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Luísa Sonza has been announced as one of the attractions for the historic first regular-season NFL game that will take place in Brazil. She will perform the Brazilian National Anthem. Other confirmed acts include Anitta, who will perform during the halftime show. Zeeba (who is American, with Brazilian parents) will sing the U.S. National Anthem, while DJ Carola will present a set before the game begins. The event will take place on Sept. 6 at Arena Corinthians in São Paulo.
In a conversation with Billboard Brazil, Luísa described the moment as an opportunity to increase the projection of her name and career outside her country. “This is a very important exposure. But above all, representing my country to the world is the greatest honor I can have as an artist,” she said.
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The National Anthem moment precedes the start of the match, and for Sonza, it’s a time that generates a lot of anticipation for the audience. “It’s always emotional because it’s about our roots, our homeland. Being able to represent that to the world will be an honor.” Read the exclusive interview below.
How did the invitation to sing the National Anthem at the NFL event in São Paulo come about?
The invitation came through Kley Tarcitano, an artistic director who currently works in the United States and collaborates with the NFL, along with Maria Garcia, who works with the NFL and the halftime show in the U.S. and worldwide. I said yes right away! The NFL is a global event, and I was very happy to be invited to their first game in Brazil. Singing the National Anthem is always a unique moment, especially at an event of this magnitude. Representing my country is incredible.
Can you give more details about what you’re preparing for your performance?
The performance of the National Anthem always comes with great expectations. I’ve been singing since I was a child, and I always sing along with all the other Brazilians during important moments in our history, at games, and in celebrations. The anthem is always emotional because it brings our roots, our homeland, and being able to represent that to the world will be an honor.
In the United States, there is a strong connection between pop music and sports, particularly with American football. How do you see this playing in Brazil?
I believe entertainment and sports always succeed together. I’ve always followed the Super Bowl finals, the incredible shows that happen every year, and I’m very happy to be part of this moment here in Brazil.
Regarding the audience here in Brazil, do you think being part of this historic NFL event could also introduce you to a new audience?
It always adds value. Being able to perform and sing for new audiences is important for all artists. Music is very vast in Brazil, and having this kind of representation is relevant for any artist’s career.
Do you believe that this performance could also bring international exposure to your career? Is that an important point for you?
Yes. I’ve already been more present abroad, and this is a very important exposure. But above all, representing my country to the world is the greatest honor I can have as an artist. I’m very happy with the invitation.
Under the embrace of the afternoon sun in Diriyah, a city known as the birthplace of the first Saudi state and a symbol of the Kingdom’s rich history, Billboard Arabia meets August cover star Ghareeb Al Mokhles for a photoshoot and an interview. In this captivating setting, Ghareeb’s enthusiasm and radiant smile reflect his deep connection to his roots. From the outset, it was clear that Ghareeb was fully at ease in this atmosphere, ready to share his insights into Shelat – a music genre known for its rhythms and vibrant melodies, with lyrics built upon colloquial Bedouin poetry.
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After the photo session, the artist moves to the interview location with a calm and composed demeanor. Ghareeb is calm albeit passionate about his work and the genre of music he performs. He proudly identifies as a son of “Najran” and a devoted Shelat enthusiast, passionately discussing his lifelong love for music. He credits his inspiration to his older brother Talal and iconic artists like Mohammed Abdu and Khalid bin Abdulrahman, fondly recalling his early artistic experiences, including performing national anthems and songs during his school years.
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As he shares these memories, it is clear that his deep-rooted connection to his heritage and his unwavering passion for Shelat continue to shape his artistic journey. Delving into the origins and essence of Shelat, Ghareeb explains that it is “an ancient folk heritage that has evolved into an artistic form distinct from conventional songs, marked by its Bedouin influences.” Traditionally, Shelat consists of poetic verses sung to specific melodies, often performed a cappella with echoes, originally by camel herders and during special occasions like weddings. Over time, this tradition expanded with the addition of music and instrumental arrangements, evolving into the Shelat genre we recognize today. “We’ve added rhythms and beats to it, we’ve added instrumentation.”
Ghareeb’s foray into producing Shelat began as an experimental project shared on social media in the mid-2010s. To his surprise, the overwhelmingly positive response and high demand for his work in this genre ignited a deeper passion within him. Reflecting on this, Ghareeb notes, “The audience’s enthusiasm fueled my passion for Shelat, turning it into a genuine talent. I fully embraced this art and continued to pursue it.”
