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The recorded music market in Europe is at risk of falling behind other global regions unless regulators enforce tougher protections for artists, creators and rightsholders, according to a new report from international labels trade body IFPI.
In Europe, music sales grew to over $8 billion in 2023, representing more than a quarter of global revenues (28.1%) and maintaining the continent’s long-held status as the second largest region in the world for recorded music sales behind the U.S. and Canada, according to IFPI data.
Europe’s prominent position is coming under threat, however, from other music markets that are growing at faster rates, states IFPI’s first-ever report focused specifically on recorded music in the European Union, published Tuesday (Sept. 10).
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Last year, music sales among the 27 members of the European Union trading block — which the U.K. exited in 2020 — grew by 8.7% to 5.2 billion euros ($5.7 billion), says IFPI. While that places the EU below only the U.S. in total revenue terms, several other international markets are significantly outpacing its growth rate thanks to the widespread global adoption of music streaming services.
Examples cited by IFPI include China, which grew music sales by more than 25% to 1.3 billion euro ($1.4 billion) in 2023; Sub-Saharan Africa, up 25% to 85 million euros ($93 million); Mexico, up 18% to 454 million euros ($500 million); and the Middle East and North Africa (MENA), which climbed 14% to 102 million euro ($112 million).
Although all of those territories are developing from far lower bases than mature EU markets such as France and Germany — and all have some way to go before they come close to surpassing EU music sales — IFPI said their rapid growth represents “warning signs” that the region is facing strong competition from its global competitors. Notably, some of those fast-growing music markets were virtually non-existent just over a decade ago.
The report, which is titled “Music in the EU: A Global Opportunity,” comes three months after European Parliament elections and ahead of the unveiling of the new European Commission, the EU’s executive branch, which is expected to take place later this month.
The new cohort of Brussels politicians will be responsible for monitoring and enforcing already passed EU legislation such as the Digital Services Act, Digital Markets Act and the AI Act, which all impact the music business to varying degrees, in some instances significantly.
“The EU is a vitally important place for music,” said IFPI CEO Victoria Oakley in a statement. “However, the data in this report shows us that other parts of the world are developing and growing rapidly and the EU risks falling behind.”
To ensure that the EU’s music market stays competitive, Oakley called on European policymakers to provide “legal certainty and protection for music rightsholders, supporting the development of responsible and ethical AI and creating a competitive playing field on which today’s dynamic music sector can evolve.”
“Today, European music faces great risk but also great opportunity,” Oakley continued. “How policymakers address these issues will help determine its future.”
An accompanying press release from IFPI said its research sets out how policymakers can help “secure a positive future for music at what is a pivotal time for music in Europe” amidst rising global competition.The report notes that when adjusted for inflation, recorded music revenue in the EU last year was only 61% of where they were in 2001, the music industry’s revenue peak.
Specific areas in which IFPI says policymakers can support creators and rightsholders include effective implementation of the EU’s AI Act, which passed earlier this year, and upholding existing EU copyright laws preventing the use of copyright-protected works and music from being used for training AI systems without prior consent. AI developers must also maintain and provide records of the materials used in training and developing generative AI models that enable rightsholders to exercise and enforce their rights, says IFPI.
When it comes to individual EU markets, the report highlights the continued strong performance of domestic acts in their home countries. In the 22 EU markets where IFPI collects yearly chart data, on average, 60% of the Top 10s were tracks by domestic artists in 2023, compared to only 47% in non-EU markets.
EU markets fared less well in terms of top 10 global chart exports, which were once again dominated by U.S. artists like Miley Cyrus, SZA and Taylor Swift last year, though Latin and Central American artists, most notably from Columbia and Puerto Rico, also performed well.
The first edition of the Billboard Arabia Music Awards (BBAMAs) is set for Dec. 11 at the iconic KAFD in Riyadh, Saudi Arabia. The awards show is part of the first-ever Riyadh Music Week, an initiative bringing together the global music community for a series of music festivals and events.
Billboard Arabia has become the ultimate destination for discovering Arab artists, with the awards show celebrating a year of music milestones and achievements, including the launch of its flagship charts and other initiatives. The BBAMAs will honor trailblazers and rising stars with awards across a wide range of categories, including top artist, female artist and male artist, along with the year’s hottest songs and more.
