International
Music Canada has applied to intervene in a key Canadian music policy battle.
The organization, which advocates for the major labels in Canada, is seeking leave to intervene in the legal challenge over the Canadian Radio-television and Telecommunications Commission’s (CRTC’s) 2024 decision that major streaming services must pay into Canadian content funds as part of the implementation of the Online Streaming Act.
The mandate specifies that foreign-owned services with more than $25 million in annual revenue contribute 5% of that revenue to funding bodies like FACTOR and Musicaction and an in-development Indigenous Music Fund.
That decision has become a major battle in the Canadian music industry. Organizations like the Canadian Independent Music Association (CIMA) and the Indigenous Music Office have welcomed it. Others, like the Digital Media Association (DIMA), which represents the major streamers, have been fiercely critical of what they call the “streaming tax.”
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In December, the Federal Court of Appeal paused the mandated payments until an appeal of the decision is heard this year.
Now, Music Canada is wading into the legal challenge, aiming to speak to what it calls the potential harms the regulation may cause to existing investments made by streaming companies in the country.
“Specifically, we are asking the court to consider music streaming services’ direct investments in Canada among qualifying contributions,” reads a statement from Music Canada. “We are concerned that the CRTC’s base contributions decision risks harming ongoing and direct investments in the Canadian music streaming market and Canadian and Indigenous artists.”
Music Canada points out that streaming services have dedicated teams in Canada, investing in programs and initiatives that support Canadian and Indigenous musicians.
“In setting the 5% levy, the CRTC did not take into account or recognize any of the investments made by music streaming services in Canada,” they write.
However, in a previous interview with Billboard Canada, CIMA president Andrew Cash argued that the investments streamers currently make aren’t comparable to the career development enabled by Canadian organizations like FACTOR and Musicaction.
“Over the last five years, FACTOR has supported over 6,500 artists across the country,” he said, pointing to artists like Charlotte Cardin and The Weeknd as just two musicians who received key early investment from FACTOR.
Music Canada also takes issue with the fact that a portion of the base contributions will be used for a news fund that isn’t specifically related to music. (Specifically, 1.5% of the 5% contributions are mandated for “a new temporary fund supporting local news production by commercial radio stations outside of the designated markets.”)
“While support for news is a laudable goal, it should not come at the expense of artists who are already trying to compete in a highly competitive, global music marketplace,” Music Canada’s statement reads.
Read more here. – Rosie Long Decter
More Than 150 Canadian Musicians Sign Open Letter Against Conservative Leader Pierre Poilievre Ahead of Canadian Election
Canadian musicians are making their election choices known.
More than 150 musicians have signed a new letter from Music Votes Canada that aims to stop conservative leader Pierre Poilievre from winning the federal election on Monday (April 28).
“An Open Letter to Canadians: Why We Must Stop Pierre Poilievre from Becoming Prime Minister” features major signatories like Allison Russell, Dan Mangan, Raffi, Torquil Campbell (Stars), Haley Blais, Charlotte Cornfield and Damian Abraham (F—ed Up).
Also signing on was The Weather Station, who last week, upon returning home from a tour through the U.S., published an impassioned plea for Canadians to stay engaged in the election.
“Music comes from a place of deep love, and as musicians, we want to use the power of music to help bring our country together in this time of poly crises,” the letter reads.
Canadians are at a crossroads, the letter continued, stating that the “federal election on April 28th is possibly the most important in our country’s history.” It goes on to argue that Poilievre’s platform runs counter to “Canada’s core values” such as public services, climate action and inclusive democracy.
“His agenda echoes Donald Trump’s playbook: sowing division, empowering the wealthy, and weakening institutions that unite us,” it reads.
The letter highlights several parts of the Conservative campaign that are particularly concerning for musicians: Poilievre’s threats to public broadcaster CBC; his commitments to expanding fossil fuel production amidst the climate crisis; and rhetoric that is “fostering division instead of unity” when it comes to marginalized communities.
The letter calls for leaders to ensure that every Canadian has a safe, affordable home; to tackle the climate crisis; to tax corporate profits; and to support arts and culture in Canada through a 1% commitment of the federal budget to the arts.
Outside of its anti-Poilievre position, Music Votes Canada doesn’t explicitly endorse any particular party or candidate in the letter. Instead, it concludes by calling on voters to support candidates who are best positioned to defeat the Conservative Party, endorsing resources such as Cooperate for Canada and Lead Now, which provide candidate and riding guides.
One major Canadian star has come out with a strong endorsement of a specific candidate: Neil Young, who is putting his support behind Prime Minister Mark Carney’s Liberals in a letter titled “I’m With You, Mr. Carney.”
Though Young now has dual citizenship with the U.S >, as he writes on his website, “I am a Canadian and always will be.” He goes on to reminisce about his childhood in Ontario and Manitoba and express gratitude for the platform he has built to speak truth to power.
“Canada is facing threats to its very existence, incredibly from people we thought were our friends,” Young writes. “They want our resources, they want our land, they want our fisheries, they want our water, they want our Arctic, maybe they want our souls. I know the U.S. president could use a soul.”
Addressing Carney directly, he writes, “I believe you are the person our country needs to lead us through this crazy situation and bring us out the other side as a stronger, smarter, more resilient Canada, our core values of caring and fairness and generosity intact, along with our souls.”
Read more here. – RLD
Nigerian Music Executives Ikenna Nwagboso and Camillo Doregos Launch Hi-Way 89 Entertainment in Canada
There’s a new music company bridging Canada and Africa.
Hi-Way 89 Entertainment is a new Canadian music company headquartered between Toronto and Calgary, founded by two Nigerian-Canadian music executives — Ikenna Nwagboso and Camillo Doregos — who both have deep experience in breaking African artists on the international stage.
The new company will focus on providing artist development and label services, concentrating on artists from both Canada and Africa. Its first signing is Canadian pop/R&B singer Chrissy Spratt, who on Friday (April 25) released a new single on the label, “In Too Deep,” with distribution through Vydia/gamma.
“We are a Canadian company and, with the tremendous success we’ve had exporting African music globally, we want to do the same thing in Canada, working with Canadian artists and showing the world the gem that is Canada, and the amount of talent here,” Nwagboso said in a statement. “We understand what it takes to develop global superstars and we have the knowledge, access, resources, contacts, and partnerships to make that happen.”
Nwagboso and Doregos are now based in Toronto and Calgary, respectively. Nwagboso previously co-founded African music company emPawa Africa in 2018, serving as global head of label services and partnerships before stepping down in January. In that role, he oversaw the signing and development of artists including GuiltyBeatz, Joeboy, Fave, King Promise, Minz, Xenia Manasseh, Nandy, Tekno and Nezsa.
