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The Music Sustainability Summit has announced programming for its second annual conference, happening Feb. 3 at Solotech Studios Los Angeles. Focused on developing solutions to climate change within the music industry, the event will feature the following talks and panels: C-suite Conversation: What it Takes to Prioritize Sustainability: a conversation with amusic industry executive about […]
In 2024, radio gained a massive star: Shaboozey. Thanks to an ambitious five-format strategy by the EMPIRE label to break “A Bar Song (Tipsy)” to the widest possible audience, the singer-songwriter’s signature track hit No. 1 on the Billboard Hot 100 in July and remained there for a record-tying 19 weeks, making radio history along […]
Trigger warning: the following story describes allegations of sexual abuse and illicit drug use.
An anonymous accuser who claims he was sexually assaulted by jailed music mogul Sean “Diddy” Combs at one of the Bad Boy Records founder’s infamous White Party gatherings in 2007 has broken his silence to speak to CNN. The man — who the network ID’d as a John Doe to protect his anonymity –first filed a civil suit against Combs on October 14, claiming he was drugged and sodomized at the party in 2007.
The man said he kept the alleged assault a secret all these years, even from his then-wife due to the shame he carried from the incident at Diddy’s estate in East Hampton, N.Y., where he was hired to provide security. “The full gravity of it lives with me to this day,” the New Jersey man told the network, which obscured his voice and face in a video of the interview. “It affects every single thing you do for the rest of your life.”
CNN said that reps for Combs initially declined to comment on Doe’s allegations, noting that at the time of the original complain’s filing in October the rapper’s lawyers issued a blanket statement about that complaint and others filed that same day.
“Mr. Combs and his legal team have full confidence in the facts, their legal defenses, and the integrity of the judicial process. In court, the truth will prevail: that Mr. Combs has never sexually assaulted anyone—adult or minor, man or woman,” read the original statement. The Doe complaint was one of a series of similar ones filed by attorneys Tony Buzbee and Andrew Van Arsdale, who’ve said they represent up to 120 accusers who plan to file suits against Combs; to date the pair have filed 20 such lawsuits.
“At first he was incredibly friendly, very gracious,” the man said of Combs’ demeanor that night, adding that later in the night Combs handed him a drink that made him feel off. He said that feeling was intensified after a second drink, which he believes were spiked with the strong party drugs GHB and ecstasy. “Sadly, Sean Combs was waiting in the wings. He was watching from some sort of vantage point, and once I was in a helpless position and he was sure that he was in a position of power, then he took advantage of the situation,” the man said.
After the second drink, the man claimed in the suit that he felt “extremely ill,” at which point Combs allegedly approached him with what he initially “interpreted as concern,” before allegedly forcing the man into an empty car. Once inside, Doe’s suit claims that Combs held him down, ignoring pleas for help, and sodomized him.
“It was just an amazing level of incapacitation that I had never experienced before and I felt powerless,” said the man of the two spiked drinks that he said “felt more like 15,” leaving him unable to stand up.
CNN noted a number of inconsistencies between details shared by Doe in his interview with the network and the original complaint’s language, including discrepancies on the year the alleged assault took place and location and whether Doe had ever been married; Doe’s attorneys reportedly filed an amended complaint withe court afterwards, acknowledging mistakes made during the rushed filing.
Doe said that after the alleged assault he struggled to leave the party due to the effects of the drugs and the pain in his body, later allegedly reporting the incident to his supervisor, according to the suit. “I was screaming, I was telling him to stop. It was incredibly painful and he was acting like it was nothing… it was abusive beyond belief,” the man told CNN.
He was allegedly never asked to work for that security firm again. “He just dismissed it and said, ‘I’ll talk to him,’” Doe said about a conversation he recalled with his manager about the alleged sexual assault. “After that, he didn’t talk to me again, he cut me out of everything … I was totally blacklisted after that. I had to find a different field.”
Combs has been denied bail three times to date ahead of his sex trafficking and racketeering trial set for next year. The once high-flying music and fashion tycoon has been behind bars since his arrest in September following an indictment on charges that he ran a sprawling criminal operation predicated on satisfying his need for “sexual gratification.”
