State Champ Radio Business
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With more than 2,000 attendees converging on Atlanta for the annual Music Biz conference at the Renaissance Atlanta Waverly Hotel and Convention Center Galleria, Music Business Association president Portia Sabin opened day 2 by reminding everyone of the “guiding belief” behind the Music Business Association and its conference — while revealing the conference will return to Atlanta next year.
“We’re all better together,” Sabin proclaimed. “We know we can achieve success and overcome any challenge in our way when we come to the table with open minds, foster collaboration, and develop solutions that truly support one another.”
Sabin pointed out that the music industry has become truly global in the past several years and, corresponding to that, international music companies now comprise one-fifth of Music Biz’s membership. What’s more, she said 15% of the attendees at this year’s conference (which runs from May 12-15) are from outside the U.S: “That’s 250 individuals, representing 168 companies and over 30 countries, ranging from Vietnam and Australia, to Japan and Egypt,” she said.
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In order to better represent its membership and the global music industry, “we’ve embraced this shift by hosting our virtual Passport series — free webinars that dissect issues in music markets across the globe — as well as expanding our traveling Roadshow series with our first international event in Toronto this past March,” Sabin added.
Finally, Sabin pointed out that in preparing to hold the conference in Atlanta over the last year, Music Biz hosted a number of mixers and meetups to “build relationships with Atlanta’s vibrant music business community. Most recently, we partnered with the Mayor’s Office of Film, Entertainment and Nightlife for an event at City Hall, to connect local & global music professionals and preview some of the programming we offer at our conference.”
After holding the convention for the last 10 years in Nashville, the Music Biz conference is going on the road again, just like its antecedent organization, the National Assn. of Recording Merchandisers, did for decades by moving the annual convention to various cities. However, Sabin revealed that Atlanta will host the convention again next year, too, while thanking the city and the hotel for supporting it.
“Thank you to the team here at the Renaissance for making this year’s event possible, and to the city of Atlanta for being such gracious hosts ever since we announced plans to bring our conference here in 2025 and 2026,” Sabin said at the beginning of her remarks to attendees.
Sean “Diddy” Combs’ ex-girlfriend Cassie Ventura wrapped up her direct testimony against the rap mogul on Wednesday (May 14), telling jurors that Combs threatened to blow up Kid Cudi’s car and revealing the dollar amount of a bombshell settlement that set off the sex-trafficking probe.
Ventura, an R&B singer who dated Combs on and off for 11 years, is the star witness in Combs’ criminal trial. She’s been on the witness stand since Tuesday (May 13), testifying that Combs physically abused her and forced her to have sex with male escorts during drug-fueled events known as “freak offs.”
In her final day of direct testimony, Ventura reportedly told the jury that Combs became enraged when he discovered she was dating Cudi (Scott Mescudi) in 2011, according to The New York Times, which also reported that Ventura testified that Combs lunged at her with a wine opener and threatened to release freak off videos and hurt both her and Mescudi.
Ventura also said that Combs threatened to blow up Mescudi’s car, the Times reports, and that she soon broke things off with Mescudi out of fear.
“Too much danger, too much uncertainty of what could happen if we continued to see each other,” Ventura reportedly testified.
Ventura alleged in a November 2023 civil lawsuit that Mescudi’s car did, in fact, explode in his driveway a short while after Combs’ threats. Combs has not been officially linked to the incident.
Ventura’s civil lawsuit, the first major public accusation against Combs, was also a key topic during her final day of direct testimony. Though Combs settled with Ventura after a single day, the case sparked the criminal probe that led to the current trial and a deluge of other civil sex abuse lawsuits against Combs.
The dollar amount of Ventura’s settlement was kept confidential and long unknown to the public. But according to the Times, Ventura revealed for the first time during her testimony Wednesday that the settlement amounted to $20 million.
Ventura is scheduled to undergo cross-examination by Combs’ lawyers starting Thursday (May 15). The trial could last up to two months total.
SoundCloud CEO Eliah Seton has today (May 14) published an open letter clarifying the company’s position on AI.
This letters follows backlash that happened last week after AI music expert and founder of Fairly Trained, Ed Newton-Rex, posted about SoundCloud’s terms of service quietly changing in February 2024 to allow the platform the ability to “inform, train, develop or serve as input” to AI models.