Nwagboso also led emPawa Africa’s flagship initiatives: the emPawa 100 and emPawa 30 campaigns, which developed 130 emerging artists from across the continent. Nwagboso is also a co-founder of Exodus Music Group, home to artists Geo Baddoo (U.K.), Nezsa (Canada/Nigeria) and Zubi (Nigeria).
Doregos, previously a manager for Mr Eazi, is the founder of DC Talent Agency, the management company behind Nigerian music stars Pheelz and Kah-Lo and South African amapiano duo TxC. He also operates a booking agency, DC Talent Agency, that has secured festival appearances, live shows and brand deals for artists including Rema, Wizkid, Davido and Moliy.
Hi-Way 89 aims to “cast a wide net with our signings,” the company said, but the initial focus will be on acts from Canada and Africa. In addition to Spratt, the first round of signings includes Nigerian artist Siraheem and South African DJ Chelsea Sloan.
The new label has high hopes for Spratt. The Ottawa artist has made a major splash on Instagram and TikTok, with an audience now numbering more than 5.5 million followers between the two platforms. There, she has grabbed attention with covers of songs ranging from R&B to Latin, with her versions of Afrobeats hits like Kizz Daniel’s “Cough (Odo)” and Ckay’s “Love Nwantiti” especially connecting with listeners in Nigeria and earning endorsements from top Nigerian artists.
Spratt is now concentrating on original music, and Hi-Way 89 plans to release her debut EP this summer. “In Too Deep” was produced by Grammy Award winner Daramola (Danny Ocean, Kapo), while the EP will feature such collaborators as Nonso Amadi, Tems’ “Higher” producer Tejiri, and Canadian songwriting team Coleman Hell & La+ch. – Kerry Doole
SGAE, the collective management organization in Spain, took in the most money in its history in 2024, 390 million euros, or $422 million based on the average 2024 Euro-dollar conversion rate, it announced. That’s up 41 million euros ($44.4 million), or 11.7%, from 2023. The organization distributed more than 349 million euros ($377.6 million) to rightsholders, up 6%, its second-highest distribution ever. It also lowered its administration fees, resulting in an increase in distributions of 6.7 million euros ($7.3 million).
Unsurprisingly, the fastest-growing category of revenue was digital, which came in at 60 million euros ($64.9 million), up 25% over 2023. Of that revenue, more than 55% came from streaming, while 43% came from audiovisual content.
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The biggest source of revenue was TV and radio, which reached 110 million euros ($119 million) in 2024, up 18.9% over the previous year. Some of that bump comes from private TV companies paying for previous uses of music.
Concert collections also grew, increasing 16.2% to 64.1 million euros ($69.4 million). Much of that money came from live pop music, which brought in 48.7 million euros ($52.7 million), up 7.4%. The biggest shows were performances by Karol G, Bruce Springsteen & the E Street Band, and Metallica.
Foreign revenue reached 35.2 million euros ($38.1 million), up 15.4%. The biggest source of that revenue was Europe, especially France and Italy, followed by Latin America, various Caribbean countries, the U.S., and Canada.
Revenue from private copying, the levies charged by collecting societies on blank memory and associated products, reached 16.2 million euros ($17.5 million). That represents a gain of 57.2% over regular collections in 2023, but a decrease of 38.1% once a special payment from 2023 is included. Mechanical rights revenue also climbed, by 11.8%, thanks to the vinyl boom, to 3.8 million euros ($4.1 million).
The European Commission said on Friday it will investigate Universal Music Group’s planned acquisition of Downtown Music Holdings, according to a statement.
The investigation will determine whether “the transaction threatens to significantly affect competition in certain markets of the music value chain, where both companies are active, in Austria and in the Netherlands,” which requested the probe, according to an announcement by the EC. UMG is legally registered in the Netherlands and its stock trades on the Euronext Amsterdam.
A UMG spokesperson said a statement that the company looks “forward to continuing to co-operate with the European Commission in the weeks ahead. We are confident that we will close this acquisition in the second half of the year, on its original timeline.”
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UMG, the world’s largest music company, announced plans late last year to acquire Downtown for $775 million. The deal would significantly expand UMG’s presence in the market catering to do-it-yourself artists, songwriters and indie labels.
New York-based Downtown is the owner of the direct-to-creator distributor CD Baby, and the direct-to-business technology and distribution platform FUGA, the administration business SongTrust, and royalty and financial services companies, including Curve.
The fast-growing sector of the music business serving artists and companies that want to maintain greater control of their works has seen a flurry of investment and acquisitions in recent years.
In addition to its bid for Downtown, UMG acquired a controlling stake in the indie label group [PIAS], an expansion of its 2022 investment in the London-based business.
IMPALA, the European association of independent music companies, which has been critical of UMG’s prior acquisitions, said it welcomed the EC’s investigation and hopes regulators will stop “UMG’s juggernaut strategy.”
“The acquisition would further entrench UMG’s position across European music markets, squeezing out competition, narrowing opportunities for independents and the artists they work with and allowing UMG to exercise more control over streaming services,” IMPALA said in a statement.
In a research note published this week, analysts at J.P. Morgan agreed the deal would increase UMG and Virgin Music’s reach, and said it would enhance UMG’s “support of independent music entrepreneurs … [and] double Downtown’s [earnings before interest, taxes, depreciation, and amortization] over 2-3 years.”
UMG’s deal must receive regulatory approval to proceed, and the European Commission said it has asked UMG to officially report the deal.
Vobile, which provides AI-powered digital content protection and transaction services for entertainment companies, sports leagues, record labels and publishers, completed its acquisition of audio content identification platform Pex for an undisclosed amount. The team at Pex joined Vobile as part of the deal.
Live Nation Entertainment has expanded in Japan by acquiring Hayashi International Promotions (HIP), a leading live music promoter for both domestic and international artists in the country. Through the deal, the companies hope to elevate J-pop artists on the global stage while allowing international artists to gain more traction in the country. “HIP has been at the heart of Japan’s live music scene for over 40 years, and our focus has always been on delivering incredible concerts for fans,” said Kaori Hayashi, CEO at Hayashi International Promotions, in a statement. “Partnering with Live Nation allows us to keep doing this with greater scale, giving Japanese artists the opportunity to perform to new audiences and strengthening Japan’s position as a must-visit destination for major acts.”