Unlike other music award shows, BBAMA winners will be selected based on their ranking on Billboard Arabia’s flagship charts, including the Hot 100 and Artist 100, as well as the newly launched dialect charts – Khaleeji, Egyptian, Levantine and Magharebi – and genre-specific charts – Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. Billboard Arabia’s Charts follow the well-established parameters set by the Billboard brand over the last eight decades.
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In addition to recognizing the top artists and music of the year, the BBAMAs will showcase Saudi Arabia and the region’s diverse talent through live performances and surprise collaborations, featuring both established and emerging artists. It will also include performances from some of the biggest international artists.
“In just one year, Billboard Arabia has become the fastest-growing music platform that truly reflects the preferences of millions of music fans and followers across the globe,” Jomana R. Alrashid, CEO of SRMG, said in a statement. “Through the support of the Saudi Music Commission, part of the Ministry of Culture, and SRMG’s strategic partnership with Billboard, this significantly strengthens our ability to spotlight Arab artists to bring their work to global audiences and grow the region’s vibrant music industry.”
Rami M. Zeidan, managing director of Billboard Arabia, said: “I am proud to announce the first edition of the Billboard Arabia Music Awards. As one of the fastest growing music hubs, Riyadh is the perfect location to celebrate the achievements of Arab artists around the world. Audiences will experience the diversity of Arab music firsthand through live performances. They will see their favorite artists like never before. This is what BBAMAs are all about: ensuring that Arab artists, their music and their stories receive the well-deserved recognition both regionally and globally.”
Billboard Arabia, a pioneering platform at the intersection of culture and music, celebrates the artistry and diversity of the Middle East and North Africa (MENA). Launched as a partnership between SRMG, the largest integrated media group from the MENA region, and Billboard, the world’s most influential music media brand, its mission is to redefine the global music landscape.
Mike Van, president of Billboard, stated: “We are proud to bring the Billboard Music Awards (BBMAs) to Riyadh. The show remains the preeminent music event worldwide. The BBMAs celebrate and recognize musical talent and chart achievements and we’re thrilled to extend this legacy and vision to the MENA region, highlighting the musical excellence of Arab artists. This show will not only celebrate artists’ commercial success, but also highlight their real impact on the music industry. The focus is on spotlighting artists and the evolving music landscape. Winning at the Billboard Music Awards is not just about one night; it represents an important moment elevating artists toward sustained success in their careers. This year, with the launch of the Billboard Arabia Music Awards, we are applying the same metric-based methodology to showcase Arab artists who have resonated most with music fans worldwide.”
Billboard Arabia was launched in June 2023 to spotlight Arab artists and their stories on a global stage. Since then, it has introduced several iconic Billboard franchises to the MENA region, including Billboard Arabia News, Women in Music and Charts. These initiatives have established the necessary infrastructure to help both established and new artists reach wider audiences. Billboard Arabia has also developed several unique IPs that further highlight the Arab voices, including its exclusive studio session series, Jalsat Billboard Arabia, and its groundbreaking initiative, Sounds of the Land.
Performances and ticket information will be announced in the coming weeks. For more updates and news, visit billboardarabia.com.
BLACKPINK member Jennie has signed to Columbia Records as a solo artist in partnership with her record label and entertainment company ODDATELIER, it was announced Sunday (Sept. 8). The singer is slated to release a new solo single in October. The news follows last December’s revelation that all BLACKPINK members had split with their label, […]
Billboard Canada Women in Music was a star-studded celebration.
Rising stars, Canadian legends — and some of their parents — were on hand to honour the myriad achievements of women on stage and behind the scenes in the first-ever edition of Billboard Women in Music in Canada featuring guest of honor Alanis Morissette.
The packed, pink-tinted room at DPRTMNT in downtown Toronto was full of some of the Canadian industry’s biggest names, from Apple Music host and Billboard Canada Power Player George Stroumboulopoulos, to pop-punk star Fefe Dobson and R&B singer Keshia Chanté, to FACTOR Canada CEO Meg Symsyk and many many more. The evening brought Canadian women in music together to connect with each other, celebrate their accomplishments, and build community together.
