent with the first quarter of 2024, concert tickets were up 4% and accounted for 60% of volume. Non-concert tickets were down 9%.
Sponsorship revenue of $216.1 million was up 2% (9% at constant currency) while the division’s adjusted AOI of $136.0 million was up 5% (11% in constant currency). In the quarter, Live Nation secured new name-in-title sponsorships, including Citizens Live at The Wylie and Synovus Bank Amphitheater at Chastain Park.
Foreign exchange affected AOI by 5% due to Live Nation’s exposure to the Mexican peso and other Latin American currencies. The company expects foreign exchange headwinds to result in low, single-digit impacts to revenue and AOI in the second quarter.
It’s gotta be the May 1st edition of Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since the last time we gabbed, Kristin Robinson whipped up a comprehensive guide to the comments submitted in the Copyright Office’s inquiry regarding PROs and Robert Levine analyzed the growing pushback among clubs and radio stations on the amount of collecting societies in the U.S.
Caught up? Here’s what else is going on:
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Warner Chappell Music Nashville and Morgan Wallen’s publishing company, Wilder Music, signed songwriter Jared Mullins to a global publishing deal. Wilder’s first signing, Mullins has co-written No. 1s like “Thank God” (Kane Brown feat. Katelyn Brown) and “Homemade” (Jake Owen), and has also collaborated with Wallen, Little Big Town and others. Originally from Maryland and West Virginia, he moved to Nashville in 2013 and has since written for Cole Swindell, Justin Moore and others. In 2022, he co-penned LOCASH’s “Beach Boys,” featuring Mike Love and Bruce Johnston. Wallen praised Mullins’ passion and creativity, while Mullins expressed gratitude for Wallen’s belief in him. “It is incredibly exciting to be working with Jared,” glowed Jessi Vaughn Stevenson, vp of A&R and digital at WCMN. “His talent is vast and varied, and to be partnering with Morgan is the cherry on top.”
Warner Chappell Music signed a worldwide administration deal with the one-and-only Diplo. A three-time Grammy winner, Diplo is known for a mess of global hits like “Where Are Ü Now,” “Lean On,” “Run the World (Girls)” and “Paper Planes.” He is a key member of Major Lazer, LSD, and Jack Ü, and his work with Silk City and Dua Lipa on “Electricity” earned platinum certification. Diplo continues to innovate with ventures like Diplo’s Run Club and his labels Mad Decent and Higher Ground. His recent projects include “Diplo Presents Thomas Wesley: Chapter 2 – Swamp Savant” and he just curated Diplo’s HonkyTonk at Stagecoach Festival, featuring artists like Paris Hilton and Anderson .Paak. “Diplo is a visionary creative whose multi-faceted success includes pushing boundaries with his own projects, creating cross-genre hits for others, and breaking talent through collaboration,” said Gabz Landman, senior vp of A&R at WCM. “It takes a rare kind of talent to be able to build and sustain a successful career that spans multiple decades – something Diplo has done almost effortlessly, and we’re so honored to help amplify his legacy even more.” Diplo added: “The Warner Chappell team … have an immensely skilled, forward thinking staff that I feel can help complement how I approach making and placing music.”
Kobalt signed Bizzy Crook, who played a key role in writing Leon Thomas’ breakout hit “Mutt.” The track recently peaked at No. 16 on the Billboard Hot 100 and currently sits at No. 1 on the Hot R&B Songs chart. Thomas praised Crook’s dynamic songwriting process, describing it as complementary to his. “I’ll usually do the hooks and he’ll have really cool ideas for verses, and I’ll shape out a pre-chorus that really brings everything together,” Thomas said. “It’s kind of like playing Tetris with words.” Besides the original release, “Mutt” has been remixed twice, featuring collabs with Freddie Gibbs and Chris Brown. “His talent as a songwriter and storyteller is undeniable, and his work on ‘Mutt’ is a testament to the kind of creativity and vision we love to support,” said Genevieve Huguely, Kobalt’s manager of creative. “Bizzy brings a fresh perspective and a unique voice to everything he touches, and we’re proud to be part of this next chapter in his journey.”
Sony Music Publishing Nashville signed 18-year-old country singer-songwriter Caiden Wallace to a global publishing deal in partnership with Marv Green’s new venture, Out Yonder Music. Hailing from Springville, Calif., Wallace has gained attention with songs like “More Than a Night,” “Manipulate” and “Don’t Call,” which have earned millions of views on social media. His first studio-produced single, “Girl I Never Had,” was released on April 18. Rusty Gaston, CEO of SMP Nashville, praised Wallace’s raw talent and potential, observing that “his California roots are infused into every song he writes, and he is creating something special.” Green, who is Wallace’s uncle, highlighted his nephew’s “spirited work ethic and his natural born artistry” and predicted a major record deal in the near future.
VDW Music Group’s Marion Van Der Wees, BMM’s Timmy Haehl, Thomas Daniel, BMM’s Mike Molinar
Thomas Daniel signed an exclusive co-publishing agreement with Big Machine Music. His songs have been recorded by K-Pop stars ENHYPEN, Lauren Spencer Smith, Alexander Stewart, TAEYEON, and &TEAM. A multi-instrumentalist, songwriter and vocalist, Thomas has over 150 million streams of his own releases. Mike Molinar, BMM’s president, praised Thomas as a “natural,” adding, “his incredible sense of melody and capacity to capture the full range of human emotion lyrically are just a couple of reasons why we are so proud and excited that he chose us as his publishing partner.”