Warner Music Group (WMG) partnered with Annual Acharia, an entrepreneur and talent strategist who founded the multi-platform production and distribution company Desi Hits! — which helped introduce Western artists like Lady Gaga and Britney Spears to South Asian audiences — to launch 5 Junction, a joint-venture label focused on discovering and developing U.S.-based artists of South Asian heritage while furthering the success of WMG’s existing artists from South Asia and its diaspora. The new label will collaborate closely with WMG’s India team, Los Angeles-based Warner Records and Toronto-based 91 North Records (a joint-venture label between Warner Music India and Warner Music Canada).
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EMPIRE signed a multi-year partnership with Cambodian music company Baramey Production. The deal will provide Baramey’s current and future roster — including its biggest star, VannDa — with global distribution, A&R support and industry connections. The Baramey roster also includes YuuHai, Vanthan, Zuana and North. “This deal is a game-changer,” said Laura Mam, CEO of Baramey Production, in a statement. “Now, Cambodian music is able to have a presence on the world stage, and EMPIRE will help us build careers for artists who have dreams to reach the international stage.”
Fan engagement platform Sesh announced it has raised $7 million in funding to date, led by Miura Global with participation from angel investors in the music and tech industries. Sesh will use the money to expand the capabilities of the platform, onboard more artists and enhance its technology. Announced simultaneously was the launch of Sesh’s “Member Card,” which lets fans “register and seamlessly download a digital pass to their phone’s wallet,” allowing them to receive direct push notifications from their favorite artists. Sesh allows artists full ownership of fan data, including email, location, name, date of birth and engagement insights, letting them cultivate their fan bases without going through third-party platforms. The company currently works with more than 250 artists, including Yeri Mua, Anitta, Alleh & Yorghaki, Mau y Ricky, Lasso, Timø, Nathy Peluso and Zoe Gotusso.
Dutch event management platform Stager signed a partnership with Spotify that will enable all users of the platform to list artists’ upcoming events at their venues and festivals directly on those artists’ official Spotify pages. According to Stager, more than 21,000 artists played a show at a venue, club or festival using the platform last year.
UnitedMasters partnered with EVEN, a direct-to-fan sales platform. Under the deal, UnitedMasters’ Partner artists (and, soon, its SELECT artists) will skip the waitlist and enjoy immediate access to EVEN resources, including direct music sales, daily payments, fan data ownership, marketing support and more. According to the companies, UnitedMasters artists such as Raheem DeVaughn, Casey Veggies, Stocks and Serayah have already enjoyed success on EVEN.
WieRok Entertainment Group acquired Christian music label Amplo Records, which was originally established in partnership with WieRok founders Lance and Tammie Wieland and Christian music industry executives Marcus Rixon and Jay Speight. Through the acquisition, singer/songwriter Nathan Sheridan, songwriters Phoebe Scott and Kolby Koloff, and songwriters/producers Andrew Barlow and Cole Tague will come solely under WieRok. The company, which launched its flagship WieRok Records label in January, also announced its expansion into the general market by establishing Wie3 Records, which signed “popera” vocalist David Ask.
Manifest Financial, a new financial solutions platform co-founded by Michael Cavallaro and Manny Alvarez that serves creators and artists, launched a business-banking mobile app and struck partnerships with music distributor Too Lost and hoo.be, an invite-only link-in-bio tool for brands and creators. “Creators face unique challenges that don’t fit conventional banking categories. That’s why we built Manifest Financial, to bridge this gap and provide the tailored financial services that the creator economy desperately needs,” said Cavallaro in a statement. Through the deal with Manifest, Too Lost founder/CEO Gregory Hirschhorn says Too Lost artists will enjoy “seamless access to smarter business banking solutions, faster payments, and financial tools designed for their careers.”
Honduran artist Key-Key’s indie label Latin Music Group — where he serves as partner alongside CEO/co-founder Neil Levine — announced a global distribution deal with The Orchard. As part of his strategic partnership with Latin Music Group, Key-Key will “now have access to a dedicated team and the resources to push his career even further, with global distribution ensuring his music reaches new international audiences,” according to a press release. “This isn’t just about making music; it’s about building something meaningful and lasting, and I’m incredibly grateful for the opportunity to turn my passion into a global and lasting impact,” the “Tengo Un Plan” singer said in a statement. — Griselda Flores
ASM Global struck a deal with Virginia Commonwealth University (VCU) to assume the management and operation of special events at the school’s 7,637-seat Stuart C. Siegel Center. Under the agreement, ASM will work to attract outside events, including concerts, to the arena.
IBIZA, Spain — The annual dance industry conference IMS Ibiza began today (April 23) on its namesake island, with hundreds of people from around the sector gathering for three days of discussions, presentations, panels, music and more looking at the global electronic music scene and industry from all angles.
As is tradition, the Summit began with the presentation of the annual IMS Business Report, which tracks the key trends from the global business over the last 12 months. Marking its 11th edition this year, the report was authored by MIDiA Research’s Mark Mulligan and is available here.
Mulligan also presented the report to a packed room on Wednesday afternoon, giving context to the data and illustrating that while revenues may be lagging in clubs and festivals, electronic music culture is booming both on and offline. These are 11 key findings from the 2025 report.
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1) Streaming Is Way Up in the Global South
The report finds that while streaming revenue growth slowed to 6% in 2024, subscriber growth saw huge gains, with the overall streaming sector seeing a 12% growth in its subscriber base.
Incredibly, nearly four fifths of this growth came from Global South markets, an area the UN Trade and Development organization defines as comprised of Africa, Latin America and the Caribbean, Asia and Oceania. Mulligan noted that Global South statistic is especially crucial given that user growth will eventually give way to global cultural growth “as these users drive the rise of large local music scenes that will increasingly export their sounds to the West.”
The reports also found that Spotify stayed in the lead in terms of DSPs, maintaining its 32% market share and registering more than a quarter of a billion subscribers globally. The report notes that “YouTube Music was the only other global DSP to also enjoy strong growth in 2024, gaining to a 10% market share.
2) Electronic Music Is a Market Leader
The report notes that electronic music has the top or second highest count of Spotify followers in nine of the genre’s top 13 markets, compared to hip-hop, Latin and rock. And while Latin and hip-hop growth may be statistically stronger, the reach of these audiences, especially Latin, varies strongly by region, versus electronic music’s more global growth.
Additionally, the world’s top four electronic music markets — Germany, Australia, the U.S. and U.K. — all gained significant listener counts in 2024, although Mexico, the U.K. and Germany saw the highest growth, respectively. (Incredibly, electronic music was up 60% in Mexico.)
Meanwhile, electronic music consumption is considered endemic in The Netherlands and Australia, where the report found that the number of monthly electronic music listeners on Spotify is higher than the total population. (This is possible because individuals can consume more than one style of electronic music on the platform.)