Nearly a decade later, Ghareeb has established himself as a leading figure in the genre, amassing millions of views across various platforms. His 2021 release of the Shelat “Kheeba” (Disappointment) exemplifies this success, garnering nearly 240 million views on YouTube alone. He describes it as a defining moment in his career: “It marked a significant turning point for me. I was able to truly showcase my talents, and I’m deeply grateful for the success it brought. This Shelat song holds a special place in my heart, and each of my works has built upon the foundation laid by the previous ones.”
This success culminated in a record-breaking milestone, with his YouTube channel surpassing one billion views. Ghareeb credits this achievement to the widespread popularity of his Shelat, stating, “This figure reflects the audience’s appreciation of what I offer.”
Capitalizing on this record-breaking moment in the world of Shelat, we ask Ghareeb about his reaction to reaching his first million views, “It was an incredible joy,” he says. “I was in the south (of Saudi Arabia), eagerly waiting for that million. I stayed up all night.” This milestone has solidified Ghareeb’s status in the Shelat industry. Not only has he advanced the genre, infusing it with new musical and artistic dimensions, but he is also frequently cited on social media as a trailblazer in the field. His lyrics, known for their simplicity, are a key part of his appeal. During our conversation, Ghareeb emphasizes his commitment to choosing clear and straightforward lyrics to connect with a wider audience.
Ghareeb Al Mokhles
Hayat Osama/Billboard Arabia
Each artist is distinguished by their unique use of color and thematic elements in their music and lyrics, and this is particularly evident in Ghareeb’s work. His standout tracks, such as “Kheeba” (Disappointment) and “al-Boad Motei” (Distance Is My Demise), vividly capture the themes of separation and sorrow that often follow farewells. In the interview, Ghareeb talks about his preference for “melodies and tranquility in melancholic compositions” and shares his deep-seated admiration for Khalid bin Abdulrahman’s work since childhood. When asked if his life was marked by sorrow, Ghareeb responds, “No, thank God. May God keep sadness away from us and you. I just have a deep affinity for melancholic moods.”
Contrary to the belief that Shelat is reserved for specific occasions or exclusive to Gulf listeners, Ghareeb explains that Shelat is versatile, performed across various settings, and resonates with audiences beyond the Gulf and the Arab world. Ghareeb elaborates on the multifaceted nature of Shelat encompassing a range of themes such as expressions of reproach and sorrow, tributes to distinguished camels, celebratory pieces for weddings, and renowned tribal Shelat that convey praise and pride at family events. He also makes note of his fan base spanning South Asia, including India and Southeast Asia, including Indonesia, underscoring the genre’s broad appeal.
The rising success of young Shelat artists like Ghareeb Al Mokhles signifies that this art form is far from a transient fad; it is a dynamic and evolving genre. Its increasing popularity is reflected in the growing streaming numbers and a steadily expanding audience, and the launch of Billboard Arabia’s Shelat chart.
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Christoph Behm has been named the new CEO of Sony Music Germany, Switzerland and Austria (GSA), replacing Patrick Mushatsi-Kareba, who is exiting the company at the end of August.
Berlin-based Behm, who began his career at Sony Music in 2011 and has worked in a number of senior roles for the label over the past decade, including head of streaming and director of digital sales, will report to Daniel Lieberberg, president of Sony Music Continental Europe and Africa.
In a statement announcing Behm’s promotion, Lieberberg said the newly appointed CEO’s “deep understanding of our DSP partners and creativity as a leader will serve him well in his new role.”
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“Christoph has played an important role building and expanding our business across this region during the streaming era,” said Lieberberg. “He has worked closely with our artists to bring their music to new fans in innovative ways and has embraced continuous industry change to create opportunity despite rapidly shifting paradigms and business models.”
Sony Music did not provide any details about Mushatsi-Kareba’s departure from the company. The outgoing CEO has headed Sony Music’s operations in the GSA region since 2018 when he joined the label from Universal Music Germany. Prior to that, Mushatsi-Kareba spent eight years at Apple, where he was responsible for overseeing the tech company’s music business in multiple European markets, including Germany, Austria, Italy and Switzerland.
Although Sony Music GSA has enjoyed significant commercial success over the past six years, sources with inside knowledge of their relationship tell Billboard that Mushatsi-Kareba and Lieberberg did not always see eye to eye.
Prior to his promotion to CEO, Behm held the role of senior vp of Sony Music GSA’s commercial division, where he oversaw a large team, including the company’s family entertainment business. In the past two years, Behm’s responsibilities grew to also encompass oversight of catalog, sales and streaming departments in the region.
Top-selling frontline Sony artists in the GSA market include Apache 207, Nina Chuba, Rap Larue and Reezy.
