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A big year for k.d. lang is getting even bigger.
After celebrating her legacy with an induction into the Canadian Country Music Hall of Fame and a reunion with her original band The Reclines for the first time in decades, the celebrated Canadian singer has inked a new publishing deal with Reservoir Media. The deal includes her future works and partial catalogue.
“It is an absolute thrill to partner with Reservoir!” says lang in a statement. “Golnar [Khosrowshahi] is a force of nature and understands me as an artist. I am deeply inspired and have utmost confidence in this creative partnership.”
Golnar Khosrowshahi, the founder and CEO of Reservoir (and one of the leaders on Billboard Canada‘s 2024 Power Players list), is Canadian herself and understands the iconic status k.d. lang holds in the country and beyond.
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“As a Canadian, I am particularly proud to be working with k.d. and her manager, Steve Jensen, and I’d also like to thank Bruce Roberts, our very first Reservoir songwriter, who introduced us to k.d,” she says.
Golnar Khosrowshahi, k.d lang & Rell Lafargue
Reservoir
Already revered as a queer pioneer within country music and a collaborator to musical legends including Tony Bennett, Roy Orbison, Elton John, Bonnie Raitt and Loretta Lynn, lang has been embraced by a new generation in recent years.
She’s charted on the Billboard Hot 100 twice, with her yearning 1992 hit “Constant Craving” and a showstopping 2010 Vancouver live version of fellow Canadian Leonard Cohen‘s “Hallelujah.” Originating in the early ’80s in Alberta as part of the burgeoning “cowpunk” scene, lang has never stopped evolving, even appearing on the Billboard Dance/Electronic Albums Chart in 2021. And she’s won many accolades, including the Order of Canada, four Grammys, four awards from GLAAD and much more.
Reservoir Media is used to working with legends and amplifying their catalogues for modern audiences. Last year, the company was responsible for bringing seminal hip-hop group De La Soul’s much-missed catalogue back to streaming and back onto the charts. Reservoir also signed a publishing deal with Joni Mitchell in 2021, right before her moving comeback.
But while lang’s deal with Reservoir includes some of her past work, it’s also about the future – which shows a trust in her continued success beyond her achievements.
“It never gets old when a legendary artist like k.d. lang decides to call Reservoir her home. Her incomparable voice and music are a gift to the world,” says Khosrowshahi. “We look forward to helping her share those gifts with new audiences and supporting her as she steps into the next chapter of her career.”
This article was originally published by Billboard Canada.
Lawyers for Sean “Diddy” Combs are demanding that the government reveal the names of his alleged sexual abuse victims, arguing he cannot fairly defend himself without knowing their identities.
In a motion filed late Tuesday in Manhattan federal court, the star’s attorneys asked the judge to force prosecutors to filed a so-called bill of particulars, disclosing who exactly was accusing him of abuse.
Citing a “torrent” of anonymous civil accusations ranging from “false to outright absurd,” Combs’ lawyers say they cannot mount an adequate defense without knowing which of those claims forms the basis for the criminal charges.
“The government is forcing him, unfairly, to play a guessing a game—one made all the more challenging by the onslaught of baseless allegations that desperate plaintiffs are lodging at him (for the most part anonymously) in civil suits designed to exact a payoff from Mr. Combs and others,” Combs attorney Marc Agnifilo writes in the filing.
The defense attorneys say the wording of the sex trafficking and racketeering indictment is so vague that it “could be interpreted as treating Mr. Combs’ entire sexual history over the past sixteen years as part of the alleged criminal conspiracy.”
“Without clarity from the government, Mr. Combs has no way of knowing which allegations the government is relying on for purposes of the Indictment,” Agnifilo writes.
Combs, also known as Puff Daddy and P. Diddy, was once one of the most powerful men in the music industry. But last month, he was indicted by federal prosecutors on charges of racketeering and sex trafficking over what the government says was a sprawling criminal operation aimed at satisfying his need for “sexual gratification.”
The decades-long scheme allegedly involved not only elaborate sexual parties called “freak offs” and other sex abuse, but also forced labor, kidnapping, arson and bribery. If convicted on all of the charges at trial – currently set to start May 5 – Combs potentially faces a sentence of life in prison.
With the trial still months away, Combs’ attorneys have already begun to fight back. In a motion last week, they accused the government of leaking evidence to the press, including the infamous video of Combs assaulting then-girlfriend Cassie Ventura. Prosecutors have argued back that those “baseless” claims are a strategic move aimed at preventing prosecutors from showing the video to jurors.