In his letter, Seton repeats what SoundCloud shared in a statement last week, noting that the platform “has never used artist content to train AI models. Not for music creation. Not for large language models. Not for anything that tries to mimic or replace your work. Period. We don’t build generative AI tools, and we don’t allow third parties to scrape or use artist content from SoundCloud to train them either.”
The letter then goes on to directly address the 2024 Terms of Services changes, which were done, Seton writes, “to clarify how we may use AI internally to improve the platform for both artists and fans. This includes powering smarter recommendations, search, playlisting, content tagging and tools that help prevent fraud.”
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But he acknowledges that “the language in the Terms of Use was too broad and wasn’t clear enough. It created confusion, and that’s on us. That’s why we’re fixing it.” He write that the company is revising the Terms of Use to make it “absolutely clear” that “SoundCloud will not use your content to train generative AI models that aim to replicate or synthesize your voice, music, or likeness.” He notes that the Terms of Service updates will be reflected online in the coming weeks.
Seton adds that given the rapidly changing landscape, “If there is an opportunity to use generative AI for the benefit of our human artists, we may make this opportunity available to our human artists with their explicit consent, via an opt-in mechanism. We don’t know what we don’t know, and we have a responsibility to give our human artists the opportunities, choices and control to advance their creative journeys.”
Finally, he notes that the platform is “making a formal commitment that any use of AI on SoundCloud will be based on consent, transparency and artist control.”
Read his complete letter here.
After taking a few years off, the irreverent and one-of-a-kind podcast Promoter 101 is back and dropping hot takes on the concert business like it’s 2018 all over again.
Understanding why music manager Luke Pierce and Live Nation promoter Dan Steinberg revived their podcast is nearly as complex as understanding why they stopped in the first place. When they shelved the show in 2020, shifting priorities and the increasingly complicated post-pandemic concert industry played a major role. But what surprised Steinberg most was that no one stepped in to capitalize on their absence.
“We thought that we’ve been talking for quite a while, and maybe there was another voice; maybe if we got out of the way and somebody else wanted to speak up and fill that void,” Steinberg says.
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But no one did — and Steinberg and Pierce believe that’s partly because the concert business has only grown more complex in the wake of the pandemic, especially with the rise of dynamic pricing and nine-figure tour grosses. While they plan to keep the show’s popular interview format, they also intend to dive deeper into topics like ticket pricing and the reasons behind the sharp rise in concert costs in the post-pandemic era.
“I think it’s a mistake to say the promoters are outpricing the market,” Steinberg said. ” I think the managers are setting the prices. The artist may say they want more money, but I think that call is usually the manager, and it’s their job to direct that, and most artists leave that to the manager and the agent to figure out. I don’t know the promoters that want a more expensive ticket — more often, the promoter is trying to bring the ticket price down.”
Pierce added that there’s a “good swath of working artists that have priced themselves out of the middle class of live music.”
In the months immediately following the reopening of concert venues, fans were spending significant money on concerts and live experiences, making up for time lost during the pandemic. That period was followed by what Pierce calls a “burnout period” that’s happening “right now.”
“While fans return to some of their pre-pandemic behaviors, you know, artists continue to kind of tour at peak levels, and I think that will cause some problems with soft tours and unsold inventory,” he said. The result is a “top-heavy touring ecosystem, where the middle is kind of getting squeezed out a little bit, and I think it’s something artists and their teams really need to be cognizant of.”
The pricing problem will become more acute in the next 24 months based on what happens with the economy, Pierce adds, noting that “we just saw GDP figures come out, and the contraction of the U.S. economy is certainly not a great sign. Paying attention and making adjustments to your business is prudent right now.”
“Put more simply, the demand in the post-pandemic environment was enormous because we couldn’t do anything for a while, and we got free money from the government for a little bit, and nowhere to spend it,” Pierce says. “But that has to reset somewhere along a sensible trend. And I think it’ll be challenging for some people to figure out what that looks like.”
Steinberg notes that while the festival market will need to make some adjustments to navigate a tough economic climate, he remains optimistic about its long-term potential.
“Festivals are not done, it’s just a competitive space,” Steinberg says. “And they’re for younger people. And so there’s always going to be a cooler festival with a more cutting-edge lineup. But festivals can come back from a bad year. Coachella had some rough years, but they came back. Bonnaroo definitely had some tougher years, but they have come back. It’s very cyclical.”