“It fills me with pride to now lead the company that I have served in various roles for so many years,” said Behm, who takes up the CEO post on Sept. 1, in a statement. “We are at another exciting time for our industry, and I look forward with great confidence to this next chapter for Sony Music GSA,” he added.
Germany is the world’s fourth-biggest recorded music market in IFPI’s annual rankings behind the United States, Japan and the United Kingdom.
LONDON — Hipgnosis Song Fund is suing Barry Manilow over bonus payments relating to its acquisition of the singer’s catalog four years ago.
The lawsuit was filed at the High Court in London on Monday (Aug. 12). The case is listed as breach of contract, but details of the claim are not publicly available. Three defendants are listed on the court filing: Manilow; Manilow Productions; and the artist’s management company – Hastings, Clayton & Tucker Inc trading as Stiletto Entertainment. News of the court case was first reported by the Financial Times.
In a statement to Billboard, a spokesperson for Hipgnosis described the dispute as a “routine commercial matter concerning the interpretation of certain clauses in a contract regarding bonus payments, which the court is ideally placed to address.”
“While we regret that this couldn’t be resolved directly between the parties, we continue to hold Barry and his music in the highest possible regard and we are confident that this can be resolved in a fair and reasonable way,” the spokesperson went on to say.
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Billboard understands that the claim is for a low sum in the single digit millions. Representatives for Manilow either did not respond to requests to comment or could not be reached.
The court action comes almost exactly four years after Hipgnosis announced that it had acquired 100% of Manilow’s worldwide recording royalties (excluding SoundExchange royalties) in his catalog, comprising 917 songs, for an undisclosed figure. The deal included some of the 81-year-old singer’s biggest hits, including “Mandy,” “I Write the Songs,” “Looks Like We Made It,” “Can’t Smile Without You” and “Copacabana (At the Copa).”
Speaking in 2020, at the time of the catalog acquisition, Hipgnosis founder Merck Mercuriadis called Manilow “an incomparable artist, songwriter, arranger, musician and performer,” while the veteran singer praised Mercuriadis for creating “a new type of music company.”
A great deal has changed at Hipgnosis since then.
Last month, private equity group Blackstone completed a $1.6-billion acquisition of the six-year-old, London-listed investment trust that had amassed a huge catalog of 65,000 copyrights including songs by Red Hot Chili Peppers, Journey, Shakira, Blondie and Neil Young.
The takeover followed a tumultuous year in which the publicly traded fund faced a shareholder revolt following a series of missteps and accounting scandals, culminating in bitter infighting between the fund’s board and its investment manager, Hipgnosis Song Management, which was led by Mercuriadis.
The former manager of star acts like Beyoncé, Guns N’ Roses and Elton John announced that he was stepping down as chairman of Hipgnosis Song Management in July, having relinquished his role as chief executive officer earlier this year.
Spotify has been given the green light to include pricing and promotional details inside its app on iPhones for users in the European Union following a decision earlier this year by regulators to fine Apple for breaking competition laws over music streaming.
The European Commission fined Apple nearly $2 billion (1.84 billion euros) in March over its long-held policies preventing outside app makers from telling consumers about cheaper ways to pay subscriptions that don’t involve the iPhone app. [Apple appealed in May.] Spotify and other app makers have complained for years about Apple’s restrictions to outside developers and the up-to-30% fee it charges them on all purchases made through iOS apps.
The Digital Markets Act, a sweeping set of regulations for large tech companies across the 27-nation European Union, went into effect in March. Under the DMA’s provisions, app developers are supposed to be allowed to inform customers of alternative purchasing options and direct them to those offers.
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Starting today (Aug. 14), Spotify has opted into Apple’s “entitlement” policy for music streaming apps, created after the commission’s ruling, and begun listing pricing information inside its app for European users — “something as obvious as it is overdue,” the company said in an updated blog post.
iPhone users in Europe will now be able to see how much each subscription plan costs and what they include. Freemium users looking to upgrade can also see special introductory offers and the pricing once a promotion ends. Spotify will be able to list specifics about audiobook listening and pricing as well.
What European iPhone users won’t see, yet, are workable hyperlinks to purchase subscriptions or other digital goods outside the app. Under its “entitlement” terms, Apple receives a 27% commission on proceeds earned from sales on external websites that are linked-to from inside the app. If someone were to click on the link and then wait a week before actually purchasing the service or goods, then the 27% commission would not apply, according to Apple’s terms.
For now, iPhone users will be instructed to “go to the Spotify website.”