Armada Music Publishing signed new deals with Bloom Twins, SHELLS and Trance Wax, and extended its partnership with Da Beatfreakz. This expansion strengthens Armada’s UK presence and adds to its roster of successful producers and songwriters, including D.O.D, Ki Fitzgeral and Chicane. Ukrainian-born Bloom Twins (twin sisters Anna and Sofia Kuprienko) have joined under exclusive writer agreements to grow their songwriting careers following tracks like “High on Beat” and “DayDream.” SHELLS (Sarah Sheldrake) signed an exclusive deal after achieving a UK Top 5 hit and a BRIT nomination for “Dancing is Healing.” Belfast-based Trance Wax (Garry McCartney) brings his trance-inspired catalog and sold-out shows to the fold. Armada renewed its deal with Da Beatfreakz, whose 26x platinum hit “Prada” has over one billion streams. “This is an exciting time for Armada Music Publishing—we’re honored to join forces with Bloom Twins, SHELLS and Trance Wax, and build on the success of our partnership with Da Beatfreakz,” said Maykel Piron, CEO of Armada Music Group. “Each of them truly represents the very best in songwriting, and we’re thrilled to support them on their respective musical journeys.”
Audius, a decentralized music discovery and community platform, has partnered with Downtown Music to integrate millions of licensed recordings into its ecosystem. This deal includes both recording and publishing assets from Downtown’s catalog, giving over 4 million artists and 5,000 clients more control over monetization and fan engagement. The partnership looks to empower Downtown’s roster, including estates like John Lennon & Yoko Ono and Miles Davis, and contemporary artists like Jason Mraz and Pamungkas, to engage fans beyond traditional streaming. Audius collaborates with major names such as Skrillex, deadmau5 and Disclosure, and integrates with performance rights organizations like ASCAP and BMI. Both companies emphasized the benefits of artist autonomy and direct fan interaction, with Downtown vp of product and services strategy Harmen Hemminga highlighting Audius as a platform that “opens new doors for creative fan engagement and monetization, putting control into the hands of artists and rights holders.”
Musou Music Publishing and Warp Publishing have both joined IMPEL, the international collective licensing agency for digital music publishing rights. Musou Music Group, established in 2006 and headquartered in Athens, Greece, also includes Musou Music Production, Musou Studios and Musou Records. Warp Publishing, with offices in London and Los Angeles, grew out of Warp Records and offers personalized music publishing services to a diverse roster of artists, score composers and songwriters, including Boards of Canada, Slowdive, Khruangbin, Danny Brown and more. It also represents music catalogs for companies like Psychotic Reaction Music, Inni Music and Infine Music. Now in 17 countries, IMPEL represents top independent publishers like Beggars Music, Bucks Music and Reservoir, with a repertoire featuring global icons such as Ed Sheeran, Beyoncé and Rihanna.
Last Publishing Briefs: Reservoir Media Expands to India
Audio entertainment giant SiriusXM reported declines in first quarter revenue and net income on Thursday.
Revenue declined 4% to $2.07 billion and net income declined 15% to $204 million for the quarter ending March 31 compared to the year-ago period. Lower operating expenses from staff cuts and the reversal of Sirius’s streaming strategy partly offset the declines, and SiriusXM’s share price was trending downward, by about -3.4%, as of noon in New York.
It was the first full quarter of company earnings since SiriusXM moved away from its effort to develop a streaming audience and doubled down on its core listener base in vehicles, and it comes amid increased economic uncertainty.
Executives attempted to fend off investor concerns saying that macroeconomic jitters are not likely to negatively impact Sirius’s subscribers, its consumption in cars or marketing revenue.
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“Our strong, recurring revenue-driven business positions us well in this period of heightened volatility,” Tom Barry, SiriusXM chief financial officer, said in a statement. “We do not anticipate that tariff-related pressure on new car sales will have a material impact on our subscriber or financial performance this year. That said, like every business, we’ll continue to closely monitor ongoing developments and broader consumer health.”
The company reported adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) declined 3% in the quarter to $629 million from $650 million a year ago. SiriusXM’s adjusted EBITDA margin held flat at 30%.
SiriusXM reported a 303,000 decline in subscribers to bring its total number of subscribers to roughly 33 million, which drove a 5% reduction in the business division’s subscriber revenue. Average revenue per user of $14.86, a 3% decline from the prior year.
The SiriusXM division reported gross profit declined 6% to $937 million resulting in a gross margin of 59%.
SiriusXM’s podcast business, which launched two new Alex Cooper channels in the quarter, reported 70 million monthly listeners and a 33%- year over year increase in podcast revenue for the quarter.
The division also said it signed a new agreement that will put SiriusXM’s super premium 360L in all new Mitsubishi vehicles from 2025 through 2030.
SiriusXM’s Pandora and off-platform business reported a 2% decline in total revenue of $487 million largely driven by weaker advertising performance. Ad revenue declined 2% to $355 million as softer digital ad revenue was partly offset by greater podcast revenue. Subscriber revenue for the division held flat at $132 million.
Subscriber acquisition costs for SiriusXM rose 11%, or $10 million, from the year ago period as a result of contractual changes with certain carmakers, the company said. This was partly offset by a nearly 20% decrease in sales and marketing expenses, in addition to significant decreases in product and technology costs and administrative expenses.