Combs, 55, has denied and pleaded not guilty to charges that he coerced and abused women for years with the help of a network of associates and employees, allegedly silencing his victims via blackmail and violence that included kidnapping, arson and physical assault.
The allegations against Combs first began in November 2023 when former longtime girlfriend singer Cassie filed a lawsuit accusing him of years of sexual misconduct and abuse; that suit was settled in a private manner within 24 hours. That legal action unleashed a flood of more than two dozen similar sexual misconduct-related lawsuits alleging sexual abuse and coercion, allegations that Combs has categorically denied to date.
Combs’ homes in Miami and Los Angeles were raided by Homeland Security in March and since then his once-formidable multi-media and fashion empire has begun to wither amid the avalanche of shocking claims about incidents that accusers have said ruined their lives and left them traumatized.
Doe told CNN that he no longer works security and that his marriage ended as a result of the alleged abuse because of the negative impacts of the trauma on his personal relationships. He also said for the first time that an unnamed “high-profile” celebrity witnessed the alleged abuse, claiming the person “saw what happened and found it amusing.”
“Nothing could give me back the person I was before that evening,” the man told CNN.
While Combs’ reps initially declined comment on Doe’s claims, they issued a statement following the airing of the CNN interview. “After Buzbee was exposed this week for pressuring clients to bring bogus cases against Mr. Combs, and after public records showed that — contrary to his allegations — there was no white party in the Hamptons in 2006, Buzbee amended this complaint to walk back the allegations and now claim a different day and wholly different year,” Combs’ attorneys wrote.
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: A shocking civil lawsuit against Jay-Z accusing him of raping a teen girl in 2000 alongside Sean “Diddy” Combs; a deep-dive into possible motives behind Drake’s legal actions against Universal Music Group; a threat of defamation lawsuits over “Y.M.C.A.” being labeled a “gay anthem”; and much more.
THE BIG STORY: Jay-Z Pulled Into Diddy Debacle
Three months after Sean “Diddy” Combs was indicted on sprawling sexual abuse charges, a new civil lawsuit claims Jay-Z participated in one of Diddy’s assaults – a shocking allegation against one of the music industry’s most powerful figures.
In a complaint filed Sunday evening in New York federal court, an unnamed Jane Doe alleges the star (Shawn Carter) raped her as a 13-year-old girl in 2000 alongside Combs at an after-party following the MTV Video Music Awards. The case was filed by Tony Buzbee, a Texas attorney who has filed more than 20 such lawsuits against Combs and has threatened dozens more.
“Another celebrity stood by and watched as Combs and Carter took turns assaulting the minor,” the lawsuit reads. “Many others were present at the afterparty, but did nothing to stop the assault.”
To say that Jay-Z has denied the allegations would be putting it lightly. In a forceful statement Sunday night, he called the lawsuit a “blackmail attempt” filed by a “fraud” attorney. Then, less than a day after the case was filed, his attorneys responded in court by calling the case “extortionate” and arguing that the accuser should be required to litigate such “heinous allegations” under her real name. And in yet another filing on Tuesday, they accused Buzbee of pressuring another client to lie – a claim he has denied and called “nothing short of defamation.”
Beyond the lawsuit itself, the allegations against Jay-Z have also sparked a broader legal war — pitting the star’s team and his attorneys at the prestigious BigLaw firm Quinn Emanuel against Buzbee and his prolific plaintiffs’ firm.
For starters, it turns out that it was Jay-Z who filed the mysterious extortion lawsuit against Buzbee last month, accusing him of concocting a “cynical” scheme to extract settlements from innocent celebrities by threatening to link them to Diddy. Buzbee, meanwhile, has fired back with a lawsuit of his own, suing Quinn Emanuel in Texas over allegations that the firm has been harassing him and his clients with “bogus” lawsuits and other “outrageous” conduct.
Jay-Z’s lawyers have already asked for a fast-tracked hearing on their motions, so stay tuned at Billboard for more developments as the case moves forward.
Other top stories this week….
DRAKE’S MOTIVES – What could Drake possibly be thinking? That’s the question Billboard’s Steve Knopper set out to answer in his excellent piece examining the possible motives behind the rapper’s widely-ridiculed legal actions against Universal Music Group over Kendrick Lamar‘s savage diss track “Not Like Us.” Is Drake perhaps seeking leverage to “alter his existing deal” with UMG? Or is it just a “publicity stunt”? Go read Steve’s whole story to find out what industry attorneys had to say.