3) Electronic Music Fans Over-Index For Time & Money Spent
Mulligan repeatedly emphasized the crucial nature and influence of IRL scenes, which dance music excels in cultivating and which many younger people are prioritizing over online existence.
“This idea of scenes is going to become more and more important,” he said, “because superstars are getting smaller and everything is fragmenting. It’s time to look simply beyond the stream counts, beyond the social numbers to measure the cultural impact, even though that’s nearly impossible to do. But that’s probably a good thing. If it’s not measurable, it’s harder for people to go and overtly commercialize it.”
He referred to culture as “the fuel in the engine,” saying that things like revenue, stream counts and social and followings “will come as a result of the culture. So the fact that the cultural indicators are beginning to really light up in 2024 points to a really strong few years coming up.”
4) Revenues in Ibiza Were Up, But Ticket Sales Were Slightly Down
The report notes that the average number of events per venue on the island “is on a steady, albeit modest decline and ticket volumes were down in 2024, with higher average ticket prices thereason that revenues were up once again. “You keep charging people more until they can’t afford it anymore” said Mulligan, “and there will come a point when people say ‘I literally can’t afford any more for this at the moment.’” This is especially true now, he noted, in a period of global economic uncertainty.
5) Afro House Continues to Rise
Mulligan reported that Afro-house “has absolutely rocketed” in the last year, while drum & bass is also in a “real era of resurgence.” A survey of the digital sample library Loopcloud indicates a large rise in samples of African music genres, suggesting the genre will continue growing.
6) Hard World = Hard Music
The Loopcloud survey also found a rise in harder electronic genres like hardcore and hard dance, while “softer” genres like ambient and chill out are going down and losing share. This is, Mulligan posted, is “because culture reflects the world around us. It’s a crappy world out there at the moment. There’s wars and famine and inequality, and I think that’s beginning to really come through in the music that people are making and the music that people are listening to.”
7) There’s Been a 45% Growth of Electronic Music Hashtags on TikTok
Amapiano and trance saw especially big growth on the platform. “Again,” Mulligan said, “there are all of these cultural indicators that are growing more strongly than the revenue indicators are.”
8) SoundCloud Also Remains a Strong Cultural Indicator
The platform saw 100% growth in uploads of UKG (UK garage) with jungle uploads also up 45%.”These tend to the genres that tend to be owned by Gen Z and even Gen Alpha,” said Mulligan. “SoundCloud has so many of these bootleg remakes … of course [the people who make them] can never get the rights cleared and put them onto Spotify, but a lot of this culture is happening online on places like SoundCloud.”
9) Music Catalog Investors Have a Growing Interest in Dance
“Mainly what happens is old white males invest in old white males, so you still see the Bob Dylans [of the world getting invested in], but we are beginning to see more and more of other genres,” Mulligan said of investor acquisitions of artist catalogs. The report states that the share of catalog deals for electronic artists doubled between 2020 and 2024, with recent notable examples including Kevin Saunderson, Tiga and deadmau5.
10) Dance Music’s Gender Divide Persists
In terms of the number of people producing music and playing events, Mulligan reported that “this is still a heavily male world,” although there’s also been a slight increase in the representation of female artists. This determination is based on a survey of data from AlphaTheta, where the registered userbase, the report says “points to the steady rise of female DJs, many of whom will be inspired by the growing share of top DJs that are now female.”
“We are beginning to see change,” Mulligan added in his presentation. “It’s not dramatic, but it’s good and steady progress.”
11) The Global Electronic Music Industry Was Valued at $12.9 Billion in 2024
This number includes live, merchandising, sponsorships, recorded music, publishing, music hardware and software, clubs, festivals and more. The number represents a 6% growth over 2024, which Mulligan noted “might not sound huge, but remember live music revenues — festivals and clubs — which is a really big part of the revenue mix, is beginning to slow, so that sort of drags down the overall numbers. But most importantly, the culture is absolutely booming. With 0.6 billion new social followers of electronic music followers in 2024 they’re the foundation for what’s set to be a really vibrant few years.”
France’s biggest pop star, now striking out on her own, continues to challenge the status quo and captivate audiences around the globe.
How do you reinvent yourself after establishing, in less than a decade, a place as one of the cornerstones of the French music scene — with over 6 billion streams and 24 diamond certifications (16 in France, 8 internationally)?
“I’ve already asked myself that question,” Aya Nakamura admits.
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“My answer is that when you’re an artist, you’re supposed to evolve. Otherwise, you stop living your music. At some point, you feel like you’re no longer truly yourself. I believe that as long as you embrace who you are, as long as you’re still living, still feeling emotions, you’ll have no problem channeling that energy back into your music… At least, when you’re passionate.”
At 29, the singer has already left an indelible mark on French pop. Her hits “Djadja” and “Pookie,” sung entirely in French, have travelled the globe — so much so that she’s become the obvious choice to represent francophone music at the upcoming Paris Olympic Games.
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“I wonder if I could have done the same thing had I been born 20 years earlier,” she reflects. “It definitely wouldn’t have been this easy… especially because there’s something new here — a Black woman wanting to sing in her own bold, unapologetic style, without waiting for anyone to open doors for her, and reaching her audience through different channels.”
Now fully independent, Aya Nakamura is turning the page and beginning a new chapter — one that kicks off with her first major signing.
The Beginnings
Born in Bamako, Mali, Aya arrived in France just a few months later. Coming from a family of griots — West African storytellers and musicians — she grew up in Aulnay-sous-Bois, in a household where music was already part of everyday life.
“It’s kind of special, because my mother was a singer and would’ve loved to have a career. Now, I’m doing it in her place — almost like a form of redemption for her. I want to go all the way, and I hope it can inspire other women to pursue their own dreams.”
Her real start came in 2014, when she posted her first track, “Karma,” on Facebook. A fan of the TV series Heroes, she took inspiration from the character Hiro Nakamura to create her stage name.
The turning point came in 2017 with her debut album Journal Intime, now certified platinum. Newly signed to Warner Music France at the time, Aya Nakamura laid the foundation for the signature sound that would come to define her. On the track “Oumou Sangaré,” she paid tribute to her Malian heritage — a connection she’s been feeling drawn to again.
“Lately, I’ve been thinking more and more about doing something like that again,” she says.
Olympic Recognition
Aya Nakamura’s international breakthrough came in 2018 with the release of “Djadja.” The track topped the French charts for two consecutive weeks and quickly crossed European borders. In the Netherlands, it made history: for the first time since Édith Piaf in 1961, a French-language song by a female artist reached No. 1 on the charts.