Spotify called it a “small step” and said “all music streaming services in the EU are still not able to freely give consumers a simple opportunity to click a link to purchase in app because of the illegal and predatory taxes Apple continues to demand, despite the Commission’s ruling.”
“The fight continues,” the company added. “iPhone consumers everywhere deserve basic information about how much things cost, when they can take advantage of great deals and promotions, and where to go to buy those things online. If the European Commission properly enforces its decision, iPhone consumers could see even more wins, like lower cost payment options and better product experiences in the app.”
Since 2019, U.K. music festival We Out Here — which is set to host its fifth edition from Aug. 15-18 in the Dorset countryside — has sought to elevate under-the-radar artists whose music falls outside mainstream tastes. Now, the festival is opening more doors — this time for the next generation of promoters.
Newly launched by We Out Here, the Future Foundations initiative is seeking to educate and empower grassroots music promoters by offering 15 applicants the opportunity to level up their skills with a bespoke training program. In addition to on-the-job training at We Out Here, the initiative includes mentoring, networking opportunities and virtual workshops. It will also knock down other potential barriers for hopefuls by covering the cost of travel, accommodation and meals.
“As an elder, it is without a shadow of a doubt our responsibility to support the grassroots scenes for the sake of the culture,” says Gilles Peterson, a curator, radio host and A&R who co-founded We Out Here with live music promoter Noah Ball. “We’ve all benefited from that expertise over the years, so we need to allow those experiences and opportunities to happen.”
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Grassroots music promoters are often the first line of discovery for emerging musicians, but that comes with a certain amount of jeopardy, says Ellie White, head of marketing at We Out Here. “Those promoters take a lot of financial risk doing what they do,” she says. “They often do it as passion projects; they get to platform amazing artists who get to work their way up the chain, but the promoters often don’t see anything back from it.”
The Future Foundations project was funded by Arts Council England on behalf of the Department of Culture, Media & Sport, which is distributing £5 million to festivals, promoters and music spaces as part of the Grassroots Music Fund. A spokesperson for Arts Council England says Future Foundations “offers a vital platform for the grassroots communities to connect with new generations, share their knowledge, and strengthen the industry’s future.”
White tells Billboard that by the time the application period closed, they had received over 200 applicants for the positions, with an emphasis on attracting promoters from under-represented scenes and those based outside of London (the pool will ultimately be narrowed down to 15). In U.K. Music’s Diversity Report 2024, the number of Black, Asian and ethnically diverse respondents aged 16-24 had risen from 23.2% in 2022 to 40.6% in 2024. U.K. Music says industry initiatives seeking to diversify the workforce — much like Future Foundations — “are working.”
Gilles Peterson
Benjamin Teo
“We wanted to impact the diversity of promoters,” White says. “It’s currently a very male, very white section of a homogenous industry as a whole. It can be quite hard for people to enter it without connections or a bit of financial backing.”
This emphasis is a natural outgrowth of Peterson’s longtime mission of giving fresh and/or underrepresented voices a chance. During his broadcasting career at BBC Radio, Worldwide FM and Jazz FM, Peterson has given early plays to music by Amy Winehouse, Khruangbin, The Roots, Madlib and more; for the past decade, he’s hosted a weekly show on BBC Radio 6 Music. With We Out Here, he and Ball made a point of supporting artists the mainstream may not quite get, making it the kind of event where André 3000 of OutKast fame can perform his flute-heavy debut solo record New Blue Sun in full and have the 18,000 capacity crowd embrace it, while left-of-center artists like Sampha, Floating Points, Yaya Bey and jazz legend Brian Jackson also get a spotlight.
We Out Here is not immune to the challenges facing much of the festival market in the U.K. and Europe. According to figures from the Association of Independent Festivals (AIF), 56 music festivals have either been canceled, postponed or closed this year, up from 36 in 2023. “We’re fighting big, big promoters and machines who are controlling the acts, the fees and all of that,” Peterson says. “In recent times there’s a lack of support for this kind of grassroots work and we’re navigating our way to stay independent and be an important part of the journey for people in the industry.”
At least so far, We Out Here has managed to ride out the turbulence happening in the U.K. live scene. But with Future Foundations, it’s hoping to provide a gateway for the next generation to build something better.
Tencent Music Entertainment’s stock fell by 15% on Tuesday after declines in the leading Chinese music streamer’s quarterly revenue and monthly active users overshadowed higher profit and paid subscriber gains. TME’s revenues of RMB7.16 billion ($985 million) edged 1.7% lower this quarter from the year-ago quarter, and monthly active users for online music services fell […]
LONDON — Jorja Smith, CASISDEAD and Barry Can’t Swim are among the leading nominees for the 2024 Association of Independent Music (AIM) Awards, which recognize the achievements of the artists, labels, entrepreneurs and companies that make up the U.K.’s indie sector.