DON’T SAY GAY? Village People singer Victor Willis is threatening to file defamation lawsuits against news outlets that describe his iconic 1978 disco hit “Y.M.C.A” as a “gay anthem,” saying there’s “nothing gay” about lyrics that have been widely interpreted as a double entendre about gay life. But legal experts told Billboard that such cases that would face serious obstacles in court, thanks largely to the First Amendment and its robust protections for free speech: “Mr. Willis’ threatened libel claim would be a nonstarter for numerous reasons,” one media attorney said.
NBA YOUNGBOY SENTENCED – YoungBoy Never Broke Again was sentenced to 23 months in prison after striking a deal with prosecutors to finally resolve all of his various legal entanglements. The plea deal, which also included 60 months of probation after his release, could see him released as soon as next year due to credit for time he has already served in jail awaiting trial.
BASSNECTAR TRIAL LOOMS – A federal judge refused to dismiss a civil lawsuit accusing electronic music producer Bassnectar of sexually abusing three underage girls, sending the long-running case to a jury trial. Ruling on claims made by one alleged victim, the judge noted that she was “only sixteen” at the time and the DJ was “obviously able to observe her in person,” meaning a jury could find that he had “recklessly disregarded” that she was under the age of 18.
STEREOPHONIC SETTLEMENT – The creators of the hit Broadway play Stereophonic reached a settlement to resolve a copyright lawsuit claiming they stole elements of the show from a memoir written by music producer Ken Caillat about the infamous recording of Fleetwood Mac’s Rumours. Caillat claimed that the play – widely seen as a winking reference to Fleetwood – was an “unauthorized adaptation” of his book.
YSL JURY VERDICT – After hearing more than a year of testimony, an Atlanta jury handed down a verdict that largely acquitted the final two remaining co-defendants (Deamonte “Yak Gotti” Kendrick and Shannon Stillwell) in a sweeping racketeering trial over accusations that Young Thug ran a violent street gang under his YSL moniker. Coming a month after Thug himself escaped the case by pleading guilty and receiving a sentence of only probation, the verdict marks the end of criminal trial that has captivated the music industry for nearly than two years – and a major loss for the Fulton County District Attorney filed it.
TIKTOK BAN RULING – A federal appeals court ruled against TikTok and upheld a law that could ban the service from the country, handing a resounding defeat to the popular social media platform that has become a crucial music promotion tool in recent years. The Chinese-owned company argued that the statute ran afoul of the First Amendment and its protections for the freedom of speech, but the court was unswayed: “The government acted solely to protect that freedom from a foreign adversary nation and to limit that adversary’s ability to gather data on people in the United States.”
Songwriting/production duos Nova Wav and Stargate will be sharing their creative expertise through a new community-building artist mentorship program. Christened Output CoLAB, the program is being launched by global music creation software company Output.
“The music industry is becoming increasingly more complex and challenging to navigate – especially for artists early in their careers,” said Output founder and CEO Gregg Lehrman in a statement announcing the program’s launch. “At a time when artistry is being threatened by AI-generated music, human collaboration and creativity are more important than ever. We created CoLAB with the goal of empowering music makers with the resources and connections to grow their music careers.”
Both Nova Wav and Stargate are well-known for their work in R&B, hip-hop and pop. Nova Wav — comprised of Brittany “Chi” Coney and Denisia “Blu June” Andrews — have contributed to Beyoncé’s most recent albums, Cowboy Carter and Renaissance. The three-time Grammy-nominated pair have also rung up credits on projects by Rihanna and Ariana Grande, among other artists.
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“With the abundance of music creation tools available, Output has always stood out to us in their ability to build tools that inspire real creativity,” stated Coney in the press release. “We are thrilled to partner with them to inspire the next wave of artists and set them up with the tools and skills to succeed.”
Grammy-winning duo Stargate is behind a host of hits such as Beyoncé’s “Irreplaceable,” Rihanna’s “Don’t Stop the Music” and “Diamonds” and Ne-Yo’s “So Sick.” Stargate members Tor Erik Hermansen and Mikkel Storleer Eriksen are also the founders of the Los Angeles Academy for Artists and Music Production (LAAMP). This summer, Output and Stargate staged a contest for one artist to secure a spot in LAAMP’s six-week online session. The winning artist was able to collaborate with other musicians and participate in workshops led by the likes of Benny Blanco, Emily Warren and Ne-Yo.