This meteoric success was cemented with the release of her second album, Nakamura, in November 2018. Fueled by diamond-certified singles like “Copines,” “La Dot” and “Pookie,” the album became a commercial phenomenon unlike anything seen before for a francophone artist. It went diamond in France with over 500,000 copies sold, matched by another half-million internationally. Today, it holds the record as the most streamed francophone album in Spotify history, with over 2 billion streams.
Her trajectory continued with two more albums, AYA and DNK, but it reached a symbolic high point on July 26, 2024, when she performed on the Pont des Arts during the opening ceremony of the Paris Olympic Games. Accompanied by musicians from the Garde Républicaine and the French Army Choir, the performance became the most-watched moment in French television history, drawing 31.4 million viewers.
“What can I say? People often call it ‘iconic.’ It took me six months to truly process what I’d done,” she admits. “In the moment, you’re just pushing forward, head down, working hard to deliver something you can be proud of. Then, when you step back and look at everything — the impact, the debates… it feels like a movie. In the end, I feel like I made it.”
In February 2025, just months after her global triumph, Aya surprised fans with “Chimiyé” — a single that marked a distinct shift in her discography. Collaborating with rapper Alpha Wann and the Don Dada team (JayJay, Selman, StillNas), she ventured into new sonic territory, blending R&B with elements of spoken word and rap.
“I gave myself the challenge of making something more rap-leaning — without actually being a rapper. That’s what pushed me out of my comfort zone,” she explains. “I like working with people who are a bit unexpected. Some of my producers don’t even usually listen to my music — and that keeps things fun. Without those collaborations, I would’ve never made tracks like ‘Djadja’ or ‘Pookie.’”
On Feb. 23, 2025, she broke yet another record: the “Djadja” video surpassed one billion views on YouTube, becoming only the fourth French-language song to reach that milestone — and the first by an African artist to do so.
Next stop, the Stade de France?
“Yes, but not just yet,” she smiles. “I still want to take my time. In France, it feels like the final step — and before I get there, I want to keep sharing other shows, other moments with my audience.”
Beyond Borders
How can one explain such a rare ability to transcend language barriers? Aya Nakamura pauses before answering.
“I didn’t realize right away that I had an international audience — it really happened gradually. People would tell me, ‘You’re being listened to all over the world,’ but it was through interactions with fans on social media and stumbling across videos that I began to understand the scale of it. I found fan accounts in Brazil, in Venezuela… I travel too, and I hear my music everywhere — in the U.S., in Thailand. But I don’t really create my music with a specific place in mind. I just try to offer something that feels real to me — and if it resonates worldwide, that’s a bonus.”
That global reach also shows in her collaborations. After teaming up with Colombian superstar Maluma for a “Djadja” remix in 2020, she joined forces with Nigerian sensation Ayra Starr for a reimagined version of her hit “Hypé” in March 2024 — a track that climbed to No. 17 on the U.K. charts, a rare feat for a song sung mostly in French.
“I think music is energy,” she says. “The songs that connect most are often the ones where I’ve poured the most of myself into them emotionally. People don’t just listen for the lyrics… It’s like when I used to listen to artists like Rihanna growing up, without understanding everything she was singing. What connects with people when they hear certain songs of mine is the energy in that moment — and also the blend of influences inside me that you can hear.”
That emotional authenticity, combined with her distinctive vocal style and a French language she molds into her own rhythm and expression, forms an instantly recognizable artistic identity.
“I don’t know if that’s what makes the songs universal,” she reflects, “but I think it’s the honesty I put into them, the constant search for something new. I’m not trying to ride the latest wave — I just want to offer something I’m 100% proud of, without making any artistic compromises. Maybe that’s why it speaks to people. I try to follow my instincts and creative desires, while keeping my standards high.”
From Music to Fashion
Aya Nakamura’s cultural influence now extends well beyond the realm of music. In February 2023, she was named global ambassador for Lancôme, marking her entry into the exclusive circle of luxury brand muses — a milestone that would open the door to a new world of opportunities.
On May 6, 2024, she received one of the most coveted invitations in fashion: the Met Gala in New York. With her appearance, she became only the sixth French musical artist to walk its legendary red carpet, following icons like Catherine Deneuve, Vanessa Paradis, Lou Doillon, Charlotte Gainsbourg and Carla Bruni.
Just weeks later, on June 23, 2024, Vogue editor-in-chief Anna Wintour personally selected her to perform her single “Fly” at the prestigious Vogue World Paris show, held in Place Vendôme. Dressed in a custom haute couture gown by Jean Paul Gaultier, Nakamura took part in a striking celebration of music and fashion.
“I really love fashion and the creative universe it represents,” she shares. “I’m enjoying getting deeper into it. I absolutely loved performing at Place Vendôme and being part of this blend of music and fashion. I felt completely at ease — and I found the entire production of the event to be incredibly high-quality.”
Independent Now
Alongside her growing institutional recognition, Aya Nakamura has taken control of her professional destiny. After overseeing her own artistic direction as early as “Djadja,” she took the defining step toward full independence by launching her own label.
“It’s a whole different thing,” she admits. “To be honest, I’ve always felt independent — especially when it comes to creative direction. I’m deeply involved in all the strategic decisions, from picking singles and setting release dates to choosing the visuals and producers I work with. Becoming independent has given me a whole new perspective on the business side. Now I can make all the decisions — and take full responsibility for them, whether they lead to success or not.”
“I’m still surrounded by a great team and I know when to let go,” she adds, “but mastering the entire process around the music, not just the creation part, is something I find truly exciting. It matters to me.”
Beyond her own career, Nakamura is also committed to supporting the next generation of artists.
“I’ve already signed someone — though no one knows yet,” she reveals with a smile. “His name is RnBoi. He’s young and just starting out, and it’s going really well. We met about six months ago, after I invited him to perform at my DVM Show. I took the leap — I think he has something special.”
Pop Star and Mother
Behind the icon is a young woman and a mother of two daughters, Aïcha and Ava, born in 2016 and 2022, respectively. Balancing an international career with motherhood is a daily challenge.
“To be totally honest, it’s a bit complicated with fame, but my balance comes from trying as much as possible to live like a normal person,” she shares. “For example, I go to the park with my kids, I cook for them — these moments are precious to me. It’s not always easy, and sometimes I try to be discreet to maintain a sense of normalcy. I’m really determined to preserve that freedom and have moments that I can live fully, away from the spotlight.”
Aya Nakamura
Billboard France
Lola Young is the top nominee for The Ivors 2025, which celebrate achievements in songwriting and screen composing across eight categories. Young is nominated for three awards – best song musically and lyrically for “Messy,” best album for This Wasn’t Meant for You Anyway, and rising star.