In Tuesday’s filing, Combs’ lawyers argued that the continued anonymity of the alleged victims would seriously hamper their practical ability to prepare for the trial
“Mr. Combs … anticipates that the discovery will contain voluminous evidence of consensual sexual activity – making it all the more difficult for Mr. Combs to ascertain which of his prior sexual partners now claim, years later, that they felt coerced,” his lawyers write.
If history is any guide, Combs’ lawyers face an uphill battle in convincing the judge to unmask his alleged victims.
In the similar racketeering case against R. Kelly, prosecutors privately disclosed the names of several alleged victims to Kelly’s legal team, but argued that others must remain hidden, citing concerns that the singer or his entourage might seek to intimidate them.
The judge eventually agreed, saying that federal courts “routinely deny requests for victims’ identities in racketeering cases, especially when the government demonstrates a risk to witness safety [or] the potential for witness intimidation.” At Kelly’s eventual trial in 2021, several victims testified under pseudonyms.
Sony Music Publishing Latin has signed Fuerza Regida frontman Jesús “JOP” Ortiz Paz and his label Street Mob Records. A leading indie label that puts out records in the Música Mexicana genre and beyond, Street Mob boasts a roster of more than 25 songwriters, producers and artists, including Chinco Pacas, Calle 24, Clave Especial and Miguel Armenta.
As one of the leading Música Mexicana groups, Fuerza Regida has helped introduce the genre to new fans around the world. The Mexican-American band’s ascent up the Billboard charts began in 2018, when Radicamos in South Central debuted at No. 35 on Regional Mexican Airplay. Since then, the band has produced a slew of hits, including “TQM,” “Bebe Dame” with Grupo Frontera, “Sabor Fresa,” “Harley Quinn” with Marshmello and many more. The group’s 2023 album Pa Las Baby’s Belikeada peaked at No. 1 on the Top Latin Albums chart and at No. 14 on the Billboard 200.
This week, JOP will join Billboard’s Leila Cobo in Miami at Billboard’s Latin Music Week as part of the Sony Music Publishing Icon Q+A.
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Recently, Fuerza Regida earned eight nominations at the 2024 Billboard Latin Music Awards, including artist of the year and album of the year, while JOP received nominations for songwriter of the year and producer of the year, along with recognition on Billboard’s 2024 Latin Power Player list.
“Partnering with Sony Music Publishing marks an exciting chapter for Street Mob Records,” said JOP in a statement. “This deal shows our commitment to exploring songwriting within Música Mexicana and beyond various genres. It’s a true reflection of the talent at Street Mob and what we’re creating together. With Sony Publishing, we’re building a partnership that aims to inspire the next generation of artists and leave a lasting impact.”
Sony Music Publishing president/CEO, Latin America and U.S. Latin Jorge Mejia said of the deal: “We couldn’t be happier to team up with an artist and executive like JOP and Street Mob Records, in order to help support and develop a fantastic stable of writers within Música Mexicana and beyond. This partnership with Street Mob is visionary and an incredible opportunity for the Sony Music Publishing family.”
Sony Music Publishing Latin director of creative Monica Jordan added: “We are thrilled to embark on this journey with JOP and Street Mob Records. We look forward to working with JOP and the Street Mob roster as they continue to innovate and push the boundaries of Música Mexicana even further.”
TikTok’s decision to boycott Merlin and pursue direct deals with Merlin’s member labels is a troubling move that undermines the rights of labels to choose how their music is licensed. While TikTok frames this shift as a way to tackle streaming fraud, it’s clear that the real motive is to weaken the bargaining power of independent labels and use that leverage to suppress rates.
Merlin has built strong partnerships over the last 16 years with more than 40 digital services worldwide. These partners recognize the value Merlin brings—efficiency, scale, and a deep understanding of the independent music community. TikTok’s move to sideline Merlin is not about protecting against fraud but about undermining the ability of independent labels to achieve competitive terms, not just now but for the long term. The ultimate consequence of its refusal to negotiate with Merlin for the music that earns TikTok billions of dollars, will be to damage artists’ ability to make a living from their art.