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Hosted by rapper and Polaris Music Prize winner Haviah Mighty, the evening saw moving performances and impactful speeches, and a moving speech from Alanis as she received the inaugural Billboard Canada Icon Award. Here are the best moments from Billboard Canada Women in Music.
Alanis Morissette Talks About What it Means to Be a Canadian Icon
The Billboard Canada Women in Music ceremony was graced by a true legend: Alanis Morissette received the Icon Award, honouring her as one of the country’s all-time greatest artists. Morissette celebrated femininity and emphasized its importance to people of all genders. “Matriarchy takes care of everybody,” she told the crowd, to a round of cheers.
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She was introduced by two Canadian stars — broadcaster George Stroumboulopoulos and Woman of the Year Charlotte Cardin, both of whom spoke to her massive influence. Stroumboulopoulos suggested reframing the notion of an icon: instead of measuring it by numbers, he said, we can understand an icon as someone who changed the game entirely for everyone who came after her — whether the next generation knows it or not. He remembered hosting a late night radio show in the ’90s listened to primarily by 18-24 year old boys, who would call in to wax poetic about their favourite parts of the video for Morissette’s hit “Ironic.”
Taking the stage to accept the award, Morissette — who has sold over 60 million records, with her breakthrough album Jagged Little Pill widely ranked as one of the best albums ever made — had her own thoughts to share on what it means to be an icon. She joked that even cereal boxes are called iconic these days. For her, though, an icon is someone who serves as a symbol of the safety to explore. Morissette reflected on how icons can inspire fans and listeners to probe the unconscious and to express themselves in new ways.
She also considered what it means to be a Canadian icon, enumerating some Canadian qualities that have helped her to succeed: curiosity and humility. Fame can be an isolating experience, Morissette shared — especially in the ’90s, when there wasn’t a big girl-squad mindset, but fame has allowed her to also support and connect with people.
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Charlotte Cardin Makes History as the First Canadian Billboard Woman of the Year
Charlotte Cardin had a year full of highlights, from crossing over into the U.S. charts to selling out arenas worldwide, but she has another big milestone to add to her resume: the first Billboard Woman of the Year in Canada.
Accepting the award from Billboard Canada national editor Richard Trapunski, the Montreal singer-songwriter acknowledged the importance of the occasion while sharing the credit. “This is such an incredible honor, but this award isn’t just mine,” she said. It was a team effort, reflecting many talented people around her — especially women.
She thanked the women in her life, including her manager Laurie Chouinard. Accepting her own award for Manager of the Year earlier in the night, Chouinard pointed out that Cult Nation, the label and management company she works with, is made up of mostly women. Cardin said the women in her life also includes her fans. She even dropped some stats. “75% of my audience is female,” she said. “I’m grateful for you all.”
Later, she got to thank a specific influence, introducing Icon of the Year Alanis Morissette. The normally cool and collected Cardin got a chance to gush, speaking for the awestruck women in the room. She said she doesn’t know Alanis, but feels like she does from her music, and called her a champion of self-esteem and acceptance for entire generations.
Cardin had one of the final performances of the night, too, hushing the room with a dramatic solo piano version of the closer from her breakout 2023 album 99 Nights, “Next To You.” She ended by blowing the audience a kiss, putting a stamp on a big night deserving of a historic achievement.
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Jully Black’s Powerful ‘Redemption Song’ Commands The Room
One of the first performances of the night was none other than Canada’s queen of R&B, Jully Black, who was also on hand to receive the Billboard Canada Impact Award. Black is a platinum-selling singer, but she opted to perform a moving cover of Bob Marley’s “Redemption Song” instead of one of her best-known hits like her top ten hit “Seven Day Fool.”
Accompanied by piano and guitar, Black had the chatty room in the palm of her hand, opening with a moment of silence that got everyone’s attention. “You’d think it would be obvious for me to come and do a ‘Seven Day Fool’,” she told the audience. “But where I’m at in my life, it’s about redemption.” She led a sing-a-long of “This Little Light” before going into the classic Marley song about bondage and freedom, changing some of the words. “How long will they kill our women?” Black sang, a resonant question during a truly impactful performance.
After her show-stopping performance, Jully Black returned to the stage to receive the Impact Award, honouring the massive mark she’s left on Canada’s music industry and beyond. A renaissance woman, Black has a multi-faceted career in music, acting, radio, fitness and much more, and she’s shaped national conversations about racism and colonialism.