One real challenge festivals face, Pierce notes, is “headliner fatigue, due to a lack of inventory of headliners.” Artists can make more money touring, especially artists playing arenas and stadiums, where they can deliver “the exact experience they want their fans to have, and that’s a better business decision for them, top to bottom.”
Steinberg and Pierce plan to release one new Promoter 101 episode each month and have launched a refreshed brand identity, complete with updated logos and artwork, to mark their return. Their comeback episode, No. 230, features interviews with Paladin Artists agents Steve Martin, Andy Somers and Chyna Chuan. The latest episode is available now at promoter101.net.
Justin Baldoni’s lawyers claim Blake Lively asked Taylor Swift to delete text messages and used “extortionate threats” to try to get a statement of support from the pop superstar in the It Ends With Us legal battle — accusations, attributed to an anonymous source, that Lively’s lawyers say is “categorically false.”
The salacious allegations come in a court filing Wednesday (May 14) from attorney Bryan Freedman, who represents Baldoni and his production company Wayfarer Studios in litigation with Lively over dueling claims that include allegations of sexual harassment, retaliation and defamation.
On Monday (May 12), Swift’s longtime lawyers at the firm Venable told a judge that Baldoni sent them a subpoena for no good reason. Now, Freedman claims he actually does have a good reason: he wants to dig into accusations from an unnamed source that Lively tried to engage in “witness tampering and evidence spoliation” to get Swift on her side in the case.
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“The Wayfarer parties’ counsel are informed and believe, based on information from a source who is highly likely to have reliable information, that (i) Ms. Lively requested that Taylor Swift delete their text messages; (ii) Michael Gottlieb of Willkie Farr, counsel for the Lively defendants, contacted a Venable attorney who represents Ms. Swift and demanded that Ms. Swift release a statement of support for Ms. Lively, intimating that, if Ms. Swift refused to do so, private text messages of a personal nature in Ms. Lively’s possession would be released,” writes Freedman.
“The Wayfarer parties’ counsel are further informed and believe that a representative of Ms. Swift addressed these inappropriate and apparently extortionate threats in at least one written communication transmitted to Mr. Gottlieb,” Freedman continues. “It is those communications that the Wayfarer parties seek to obtain by way of subpoena, as they would evidence an attempt to intimidate and coerce a percipient witness in this litigation.”
Freedman’s letter does not identify his anonymous source or explain how this person allegedly came to know about Lively and her attorney Michael Gottlieb‘s communications, nor does it cite any evidence. Freedman did not immediately return a request for more details.
Gottlieb quickly released a fiery statement denying the claims on Wednesday.
“This is categorically false,” Gottlieb writes. “We unequivocally deny all of these so-called allegations, which are cowardly sourced to supposed anonymous sources, and completely untethered from reality. This is what we have come to expect from the Wayfarer parties’ lawyers, who appear to love nothing more than shooting first, without any evidence, and with no care for the people they are harming in the process.”
Gottlieb adds that his team “will imminently file motions with the court to hold these attorneys accountable for their misconduct here.”
Reps for Swift did not immediately return a request for comment Wednesday. Swift’s camp previously criticized Baldoni for trying to drag her into the dispute, saying she had no involvement in It Ends With Us and that her name was being thrown around to “draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.”
Lively alleges in the case that Baldoni, her co-star and director on the movie released last summer, sexually harassed her on set and then orchestrated a public relations smear campaign to retaliate against her after she complained.
Swift was brought into the fray when Baldoni countersued Lively for defamation and claimed that the actress leveraged her relationship with a “megacelebrity friend,” presumed to be Swift, to bully her way into more control of It Ends With Us.
Baldoni’s legal filing includes text messages concerning an alleged meeting attended by “Ryan and Taylor,” seemingly referencing Swift and Lively’s husband, Ryan Reynolds. In one message sent by Lively, the actress called Swift and Reynolds her “most trusted partners” and compared them to the “dragons” in the show Game of Thrones.
“The message could not have been clearer,” Baldoni’s lawyers wrote in the countersuit. “Baldoni was not just dealing with Lively. He was also facing Lively’s ‘dragons,’ two of the most influential and wealthy celebrities in the world, who were not afraid to make things very difficult for him.”