Young, 24, has had success on both sides of the Atlantic this year. “Messy” logged four weeks at No. 1 on the Official U.K. Singles Chart and has climbed as high as No. 14 on the Billboard Hot 100. This Wasn’t Meant for You Anyway, her sophomore album, reached No. 16 on the Official U.K. Albums Chart and No. 64 on the Billboard 200.
RAYE – the winner of last year’s songwriter of the year award – Ghetts, and Conor Dickinson each received two nominations. Both of Dickinson’s nods are for writing with Young.
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In the PRS for Music most performed work category, Wham!’s 1984 holiday classic “Last Christmas” is one of the five nominees, a remarkable sign of its staying power. The song’s writer, George Michael, was nominated in the category 21 years ago for “Amazing.” Harry Styles’ 2022 smash “As It Was” was also nominated. This is the third year in a row that that global smash, which Styles cowrote with Kid Harpoon and Tyler Johnson, has been nominated in this category. Also in the running are “Houdini” by Dua Lipa, “Stargazing” by Myles Smith, and “Prada” by Cassö, RAYE and D-Block Europe.
This year marks the 70th year of the Ivors, also called the Ivor Novello Awards, with the winners set to be revealed at the ceremony taking place at Grosvenor House, London, on Thursday May 22. Amazon Music sponsors the awards.
This year, 74 individual British, Irish or U.K. resident composers and songwriters, and their international collaborators, have received Ivor Novello nominations – 66% of them for the first time.
The rising star award celebrates British, Irish or UK resident songwriters aged 18-24 who are “at the tipping point of greatness,” in the Ivors’ phrase. Each nominee receives year-long, tailored support for their creativity and career from Amazon Music and The Ivors Academy. The 2025 nominations celebrate five female rising stars – Bea and her Business, Liang Lawrence, LULU., Nia Smith and Lola Young.
Pa Salieu is nominated in best contemporary song with “Allergy,” four years on from his last nomination in the same category for “Energy.”
The Ivors also celebrates Britain and Ireland’s finest composers across film, TV and video games. Daniel Pemberton nominated for best original film score for a second successive year, this time with Fly Me to the Moon. He was nominated last year for Spider-Man: Across the Spider Verse. Also nominated is Mica Levi’s score to The Zone of Interest. Levi previously won this award in 2018 for Jackie.
Martin Phipps was nominated for best television soundtrack for the second successive year for Black Doves. He was nominated last year for the final season of The Crown.
Also, Ivor Novello Awards will be presented for the songwriter of the year with Amazon Music, outstanding song collection, visionary award with Amazon Music, special international award, and PRS for Music icon award.
Roberto Neri, chief executive of The Ivors Academy, said in a statement: “An Ivor Novello Award holds a unique place in music, as it is judged by fellow songwriters and composers, making it the most respected acknowledgement of creative excellence. We are proud to welcome and celebrate the nominees’ achievements and look forward to honouring their work at the 70th edition of The Ivors in May.”
As previously announced, U2 are the latest songwriters set to become Academy Fellows, in recognition of their enduring influence and impact on the craft of songwriting. Bono, The Edge, Adam Clayton and Larry Mullen Jr. will become the first Irish songwriters that the Academy has inducted into Fellowship in its 81-year history.
The Ivors, presented by The Ivors Academy, is one of the most prestigious award ceremonies in music. Judged by songwriters and composers, the awards recognize excellence in craft and creativity. For more information visit www.ivorsacademy.com/theivors
Here’s a full list of nominations for The Ivors 2025.
Best Album
Brat written by Charli xcx, A. G. Cook and Finn Keane; Published in the UK by Sony Music Publishing, Concord Music Publishing obo Alias Guild and Universal Music Publishing; Performed by Charli xcx
On Purpose, With Purpose written by Ghetts and TenBillion Dreams; Published in the UK by BMG Rights Worldwide UK; Performed by Ghetts
The Loop written and performed by Jordan Rakei; Published in the UK by Sony Music Publishing
This Wasn’t Meant for You Anyway written by William Brown, Conor Dickinson, Jared Solomon and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs, Sony Music Publishing – Solomon Gouda and Sony Music Publishing; Performed by Lola Young
Who Am I written and performed by BERWYN; Published in the UK by Sony Music Publishing
Best Contemporary Song
“Allergy” written by Felix Joseph, Alastair O’Donnell and Pa Salieu; Published in the UK by Universal Music Publishing and Sony Music Publishing; Performed by Pa Salieu
“Angel of My Dreams” written by Pablo Bowman, JADE, Steph Jones and Mike Sabath; Published in the UK by Kobalt Music Publishing, Sony Music Publishing and Universal Music Publishing obo Hipgnosis Hits-Steph Jones Who Music-Vistaville Music; Performed by JADE
“Circumnavigating Georgia” written and performed by Sans Soucis; Published in the UK by Sentric Music
“Double Standards” written by Ghetts, EMIL, Sampha Sisay and R-Kay; Published in the UK by BMG Rights Worldwide UK, Ditto Plus Music Publishing and Sony Music Publishing – Young Songs; Performed by Ghetts feat. Sampha
“How Black Men Lose Their Smile” written by Bashy, Toddla T and Linton Kwesi Johnson; Published in the UK by Downtown Music obo DLJ Songs, BMG Rights Worldwide UK and Universal Music Publishing obo L-K-J Music Publishers; Performed by Bashy
Best Song Musically and Lyrically
“Child of Mine” written and performed by Laura Marling; Published in the UK by Kobalt Music Publishing
“Genesis.” written by Rodney Jerkins, RAYE and Toneworld; Published in the UK by Universal Music Publishing, Warner Chappell Music and Kobalt Music Publishing obo Mohemmusic-Songs by Seventy 7 Music; Performed by RAYE
“In the Modern World” written by Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’connell; Published in the UK by Domino Publishing Company; Performed by Fontaines D.C.
“Messy” written by Conor Dickinson and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs and Sony Music Publishing; Performed by Lola Young
“Mine” written and performed by Orla Gartland; Published in the UK by Kobalt Music Publishing obo San Remo Music
PRS For Music Most Performed Work
“As It Was” written by Kid Harpoon, Tyler Johnson and Harry Styles; Published in the UK by Universal Music Publishing and Concord Music Publishing obo These Are Pulse Songs; Performed by Harry Styles
“Houdini” written by Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker; Published in the UK by Sony Music Publishing obo Viking Jamz Publishing, Sony Music Publishing, Universal Music Publishing and Warner Chappell Music obo Radical 22 Publishing; Performed by Dua Lipa
“Last Christmas” written by George Michael; Published in the UK by Warner Chappell Music obo WHAM! Music Limited; Performed by WHAM!