“With LAAMP, we wanted to create an environment where young, talented and driven music creators can collaborate and get real-time feedback from established industry pros to take their music to the next level,” said Eriksen. ”That’s why we’re thrilled to partner with Output to build a wide-reaching and accessible community for up-and-coming artists to create music and receive meaningful feedback.”
To celebrate CoLAB’s launch, Output is giving away a trip to Los Angeles during which the winner will also receive time spent in a world-class studio and a mentorship with support from Output partners including De-FI, Novation, Shure and Range Music. To enter the contest, visit the Output website.
“We bet our lives on it a long time ago,” says Christian Clancy. He’s seated on a couch in a cozy corner of his Los Angeles home next to his wife and business partner, Kelly Clancy, surrounded by plants. Getting into artist management “was never something we talked about,” Kelly says. But nearly 15 years after starting their small firm, 4 Strikes, it has continued to punch above its class, becoming one of the mightiest forces in management today. And Tyler, The Creator has been there from the start.
Before founding 4 Strikes in 2010, Christian and Kelly worked at Interscope Records in the early 2000s (most recently as head of marketing and marketing manager, respectively) alongside the label’s roster of hip-hop greats, including 50 Cent, Eminem, G-Unit and Dr. Dre. “There was no better place and time to learn the business,” Christian says. But by 2010, they’d decided to strike out on their own. Kelly departed the label first, in 2005, and she admits, “I didn’t really know what I wanted to do next.” Christian “burned out” on the music business and, five years later, left, too.
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That same year, a former Interscope colleague, David Airaudi, introduced the pair to a young, charismatic and carefree (almost to a fault) rapper who changed the course of their careers — and lives. Christian and Airaudi started managing Tyler’s collective, Odd Future, with Kelly joining soon after. “Tyler reinvigorated what was inside of us,” Christian says. A year after marrying in 2006, the Clancys welcomed their daughter, Chloe, and just a few years later launched their management company from their home. When Odd Future split in the mid-2010s, the couple started managing Tyler on their own. “We put our whole lives on it,” Kelly says. “It felt like a family from day one.”
The 4 Strikes roster has just four full-time staffers (including the Clancys) and has remained trim from the start, currently boasting five artists: Kevin Abstract, Romil and Matt Champion, who together comprise what Christian calls “the Brockhampton sector” (referencing the trio’s former group); the estate of Mac Miller, whom the Clancys managed before his untimely death in 2018; and, of course, Tyler — “and Tyler’s 147 businesses,” Christian jokes.
“We trusted and believed in [Tyler] along the way,” he continues. “I can’t tell you how many times I’m like, ‘Bro, you’re tripping.’ Turns out, he wasn’t tripping. But I always say, ‘I’ll listen, and if I disagree with something, I’m going to say, “I think you’re crazy” ’ — And then after I say that, I’ll jump off a bridge with him.”
What do you remember from when you first met Tyler?
Christian Clancy: [He was] staying on his grandma’s couch, eating Wendy’s.
Kelly Clancy: Three dollars in his pocket.
Christian: He’s still the same dude.
Kelly: He’s still that kid who’s full of wonderment. He gets excited about the smallest things and then can look at something, like a 10-year anniversary [of his own Camp Flog Gnaw festival in November] and stand onstage and go, “Holy s–t.”
Christian: He’s self-aware. As he’s gotten bigger, he realizes he knows less — and respectfully, that’s rare in a business when you’re typically surrounded by yes men, which he isn’t. And then your ego takes over. And the beauty of him is he’s open to new ideas, thoughts, discussion, perspectives. Doesn’t mean he’s not confident as f–k. He’s wildly confident, but there’s a big difference between confidence and ego based on fear.
Christian, you said early in your career that your job is to give artists the best opportunity to succeed without compromising. How have you done that?
