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ASCAP announced Wednesday (Jan. 15) that it will distribute $1 million in emergency relief to ASCAP songwriters or composers who have suffered the loss or damage of their primary residences or studios in the Los Angeles wildfires. The organization is also offering assistance to those who have been evacuated.
ASCAP will provide one-time stipends in the amount of $1,500 to ASCAP writer members in good standing as of Jan. 1, 2025, who do “not have a resignation notice pending.” The stipends will be awarded on a first-come, first-served basis while funds are available.
Please see the ASCAP website for more information or to apply for benefits. You can also check out our resource guide for music workers impacted by the fires here and find out how to help here.
“Our hearts go out to everyone impacted by the devastating Los Angeles fires. We are here to support our ASCAP members during troubled times, and we will ensure these funds reach ASCAP composers and songwriters in need,” said ASCAP CEO Elizabeth Matthews in a statement.
ASCAP president Paul Williams also wrote a message to members in need. His letter can be read below in full:
To my fellow ASCAP members,
My heart aches for the unimaginable loss and devastation that has struck our beloved city of Los Angeles. I want to say to all members and their families who have been impacted by the fires and are facing profound challenges, please take comfort that you are not alone. We are a community. As music creators, our community is built on a foundation of compassion, connection and a sense of purpose. That is our bedrock, where we always land, where we always begin.
Some of you have lost your homes, your studios, your instruments, those materials of your life which hold memories and meaning. What can never be lost is the spirit of this community and the enduring bond we share with each other. The outpouring of kindness, support, concern and generosity we have witnessed throughout this crisis is beyond inspiring. Proof, yet again, of an abundant supply of love.
As a community of songwriters, composers and music publishers, ASCAP has always harnessed our collective strength for the greater good. That is why ASCAP is setting up an emergency fund in the amount of $1 million for our members who have suffered from loss and damage to their homes and studios.
If you need help, please visit www.ascap.com/lafirerelief for more info.
Wishing you much love, hope and strength,
Paul
Universal Music Group (UMG) is firing back at Drake’s lawsuit accusing the music giant of defaming him by promoting Kendrick Lamar’s diss track “Not Like Us,” calling the case “illogical” and accusing Drake of trying to “weaponize the legal process.”
In a strongly-worded statement issued Wednesday afternoon (Jan. 15), UMG flatly denied the allegations in Drake’s lawsuit — filed earlier in the day in New York federal court — and sharply criticized its superstar artist for bringing it.
“Not only are these claims untrue, but the notion that we would seek to harm the reputation of any artist—let alone Drake—is illogical,” the company wrote. “We have invested massively in his music and our employees around the world have worked tirelessly for many years to help him achieve historic commercial and personal financial success.”
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The lawsuit claims that UMG knew that “inflammatory and shocking allegations” in Lamar’s scathing diss track were false, but chose to place “corporate greed over the safety and well-being of its artists.”
But in UMG’s response, the music giant said that Drake himself had often engaged in rap beefs featuring bombastic claims about his opponents — the very thing that he now claims is illegal.
“Throughout his career, Drake has intentionally and successfully used UMG to distribute his music and poetry to engage in conventionally outrageous back-and-forth ‘rap battles’ to express his feelings about other artists,” UMG wrote. “He now seeks to weaponize the legal process to silence an artist’s creative expression and to seek damages from UMG for distributing that artist’s music.”
Drake’s case repeatedly makes clear that he is not suing Lamar himself, and that he holds UMG responsible for releasing a song that it allegedly knew was defamatory.
In its statement, UMG denied that claim — and said it would defend Lamar or any other artist if they were hit with such a lawsuit.
“We have not and do not engage in defamation—against any individual,” UMG said in the statement. “At the same time, we will vigorously defend this litigation to protect our people and our reputation, as well as any artist who might directly or indirectly become a frivolous litigation target for having done nothing more than write a song.”
Drake and Lamar exchanged stinging diss tracks last year, culminating in Lamar’s knockout “Not Like Us” — a track that savagely slammed Drake as a “certified pedophile” and reached the top of the charts. In November, the star filed stunning legal petitions suggesting that he planned to sue UMG, claiming that the company had artificially boosted a song that contained defamatory statements about him.