Accepting the award, she reflected on a time before she was at the forefront of Canadian media, when her main focus was bringing her childhood cabbage patch doll to her grade two show and tell. The cabbage patch doll, she laughed, melted in the sun — so her teacher, Miss Simon, invited Black to sing, instead.
“So I’m saying her name,” Black shared, “Miss Simon — thank you.” She went on to name a long list of women integral to her journey, including Warner Chappell Music Canada’s Vivian Barclay, FACTOR’s Meg Symsyk, and former MuchMusic host Denise Donlon. It was a reminder that for every woman on stage at the event, there’s many more who helped her get there.
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Jessie Reyez Celebrates Her Trailblazer Award — And Her Mom’s Birthday
Singer Jessie Reyez took home the inaugural Trailblazer Award, recognizing her commitment to artistry and the ways she’s used her platform to promote social causes throughout her career, from speaking out about sexist gatekeeping in the industry to shouting out Black Lives Matter from the CN Tower.
She thanked her parents as she received the award, highlighting her mom in particular, who was celebrating her birthday from the Billboard Canada Women in Music VIP Booth. Reyez reflected on how growing up, her mom always encouraged her to live her truth, whether or not it conformed to gender norms. “I was given an open canvas, and despite people judging her mothering style, she still let me be free,” she said.
She also offered a little advice for people who might be afraid about standing up for a cause: “I hope you f—ing do it anyway.”
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Star Siblings Haviah and Omega Mighty Double the Fun
It’s no easy task to follow Alanis Morissette, but sisters Haviah and Omega Mighty rose to the occasion, closing out the evening after Morissette received her Icon Award. Haviah also served as the evening’s co-host alongside Billboard Canada CEO Amanda Dorenberg and CCO Elizabeth Crisante, bringing the energy throughout the night, but she had more than enough leftover for a medley with her sister Omega.
Haviah kicked off the set with her 2023 single “Trendsetter” before bringing up Omega for a rendition of their collab track “Zoom Zoom.” The two fed easily off of each other’s vibes, bouncing around the stage and getting the crowd dancing. “We’re gonna finish it up by maximizing the fun,” Haviah told the room, before launching into her brand new single “Double The Fun,” with a booming beat. The sisters are more than capable of getting serious when the moment calls for it — in our Spotlight Sessions, they share wisdom about their journeys in the industry — but they also know how to get the party started, and how to bring an event home.
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Sophie Grégoire Trudeau Quotes the Queens
Author, mental health advocate and political figure Sophie Grégoire Trudeau helped kick off the event by joking that her two kids don’t normally think of her as cool — but at an event like this, she definitely felt cool.
Grégoire Trudeau paid tribute to the event’s honourees by quoting some of their most inspiring lyrics, stitching together quotes from Alanis, Jully Black, Haviah Mighty and more into a free-form spoken word poem. This excerpt alone juxtaposes Tia Wood, LU KALA and Charlotte Cardin:
“We shed with the sea
Sun shining on our peace
What doesn’t kill you makes you hotter now
A little wilder when the lights go out
See the sun leading us
Hear the drum beating us
We will not live a meaningless life”
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LU KALA’s Rising Star Shines Bright
Pop singer LU KALA has been making waves with her infectious charisma and empowering anthems like “Pretty Girl Era,” making her this year’s Billboard Canada Rising Star. To celebrate the award she performed a medley, showing off the chops that have helped bring her to international attention.
Earlier this summer, LU performed a more stripped-back set for the Billboard Canada and iHeartRadio Spotlight Session, but her Women in Music set was a full-on, high-energy affair. LU strutted on stage accompanied by keys, guitar and her very own back-up dancers.She sang a brief rendition of her upcoming single “Criminal” before segueing into the breakup bop “Hotter Now,” with her dancers fanning themselves and stomping the stage to emphasize key lyrics. It was an affirmation that this diva is ready for her spotlight.
Intimate Performances From Up-and-Comers and Longtime Favorites
The celebration also highlighted some of Canada’s most exciting up-and-coming artists, including Alberta country singer Hailey Benedict as well as soulful Plains Cree and Salish singer Tia Wood.