The 14th edition of the annual awards show is set for Oct. 17 at London’s Roundhouse venue. Nominees also include D-Block Europe, Kim Gordon, Actress, rapper Skrapz, Mount Kimbie, Anohni and the Johnsons and jazz nine-piece Nubiyan Twist, who are all in the running for the best independent album prize alongside Smith and electronic music producer Barry Can’t Swim, real name Joshua Mainnie.
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R&B singer Jorja Smith, a 2019 Grammy nominee for best new artist, is also listed in the best independent track category for her hit “Little Things,” which spent 22 weeks on the Official U.K. Singles chart, peaking at No. 11.
2023 Mercury Prize winners Ezra Collective are on the best track shortlist, along with Fontaines D.C., KNEECAP, Hudson Mohawke and Nikki Nair, Sampha, NikNak, Matthew Halsall, Amy Gadiaga and CASISDEAD — who was crowned best hip-hop/grime/rap act at the BRIT Awards on March 2.
Other categories announced by AIM, which represents more than 1,000 U.K. independent labels, artists and music companies, include best EP/mixtape, best remix and best video.
The five contenders for the independent breakthrough award number London rapper CASISDEAD, Barry Can’t Swim, Bar Italia, Saint Harison and Wunderhorse, who all receive free access to studio time at London’s Metropolis Studios as part of their nomination.
AIM’s One to Watch category, which has previously been collected by Nia Archives and Arlo Parks, shines a light on spoken word artist Antony Szmierek, drum and bass MC OneDa, DJ Kitty Amor and artist/producers Lynks and Miso Extra.
Nominees and winners are picked by the AIM board and a panel of expert judges with the exception of the best live performer award, which is decided by a public vote.
In terms of most nominated indie labels, London-based Ninja Tune leads the pack with its artists receiving four nods across the categories announced so far (Actress, Barry Can’t Swim, Nabihah Iqbal and George Riley). XL Recordings, Heavenly Recordings and artist services company EGA Distro each have three acts up for prizes.
Nominations for the remaining award categories, including best boutique label and independent champion, as well as live performers at this year’s ceremony will be announced in the coming months, said AIM. Sponsors and media partners for October’s awards include Spotify, Vevo, Meta, Notion, Amazon Music and the BBC.
Gee Davy, interim AIM CEO, said that this year’s nominees “spans the regions and nations, genres and communities of the U.K.’s independent music scene, recognizing success, talent and artistry.”
Ruth Barlow, the not-for-profit organization’s chair, said in a statement that the 2024 awards shortlist provides “a great glimpse into the length and breadth of the U.K.’s independent sector and highlight a handful of the innovators, culture makers and commercial successes AIM’s outstanding community has to offer.”
According to figures released earlier this year from U.K. labels trade body BPI, independently released songs and albums accounted for almost one-third of all music consumption in the U.K. in 2023 with the equivalent of more than 53 million independently released albums streamed or purchased across digital and physical formats. The U.K. is the world’s third-biggest recorded music market in IFPI’s annual rankings behind the U.S. and Japan.