Christian: Well, that has a lot to do with the people you work with. When you surround yourself with people who know who they are, that becomes easier. Tyler had a great ability to seemingly know and believe that he’s going to get to the top of the mountain. If you remove fear, you’re free. You’re not going, “Well, what are they going to think?” Like, f–k all of that and be true to yourself. I actually learned that from Rick Rubin. If you’re honest and confident, it’s pretty hard to lose. You may not win big, but you will for f–k sure have respect.
What are some key decisions you two have made to help Tyler climb that mountain?
Christian: The decision to [sign] with Sony, who gave us the freedom and full creative control and [ability for Tyler to own his] masters and all the things that were imperative to ever doing anything like that. We’re huge [Sony Music Entertainment CEO] Rob Stringer fans. He gets it. Betting on ourselves with [Tyler’s clothing brand] Golf Wang. Betting on ourselves with the festival that was supposed to just be a zipper ride in the middle of Fairfax Avenue and the city was like, “Oh, hell no.” And [us saying], “Well, let’s go figure it out ourselves.” All the way down to [lifestyle brand] Le Fleur now, most of those answers are going to be betting on ourselves. If you don’t know something, that’s OK. Go find the people that do and question everything and build your own house in whatever shape you want. It might not work. But so what?
Tyler is still hitting new peaks in his career: Following its October release, Chromakopia became his longest-running No. 1 album with three weeks atop the Billboard 200. How does that mentality of betting on yourself help drive his continued success?
Christian: Well, he’s got the best trajectory in music as far as I can tell, from [2011’s] Goblin to now. No. 5, No. 4, No. 3, No. 2, No. 1 — and then a [two-week] No. 1 [with 2021’s Grammy Award-winning Call Me If You Get Lost] and then three weeks at No. 1. He doesn’t lose fans. He grabs the next generation.
Kelly: Also in a world where you have access to everything immediately with the emergence of TikTok and the way that our brains are constantly receiving information and we’re just like in this swiping generation … to create a world which you can step into and you know exactly [what it is] when you see a color palette or the silhouette of his hair, I think it cuts through. And he’s been doing that [with] every album. Like when the guy came out in a blond bob wig, a suit and loafers [for 2019’s IGOR]. When he sent us the photo first, I think we looked at each other like, “All right…” In the genre he’s in, you don’t do that without utter confidence.
Christian: Even if you didn’t get it, you respected it because we all want to be that confident. It’s interesting because Mac [Miller] was a lot like [that]. Mac had a way of reinventing himself in subtle ways in his trajectory of albums. And his was a vulnerable confidence, and there’s a similarity there, which is, again, rare where you have artists that have the gall to f–k it and not worry about the results. Trust in it.
Kelly, you posted on Instagram that “most people just will never know” what Tyler went through to get Chromakopia out. What did he go through?
Kelly: There was a lot of pressure — this is not him, this is just me speaking — from the last album. His trajectory has always gone [upward]. Looking at the landscape of music and things that were really successful and knowing that he doesn’t fit in these metrics or a lot of the tentpoles that artists look at as validation for what they’re doing in their career … Tyler never creates from that place of trying to match those. So a lot of times, he’s left off a lot of lists that I believe … I get frustrated because I know he should be on all of them. Obviously, I’m protective, too.
Christian: That’s starting to happen now.
Kelly: But it’s felt like it’s always been this upward battle, which I wouldn’t change at all, but all that said, now that he’s becoming much more of a household name… I just think the process of him getting this done, truly no one will really understand. Tyler’s a unicorn in that he literally does everything — like, everything. That guy is producing everything. When he has an artist come in to be a part of the song, he already knows the cadence of how he wants them [to rap or sing]. He’ll take what he thinks is their superpower and weave it into what he’s doing. He’s instructing the horn players. Thinking of the visuals, being in the edit room, this dude touches everything. So I do want him to have that recognition. He’s never going to be the guy to ask for it.
From left: Christian Clancy, Tyler, The Creator and Kelly Clancy photographed November 20, 2024 at Quixote Studios in Los Angeles.
Luis Perez
Kelly, you once said that your mother being a teacher helped shape your management style. How so?
Kelly: Being a woman in the industry at the time when I started, it was a much different landscape than it is now.
Christian: It was a f–king boys club.