At the Music Biz 2025 conference in Atlanta, the “Let’s Get Physical” segment opened with a panel featuring Luminate’s director of partnerships, Chris Muratore, who shared the latest industry insights around the continued success of Record Store Day.
One of Muratore’s slides pointed out that in the last 10 years, there have only been a dozen weeks in which album sales reached the 1 million unit mark, and Record Store Day was responsible for five of those weeks, with most of the other million-selling weeks coming during the year-end holiday season.
Staying with the panel’s theme of updating the industry on “Indie Retail Sales Data,” Muratore explained how Luminate — which shares a parent company with Billboard, Penske Media — has evolved its approach since partnering with StreetPulse to gather data from independent record shops.
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Muratore — who was joined by Coalition of Independent Music Stores executive director Andrea Paschal and StreetPulse CEO John Weston on the panel — began with a brief history lesson, explaining how Luminate’s predecessor, SoundScan, first began tracking indie retail data back when physical music was the only game in town. At the time, around 300 independent stores reported sales. However, the weighting system used to extrapolate sales for the entire indie sector hadn’t been updated since it was first implemented in 1991.
When Luminate began its collaboration with StreetPulse in 2024, it was only after it had made the controversial decision to end weighting for indie stores at the end of 2023, resulting in widespread industry resistance.
By June 2024, Luminate struck a deal to collaborate with StreetPulse on collecting indie retail sales data and assembled a dedicated data team to develop a new, more flexible and efficient weighting model to replace the outdated system. As part of the partnership, Luminate initially gathered sales reports from 200 indie stores, with the number growing to around 250 stores by the end of 2024, according to Muratore.
For her part, Paschal acknowledged that Music Biz president Portia Sabin “was very involved in bringing us all together.”
Muratore noted that, through its partnership with StreetPulse, Luminate continues to expand its network of reporting stores, now surpassing 400 locations contributing sales data. “We think we have identified another 100-plus stores to bring on by the end of the year, so we will have over 500 stores reporting sales,” he said.
In order to get to 500 stores, Weston thanked labels and distributors for pointing out retailers that should be added. Then, speaking to store owners, he pointed out that one of the challenges is that every store owner runs their business “a little different.” “There is a reason you are called independent because you are all different,” he noted. “So if you are not reporting to us and want to, we need to know what kind of POS system you have.”
While Luminate may reach 500 reporting stores — roughly one-third of the estimated 1,500 independent U.S. shops selling new physical music — by year’s end, that one-third likely represents about two-thirds of total physical sales volume. Conversely, the remaining two-thirds of stores that aren’t yet reporting likely account for just one-third of the volume. “That’s because we know who the tier 1, tier 2 and tier 3 stores are,” Muratore explained.
Also, as Luminate and StreetPulse add stores, the new weighting system is flexible enough to accommodate the new ones coming on without distorting the sales picture.
Using the new weighting system, Luminate apparently backfilled the weighted numbers back to the beginning of last year because Muratore reported that in 2024, while physical sales were 77.8 million, the largest segment was indie retail, which collectively sold 23 million album copies of vinyl and CDs, representing 36% of physical sales.
Breaking it down, Muratore noted that of the 44.4 million vinyl albums tracked by Luminate in 2024, independent retailers accounted for 17.3 million — roughly 36%. And indie retail continues to gain ground, particularly in vinyl sales: In just the first four months of 2025, indie stores were responsible for 5.7 million of the 13.1 million vinyl units sold, representing 44% of total sales, he said.
As for CD sales, last year indie stores collectively accounted for 5.4 million of total U.S. sales of 32.9 million CD copies, or 17% of CD sales. So far this year, indie stores account for 1.8 million units of the 8 million CD sales recorded so far — or 22% of CD sales.
Focusing on Record Store Day, Muratore emphasized the importance of recognizing who’s buying physical music today. Unlike the early days of the vinyl revival, he noted, it’s no longer just older people driving sales of physical music — and Record Store Day clearly reflects that shift.
Muratore reported that the top three Record Store Day 2025 titles were Taylor Swift’s “Fortnight” single featuring Post Malone, which led with 59,000 copies sold; Malone’s Tribute to Nirvana with 12,000 copies; and Gracie Abrams’ Live From Radio City Music Hall, which moved 11,000 units.