Earlier on Wednesday, Drake made good on those threats — filing a federal lawsuit that claimed UMG had boosted a “false and malicious narrative” that the star rapper was a pedophile, severely harming his reputation and even putting his life in danger.
“UMG intentionally sought to turn Drake into a pariah, a target for harassment, or worse,” the star’s lawyers wrote in their complaint. “UMG did so not because it believes any of these false claims to be true, but instead because it would profit from damaging Drake’s reputation.”
The accusations — and Wednesday’s response statement — represent a remarkable rift between the world’s largest music company and one of its biggest stars. Drake has spent his entire career at UMG, first through signing a deal with Lil Wayne’s Young Money imprint that was distributed by Republic Records, then by signing directly to Republic.
01/15/2025
From a potential TikTok ban to the upcoming Diddy trial to changes coming in streaming, AI, distribution and concert ticketing, there’s plenty to watch in 2025.
01/15/2025
Boiler Room, a longstanding event and streaming series, has been acquired by European festival organizer Superstruct Entertainment. A representative for the company declined to disclose the terms of the deal.
Boiler Room was previously owned by ticketing platform Dice, which acquired it in 2021. Dice will remain Boiler Room’s official ticketing partner.
A statement on the deal notes that Boiler Room’s team will remain responsible for leadership of the business under Superstruct, “and it will retain its identity with active support for theirdevelopment through Superstruct’s global resources and expertise.”
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A representative for Superstruct confirms that Boiler Room will continue generating revenue through brand partnerships (Boiler Room has had long-term deals with Pernod Ricard and Ballantine’s), along with ticketed events and its apparel brand. While Boiler Room videos regularly rack up millions of streams on YouTube, Boiler Room makes almost nothing from this YouTube content, as it doesn’t own any rights to the music.
“As we turn 15 and enter our next stage of growth, we’re excited to be partnering with Superstruct for this chapter,” Boiler Room founder Blaise Bellville said in a statement. “We feel in good company with their roster of brands, they offer us new opportunities to grow, whilst understanding the importance of staying true to the authenticity that, at its core, is what makes Boiler Room special.”
“We are proud to welcome the talented team at Boiler Room, who have managed to consistently grow the platform over the last fifteen years whilst maintaining a distinct cultural approach,” added Superstruct Entertainment CEO Roderik Schlösser. “This partnership perfectly aligns with Superstruct’s mission to celebrate and amplify cultures through creativity, collaboration, and live entertainment. Boiler Room is in the best position it has ever been and we are excited to support them in their promising future ahead.”
In June, Billboard reported that global investment firms KKR and CVC had agreed to acquire Superstruct Entertainment from Providence Equity Partners. Superstruct — which has a portfolio of more than 80 events including the electronic festivals DGTL, Mysteryland, Parookaville, Brunch Electronik, along with Sziget, one of the largest music festivals in Europe, and the world’s largest heavy metal festival, Germany’s Wacken Open Air — was founded in 2017 by Providence and James Barton, a former Live Nation executive who also founded the Liverpool-based night club Cream. The terms of that deal were not disclosed, though the Financial Times reported that Superstruct sold for around €1.3 billion ($1.39 billion).
At the end of 2023, Republic Records’ industry-leading current market share of 13.47% represented the best full-year mark for a label since at least 2015, encompassing the streaming era for the music industry.
But in 2024, Republic surpassed that: powered by mega albums by Taylor Swift, Morgan Wallen and Sabrina Carpenter (the latter whose label Island Records is included in Republic’s market share along with Cash Money, Wallen’s labels Mercury and Big Loud and indie distributor Imperial), Republic posted a 14.90% current share, the second year in a row it led all labels by more than 4%.
Much of that can be attributed to the all-conquering success of Swift, whose Tortured Poets Department album was more than twice as big in the U.S. in 2024 than the second-biggest, Wallen’s 2023 album One Thing At a Time. But it also had to do with the remarkable rise of Island’s one-two punch of Carpenter and Chappell Roan, who each broke out this year with an album that ended the year among the 10 biggest of 2024: Carpenter’s Short N’ Sweet and Roan The Rise and Fall of a Midwest Princess. Year over year, Island quadrupled its current market share, from 0.62% in 2023 to 2.49% in 2024, helping Republic reach new heights.