Benedict took the stage in a shining silver outfit with just her acoustic guitar, performing an unreleased song, “Things My Mama Says,” dedicated to her mom. Benedict, who won the SiriusXM 2023 Top of the Country competition and has built an impressive online following, also revealed the exciting announcement that she’s signed a record deal with Nashville’s Big Loud and their Canadian imprint, Local Hay.
Plains Cree and Coast Salish singer Tia Wood performed twice at the event, opening the evening and returning later with a delicate, dynamic rendition of her song “Dirt Roads.” Wood was vulnerable with the crowd as she spoke about moving to L.A. and feeling lonely, losing access to her culture and community. Wood has made a name for herself as an artist to watch, and she brought her precise vocal trills and ability for raw connection to the Billboard Canada Women in Music stage.
There was room for longtime favourites with new energy, too. Anjulie, who first charted in 2009, has made a new name for herself as an industry player in L.A., collaborating with everyone from Zedd to Nicki Minaj. At the celebratory event, she gave a short and sweet performance with two interpretative dancers behind her.
Moments of Community Building Across the Music Industry
Billboard Canada Women in Music was about more than just artists — it was about recognizing talent across sectors of the industry and building community across the whole music landscape. The list of talented women in the room was incredibly diverse — not just in terms of genre, but in ways they shape the industry.
Sonali Singh won Global Manager of the Year, flying in from India to accept. She’s one of the first female managers in India, she said, and acknowledged she couldn’t have done it without the “global artist of the decade” Diljit Dosanjh. Together, the two made history this year, putting on the biggest Punjabi concert outside of India in Vancouver and repeating it with a stadium show in Toronto.
Meg Symsyk, CEO of FACTOR, and Amy Eligh, Director of Publishing & Licensing of Arts & Crafts, both took the stage and recognized the importance of royalties and rights for songwriters. Lola Plaku, SVP, IGA Urban Marketing & Strategy at Interscope, Geffen and A&M and founder of Girl Connected, talked about the importance of mentorship. The powerful women in the room extended beyond music — Joanna Griffiths, CEO of underwear company Knix Wear, introduced Jully Black while remembering when she worked as Black’s publicist, helping Black to make her mark in the industry.
That just scratched the surface of the powerful and influential women at the event, who connected and celebrated each other throughout the night.
This story originally appeared in Billboard Canada.
The choice of São Paulo, Brazil, to kick off The Weeknd‘s new tour was no coincidence. The Canadian singer — cover star of the 10th edition of Billboard Brazil — was in the city last October, performing at two sold-out nights at Allianz Parque with the show After Hours Til Dawn. At the time, American […]
If investors and music companies want high streaming growth rates, they should look beyond the suddenly sluggish U.S. market.
Of the few countries that have released midyear recorded music industry figures, the U.S. has the lowest growth rate for streaming — by far. Japan, Brazil, Italy, Germany and Spain each easily bested the 3.8% growth rate mustered by the U.S. in the first half of 2024, though they are far smaller markets.
In Brazil, the ninth-largest market in 2023, streaming revenue improved 21.1% to 1.442 billion BRL ($284 million) in the first half of 2024, according to the country’s trade group, Pro-Música Brasil. Subscription revenue rocketed 28.4% to 995 million BRL ($196 million) while ad-supported streaming rose just 6.6% to 436 million BRL ($86 million).
Streaming accounts for 99% of total revenue in Brazil, a market that was early to adopt streaming platforms. (Pro-Música Brasil did not include synch and performance royalties in the midyear numbers. In 2023, those two segments accounted for 12% of Brazil’s total revenue.) The former internet radio service Rdio — acquired by Pandora in 2015 — launched in Brazil in 2011. Muve Music, acquired by Deezer in 2015, launched a partnership with leading mobile carrier TIM in 2013. Deezer still powers TIM’s music streaming platform and extended that partnership in January.
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Important markets in Asia and Europe also delivered impressive streaming gains in the first half of the year. Spain nearly matched Brazil with 19.1% streaming growth and a 16.6% improvement in total revenue. In Italy, recorded music revenue jumped 15.1% and streaming revenue, which accounts for 80% of the total market, grew 18.1%. (Figures in currency were not provided by Italy’s trade group, FIMI.) The world’s second- and fourth-largest markets, Japan and Germany, had streaming gains of 12.7% and 9.0%, respectively.