Muratore further emphasized the shift toward a younger demographic in physical music buying, noting that a recent Luminate consumer survey found that 25% of vinyl purchasers are under the age of 25. He went on to urge labels and music distributors to make sure “they put the right product out for who the consumer is for physical,” adding that the younger physical music buyers wanted Swift and the Wicked soundtrack album.
“We have to pay attention to who is showing up in the stores because it has changed drastically,” Muratore said. “If there were more allocation, this could have been the biggest Record Store Day ever.”
Profitability at K-pop company JYP Entertainment fell in the first quarter due to a lack of large tours and an album release schedule that favored young, developing artists. While revenue reached 140.8 billion KRW ($97 million), up 3% from the prior-year period, operating profit fell 42%. Operating margin — operating income as a percentage of […]
THE BIG STORY: A little under 18 months after sexual abuse allegations against Sean “Diddy” Combs were first made public – and 8 months after he was indicted over them – the once-powerful rap mogul headed to trial this week on felony charges that could put him behind bars for life.
When things got underway in the courtroom Monday, I was sitting just rows behind the now-gray-haired superstar as prosecutors accused him of years of criminal conduct – centered on claims that he coerced longtime girlfriend Cassie Ventura and other women to take part in drug-fueled, marathon sex sessions with male escorts called “freak offs.”
The start the trial, which is expected to run for eight weeks, was something of a circus. News crews filled the plaza outside the courthouse in Lower Manhattan as a line of spectators wrapped around the block – so many that they eventually filled the entire large courtroom and two overflow rooms. Professional “line sitters” were charging $350 for a spot closer to the door; one person waiting in line, there at the crack of dawn, told me that he didn’t want to miss the “trial of the century.”
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To catch up after the first two days of the trial, go check all of Billboard’s coverage:
–On day one, both sides made their opening statements to the jury. Prosecutors said Combs had used his power for decades to “feed his every desire” — and they almost immediately played an infamous video of him assaulting Cassie in a Los Angeles hotel. Defense attorneys, meanwhile, said the women had consensually partaken in Diddy’s “swinger lifestyle” and that the star cannot be convicted merely based on weird sex, a “toxic relationship,” or even domestic violence: “We take full responsibility that there was domestic violence. Domestic violence is not sex trafficking.”
–On day two, Ventura took the stand. The star witness in the prosecution’s case, Cassie told jurors that participating in “freak off” sex performances “became a job” for her and left her feeling “humiliated.” But she said she felt she had no choice — at times because she was in love with Combs and wanted to please him, but also, later, because she feared blackmail, physical violence or other blowback: “He was a scary person. He would be violent.”
If you need a general catch-up on the Diddy case before the trial goes any further, go read our explainer on everything you need to know – or our deep-dive analysis in which the prosecutors from R. Kelly’s highly-similar case explain how this one might go. You can also read about the many, many lawyers involved in the Diddy debacle.
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.
Other top stories this week…
TAYLOR GETS SUBPOENAED – Taylor Swift was hit with a subpoena formally dragging her into the legal drama between her friend Blake Lively and Lively’s It Ends With Us director and co-star Justin Baldoni. The subpoena, filed by Baldoni’s lawyers, is certain to be opposed by Swift’s lawyers after her reps blasted the filing: “This document subpoena is designed to use Taylor Swift’s name to draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.”
HER LAWYERS, TOO – Speaking of Taylor’s lawyers: Her longtime outside law firm, Venable, was also hit with a subpoena from Baldoni’s attorney. The filing specifically name-drops Douglas Baldridge, a Venable partner who’s worked with Swift since 2013 and recently returned to the firm after a stint as her general counsel. In legal filings this week, the firm formally opposed a filing that it described as a “fishing expedition” by Baldoni and his lawyers: “Venable had nothing to do with the film at issue or any of the claims or defenses asserted in the underlying lawsuit.”
LIL DURK DENIED BAIL – Days after federal prosecutors dropped Lil Durk’s rap lyrics from his murder-for-hire case, his lawyers argued that the new “watered-down” charges dramatically weakened the case against him and supported his push to be released from jail ahead of trial. But a federal judge then refused to release him, citing a report that Durk has been using other inmates’ jailhouse phone calls, thereby showing a “disrespect for the rules.”
HALLE RESTRAINING ORDER – A Los Angeles judge granted a restraining order to Halle Bailey against DDG, her ex-boyfriend and the father of her 1-year-old son, after she claimed that he had attacked her multiple times. In legal filings seeking the order, Bailey alleged that in one incident, her ex (Darryl Dwayne Granberry Jr.) pulled her hair, slammed her face on the steering wheel and chipped her tooth.