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But Republic wasn’t the only label to have a big year: in second place was Interscope Geffen A&M, which saw its current share grow nearly two full points year over year, to reach 10.72% in 2024 — a share which grew steadily each quarter as the year went along. (Interscope’s market share also includes Verve Music Group.) Billie Eilish’s banner album Hit Me Hard & Soft led the way for IGA, but Kendrick Lamar’s cultural juggernaut “Not Like Us” was among the biggest songs of the year, while his Billboard 200-topping November album GNX helped capitalize on that momentum. Interscope, too, posted a share more than 4% higher than its next-closest competitor, Warner Records.
(One note: market share rankings do not reflect the Universal Music Group’s reorganization carried out this past February, which brought Def Jam under Republic’s purview and Capitol under Interscope’s; if it did, REPUBLIC would stand at a 15.46% current share, with Interscope Capitol at 14.70%.)
Which is not to say Warner Records had a down year: after posting a huge 5.96% current share in 2023, Warner had an even bigger 2024 and bested its sister label Atlantic Records for the first time in years. Warner (whose share includes Warner Nashville, Warner Latina and Rhino) reached a 6.55% share, led by breakout hits by Grammys best new artist nominees Benson Boone (“Beautiful Things”) and Teddy Swims (“Lose Control”), as well as the continued momentum of Zach Bryan, whose latest album The Great American Bar Scene delivered another major release for the label.
That meant Atlantic Records (which encompasses 300 Entertainment and Elektra) finished in fourth, dropping 1.21% from 2023 to land at 5.64% current share, in a year that was marked by a major transition in leadership. In fifth was Columbia Records, whose share includes some indie labels from distributor RED, which delivered a major album in Beyoncé’s Cowboy Carter (and, later in the year, Tyler, the Creator’s Chromakopia) and a song in Hozier’s “Too Sweet,” but slipped slightly year over year to 4.59%. In sixth, RCA Records also dipped year over year, coming in at 4.11%, down from 4.67% in 2023.
Another label that saw an executive overhaul, Capitol Music Group — which includes Motown/Quality Control, Blue Note, Astralwerks and some of Virgin Music’s share — also decreased significantly, falling from a 5.91% current share in 2023 to 3.98% in 2024, dropping them to seventh overall. But the eighth and ninth labels — Epic Records and Alamo Records, respectively — saw significant gains, with Epic jumping to 2.59% from 2.31% last year and Alamo nearly doubling its share, from 1.13% in 2023 to 2.11% in 2024, with much of that coming from the success of its Santa Anna distribution company, which debuted in January 2023. Rounding out the top 10 is another Sony label, Sony Music Latin, which also grew, up to 2.04% in 2024 from 1.94% in 2023.
Among the label groups, two sectors saw significant growth, offsetting the others. The Universal Music Group, fueled by the huge successes of Republic and Interscope, grew 1.09% year over year, posting a 36.90% current share. Sony Music, on the other hand, fell 1.13% in current share year over year, to 25.96%. Warner Music Group also fell, dropping from 16.96% in 2023 to 16.33% in 2024 in current share, while the indie sector grew 0.67% year over year by current distribution, from 20.14% to 20.81%. By label ownership, the indie sector accounted for 38.91% of current share.
At the label group level, overall share — which includes catalog in addition to frontline releases — told a different story. Sony Music actually grew the most year over year, up 0.22% to 27.39% in overall share in 2024, while UMG grew 0.17% to 38.61%. Warner Music Group dipped from 18.63% to 18.39%, while by distribution ownership the Indies also fell slightly, from 15.77% to 15.62%. By label ownership, the indie sector accounted for 36.19% overall share.
Among the individual labels in overall share, Republic and Interscope still held the top two spots — at 10.39% and 10.17%, respectively — though Interscope’s deeper catalog made it closer than with current share. Similarly, Atlantic Records’ deeper catalog meant it took third place in overall share, leapfrogging Warner Records in fourth, at 7.63% and 6.88%, respectively. Columbia (5.97%) maintained the fifth spot, just edging Capitol Music Group (5.95%) in sixth, while RCA, Epic, Sony Nashville and Universal Music Nashville rounded out the top 10.