This tactic is not new. It echoes the historical struggles of the music industry with partners such as terrestrial radio and MTV, both of which profited massively from the use of recorded music while refusing to pay artists under the pretext of “promotional value” or “exposure” — ostensibly for the sale of an artist’s CDs or LPs. In this largely digital economy the stream is the sale – and it has been widely reported that TikTok pays rights holders far less than other services for equivalent uses of music.
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Richard James Burgess, President and CEO of A2IM
Independent labels choose Merlin to license their rights, because of its expertise, experience and track record in striking these kinds of deals. This ensures compensation at levels enabling them to compete with the majors and protects independents from being unfairly exploited. TikTok’s decision to bypass Merlin and demand direct deals is an assault on the freedom of small and medium sized enterprises to determine their own business strategies. The fact that TikTok is giving Merlin members a matter of days to accept TikTok’s terms or lose access to its massive platform, is an unfair exercise of its market power.
This apparent divide-and-conquer strategy is, we believe, designed to keep payouts for indie artists low by exploiting their perceived reliance on TikTok’s platform. It’s not about addressing fraud or improving the digital music ecosystem. In fact, by exponentially multiplying the number of license deals TikTok will need to strike and by losing Merlin as a partner in the fight against fraudulent material, more fraud is likely to ensue. Merlin simplifies licensing, making it easier for platforms to access diverse, independent music. Fragmenting this system hurts artists and fans and will limit the range of music available on TikTok.
At its core, this issue is about respecting the rights of independent labels to determine how their music is licensed. TikTok’s behavior doesn’t reflect a problem with Merlin; it reflects TikTok’s lack of respect for the value of music. Every other major platform has struck responsible deals with Merlin that balance the needs of the service with optimized compensation for artists. TikTok’s refusal to do so sets a dangerous precedent for recording artists and their labels.
TikTok must stop undermining and disrespecting the independent music community. It can do this by working with the labels’ rights management agency of choice to establish a fair, transparent licensing system that benefits all stakeholders in the music ecosystem. Independent labels have the right to choose their representatives to negotiate deals that truly reflect the value of their artists’ creative contributions. Anything less is a disservice to the artists and the fans and undermines the very fabric of music culture.
Dr. Richard James Burgess is an acclaimed musician, singer, songwriter, record producer, composer, author, manager, marketer and inventor, who presently serves as the president and CEO of the American Association of Independent Music (A2IM).
It was an emotional Billboard Latin Power Players event, with executive of the year George Prajin and his star artist, Peso Pluma, both delivering heart-felt messages that touched upon resilience, friendship and belief against all odds.
“I love you like a father George,” said Peso Pluma, who surprised Prajin at the Power Player celebration at Casadonna in Miami to give him his award.
“The talent and sacrifice that we put in is one thing, and all the doors that you have opened for us, and all the things that you have done so that we can have an opportunity to show ourselves as greats before other exponents of music and the industry, have been very important not only for me and for you as a person, but for an entire country, an entire generation,” he said.
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Prajin, a Latin music veteran who began his career working at his father’s one-stop distribution company in Los Angeles and now not only manages Peso Pluma but also is a partner in his Double P Records as well as heading Prajin Parlay, was visibly emotional when he picked up his award.
“I realized dreams that I never thought I would realize,” he said. “And I stand today because of you,” he added, pointing to Peso Pluma. “And I share this award with you. We’re doing this together. Regional Mexican has always been a genre that’s been one of the most profitable genres but often overlooked. And I’m very proud to be receiving this award on behalf of the genre.”
Prajin went on to thank numerous people, including his roster of artists (including Tito Double P and Jasiel), his staff (including publicists Elina Adut) and other music industry executives and companies, including Jimmy Humilde, Richard Bull, Jason Pascal of The Orchard and Del Records, who released early hit “Ella Baila Sola” alongside Eslabón Armado.
While Prajin was the centerpiece of the celebration, the evening also honored, for the first time, the main label and publishing winners of the 2024 Billboard Latin Music Awards. Sony Music Latin president Alex Gallardo picked up the award for Top Latin albums label of the year, home to Shakira, Marc Anthony and Manuel Turizo, among many others. The label also wins Latin airplay label of the year; Tropical airplay and albums label of the year; Latin pop airplay label of the year; regional Mexican albums label of the year and Latin rhythm airplay label of the year.
Hot Latin songs label of the year went to Interscope Capitol Labels Group, with hits by Xavi, Ivan Cornejo and Karol G, and was picked up by Nir Seroussi and fellow power players José Cedeño and Manny Prado.