See below for a full list of the nominees for the 2024 AIM Independent Music Awards announced so far:
Best Independent Album (in association with Spotify)
Actress – LXXXVIII (Ninja Tune)
ANOHNI and the Johnsons – My Back Was a Bridge For You to Cross (Rough Trade Records)
Barry Can’t Swim – When Will We Land? (Ninja Tune)
D-Block Europe – Rolling Stone (EGA Distro)
Jorja Smith – falling or flying (FAMM)
Kim Gordon – The Collective (Matador Records)
Mount Kimbie – The Sunset Violent (Warp Records)
Nabihah Iqbal – Dreamer (Ninja Tune)
Nubiyan Twist – Find Your Flame (Strut Records)
Skrapz – Reflection (EGA Distro)
Best Independent Remix
P-rallel Remix – Aluna, Jayda G – Mine O’ Mine (Mad Decent Under Exclusive License to Because Music)
Olof Dreijer Remix – Björk – Oral (feat. Rosalia) (One Little Independent)
L BEATS Mashup – Jorja Smith – Little Things x Gypsy Woman (FAMM)
Egyptian Lover Remix – Sudan Archives – Freakalizer (Stones Throw Records)
Ezra Collective, Sampa The Great – JOY (Life Goes On) (Partisan Records)
One to Watch (in association with BBC Music Introducing)
Antony Szmierek (LAB Records)
Kitty Amor (Defected Records)
Lynks (Heavenly Recordings)
Miso Extra (Transgressive)
OneDa (Heavenly Recordings)
Best Independent Track (in association with Meta)
Amy Gadiaga – “All Black Everything” (Jazz re:freshed)
CASISDEAD – “Venom” (XL Recordings)
Sampha – “Spirit 2.0” (Young)
Fontaines DC – “Starburster” (XL Recordings)
Ezra Collective – “Ajala” (Partisan Records)
Jorja Smith – “Little Things” (FAMM)
KNEECAP, Grian Chatten – “Better Way to Live” (Heavenly Recordings)
Matthew Halsall – “An Ever Changing View” (Gondwana Records)
NikNak – “1200RPM” (Accidental Records)
Hudson Mohawke & Nikki Nair – “Set the Roof” (Warp Records)
Best Independent EP/Mixtape
George Riley – Un/limited Love (Ninja Tune)
Headie One & K-Trap – STRENGTH TO STRENGTH (One Records and Thousand8)
JGrrey – If Not Now? (PACE, a subsidiary of Marathon Music Group)
Potter Payper – Thanks for Hating (EGA Distro)
HONESTY – BOX (Partisan Records)
UK Independent Breakthrough (in association with Amazon Music)
Bar Italia (Matador Records)
CASISDEAD (XL Recordings)
Wunderhorse (Communion Records)
Barry Can’t Swim (Ninja Tune)
Saint Harison (Platoon)
Best Independent Video (in association with Vevo)
Gia Ford – Poolside (Chrysalis Records)
Khruangbin – A Love International (Dead Oceans)
Master Peace – I Might Be Fake feat. Georgia (PMR Records)
Mitski – My Love Mine All Mine (Dead Oceans)
Sampha – Only (Young)
One of pop music’s biggest breakouts stole the show at Montreal’s Osheaga Music & Arts Festival last Saturday (Aug. 3). It’s rare to see the festival grounds packed at 3:30 p.m. in the afternoon – especially on a day with a heat warning – but for the celebratory queer pop of Chappell Roan, fans were willing to take the heat.
She was booked for the festival last fall, but since then, the Midwest Princess has exploded in popularity, opening for Olivia Rodrigo and charting six songs on the Billboard Hot 100. Her afternoon slot felt mismatched to her current stature, but Chappell made the most of it, turning in a performance that hit harder than Green Day’s headline set later that night.
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The set followed a similarly frenzied performance at Lollapalooza two days earlier that reportedly broke attendance records. At one point, Chappell made an honest mistake that also reminded the crowd where she should have been on the lineup. “Tonight, we’re going to,” she began – before remembering it was the afternoon.
“She’s the only reason that we’re here today,” said one Montreal fan named Maria. She discovered Roan a year-and-a-half ago on TikTok, and said she got emotional during “Pink Pony Club.” “It’s so nice to have everybody here,” Maria added, “we’re here for the same reason: to support an amazing queer artist and to live in each other’s queer joy.”
More than 147,000 music fans packing into Parc Jean-Drapeau for Osheaga’s three days – the festival’s second-highest attendance in its 17 years. Fans packed in to see sets by acts like SZA, Green Day and Noah Kahan, creating a big-ticket atmosphere. It was also hampered by the later revelation of a tragedy, with one festival-goer found drowned in the Olympic Basin at Parc Jean-Drapeau after leaving the Osheaga grounds. An investigation into the death is underway.
Other highlights included breakout Canadian musician TALK (who’s especially big in Quebec), a rain-delayed set by British singer RAYE, a charismatic performance by Tyla and a Hozier set for a rapt audience in which he called for a ceasefire and “a Palestine free from occupation.” -Rosie Long Decter
Shaboozey Hits 10 Weeks At No. 1 on Billboard Canadian Hot 100
Someone pour him up a double shot of whiskey: Shaboozey just hit a chart milestone in Canada.
The Virginia singer has notched his tenth week atop the Billboard Canadian Hot 100 with “A Bar Song (Tipsy).” The song is also still on top in the U.S., though only for its fourth week.
Shaboozey
Daniel Prakopcyk
In Canada, it’s the clear song of the summer. Briefly knocked from its top spot by Morgan Wallen and Post Malone’s “I Had Some Help” and then Eminem’s “Houdini,” “A Bar Song (Tipsy)” has held the spot consecutively since the week of June 22.