In catalog share — those releases that are older than 18 months — it was Interscope’s deeper bench that led it to an industry-leading 9.98% share, ahead of Republic’s 8.84% and Atlantic’s 8.31%. Warner Records (7.00%) came in fourth, while Capitol Music Group (6.62%) jumped to fifth, ahead of Columbia (6.44%) and RCA (5.31%) in sixth and seventh, respectively. Epic (2.70) landed in eighth, while Def Jam’s illustrious history, celebrating 40 years in 2024, carried it up to ninth, at a 2.19% share.
Among the label groups, UMG’s catalog share was an industry-leading 39.19%, while Sony posted a 27.87% share and the Warner Music Group ended at 19.09%, with the indies at 13.85%. Sony’s share was up from the 27.21% it claimed in 2023, while each of the other three declined slightly year over year.
As U.S. TikTok users brace for a potential ban of the platform, some of them are actively testing other options: Two apps with TikTok-like characteristics, RedNote and Lemon8, are now the most popular free downloads in Apple’s App Store.
Lemon8 launched in the U.S. in February 2023 and cracked the top 20 on the Apple App Store four months later, according to Sensor Tower. Like TikTok, Lemon8 features a “For You” feed that recommends clips and a “following” feed that serves up videos from creators that users follow. Sensor Tower reported in October that 94% of Lemon8 users are women and that the app had been downloaded 52 million times globally.
RedNote, which was founded in 2013, is much bigger: Bloomberg recently reported that it has more than 300 million monthly active users and that it made $1 billion in profit in 2024. The platform has a trending feed that resembles TikTok’s, allowing users to vertically scroll through short-form videos. It also incorporates regular photos, text posts, and e-commerce; one tester described it as “Instagram meets TikTok meets Reddit.”
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Both Lemon8 and RedNote are owned by Chinese entities — in fact, Lemon8 is owned by ByteDance, TikTok’s parent company. That could mean these apps also have a precarious future in the U.S., as TikTok is facing a ban because the American government is worried about its Chinese ownership.
“I’ve been concerned, literally for years, that because TikTok is owned by ByteDance, a Chinese firm, and every company — based upon Chinese law — has to be first and foremost loyal to the Communist Party of China, not to their shareholders or customers, that TikTok has posed a national security concern,” Sen. Mark Warner said earlier this month. His concerns would presumably extend to other ByteDance-owned companies, like CapCut and Lemon8.
In December, the Supreme Court agreed to hear TikTok’s challenge to the law that would either force ByteDance to sell the app or bar it from the U.S. President-elect Donald Trump also asked the court to pause the ban, promising to “resolve the issues at hand through political means once he takes office.”
But after the Supreme Court hearing last week, most legal experts believe the justices will uphold the law. In that case, ByteDance would have to offload TikTok or face a ban on Jan. 19.
At the Supreme Court hearing, Justice Brett Kavanaugh claimed that China could use data harvested from TikTok to “develop spies, to turn people, to blackmail people.” And Chief Justice John Roberts asked how the court was “supposed to ignore the fact that the ultimate parent [company] is, in fact, subject to doing intelligence work for the Chinese government?”
With TikTok’s possible prohibition just days away, some labels have already started gaming out alternative marketing strategies.
“It’s hard to imagine a reality where TikTok actually goes down,” one executive told Billboard in December. “But we need to be prepared.”
YouTube and Google, together with Google.org, are contributing $15 million toward relief efforts aiding those impacted by the Los Angeles-area wildfires. The contribution will go to organizations including Emergency Network Los Angeles, American Red Cross and the Center for Disaster Recovery.
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YouTube CEO Neal Mohan made the announcement in a blog post on Wednesday, Jan. 15.
“Los Angeles is the heart of entertainment and storytelling and has an impact on culture all overthe world. It’s also where many YouTube creators, artists, partners and our employees callhome. Like so many, we’ve been heartbroken by the devastation from the wildfires and want todo our part to support the community as it rebuilds,” Mohan wrote.
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He also outlined other efforts Google is making to help aid relief efforts.
“Together with Google.org, YouTube and Google are contributing $15 million to organizationsproviding immediate relief in LA, including Emergency Network Los Angeles, American RedCross and the Center for Disaster Philanthropy. And Google is providing accurate and timelyinformation to LA through products and services like Google Search, Google Maps and Waze.