Publishing Corporation of the year went to Sony Music Publishing, home to Keityn, Shakira and Edgar Barrera, and was picked up by CEO Jorge Mejía.
In addition, the Choice award went to Rebeca León of Lionfish Entertainment and RImas Entertainment was honored with a special 10 year impact award accepted by founder and CEO Noah Assad along with co-founder Junior Carabaño and Raymond Contreras, head of Rimas’ management arm, Habibi, and Rimas Entertainment CEO Jorge Bracero.
If you work in dance music, there’s a good chance you’re currently on a plane or train or are otherwise somehow en route to Amsterdam.
Per mid-October dance music tradition, the Amsterdam Dance Music Event, or ADE, is happening this week in the Dutch capital, with thousands of dance industry execs, artists and fans taking part in a dizzyingly robust program that caters to professionals, people trying to get into the industry and people who just like the music. Programming includes representatives from companies including SoundCloud, Bandcamp, Tresor, Tunecore, Empire, Spotify and more.
While ADE always reliably draws industry types from around Europe, the event is also “seeing a notable increase in attendees from the U.S., Africa, and Asia this year,” says ADE’s managing director Jan-Willem van de Ven, “so it’s a good mix of electronic music industries and cultures and global territories that see ADE as a gateway to Europe in a number of different ways.”
With the thriving electronic music scene in Africa gaining more attention and global influence, ADE 2024 is also hosting representatives from the Nigerian festival Homecoming for a special five-panel series on the dance scene in the country and across the continent.
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“The roots of electronic music are deeply tied to African music and culture, so this focus felt timely and essential,” says van de Ven. “The culture across many African territories offers so much we can learn from, particularly in terms of creativity and community, and in return, we can hopefully contribute some knowledge of industry infrastructure, things like that. Our collaboration with Homecoming is designed as a mutual exchange, where both sides — artists, audiences, professionals and ourselves — can inspire and grow from each other’s experiences.”
In total, ADE programming is famous for offering more panels, networking events, performances and mixers than a single person could possibly attend, so van de Ven advises that those going create a schedule based on what they personally want to get out of the conference. He also recommends “making full use of networking sessions and our new matchmaking formats, which are great for connecting with the right people.”
Jan-Willem van de Ven
Sarah Wijzenbeek
This year, ADE has also launched a new ADE App that will help attendees navigate the program while keeping their personal agendas on hand, for maximum productivity and likely a fair amount of fun. As always, ADE 2024 is split between PRO programming for industry professionals, Lab programming for those coming into the scene, festival programming for fans, and arts and culture programming for everyone.
Even van de Ven himself acknowledges that it’s difficult to fit everything in over the conference, with his assistant helping ensure he gets everywhere he needs to be. “I’m also just a big fan of everything we do,” he adds, “so I really try my best to experience as much as possible.”
Below are van de Ven’s top ADE 2024 schedule picks across all categories. (All times are CEST.)
ADE Pro
20 Years of Tomorrowland: How to Rise and Stay on Top – Wednesday, Oct.16, 2:15 p.m.
In this talk, Tomorrowland founder Michiel Beers will discuss the 20 year anniversary of the annual Belgian dance mega-festival, offering insights on the strategies that have made it the world’s biggest dance festival.
SoundCloud – Essential Insider Knowledge – Thursday, Oct. 17, 12:30 p.m.
Representatives from SoundCloud will take part in a conversation with Dutch producer Mau P, focusing on how the platform supports independent artists and offering insights on how artists can find success on digital platforms.
From Detroit to Durban: The Learnings of 30 Years of Dance Music – Thursday, Oct. 17, 1:30 p.m.
Artists including Detroit legend Carl Craig and South African producers Major League DJz will take part in a panel exploring the origins and influence of the techno and amapiano genres. The conversation will focus on growing these genres while preserving their cultural heritage and ensuring creators retain ownership.
Amelie Lens x Charlotte de Witte – Friday, Oct. 18, 4:30 p.m.
The techno titans will take part in a panel focused on their individual careers and newfound partnership.
ADE LAB
BIIANCO: How I Play Live hosted by DJ Mag – Thursday, Oct. 17, 5:15 p.m.
Multi-instrumentalist, producer and DJ, BIIANCO — whose 2023 viral hit “Against The Wall” aggregated 35 million streams — will give a talk on live performance technology for creators looking to build a live show and integrate live elements into hybrid DJ sets.