“Prada” written by D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE; Published in the UK by Sony Music Publishing, Bucks Music Group Ltd obo Armada Music Publishing, Kobalt Music Publishing obo Fat Pigeon (Publishing) Limited and Warner Chappell Music; Performed by Cassö, RAYE and D-Block Europe
“Stargazing” written by Peter Fenn, Jesse Fink and Myles Smith; Published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing; Performed by Myles Smith
Rising Star Award With Amazon Music
Bea and her Business
Liang Lawrence
Lola Young
LULU.
Nia Smith
Best Original Film Score
Fly Me to the Moon composed by Daniel Pemberton; Published in the UK by Sony Music Publishing obo Apple
Hard Truths composed by Gary Yershon; Published in the UK by Universal Music Publishing obo Thin Man Films
Kneecap composed by Michael ‘Mickey J’ Asante
The Substance composed by Raffertie; Published in the UK by Universal Music Publishing obo Universal Pictures Music
The Zone of Interest composed by Mica Levi; Published in the UK by Domino Publishing Company
Best Original Video Game Score
Empire of the Ants composed by Mathieu Alvado and Mark Choi
Farewell North composed by John Konsolakis
Flock composed by Eli Rainsberry
Senua’s Saga: Hellblade II composed by David Garcia Diaz
The Casting of Frank Stone composed by Boxed Ape
Best Television Soundtrack
Black Doves composed by Martin Phipps; Publishing in the UK by BMG Rights Management UK obo Maisie Anthems
Mary & George composed by Oliver Coates; Published in the UK by SATV Publishing
Rivals composed by Jack Halama and Natalie Holt; Published in the UK by Universal Music Publishing obo Walt Disney Music Company
True Detective: Night Country composed by Vince Pope; Published in the UK by Universal Music Publishing obo T-L Music Publishing
Until I Kill You composed by Carly Paradis; Published in the UK by BMG Rights Management UK obo Veti Music Publishing
Anjula Acharia remembers when the one person who had set her up for success told her she was going to fail. And Jay-Z was there, too. In 2008, Acharia and Interscope Geffen A&M’s then chairman, Jimmy Iovine, were sharing breakfast at a New York hotel. Iovine — who had partnered with Acharia’s South Asian music/news […]
Canadian musicians and music organizations are speaking out ahead of the federal election on April 28.
Indie folk artist The Weather Station took to Instagram on April 15 to make an impassioned plea to Canadians not to check out of this election. She had just returned from a tour in the U.S., supporting her new album Humanhood, and told followers that now is the time to prevent Canada from following in America’s footsteps.
“I cannot articulate the level of relief I felt this time crossing the border back into Canada,” she says. “I think we have no lived understanding of how bad things could get.”
The Weather Station, whose name is Tamara Lindeman, has previously spoken out about the U.S. administration, citing authoritarianism, threats to free speech and the right to protest, and dismantling of public services serving climate, education, health care and social security.
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In her new video, she highlights the people fighting for those issues and to build community amidst the crisis south of the border.
“Loved the shows, loved all the people we met, but it’s so incredibly painful to see what people are going through,” she says. “People feel exhausted, they feel afraid and at risk, they feel powerless…a lot of people increasingly feel kind of silenced, which is really scary.”
Speaking to Billboard Canada about why she felt compelled to share the video, Lindeman adds that when it comes to this election, the stakes couldn’t be higher. “For an avalanche of reasons — from Trump’s threats of annexation, to how misinformation and MAGA-style politics are moving across the border, to the immensity of the climate crisis, to the affordability crisis across this country,” she elaborates.
She also points out Conservative leader Pierre Poilievre‘s desire to defund the CBC as particularly concerning for musicians, given how the public broadcaster supports Canadian music through radio airplay and events.
Her post received positive comments from fellow Canadian musicians like Jill Barber and Bells Larsen. Larsen, a folk singer-songwriter, last week shared that he cannot tour in the U.S. due to changes in Visa application policy that target trans musicians, requiring legal ID to match sex assigned at birth.
Canadian music organizations have also been emphasizing the importance of this election across party affiliations, against the backdrop of American politics.
Allistair Elliott, AFM vice president from Canada, sent out a message today to American Federation of Musicians members in Canada titled “Make Your Vote Count.”
“The upcoming election is critical for Canadians — no matter your political leanings, your vote matters,” Elliott writes. “Look south of the border to understand what can happen. In the last U.S. election, 32% of votes went to Republicans and 31% to Democrats. That means 68% of U.S. voters did not vote for the current president. True democracy is achieved when everyone votes. Plan, do your research, and most importantly, vote. It really matters, can, and will make a difference.”
The message stops short of endorsing particular parties or candidates, but highlights policy areas that affect musicians and arts workers, such as generative artificial intelligence, diversity equity and inclusion, trade tariffs, and strengthening public health care.
The Canadian Live Music Association published a note last week from President Erin Benjamin, emphasizing the importance of the live music industry in Canada to both the country’s economy and its cultural identity.
Benjamin called on supporters to send a letter to federal election candidates of all parties, calling on them to leverage Canadian music for the future.
The Canadian federal election is Monday, April 28. –Rosie Long Decter
Hamilton Indie Label Sonic Unyon Launches SUM Artist Management, Headed By Wayne Pett
Hamilton-based independent label and music company Sonic Unyon Records has unveiled its latest initiative, SUM Artist Management. It’s a new arm of the company dedicated to representing and developing artists, identifying and opening opportunities to them.
Taking the helm as both director of artist management at SUM Artist Management and label operations for Sonic Unyon Records is Wayne Petti, a well-known figure on the Canadian music scene as frontman for highly-regarded roots-rockers Cuff the Duke. At SUM, Petti will work in league with Sonic Unyon owner/CEO Tim Potocic, representing a musically diverse and notable roster of clients.
That includes roots-rock singer-songwriter Terra Lightfoot, Polaris Prize-winning auteur Owen Pallett, Hamilton shoegaze combo Basement Revolver, American feminist performance artist and electro-rocker JD Samson (Le Tigre), retro cover band Born in the Eighties, multi-instrumentalist and composer Michael Peter Olsen, and three bands at the forefront of an Indigenous wave in Canadian rock, Zoon, OMBIIGIZI and Status/Non-Status.