Kelly: It still exists in different forms now. But her being essentially a single mom and a kindergarten teacher and never feeling like my brother and I were without gave me such a strong foundation. And then when I became a mom, it was incredibly valuable. I’m incredibly protective of my squad and that showed itself in so many ways over the years. I think it’s why it’s always been important for us to maintain a small company, because it allows us to serve in a way that’s not transactional. Like, we’re a part of some of them having their first kids, we’re in the hospital. Buying their first homes, renting their first apartments, these huge life milestones and being able to [be there] for them. Tyler, he’ll joke to Chris and I every now and again like, “Man, if you guys ever got divorced, I don’t know what the f–k I would do.” It’s like, yes, we’re partners in a business, but I feel like we’re also representative of a relationship. What does a relationship look like? Those things are really impactful, especially when you’re meeting [artists when they’re] at a younger age.
On the 2012 Odd Future song “Oldie,” Tyler calls you, Christian, a father figure. Is a familial touch necessary to be a successful manager?
Christian: I don’t take that for granted. Some of the people we work with don’t have an immediate father. And so you also take on whatever they think of their father, for better or worse. Is it necessary? No. Is it maybe helpful? I don’t know. We learn just as much from them. Tyler taught us so much about the metrics that weren’t being monitored by record labels. There were no cultural metrics. There were just [Broadcast Data Systems] and SoundScan and these things that sort of missed this whole thing that was happening. We learn so incredibly much from the people we work with. Mac, the way he looked at life. It’s an amazing two-way street.
What’s the key to maintaining an artist-management partnership?
Christian: I was fortunate enough to learn from Eminem and Paul Rosenberg. That’s who I came up with. I’m not a big fan of the word “manager.” I’ve always preferred “partners” because that’s what I really look at it as. The artists who change managers all the time, I mean, maybe it’s necessary. Although I do know, many times, it’s hard to look at yourself and it’s easier to point the other way. So the manager is right in the line of fire if something doesn’t work. And they may have just been carrying out what your vision was. For us, the family thing is what works. It’s up, it’s down. It’s good, it’s bad. It’s thick and thin. Once it feels transactional, it’s lost that bond — then you’re just the manager.
What are you two most proud of in your own careers?
Kelly: I’m really proud that we’ve managed to, by design, keep a small company. Not folding into a larger company. That becomes convoluted because it’s hard to superserve artists like Tyler, with like-minded goals, when you’re in a bigger company. [When] we started, it was just Chris and I working out of our home. So to be able to maintain that feeling that resonates with Tyler and all the artists we work with, I’m really proud of that.
Christian: We could have the opportunity to work with somebody [else] that would hypothetically bring a bunch of money, but at what cost? I don’t want the headaches and hospital visits from stress. We’ve really managed to surround ourselves with like-minded people and to Kelly’s point, there was never this drive to be some big company. That sounds exhausting. And the fact that we don’t hate each other. We’re married, for f–k’s sake. This isn’t supposed to work, not for that long.
What grounds you?
Christian: Can I tell you one fun fact? I can’t remember the last time I missed an Eagles game. We [once] watched a meaningless Eagles-Giants game in a tent in the Serengeti at four in the morning. No joke. We got Wi-Fi, there’s a lion roaring and I’m locked into an Eagles-Giants game that meant nothing.
Kelly: We try to go every year to Lincoln Financial Field [home of the Philadelphia Eagles], but this year we couldn’t because…
Christian: F–king Tyler.
Has it gotten easier or harder to carve out personal time over the years?
Kelly: Harder.
Christian: Definitely harder. This year? Impossible.
Kelly: This is the first year — and Tyler and I joked about it — we didn’t go f–king anywhere. Everyone was doing s–t in the summer and all of us were just in L.A. like, “F–k.”
Christian: Waiting on this f–king dude.
Kelly: We’re planning our vacations around artists. We’re planning our personal lives around our work lives.
Christian: Well, you try [to plan]. It’s a year-to-year question. This year’s a f–king mess — a beautiful mess.
This story appears in the Dec. 14, 2024, issue of Billboard.
European artists, managers, independent labels and venue operators are calling on policymakers to overhaul “outdated and discriminatory” tax measures that they say are being “unfairly” applied to thousands of musicians touring Europe.
The campaign is being led by the European Music Managers Alliance (EMMA), which represents more than 3,000 managers and 10,000 artists. The organization is petitioning the European Parliament to revise current tax laws that require many touring musicians to pay a “withholding tax” charge when they perform in certain EU markets.