DJ Babatr: The Story of Raptor House – Saturday, Oct. 19, 2:45 p.m.
Venezuelan DJ Babatr, a pioneer of the Raptor House genre, will discuss his role in creating a sound that encapsulates the energy of Caracas.
CLUB Lab – Live Showcases (in association with DJMag) – Saturday, Oct. 19, 8:30 p.m.
The nightclub element of ADE’s Lab programming will feature live music, A/V shows and dancing, offering a place for ADE Lab attendees to celebrate at the end of the event.
ADE Arts & Culture
ADE Opening Concert: 50 Years of J Dilla – Wednesday, Oct. 16, 11:00 a.m.
Speakers including Carl Craig and Miguel Atwood Ferguson will celebrate the legacy of game-changing producer J Dilla in the year that artist would have been 50 years old. Atwood-Ferguson & Metropole Orchestra will perform the longstanding Dilla tribute project Suite for Ma Dukes before the ‘Dilla 50’-talk.
ADE Opening Concert: COCON II – Wednesday, Oct. 16, 7:00 p.m.
Designed especially for ADE, the audiovisual live performance by Cello Octet Amsterdam and Nick Verstand will feature a combination of live playing and robotics.
ADE Opening Concert: 24classics presents Philip Glass by Lavinia Meijer & Nikki Hock – Wednesday, Oct. 16, 7:30 p.m.
Harpist Lavinia Meijer and multidisciplinary artist Nikki Hock will present an interpretation of Phillip’s Glass music, with Meijer getting special permission for Glass himself to transcribe his music for harp. Hock, meanwhile, will create visuals in the room.
Festival
Tomorrowland Presents Afterlife – Wednesday, Oct. 16 and Thursday, Oct. 17, 10:00 p.m.
Tale of Us and a collection of other artists will play the city’s famed Ziggo Dome venue for two nights of music.
Barry Can’t Swim – Thursday, Oct. 17, 8:30 p.m.
The rising, award-nominated Scottish producer will perform a show incorporating his signature synthesis of piano playing and electronic productions.
Awakenings Upclose ADE presents Four Tet, Friday, Oct. 18, 3:00 p.m.
The U.K. producer will play an extended six-and-a-half-hour set at Amsterdam venue Gashouder, a former industrial gasworks complex.
Jeff Mills presents: Tomorrow Comes The Harvest – Friday, Oct., 8:00 p.m.
The collaborative project Tomorrow Comes The Harvest was initiated by Nigerian afrobeat pioneer Tony Allen and Detroit techno icon Jeff Mills. Together with keyboardist Jean Phi Dary, the trio toured the globe until Allen’s death in 2020. Now playing with tabla virtuoso Prabha Edouard, Tomorrow Comes The Harvest will present a new chapter of genre-spanning sounds and rhythms.
AMF 2024 – Saturday, Oct. 19, 9:00 p.m.
The night-long festival will feature a host of producers including Maddix, Martin Garrix, Tiësto, Timmy Trumpet and more.
Spotify subscribers in 97 countries will no longer have to leave the app to watch their favorite artists’ music videos, the company announced on Tuesday (Oct. 15). The beta test, which started earlier this year in around a dozen countries — including the U.K., Germany, Brazil and Colombia — will also expand to South Korea […]
Sphere Entertainment Co. has reached an agreement with the Abu Dhabi Department of Culture and Tourism to create a second Sphere in the United Arab Emirates (UAE) capital city.
“The vision for Sphere has always included a global network of venues, and today’s announcement is a significant milestone toward that goal,” said James L. Dolan, executive chairman/CEO of Sphere Entertainment who oversaw the construction of the Las Vegas Sphere in late 2023. Sphere Entertainment is a spinoff of Madison Square Garden Entertainment and is headquartered in L.A., where a small staff develops the audio and visual components for Sphere’s massive internal video screen.
The long-term success of Sphere has always been contingent on Dolan’s ability to scale the business model and build additional Sphere facilities to amortize the costs of producing content for the uniquely shaped arena. According to sources, video produced to accompany the 10-bout Noche UFC match in Las Vegas cost last month cost upwards of $20 million.
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A second Sphere location would provide Dolan and crew a chance to recoup some of their production costs from a new audience via projects like Postcard from Earth, a multi-sensory film directed by Darren Aronofsky that helped generate more than $1 million in average daily ticket sales on the days it ran during the company’s most recent fiscal quarter, according to a shareholders report.