In aggregate, the five ex-U.S. markets grew 12.2% compared to the first half of 2023, with the smallest markets having the highest streaming growth rates. Brazil’s market is less than 3% the size of the U.S., while Spain and Italy are 3% and 4% the size of the world’s largest market, respectively. Germany’s market is 15% as big as the U.S. Japan is just a quarter of its size.
What the U.S. lacks in momentum it makes up for in size. Based on total market revenue for 2023, the U.S. was more than twice the size of the five ex-U.S. markets combined — $11.04 billion to $5.47 billion, according to IFPI figures. In fact, the U.S. is so large that a 3.8% streaming gain was worth $404 million — more than the entire Spanish recorded music market ($355 million) and nearly as big as Italy’s ($477 million). To reiterate, that’s not just streaming — we’re talking about those countries’ entire market revenue.
The rate of streaming growth underpins much of the money flowing into the music business. Investors and companies are betting the global market can generate nearly double-digit growth through the end of the decade. The latest Goldman Sachs “Music in the Air” report, a standard reference point for gauging the potential of music as an investment, forecasts that global streaming revenue will grow at a 10% compound annual growth rate through 2030. That would turn last year’s $19.3 billion streaming market into $37.8 billion by the end of the decade.
But the enormity of the U.S. market, which accounted for 42% of global streaming revenue in 2023, according to the IFPI, means other markets will need to continue those rapid paces for the global market to maintain that 10% streaming growth rate. The five ex-U.S. markets’ 12.2% growth rate is nearly halved to 6.4% when their $5.47 billion total value is combined with the U.S. market, which is worth $11.04 billion.
Developing markets certainly have the potential to contribute to global growth, but many of the most populous countries — India, Indonesia, the Philippines — are relatively small and based more on advertising than high-value subscriptions. For the math to work, the global market needs a strong U.S.
In July, more than 420,000 people competed for tickets to The Weeknd‘s highly anticipated show in São Paulo, Brazil, scheduled for Saturday (Sept. 7) and just under a year after his last visit to the country. The overwhelming success of “Blinding Lights” gave the 34-year-old Canadian the title of most popular artist on the planet by Guinness World Records in March of last year (which he just lost to Billie Eilish). On Billboard’s Hot 100, the song reached the top, remained among the most listened to for 90 weeks and boosted the popularity of his albums After Hours (2020) and Dawn FM (2022). It holds the title of being the biggest song in all Hot 100 history.
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Only 16% of those 420,000 people got the chance to see Abel Tesfaye in person. Being successful in the competitive music industry did not exempt the composer, however, from struggling with his mental health. But, according to him, giving up was never in his plans. One of the keywords of his new phase is “rebirth.”
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The choice of the capital of São Paulo for the start of this tour was not a coincidence. The Weeknd visited the city last October, performing two sold-out nights at Allianz Parque with the show After Hours Til Dawn. It was in São Paulo that Tesfaye composed the central song of the new album, Hurry Up Tomorrow – affectionately nicknamed “Frankenstein” by the singer for exploring different sounds, but without losing its essence — something he does masterfully.
The Canadian details the importance of the Brazilian public for the next steps in his career, which has lasted 14 years and includes great achievements such as being the most listened to artist on Spotify (until Billie surpassed him in August), with 105 million monthly listeners, winning four Grammy Awards (despite not submitting his work for the awards since 2021, as a statement that shook the industry) and having almost $500 million in gross sales with the After Hours Til Dawn Tour, which filled stadiums around the world.
“I can speak for all artists when I say it’s hard to put into words the love and energy that the Brazilian people express when you’re on stage,” says The Weeknd in an exclusive interview with Billboard Brazil. “You feel the music so deeply. São Paulo and Rio reminded me that the frequencies we radiate as musicians are important. They remind me why I wanted to make music: to connect. I’ll spend the rest of my life knowing that.”
The broadness of The Weeknd’s discography is another factor that explains such success. He navigates the world very well to the pop, R&B, electropop and other genres, and he is spot-on in his dark lyricism when sings about the pains of love, fame and the challenges he faced (and still faces) to make a living from music. Shortly after announcing the concert in Brazil, the singer spoke on social media about “facing the abyss”. “It can mean many things. For me, it is something very specific,” he says in the interview, in a mysterious mood. “I faced it long enough. Most of the time, I overcame it. But I work on it every day. I hope that [my music] helps others face and overcome the abyss, too.”