Withholding tax is typically deducted as a percentage of a touring artist’s gross payment on a per show basis to cover taxes owed in the country of earning. However, inconsistencies in the way that the tax is applied mean that European artists are often being unfairly penalized compared to those from other international markets, specifically acts from the United States, say artist managers.
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Unlike most European artists touring Europe, U.S. acts performing on the continent do not have to pay withholding tax until they earn over a certain threshold, typically set at around $20,000 per year, due to international treaties in place between the U.S. and majority of EU nations.
This exemption allows U.S. artists to maximize their touring income while reducing the ability of European artists to compete in their own home market, says an open letter from EMMA to the European Parliament, also signed by European independent labels body IMPALA and the International Federation of Musicians. Other trade groups backing the campaign include Paris-based artist organization IAO, the European Music Exporters Exchange (EMEE) and live music associations Live DMA and Liveurope.
Small and mid-sized European touring acts are also being disproportionally punished due to irregularities in how withholding tax is charged in different European markets, they argue.
At present, the amount of withholding tax an artist pays is based upon the gross payment an artist receives for a festival performance, concert or tour in most European markets, rather than net profit, meaning that costs are not taken into account. As a result, many small and medium-sized touring acts who make only a minor profit from European treks, or return home having made a net loss, often overpay the amount of tax they owe.
“Reclaiming these overpayments is frequently an arduous and sometimes impossible task,” says the letter to members of European Parliament.
Meanwhile, withholding tax rates vary wildly between EU member states with Italy applying the highest tax rate at 30%, Spain charging up to 24% and Germany fixing the tax rate at 15.8%. The lowest rates can be found in Eastern Europe, Luxembourg and Malta who all apply a 10% withholding tax charge. In contrast, Denmark, Hungary, Ireland and the Netherlands do not collect withholding tax from foreign artists on short-term visits.
Outside of the EU, similar tax clauses exist for foreign artists touring the U.S., Canada, United Kingdom and Australia, but they only apply if the tour is profitable.
To address the many inconsistencies around withholding tax in Europe, music groups want policymakers to standardize how the tax is applied within the EU, thereby reducing the costly administrative and financial burden for emerging and mid-level touring artists.
One proposed solution is applying the $20,000 minimum threshold for U.S. acts to all European artists performing live shows in the 27-member EU bloc.
A more radical recommendation is that all 27 EU member states, including the major touring markets of France, Germany and Spain, follow the examples of Denmark, Hungary, Ireland and the Netherlands and stop collecting withholding tax from foreign artists altogether.
In instances where withholding tax is still applied, European music trade groups want to see expenses and costs deducted before the charge is calculated.
“The cost burdens shouldered by European artists when they want to perform live shows have increased enormously over recent years. To the point where touring across Europe has become financially precarious, especially for small and mid-sized artists who are building an audience,” said Jess Partridge, executive director of EMMA in a statement.
“An already impossible situation is being compounded by the unfair and discriminatory way in which withholding taxes are collected,” said Partridge, calling an overhaul of the current tax regime “imperative” if European artists are to be “given parity with their U.S. counterparts.”
Per Kviman, founder of Swedish management company Versity Music and chair of EMMA added: “If we want European artists to compete on a global stage, then it is vital the European Parliament acts on this issue.”
South by Southwest has revealed its initial keynote and the second round of featured speakers for the 39th edition of its annual Conference, scheduled for March 7-15 in Austin, Texas.
Leading the charge is the Conference’s Keynote Speaker, IBM Chairman and CEO Arvind Krishna, who will lead From Sci-Fi to Society: The Next Era of AI and Quantum Computing as he looks past the “sci-fi hype” surrounding the titular subjects and instead focuses on their real-world advantages.
“Exploring the benefits of new advances in technology while addressing their potential challenges represents a core part of the SXSW experience we curate each year,” said Hugh Forrest, Co-President and Chief Programming Officer in a statement.
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“We are excited to announce Arvind Krishna as our first Keynote Speaker of the 2025 season. His session on the convergence of AI and quantum computing will cover what this monumental shift in technology will bring to humanity.”