There’s also an opportunity to save on production costs by staging concerts at both the Vegas and Abu Dhabi venues, although it’s unclear how much demand there would be in the Middle East for Western concerts. Since the end of the pandemic, only a handful of concerts from American artists performing in the UAE have been reported to Billboard Boxscore.
“We are excited to bring Sphere to Abu Dhabi in partnership with Sphere Entertainment, providing our residents and visitors with an extraordinary new form of entertainment,” said H.E. Mohamed Khalifa Al Mubarak, chairman of DCT Abu Dhabi, in a statement. “Sphere Abu Dhabi will seamlessly integrate advanced technology with captivating storytelling, creating unforgettable memories for everyone who visits. This partnership aligns with our Tourism Strategy 2030, further establishing Abu Dhabi as a vibrant hub for culture and innovation. By embracing cutting-edge entertainment like Sphere, we’re not only elevating our global profile but also setting new standards in immersive experiences and cultural offerings.”
Under the terms of the partnership, which is subject to the finalization of definitive agreements, DCT Abu Dhabi will pay Sphere Entertainment a franchise initiation fee for the right to build the venue, utilizing Sphere Entertainment’s proprietary designs, technology and intellectual property. Construction will be funded by DCT Abu Dhabi, with Sphere Entertainment’s team of experts providing services related to development, construction and pre-opening of the venue.
Following the venue’s opening, Sphere Entertainment plans to maintain ongoing arrangements with DCT Abu Dhabi that are expected to include annual fees for creative and artistic content licensed by Sphere Entertainment, such as Sphere Experiences; use of Sphere’s brand, patents, proprietary technology and intellectual property; and operational services related to venue operations and technology, as well as commercial and strategic advisory support.
Former Journey frontman Steve Perry signed to the late George Harrison‘s Dark Horse Records. The label will release his upcoming holiday album, The Season 3, on Nov. 8. “I am so pleased to announce that I have just signed with George Harrison’s label, Dark Horse Records,” said Perry in a statement. “I’ve so much music in me that has yet to be heard. To be able to work with a team of people who support and respect my creative expressions, is a dream come true.”
CAA signed singer-songwriter, actress, dancer and TV personality Nicole Scherzinger, who is set to make her Broadway debut as Norma Desmond in Sunset Boulevard on Sunday (Oct. 20). Scherzinger won the Laurence Olivier Award for Best Actress in a Musical for the play’s London run. She’s also set to reprise her role as Sina in Disney’s Moana 2, which is slated for release next month.
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British rapper-producer Jim Legxacy signed with XL Recordings and released a new single, “aggressive,” on Oct. 7. He’s slated to release a new mixtape, Black British Music (2024), next year.
Seth Shomes‘ Day After Day Productions signed Bobby Brown for exclusive global touring representation. Tour dates will be announced in the coming months. Brown is managed by Alicia Etheredge-Brown at AE Management.
Electronic music duo Deep Dish (Ali “Dubfire” Shirazinia and Sharam Tayebi) signed with Purple Wall for management and CAA for touring. The duo, which recently signed with Armada Music and returned to the studio for the first time in a decade to reimagine some of their older songs, including “Flashdance” and “Say Hello,” is slated to hold residencies in both London and New York this winter.
Big Loud Texas, the label offshoot recently co-founded by Miranda Lambert and Jon Randall, signed country singer-songwriter Jake Worthington. To mark the occasion, Lambert and Worthington released the duet “Hello S—ty Day” late last month.
Tyler Brown (former MD at Syco Music) and Harold Serero (former senior A&R at Ultra Music Publishing and Payday Records) launched Heatwave Records, which will focus on signing artists from emerging markets. The label’s first signings are Nigerian artists Fido (“Awolowo”) and Firstklaz (“Gen-Z Area”) and Ivory Coast artist døpelym (“Guala”).
WME signed singer-songwriter Adrien Nunez (“Low Road”). Managed by Dillon Goldberg at FNGRPRNT, Nunez is slated to support both Dasha and Avery Anna on their respective tours later this year.
Music licensing company PPL signed Manchester, U.K.-based pop-soul singer-songwriter Lusaint (“Sweet Tooth”) for the collection of her international neighboring rights royalties. Lusaint recently released her debut EP, Self Sabotage.
Riser House Records signed cross-genre soul artist Stephen Day, who is set to release a two-pack of holiday songs: an original track, “It’s Christmas All Over,” and a rendition of “Pennies From Heaven.”