One of the abysses Tesfaye faces is mental health. “What makes a grown man want to cry? / What makes him want to take his own life? / His happiness is never real,” he sings on 2018’s “I Was Never There.” In his faith—he was raised in an Ethiopian Orthodox Christian family—and in music, the Canadian has found comfort to overcome the most difficult moments. “I think about giving up every day. But I also find purpose every day,” says the singer, unafraid to open up and show his vulnerability. “My relationship with God is stronger than ever. I find comfort in His presence when I need it most. I talk to Him constantly. It’s been a long journey, but I’m here,” concludes the artist.
Tesfaye was born in Toronto, Canada, the son of Ethiopian immigrants. Inspired by Michael Jackson, he discovered his love for music at a young age. The artist has revealed that he was penalized for singing at inopportune times, such as during school classes or at the dinner table. Despite being discouraged, he released his first mixtape as The Weeknd, House of Balloons, in 2011, while splitting his time between art and work at a North American clothing retailer. The project entered the Billboard 200, anticipating the success of subsequent releases. “Wicked Games,” the first single, debuted at No. 53 on the Billboard Hot 100 in 2013. In the following years, he reached No. 1 on the chart with hits such as “Can’t Feel My Face,” “Save Your Tears” and “Die For You.”
When asked about taking care of his mind, the singer is even more honest. Brutally honest, as rarely seen in showbiz. “It’s funny you should mention this [mental health]. I just had a panic attack right before this interview. My anxiety is a constant battle, and I feel like it never goes away. I’m learning to control it, but I’ve already realized that it’s part of my life. I can’t escape it.”
Tesfaye spent part of his adolescence living on the streets, but he assures us: the main difficulty he faced in life was questioning his purpose and his connection with art. “The biggest challenge is not knowing if you were made for this, not knowing if it was meant to be. Most people still don’t know. I feel very lucky. I was able to take these depressive and nihilistic feelings and put them into my work. That ended up being my therapy,” he says, citing the philosophical school of thought that believes life has no value or purpose, often associated with the German philosopher Friedrich Nietzsche.
On YouTube, The Weeknd has accumulated almost 28 billion views on his channel. “Call Out My Name,” “The Hills” and “Starboy” are also part of his extensive list of hits. Expectations for his new era are high – both from fans and music critics. Dawn FM, released in January 2022, was acclaimed by the British newspaper The Guardian, from which it received the highest score: “Abel Tesfaye confirms his status as one of the greatest of all time with an album of icy splendor influenced by the 1980s”.
Another newspaper that praised the album was The New York Times. “His fifth album […] is elegant and vigorous and also, once again, a light reinterpretation of what big-scale music can sound like today, in an era in which most global stars have abandoned that concept.”
“There is always pressure to surpass my last project,” he says about the new era, presented for the first time at the show in São Paulo. “Growth is important. Sometimes it may not be what people want to hear from me at the moment, but, when the body of work is complete, I hope they can appreciate what I have been trying to achieve. I have been working on this discography for a long time. It was all planned,” he assures, escaping from the monotony. “I always try to achieve something that I haven’t done before musically. Sometimes it may not be clear on the first listen [to the album], but fans seem to figure it out over time,” he believes. Being at the top, for the Canadian, is subjective. “The only pressure for me is to be better than the older version of myself, focusing on growth, achieving my own goals, not other people’s.”
Tesfaye also spoke about the pains and pleasures of fame, a common theme in his work, whether in music or in the visual arts. When asked about how to keep his feet firmly on the ground, he repeated the sincerity demonstrated throughout the conversation with Billboard Brazil. “I stay away from people as much as possible. I try to have as much privacy in my life as possible. I never give off [that] ‘famous’ energy. I think trying to be famous is a talent in itself. I haven’t mastered that talent… And I don’t intend to,” he says, escaping the industry buzz.
Last year, the composer spoke about controlling the way he is seen and heard by the public. In the midst of the transition of concepts in his career, he revisits the idea. “Honestly, I don’t even remember saying that. But everyone would love to be able to control the narrative. It’s impossible. So you try your best and make the most of it. Less is more. I’ve learned a lot in the last two years, and it’s definitely the least control I’ve ever had. But I’ve learned a lot, and that’s the most important thing,” he says.