“When it’s safe to reopen our offices in LA, we plan to offer YouTube production facilities toimpacted creators and artists as they begin to recover and rebuild their businesses. In thecoming months, we’ll also host a number of events to bring the YouTube creative communitytogether – making space to connect and share resources.
Mohan ended the blog post by saying, “On the long road ahead, we’ll continue to support recovery and rebuilding efforts alongside our partners across the industry. In moments like these, we see the power of communities coming together to support each other – and the strength and resilience of the YouTube community is like no other.”
Google and YouTube join numerous other organizations that are helping those who lives, homes and businesses have been impacted by the Los Angeles-area wildfires. The announcement follows recent announcements from companies including Amazon, which committed $10 million to relief efforts. Sony Group Corporation previously announced it would donate $5 million to wildfire relief efforts, while the Warner Music Group/Blavatnik Family Foundation Social Justice Fund pledged $1 million.
The wildfires began Jan. 7 in the Pacific Palisades area just outside of Los Angeles, and swiftly spread to areas including Runyon Canyon and Altadena. The wildfires have swept through at least 40,000 acres in the greater Los Angeles area and killed at least 25 people, according to NBC News. The Los Angeles area is still on high alert as of Wednesday, Jan. 15.
Britpop icons Pulp signed with Rough Trade Records. “Rough Trade have managed Pulp for over 30 years so it feels great to be finally on the label. We did it!” the band said in a statement. Pulp’s last release was the 2001 album We Love Life, released by Island Records, though the band has toured together in the intervening years. Pulp has released a total of seven studio albums, including 1995’s Different Class, which was certified four-times platinum by the BPI.
Maggie Rose, a 2025 Grammy nominee for best Americana album, signed with One Riot/Virgin. Her first release under the deal is a “stripped version” of “Under the Sun” with Charlotte Sands. Rose is managed by Austin Marshall and Narvel Blackstock at Starstruck and booked by Jonathan Levine and Matt Runner at Wasserman.
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Folk-country artist Evan Honer signed with Wasserman Music for booking representation ahead of his recently announced spring 2025 tour. Honer will play 36 dates across the U.S., starting on Feb. 23 in Little Rock, Ark.
Singer-songwriter Sam Ryder signed with mtheory for management. He will be represented by Lewis Allen and Derek Gridley. Ryder is gearing up to release his second album and will embark on a tour this year.
Grammy-nominated gospel artist William Murphy signed a distribution deal with Motown Gospel, which released his new single, “Double,” on Friday (Jan. 10).
Centricity Music signed singer-songwriter Rachel Purcell to an exclusive global recording and publishing deal. Under her maiden name, Wammack, Rachel previously pursued a country music career, with songs including “Damage”; her new deals with Centricity mark her foray into Contemporary Christian music. – Jessica Nicholson
Sony Music Nashville signed singer-songwriter and Georgia native Zach John King. King just released a new song, “Slow Down,” which he wrote with Thomas Archer, Kyle Fishman and Michael Tyler. Sony Music Nashville’s roster also features artists including Brooks & Dunn, Kane Brown, Luke Combs and Megan Moroney. – Jessica Nicholson
Guitarist/producer RJ Pasin launched his own record label, Isekai Records, and signed Baltimore-based artist Lindsay Chia to the imprint. The label, which was founded by Pasin alongside his managers Ewan McGregor and Jack Mangan, released Chia’s track “Ghost” on Jan. 1. On launch, Isekai released the track “Embrace It (Remix)” by Ndotz, Sexyy Red and Flo Milli, featuring Pasin on guitar.
Luke Dean, an emerging artist in the U.K. underground dance scene, signed with Enzo Siragusa‘s LOCUS imprint, which released his new EP Ready Set Go on Dec. 13.
Jeff Roberts Agency partnered with contemporary Christian singer-songwriter Claire Leslie for booking. Leslie is managed by Hyphen Media Group and signed with Capitol CMG. She released her debut single “Original” this summer and followed with songs including “Ceiling Fan” and “Passenger Seat.” – Jessica Nicholson
Nashville-based label Quartz Hill Records, led by Brown Sellers Brown partner Benny Brown, signed country-pop duo 2 Lane Summer to its roster. The duo, composed of Illinois native Joe Hanson and Mississippi-born Chris Ray, recently joined country trio Chapel Hart on their Hartfelt Family Christmas Tour. They’ve also released a new version of their song “Eyes That Ain’t Yours.” – Jessica Nicholson
Pollinate Music, a newly-launched label under Bell Partners Worldwide, signed rapper, singer-songwriter and producer Rakeem Miles, who is also known for the clothing brand Action Figure Miles.