Universal Music Canada signed singer-songwriter Lindsay Ell, who will release a new EP, love myself, on Oct. 25. It’s preceded by lead single “Story I Tell Myself.”
Bay Area hardcore band Scowl signed with Dead Oceans. The label released the group’s new single, “Special,” earlier this month.
Irish folk band Amble signed with Warner Records and released a new song, “The Commons,” the title track off a forthcoming EP slated for release on Nov. 1.
Deb Never signed with GIANT Music and released a new single, “Not In Love,” on Tuesday (Oct. 15). Her debut full-length album is due for release next year.
Musical duo CocoRosie signed with Joyful Noise Recordings and will release the new single, “Least I Have You,” on Wednesday (Oct. 16).
Metal/hardcore band Biohazard signed with BLKIIBLK, a new heavy music imprint from Frontiers Label Group. The band is set to release a new album next year, marking its first full-length release in more than a decade. Biohazard is co-managed by Andy Gould and Paul Gargano.
Gotee Records, co-founded by CCM hitmaker TobyMac, has signed indie pop singer/songwriter Lydi Lynn. The Portland native, who now resides in Nashville, will release her debut EP Desert Dream on Oct. 11 and is currently providing direct support for Jervis Campbell’s Magnolia Tour. Lynn is booked by Reliant Talent Agency’s Kevin Castleman. – Jessica Nicholson
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Limp Bizkit sues Universal Music Group for $200 million over claims that the band has ‘never’ been paid royalties; a lawsuit against Nelly takes a twist as his former bandmates allegedly push back on the case; Barry White’s estate files a lawsuit over Future and Metro Boomin’s chart-topper “Like That”; and much more.
THE BIG STORY: Has Limp Bizkit Really Never Gotten Royalties?
At one point in the bombshell, $200 million lawsuit Limp Bizkit filed against Universal Music Group last week, the band’s attorneys explicitly asked the question that everyone was thinking as they read the case: “The band had still not been paid a single cent by UMG in any royalties until taking action against UMG, leading one to ask how on earth that could possibly be true.”
How on earth, indeed. How had one of the biggest bands of its era, which sold millions of records during the music industry’s MTV-fueled, turn-of-the-century glory days, still never have been paid any royalties nearly three decades later?
According to Limp Bizkit and frontman Fred Durst, the answer is an “appalling and unsettling” scheme by UMG centered on “systemic” and “fraudulent” policies that were “deliberately designed” to conceal royalties from artists and “keep those profits for itself.”
Scathing language aside, the lawsuit really appears to be a long-delayed dispute over recoupment.
Durst says that UMG repeatedly told him that Limp remained unrecouped — meaning its royalties still had not surpassed the amount the group had been paid in upfront advances. UMG allegedly told Durst that it had paid out a whopping $43 million in advances over the years, a huge figure that would go a long way to explaining the lack of royalties.
Limp Bizkit’s lawsuit says UMG didn’t provide “any back-up for this alleged amount” – and that the label essentially kept the band in the red with shady bookkeeping, including “intentionally concealing the true amount of sales” and “fraudulent accounting practices.”
“Where did this additional $199,676.00 charged to the account come from?” the band’s lawyers wrote at one point, referring to one such alleged inconsistency. “It seems to have come out of thin air to overdraft Limp Bizkit’s due and payable account in order to defraud Limp Bizkit and show an unrecouped account.”
UMG has not yet publicly commented on the allegations, so we’ll keep you updated when the music giant files its first formal response in court…
Other top stories this week…
ALWAYS MORE DIDDY – Since you last heard from Legal Beat one whole week ago, there have somehow already been four big developments in the story of Sean “Diddy” Combs, who stands accused of decades of sexual abuse. Here goes:
-Attorneys for the rapper filed their opening salvo in an appeal of a ruling denying him pre-trial release on bail, arguing the “sensationalism” of the case led the judge to keep him locked up over “purely speculative” concerns about witness intimidation. In the days since, the appeals court has already declined to issue a quick ruling releasing him; instead, the court will hear the case at normal pace and rule at some point in the next few months on whether he should be set free until trial.
-Less than a day after filing the appeal, Combs’s team accused the government of leaking evidence to the media in order to “taint the jury pool and deprive Mr. Combs of his right to a fair trial.” Among other evidence allegedly shared with the press? The infamous surveillance video of Combs assaulting then-girlfriend Cassie in 2016, which his lawyers say was leaked “to mortally wound the reputation and the prospect of Sean Combs successfully defending himself.”