DRAKE v. UMG UPDATE – Weeks after Drake updated his libel lawsuit against UMG to add gripes about Kendrick Lamar’s Super Bowl performance of “Not Like Us,” the music giant again asked a judge to dismiss the entire case. In doing so, UMG’s lawyers said the new claims about the halftime show are what the case is really about: “Drake’s attack on the commercial and creative success of the rap artist who defeated him, rather than the content of Lamar’s lyrics.”
SMOKEY ROBINSON ALLEGATIONS – The legendary Motown singer and his wife were hit with an explosive new lawsuit, seeking $50 million in damages over claims that he repeatedly raped four housekeepers over nearly two decades. Robinson’s lawyers strenuously denied the claims, calling them “vile, false allegations” and “an ugly method of trying to extract money from an 85-year-old American icon.”
BAD BUNNY COPYRIGHT CASE – The reggaeton superstar was sued for infringement over allegations that a track from his chart-topping Un Verano Sin Ti (“Enséñame a Bailar”) featured an unlicensed sample from a song called “Empty My Pocket” by a Nigerian artist named Dera. The lawsuit claims the issue was raised with Bunny’s reps, but that they’ve “turned a blind eye” and “stonewalled” efforts to properly clear the sample.
ANOTHER SAMPLE DISPUTE – British singer-songwriter Bakar and his viral track “Hell N Back” – featured in millions of TikTok videos – were hit with a messy new lawsuit over the song’s prominent use of a sample from Robert Parker’s 1967 R&B track “I Caught You In A Lie.” The case claims Bakar and Sony Music cleared the sample, but did so with the wrong rightsholders who have been making “false claim of ownership” to Parker’s song.
DATA BREACH AT iHEART – iHeartMedia was hit with a proposed class action from subscribers after publicly disclosing that several of its radio stations were hacked months ago, exposing Social Security numbers, financial information and other personal details. The company says it “immediately implemented our response protocols” to contain the hack, but attorneys for the subscribers say iHeart waited four months to tell subscribers about it.
LIVE NATION AT SCOTUS – Live Nation asked the U.S. Supreme Court to overturn a ruling last year that said the concert giant couldn’t enforce “opaque and unfair” arbitration agreements against ticketbuyers. That ruling – a scathing critique of Live Nation’s approach – showed improper “judicial hostility,” Live Nation warned the justices, and will create “massive uncertainty” over how such clauses can be used and enforced.
(DIDN’T) GET THEM TO THE GREEK – The Grammy-winning band The Kingston Trio sued a Los Angeles music attorney for fraud, claiming that he lied about having an “inside track” to book the folk group at the Greek Theatre last summer. The group says the lawyer, David A. Helfant, charged them high fees but didn’t actually have any secret mojo to get them booked at the legendary venue. Helfant denied the allegations, saying they were “completely without merit.”
FLORIDA DRAG LAW ICED – A federal appeals court has upheld an injunction blocking the state of Florida from enforcing a law signed by Governor Ron DeSantis that would restrict drag shows in the state, ruling that the statute likely violates the First Amendment’s protection of free speech: “The act wields a shotgun when the First Amendment allows a scalpel at most,” the court wrote.
WEEZER WIFE CHARGED – Author Jillian Lauren, the wife of Weezer bassist Scott Shriner, was officially charged with two felony counts following a bizarre shootout with police at her Los Angeles home last month. The charges are serious (discharge of a firearm with gross negligence and assault with a semiautomatic firearm) but less than she initially faced when booked on suspicion of attempted murder following the April 8 altercation.
The International Music Summit (IMS) will return to Dubai this fall. This will be the electronic music industry conference’s second time in the United Arab Emirates after debuting in Dubai in late 2024. The event will happen November 13-14 at 25hours Hotel One Central. At this year’s conference, IMS will gather industry figures from the […]
Sony Music reported record high operating profit and a 14% jump in revenue for its fiscal year, as revenue from subscription streaming and its live, merchandise and sync business bolstered earnings, parent company Sony Group Corp. reported Wednesday (May. 14). Sony’s music segment, which includes Sony Music Entertainment, Sony Music Entertainment Japan and Sony Music Publishing, […]