Krishna’s addition to SXSW coincides with the announcement of Featured Speakers, which include founder and Chief Trend Curator at The Non-Obvious Company Rohit Bhargava who will lead the 7 Non-Obvious Secrets Of Understanding People To Predict the Future session; founder and CEO of EMPIRE Ghazi; director and social media strategist Alex Haraus; author, Chief Scientist for The Nature Conservancy, and a Horn Distinguished Professor and Endowed Professor of Public Policy and Public Law at Texas Tech University Dr. Katharine Hayhoe.
The list of speakers also features CEO of Bumble Lidiane Jones; activist and astronaut Amanda Nguyen, WNBA Champion, WNBA Finals MVP, 2x WNBA MVP, 2x Gold Medalist, WNBA Rookie of the Year, and broadcaster Candace Parker; author and music attorney at Gang, Tyre, Ramer, Brown & Passman Donald Passman; and author, speaker, teacher, advisor, podcast host, and futurist Rishad Tobaccowala.
Many of these speakers will also be involved the featured sessions which have also been announced today, which include Spill the Tea: A Strategic Guide to Office Gossip with Contributing Editor at the Harvard Business Review Amy Gallo; Cleaning Up Our Atmosphere: Carbon Removal Prepares to Go Mainstream with Climeworks COO Douglas Chan and the aforementioned Dr. Hayhoe.
This new announcement of speakers complements SXSW’s previously-revealed first round in September, which included Dr. Peter Attia, Johanna Faries, Douglas Rushkoff, and more.
SXSW will take place from March 7-15 in Austin, Texas, with full details regarding their newly-announced speakers and sessions available via their website.
Downtown Artist & Label Services struck an exclusive distribution deal with Josa Records in support of its emerging Música Mexicana artist Netón Vega. The agreement covers the global distribution of Vega’s catalog and his upcoming debut album set for release early next year, which will include collaborations with Peso Pluma, Luis R Conriquez, Tito Double P and others. Hits for Vega include “La Patrulla,” “LINDA,” “Presidente” and “Si No Quieres No,” his collaboration with fellow Downtown client Conriquez.
Nigerian artist Flavour signed a joint deal with Warner Music Africa and Africori, which will team up to distribute his future releases. The singer is known for fusing African rhythm, highlife and contemporary jazz and has garnered more than 1.1 billion views on YouTube and sold more than 5 million albums globally, according to a press release.
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Actor, rapper and DJ IDRIS (a.k.a. Idris Elba) signed with Dirtybird Records, which released his latest single, “No Long Talk,” on Friday (Dec. 6) along with an official remix by GAWP.
Gospel singer-songwriter Jonathan McReynolds signed to Motown Gospel/Christian Music Group for the release of his first Christmas-themed EP, Red & Green. He also signed with CAA ahead of his six-city Red & Green concert tour, which launched Dec. 1 in Chicago and is slated to wrap up Dec. 21 in Atlanta.
Metal band Shadows Fall signed with MNRK Heavy and released its first new music in more than a decade with the single “In the Grey.” The group is managed by Scott Lee at SL Managemeent.
Girlpuppy, the musical project from Atlanta’s Becca Harvey, signed with Captured Tracks and released her new single “Champ” on the label.
Eighteen-year-old blues artist Muireann Bradley signed to Decca Records and its U.S. partner label Verve Forecast. The labels will release the Irish singer’s forthcoming debut album, I Kept These Old Blues, on Feb. 28.
Country-folk artist Sam Stoane signed to Wasserman Music in Nashville on the heels of her opening dates for The Nitty Gritty Dirt Band, Dylan Gossett and other acts. She’s slated to release her debut album next year.
Scarlet Rae of the indie folk band Rose Dorn signed with Bayonet Records and released the single “Bleu.”
Nashville-based The Band Light signed with Red Van Records and is set to release new music on the label early next year. The group, which is managed by Rachel Inglesino at Jonas Group Entertainment, also just signed a deal with Jonas Group Publishing.
YoungBoy Never Broke Again (a.k.a. NBA YoungBoy) has been sentenced to 23 months in federal prison, according to new documents filed in federal court on Tuesday (Dec. 10), followed by 60 months’ probation following his release. The sentence comes nearly four months after it was reported that the 25-year-old rapper, born Kentrell Gaulden, would plead […]