-The judge set a May 5 date for the start of Combs’ criminal trial, in which he will face charges of racketeering and sex trafficking over what prosecutors say was a sprawling criminal operation aimed at satisfying his need for “sexual gratification.” The schedule could still be pushed back, particularly if prosecutors file new charges or add defendants to the case, or if Combs eventually gets released on bail and chooses to waive his “speedy trial” right.
-Six new civil lawsuits were filed in Manhattan federal court, including one from a man who says he was sexually assaulted by Combs in 1998 when he was 16 years old and attending one of the rapper’s famed “white parties” in the Hamptons. The cases were the first in a wave of dozens of civil cases that are expected to be filed in the weeks ahead by Los Angeles attorney Andrew Van Arsdale and Texas attorney Tony Buzbee, who earlier this month said they are representing at least 120 such alleged victims.
ST. LUNATICS REBEL – Weeks after Nelly’s former St. Lunatics groupmates sued him for allegedly cutting them out of royalties, an attorney for the star claimed that three of them had never approved the lawsuit in the first place. In a letter sent last month, Nelly’s attorney warned the lawyer who filed the case last month that Murphy Lee (Tohri Harper), Kyjuan (Robert Kyjuan) and City Spud (Lavell Webb) had recently retained his services and had “informed me that they did not authorize you to include them as plaintiffs” and were “demanding you remove their names” from the case.
DR. DRE’S DR. DRAMA – Dr. Dre was hit with a lawsuit accusing him a waging a “malicious campaign of harassment” against a psychiatrist served as a marriage counselor and mediator for the rapper and his now-ex-wife Nicole Young. Dr. Charles J. Sophy says the rapper subjected him to a “barrage of threats” via text message, and even sent fake FBI agents to his home to intimidate him. Dre’s attorneys quickly fired back, saying Sophy only sued because Dre is currently seeking to have his medical license revoked over allegations of “dereliction of duties and incredible incompetence” during the divorce.
SAMPLE SPAT – Barry White’s estate filed a copyright lawsuit over allegations that a prominent sample at the heart of Future and Metro Boomin’s chart-topping “Like That” infringes the rights to a 1973 song by the legendary singer — but they didn’t actually file the case against those stars. Instead, they sued duo Rodney-O (Rodney Oliver) & Joe Cooley, the classic hip hop duo behind “Everlasting Bass,” the track that Future and Metro Boomin sampled.
NAME BLAME – Attorneys for Garth Brooks publicly disclosed the name of a woman who sued the country star for sexual assault, naming her as a defendant in a lawsuit that accuses the woman of extortion and defamation. The move drew a sharp rebuke from the woman’s lawyers, who said Brooks had “publicly named a rape victim” in order to “punish” her for speaking out.
THE CASE ISN’T ALRIGHT – A California appeals court sided with The Offspring in a long-running court case filed by former drummer Ron Welty, rejecting his claims that he was owed millions more from the punk band’s $35 million catalog sale to Round Hill Music. A Los Angeles judge rejected those accusations last year, and California’s Court of Appeals ruled that there had been “no reversible error” in that decision.
I WANT MY ROYALTIES BACK, ROYALTIES BACK – What’s going on in the Chili’s legal department? For the second time this year, the huge restaurant chain was sued over accusations that it used copyrighted music on social media without permission — this time by Universal Music Group over dozens songs by Ariana Grande, Justin Bieber and other stars. The new case came shortly after the advertising-averse Beastie Boys sued Chili’s over the same thing back in July.
TAKING THE STAND – Amid a lawsuit claiming Martin Shkreli might leak copies of Wu-Tang Clan’s ultra-rare album Once Upon a Time in Shaolin, a federal judge ruled that the pharma exec must personally go to court and testify under oath about the fate of the album. Shkreli once owned the album, but was forced to forfeit to federal prosecutors after he was convicted of securities fraud.
YE LAWSUIT UPDATE – Ye (formerly Kanye West) was sued by Lauren Pisciotta, a former assistant who claimed that the rapper drugged and sexually assaulted her during a studio session he co-hosted with Diddy. Pisciotta already sued Ye in July for sexual harassment, breach of contract and wrongful termination, but she filed an updated version of the case that includes the Diddy-linked claims.