“We’re about constant evolution,” says Potocic. “As a label, we’ve signed newcomers and longtime favourites as well as bigger bands like Danko Jones and Big Wreck. All of that is super exciting and some of the best music we’ve ever released. At the same time, this is not an industry that rewards sitting still. It’s a challenging time and a tough landscape, but opportunities still abound. We’ve always believed in the value of our artists, and artists more generally, so artist management is the natural outgrowth of that.”
In an interview with Billboard Canada, Petti notes that, “I’ve been involved in artist management for close to 10 years now. I have a unique perspective on the music business having both experienced what it’s like to be a recording artist and everything that goes along with that, plus experiencing working with artists and helping to guide them through their own careers. I’m very much an ‘artist first’ type of manager. I don’t chase things just for the money. I want the artists I work for to feel supported. I want them to focus on being creative and unique artists and I’m just there to help facilitate their vision and goals artistically.”
“Our main goal at SUM is to work with unique artists regardless of whether they are Canadian, American or from somewhere else around the world,” he continues. “I think we’re off to a great start.”
Petti previously made a major mark in artist management during eight years with Hamilton-based Straight & Narrow Management, which handles major international stars The National, as well as Broken Social Scene, Hannah Georgas, Kevin Drew and Georgia Harmer.
The creation of SUM Artist Management aligns with Sonic Unyon’s expansion into industry sectors beyond the traditional duties of a record label. Sonic Unyon Distribution was founded in 1998 to distribute Sonic Unyon and other labels in Canada, going on to build a roster that included dozens of domestic imprints and the exclusive representation of over 200 international independent labels in Canada. –Kerry Doole
Six months ago, a stadium-concert headliner decided to create tens of thousands of high-end T-shirts and hoodies to “rival any streetwear brand and be able to sell it for less than Sabrina Carpenter or Billie Eilish,” says Billy Candler, CEO/co-founder of Absolute Merch, a 13-year-old company that works with 30 artists. Candler arranged to purchase the shirts from China, then ship them on April 9, two weeks before a new U.S. tour.
But on April 2, President Trump imposed an 84% tariff on Chinese imports. Then, in the next few days, he boosted them to 104%, then 125%, then 145%. With each increase, Candler says, “I almost had a heart attack. It’s just exploded our plan.” As of Saturday (April 12), the company’s freight order has been “literally sitting in Customs waiting to be cleared,” with new tariffs imposed.
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As with industries that manufacture and ship smartphones, aluminum foil, car parts and toasters, artist-merch companies like Absolute are scrambling to predict the Trump administration’s final number on Chinese tariffs and figure out how to transfer production to alternative countries. Ideally, Absolute Merch would simply cancel its China order and restart in the U.S., but the deadline is too tight for the stadium-level act’s upcoming tour and, as Candler says, “You can’t do it in America. We really don’t make fabric here.” It may eventually be possible to shift to Vietnam or elsewhere, but Chinese prices for blank shirts tend to be cheapest, music-merch sources say, and nobody knows whether Trump will reimpose tariffs on other countries in July, after his 90-day respite period.
Even if every company in the $13.4 billion global music-merch business, as MIDiA Research estimated, pulls out of China, demand will spike in other countries, and merch manufacturers will likely raise their prices. “Costs will go up because of capacity shortages once China is not an option,” says Barry Drinkwater, executive chairman of Global Merchandising Services, which works with Iron Maiden, Guns N’ Roses and others.
Will artists and their merch companies pass the additional costs stemming from tariffs to their customers? They may have no choice but to raise prices, Candler says, speculating that hoodies could rise to $150 and T-shirts to $65 if the trade war continues. “I have a client manufacturing a cut-and-sew bomber jacket,” adds Pat Dagle, owner of Terminal Merchandise, which works with 20 artists. “That jacket jumped from a price point of $35 to $80, on our side, because of the tariffs. The cost falls onto us, so it’s negating a lot of our profit.”
“It’s going to affect everybody,” says Kevin Meehan, a 30-year artist-merch manufacturer in Costa Mesa, Calif. “Because 90% of the trims in the world are made in China — your zippers, your buttons, your snaps, your drawcords, your eyelets, all that stuff for apparel.”
Andy Stensrud, a veteran Nashville music merchandiser who works with Bad Bunny, IU and other Latin and K-pop stars, adds of China: “When it comes to the custom apparel, they are so far ahead of everybody else with turnaround times and pricing. We just made some custom hockey jerseys for a band, and they cranked them out in 10 days. No one can touch that.”
For now, many in music merch are remaining calm as the U.S.-Chinese tariff situation fluctuates. Dov Charney, the American Apparel founder who created Los Angeles Apparel in 2016, stands to benefit from artists and others seeking merch items not made in China. He says most touring artists source T-shirts and other clothing products from Honduras, El Salvador and Central America, which haven’t had to contend with high tariffs. Even China-made products are unlikely to increase by more than $5 or $10 for a T-shirt, he adds, because wholesale shirt costs are low and the high expenses come from things like transportation and design, which are unlikely to change due to tariffs. “OK, boo-hoo,” Charney tells Billboard. “It’s not going to have a profound effect as much as people are saying.”
Brent Rambler, guitarist for hard-rock band August Burns Red, which runs its own merch operation, is avoiding the tariff uncertainty, refusing to “proactively raise our prices” and risk turning off fans in the long term. The band’s T-shirts come from Bangladesh, and while its coffee mugs are made in China, a manufacturing increase of $1.50 to $2 per unit is unlikely to lead to a consumer price bump: “You don’t want to turn people away,” Rambler says.
Steve Culver, president of Nashville-based merch company Dreamer Media, adds that the tariffs are a political issue likely to be resolved before consumer costs rise too dramatically. “It’s too early to understand how it’s going to play out,” he says. “I’m not panicking.”
For now, tariff stress has spread to all levels of the touring business, which relies on merch, especially artists who can’t make a living on streaming revenues. Reached by phone while driving from St. Louis to Kansas City in a van stuffed with cardboard merch boxes, Evan Thomas Weiss, frontman of Pet Symmetry, says the emo band pays $13 to $15 to print a T-shirt, plus more on transportation and other expenses, then sells it for $30 at a show in order to make a small profit. If tariffs cause production prices to rise by even 20%, a fan could pay as much as $40.
“I don’t know how anybody’s going to be able to afford that,” he says.
Pet Symmetry was lucky — its latest order of 300 to 400 shirts and other merch items arrived two weeks ago, in time for its current club tour.
“But if something happens over the summer, and tariffs go into effect, we have to do some real reflection, and decide whether to order more now or wait,” Weiss says. “Which is such a difficult position for a small band to be in.” From the van, guitarist Erik Czaja adds: “If it came to it, one of us would learn how to screen-print.”
Chris Eggertsen contributed to this report.