Singer-songwriter McCoy Moore signed an exclusive booking and artist development deal with The Neal Agency, home to fellow artists including HARDY, Nate Smith, Morgan Wallen, Anne Wilson and Bailey Zimmerman. Moore is also signed with SMACK and Worktape Music for publishing and with the newly-launched TRACK mgmt’s Tracker Johnson for management. – Jessica Nicholson
Universal Music Group Nashville (UMGN) has relaunched Lost Highway Records in partnership with Oscar- and Grammy-winning songwriter/producer T Bone Burnett.
The first release from the new iteration isRingo Starr’s Burnett-produced country set Look Up, which was released last Friday (Jan. 10).
The revered label, which takes its name from the song made famous by Hank Williams, had been dormant since 2012 after being launched by then-UMGN head Luke Lewis in 2000.
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From the start, Lewis and his team curated a tasty roster focused on American-leaning music from artists including Willie Nelson, Lucinda Williams, Hayes Carll, Mary Gauthier and Lyle Lovett. It was also home to soundtracks, including the Burnett-produced, Grammy-winning O Brother Where Art Thou, Deadwood and Open Season.
Cindy Mabe had been interested in reactivating the imprint for quite some time, even before she ascended to the role of UMGN chairman/CEO in April 2023.
“It was always a mission that we were going to reopen Lost Highway,” Mabe says. “It just felt like something was missing from the marketplace. Lost Highway was 15 years before its time. Looking at what’s happening to music in general and people living for algorithms, you’re losing art, you’re losing stories.”
Other entities had approached her about using the name over the years, but she had kept it close, knowing the right time would come.
T Bone Burnett and Cindy Mabe
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“None of those people felt like the right people to go into this because you either hold it at the regard of which Luke built it or you don’t redo it,” Mabe says. Then, when Burnett played her the Starr album, “It just hit me. I was like, ‘Hold on, full circle moment.’ O Brother was kind of where Lost Highway started. And he’s presenting this beautiful record and he was pouring all this joy that he had gotten from The Beatles back into Ringo. This is the mentality and this is where Lost Highway needs to be.”
Burnett, who is also known for his work with Bob Dylan, Elton John, Robert Plant and Alison Krauss, immediately loved the idea of joining forces. “I think it’s something that’s really needed at the moment,” he says. “There’s a need for an American music-focused record label that takes care of the good stuff.”
Though they aren’t ready to announce names, Burnett and Mabe say they have four or five artists they’re ready to work with, and they don’t discount that some of them may have a history with the label. Mabe says there are no plans to move any acts currently signed to other UMGN imprints to Lost Highway, which will remain a boutique label. Lost Highway will share some services with UMGN labels but will hire its own A&R, marketing and publicity staff.
“T Bone and I keep talking about the reason that we’re going to win is we’re going to put quality art back into the marketplace,” Mabe says. “It’s just missing. I’m not saying that there’s not some quality art out there, but it’s not always the goal. You don’t get artist development just by spinning the wheel and seeing how many ‘likes’ are out there. You actually have to make people feel something.”
Touring will be a big part of promoting the artists, as well as pairing them with producers who bring the same sensibility to the table. Additionally, Mabe says the film and TV component will remain a big part of the label and a way to bring attention to the roster. “Can these artists have radio? They could,” Mabe says. “It’s not the intent. The intent is to put great back out there and find its way out. It’s not one specific way to market.”
Burnett, who will helm the label’s creative direction with Mabe, doesn’t have an official title yet, but adds, “I’m looking forward to the challenge. I feel like we’re in a really beautiful moment where traditional American music, American vernacular music, is ascendant in the culture.” He wants to curate a bespoke roster in the same legendary way that Mo Ostin and Lenny Waronker did at Warner Bros. in the ‘70s or Jerry Wexler and Ahmet Ertegun did at Atlantic Records in the ‘60s and ‘70s. “I want every artist to touch every other artist in some way so that it’s integrated as an esthetic,” Burnett says. “It’s not just commercial grabs from here and there, but it’s about people who play great and sing great and write great.”