It’s maybe an unusual candidate for song of the summer, less peppy and optimistic than “I Had Some Help” or Sabrina Carpenter’s “Espresso.” But “A Bar Song” has a folk-country sound that’s always done well in Canada and a thematic depth that helps it resonate.
The song interpolates J-Kwon’s 2004 hip hop track “Tipsy,” replacing its synth line with an acoustic guitar strum. Shaboozey transforms a hype track for the club into a melancholy country anthem about working too hard and not making ends meet. It’s no surprise that “A Bar Song” is connecting widely amidst a cost-of-living crisis.
(It also helps that one of Shaboozey’s primary challengers for song of the summer in the U.S., Kendrick Lamar’s “Not Like Us,” isn’t as popular in Canada, for obvious reasons).
The 10-week achievement adds to Shaboozey’s list of accomplishments in a year when he has featured on Beyonce’s Cowboy Carter and is set to headline a North American tour for the first time. He’ll play Toronto on Sept. 13 and Quebec City on Sept. 14. –RLD
MRG Group and Paquin Entertainment Group Hire New Executives
Canadian venue management, concert promotion and hospitality company, MRG Group has announced the hire of Robyn Kaszor as director and senior talent buyer.
Based in Montreal, she joins the company from Just For Laughs where she spent the last 18 years, most recently holding the post of vp of festivals with oversight of the company’s festivals in Toronto, Montreal and Vancouver.
The company produces 1100+ shows per year in North America, selling approximately 500K tickets. The company also owns and operates six venues, including The Vogue and Queen Elizabeth theatres in Vancouver and Adelaide Hall in Toronto.
Paquin Entertainment Group, meanwhile, has announced the appointment of media and television executive Andrew Akman as its chief operating officer.
Based in Toronto, Akman is expected to leverage the company’s status as a global, multi-platform entertainment business to produce large-scale events, exhibitions, and theatre, film, and television productions. Paquin is currently in development on several talent-driven projects for broadcasters, streaming platforms, and live audiences, according to the Aug. 6 announcement. Akman has held senior roles at Cineflix Media, Shaw Media, Canwest Media, Alliance Atlantis Communications, and co-founded the television production company Husk Media.
Paquin Entertainment Group, led by Gilles Paquin, has 45 years of experience managing and representing talent and producing film, television, theatre and immersive exhibitions. Akman’s appointment follows Paquin’s acquisition of the Canadian arm of APA as it continues to build on its momentum, now representing more than 350 artists.
Paquin, chairman & CEO, of Paquin Entertainment Group, said: “Andrew’s expertise in media and entertainment and his entrepreneurial spirit make him an ideal fit for Paquin as we continue to expand the range and scale of our global businesses in artist representation, immersive exhibits, live events, brand partnerships, and theatre, film and television.”
[Billboard Canada has a strategic partnership with Paquin.] -David Farrell
In 2017, Yungblud met the world with a riotous show at The Water Rats, a dingy club in London’s Kings Cross area that also hosted Bob Dylan’s first live performance in the U.K. — as well as the first ever by Irish group The Pogues.
They went on to even bigger things and this weekend Yungblud will, too. On Aug. 11, the Doncaster-born artist will host the inaugural Bludfest, a 30,000 capacity, one-day event at Milton Keynes Bowl, England. Previous performers at the venue include Queen, Green Day, Metallica, Foo Fighters and Michael Jackson.
The 27-year-old – real name Dominic Harrison – will be joined by a diverse bill including his recent collaborator Lil Yachty, Soft Play (fka Slaves), Jazmin Bean, Lola Young and feature a slot by The Damned; the headline performance will mark his first full U.K. live show in over a year. Harrison released his most recent LP, Yungblud, in 2022, which charted at No. 1 in the U.K. and landed at No. 45 on the Billboard 200.
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Across two stages and alongside fairground attractions, an art exhibition and a nod to the beloved Camden boozer The Hawley Arms, Bludfest is an all-encompassing proposition. “I’ve said from the start that it cannot be a gig wrapped in a festival, it needs to be a whole world,” he tells Billboard. “When I spoke with the team it became clear that it was important that part was nailed.”
Disillusioned with the state of the live music industry, Harrison has also been vocal about keeping ticket prices affordable for his young, passionate fanbase. He joins British artists like Paul Heaton and Tom Grennan in trying to buck industry trends for rising entry costs for fans amidst an uncertain and costly landscape for touring artists. An entry ticket for the event is capped at £49.50, though he has partnered with AEG to ensure a sound and slick production on the night.
A week out from the big night, Harrison tells Billboard about why the ticket market inspired Bludfest, advice from the Osbournes and his new label moves for album number four.