By launching with Starr’s country album, Burnett says it sends the signal that Lost Highway is “not going to be constricted by somebody else’s definition of what American music is. When The Beatles came out, they were playing Chuck Berry, Buddy Holly, Carl Perkins. They were playing the canon of American music that everything since has grown out of,” he says. “We’re saying that this is going to be an inclusive label. It’s going to be what I call American music, which includes blues and rhythm & blues and country music and folk music and rock and roll music.
One of Mabe’s next steps is surveying the assets from Lost Highway’s first go-round. “We’re going to put out some of the catalog that’s existed before,” she says. “It’s taking shape. We’re looking at all the pieces that are going to put the lights back on.”
Drake has filed a lawsuit against Universal Music Group (UMG) over allegations that the music giant defamed him by promoting Kendrick Lamar’s diss track “Not Like Us,” claiming the label boosted a “false and malicious narrative” that the star rapper was a pedophile and put his life in danger.
Hours after his attorneys withdrew an earlier petition, they filed a full-fledged defamation lawsuit Wednesday against his longtime label – claiming UMG knew Lamar’s “inflammatory and shocking allegations” were false but chose to place “corporate greed over the safety and well-being of its artists.”
“UMG intentionally sought to turn Drake into a pariah, a target for harassment, or worse,” the star’s lawyers write in a complaint filed in Manahttan federal court. “UMG did so not because it believes any of these false claims to be true, but instead because it would profit from damaging Drake’s reputation.”
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In one of the lawsuit’s most vivid accusations, Drake claims that the release of “Not Like Us” has subjected him to risk of physical violence, including a drive-by shooting on his Toronto area home just days after the song was released.
“UMG’s greed yielded real world consequences,” his lawyers write. “With the palpable physical threat to Drake’s safety and the bombardment of online harassment, Drake fears for the safety and security of himself, his family, and his friends.”
Notably, the case does not target Lamar himself — a point that Drake’s attorneys repeatedly stress in their filings.
“UMG may spin this complaint as a rap beef gone legal, but this lawsuit is not about a war of words between artists,” Drake’s attorneys say.
A spokesman for UMG did not immediately return a request for comment.
Wednesday’s lawsuit is yet another dramatic escalation a high-profile beef that saw Drake and Lamar exchange stinging diss tracks last year, culminating in Lamar’s knockout “Not Like Us” — a track that savagely slammed Drake as a “certified pedophile” and became a hit in its own right.
Drake shocked the music industry in November when he filed petitions suggesting he might sue over the fued — first accusing UMG and Spotify of an illegal “scheme” involving bots, payola and other methods to pump up Lamar’s song, then later claiming that the song had been defamatory. But those cases were not quite full-fledged lawsuits, and Drake withdrew one of them late on Tuesday.
Now it’s clear why: In Wednesday’s lawsuit, he formally sued UMG over the same alleged scheme, claiming the label “unleashed every weapon in its arsenal” to drive the popularity of Lamar’s track even though it knew the lyrics were “not only false, but dangerous.”
“With his own record label having waged a campaign against him, and refusing to address this as a business matter, Drake has been left with no choice but to seek legal redress against UMG,” his lawyers write.
The filing of the case represents a doubling-down for Drake, who has been ridiculed in some corners of the hip-hop world filing legal actions over a rap beef. It also will deepen further his rift with UMG, where the star has spent his entire career — first through signing a deal with Lil Wayne’s Young Money imprint, which was distributed by Republic Records, then by signing directly to Republic.
In his complaint, Drake’s lawyers said the label opted to boost “Not Like Us” despite its “defamatory” lyrics because they saw it as a “gold mine” — partly because UMG owns Lamar’s master recordings outright, but also because it could use the song to hurt Drake’s standing in future contract talks.
“UMG’s contract with Drake was nearing fulfillment … UMG anticipated that extending Drake’s contract would be costly,” his lawyers write. “By devaluing Drake’s music and brand, UMG would gain leverage to force Drake to sign a new deal on terms more favorable to UMG.”
This is a breaking news story and will continue to be updated with additional details as they become available.