Why did now feel like the right time for Bludfest?
It’s something I’ve wanted to do for ages and this was the first opportunity in between tours and albums to do something on this scale. I wanted to build a physical space where the fans can all come together and realize how far this community has come. It needed to be a statement piece as a lot of critics don’t take me or the fans seriously, so I’m like “well, look what we can do.”
You’ve strived to keep ticket prices down to a reasonable amount at £49.50 ($63). Where did that desire come from?
I was in the U.S. last summer and it was the first time playing amphitheaters – our biggest venues in America yet – and it was the first time I experienced tiered seating and experiences. The floor and upper seats were totally full and there was this bullsh-t area in the middle, about 500 seats that were empty and I had no control over the price of them. There were kids outside of the venue who said they had to listen to the concert from outside because they couldn’t afford to come in. It hurt me when I heard that.
The global ticket market doesn’t understand people’s real lives. £250 for a ticket is making me sick. There’s a tour that just went on sale – which I won’t name – and I’m like “Are you f–king joking with me?” It makes me really angry.
There’s concern that young people in particular are being priced out of gigs by their favorite artists…
A lot of artists aren’t as in control of their career as you would think, or don’t pay as much attention to anything other than the art – which is fine and works for some artists, but that’s not me. The only explanation for where I am now, really, is my relationship to my fans. I wanted to make something feasible in a world where music has become a thing of privilege.
Looking at what The Cure’s Robert Smith did with Ticketmaster last year was so inspiring [Ticketmaster refunded what Smith called “unduly high” fees on tickets for the band’s U.S. arena tour in 2023.] That’s an artist at his stage of his career where they’re playing for original fans, but also for new, young fans and he’s still thinking about those people coming through. I don’t want my shows to only be full of people who can afford it.
How has the industry responded to you trying to do something different and less centered around profits?
I’m getting pushback from “the boardroom.” It’s so easy for artists to sit in the pub and say “f–k the label, promoters and corporate system” and do nothing about it. I got some heat from people because Bludfest is co-promoted by AEG but for me, the way to change the corporate system is not by betting angry but going and changing it from within. Most people on the ground floor at these labels or promoters just love music passionately as the fans do.
By taking something into my own control, I can get an insight into something I never would have come across and get an idea on costs and challenge them on why we’re charging a higher amount than what we need to. We’ve already got plans to take Bludfest to Paris or Prague; Japan, Australia and America all want it, it’s gone amazingly well. We have such a strong core fanbase in all of these places and we could really unite a bit of a scene around it.
You’re not the first to have the idea. Lollapalooza started as an outlet for Jane’s Addiction frontman Perry Farrell and your collaborator Ozzy Osbourne [star of the music video for Yungblud’s “The Funeral”] hosted Ozzfest for decades. Have you reached out for advice?
Sharon [Osbourne, Ozzy’s wife and longtime manager] has been so helpful to me. I said to her that I don’t feel like people don’t take me seriously, and she replied “we’ve felt that our whole f–king lives, that’s why we started Ozzfest.” She gave such positive feedback and advice to look after the people because they keep us here. They’ve been so amazing as a family to me.
You’ve got an eclectic mix of artists on the bill from U.S. rappers like Lil Yachty to punk legends The Damned. How did you decide who would be right for Bludfest?
I didn’t want it to be a genre-focused festival. I wanted to think about artists in their own lane and doing their own thing from across the whole scene, so I hit up Lola [Young] who I think is amazing, Jazmin [Bean] who is in their own world, The Damned for the icon slot. I asked about Placebo but they couldn’t make it so maybe we’ll get them next year. I was speaking to Robert Smith, The Smashing Pumpkins and just all my contacts for suggestions, and they all love the idea.
I wanted it to be young, emerging artists. I didn’t want to call up Tyler [Joseph] of Twenty One Pilots, or Oli [Sykes] from Bring Me The Horizon, I wanted it to feel like it is the first year and have a bit of bite and punkiness.
You’ve just moved labels to Island (U.K.) and Capitol (U.S.) for your upcoming record. How is work coming along?
My next album is a rock opera… it’s mental! It’s a new phase in my life and these labels are so classic, and this new album feels like it belongs on prestigious labels like that. The last few months have been a lot more creatively fruitful and inspiring. I really had a choice about staying in the comfort zone or do I want to go to different places and experiment.
In the past I was stuck on the treadmill – to the point that even some of my previous albums felt rushed – or taking external ideas that would damage the art because I was trying to satisfy someone else’s idea for what Yungblud is and not what’s in my gut. But now I feel more excited than ever.