“Too much control is unhealthy. Collaboration is important, whether it’s artistically, with ideas, or even with energy. I’ve been on both sides of the fence, being too controlling and not having enough control. And leaning too far toward either side can be dangerous. It’s a constant balancing act, but the results are the best.”
Mending the dark parts of himself, The Weeknd’s Frankenstein must bring the singer’s lessons learned at the height of his fame—and pursue his chosen purpose in life, bringing comfort and refuge to those facing their own demons.
This article originally appeared in Billboard Brazil.
k.d. lang and The Reclines will perform together for the first time in 35 years in Edmonton on Sept. 14 for the Canadian Country Music Association (CCMA) Awards.
lang may have found international fame as a pop superstar with a powerful and emotionally expressive voice and as a queer icon, but her roots in country music run deep. She first made her mark in Canadian music as a maverick cowpunk artist back in the ’80s, at the start of a career that has spanned over four decades.
“Reuniting with The Reclines after 35 years in Edmonton for the CCMA Awards feels like a full-circle moment,” shares lang. “The bond we shared, both musically and personally, remains as strong as ever, and revisiting a song that shaped our journey together is incredibly special. I’m thrilled to bring this experience to life on such a celebrated stage and share it with fans, both old and new.”
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Based in her birthplace of Edmonton, k.d. lang and the Reclines were together from 1983 to 1989, after starting out as a Patsy Cline tribute act. The first band featured Stu Macdougal on keys, Dave Bjarnson on drums, Gary Koligar on guitar and Farley Scott on bass.
After regular gigging at Edmonton’s Sidetrack Café, the group gained national attention with its 1984 album, A Truly Western Experience. Her unique sense of fashion and energetic performance style caught the attention of Rolling Stone, who dubbed her “a Canadian Cowpunk.” lang earned a 1985 Juno Award for Most Promising Female Vocalist, famously accepting the award wearing a borrowed wedding dress.
k.d. lang will also be inducted into the Canadian Country Music Hall Of Fame, adding to her remarkable legacy of accolades. –Kerry Doole
The Billboard Canada Women in Music Industry Spotlight
This week, Billboard Canada unveiled the full Billboard Canada Women in Music honours.
Stars like Alanis Morissette, Charlotte Cardin and LU KALA will be at the Billboard Canada Women in Music event on September 7 in Toronto.
In addition to those award-winners, which include Executive of the Year Kristen Burke, the head of Warner Music Canada and the only female major label head in the country, there is also an Industry Spotlight list of women from throughout the Canadian music industry.
From label boardrooms to influential positions in radio, touring, festivals, artist funding and more, women and gender-diverse people are shaping music.
Each person featured on the Industry Spotlight list also gave their advice for the next generation of women in the music industry, from speaking honestly and authentically, to surrounding yourself with other talented and supportive women.
There are also exclusive videos of interviews and performances of Billboard Canada Women in Music honourees, including The Beaches, Allison Russell and artist manager Laurie Lee Boutet.
Because of the incredible contributions of women and gender-diverse individuals, Billboard Canada Women in Music is not only a celebration of women, but of Canadian music as a whole – and a vision for where it can go next. –Richard Trapunski
AP Dhillon Safe Following Reports of Gunshots at His Home Near Victoria, B.C.
Gunshots were fired into the home of Punjabi-Canadian musician AP Dhillon early Monday morning (September 2).
B.C. police are investigating the incident, with CTV News reporting that around 1:15 a.m. the RCMP was called to the house. There are reports of two vehicles set on fire, in addition to multiple gunshots, as well as reported video of the shooting circulating online.
“I’m safe. My people are safe,” Dhillon shared on Instagram.
The Times of India reports that an associate of the Lawrence Bishnoi gang has claimed responsibility for the shooting on social media, threatening Dhillon for working with Salman Khan. The actor and producer Khan had a cameo appearance in the video for Dhillon’s new Billboard Canadian Hot 100-charting single, “Old Money,” and the gang reportedly has a history of targeting Khan.
“Preliminary investigation suggests that this was a targeted event and there is no information to believe that the general public is at any further risk as a result,” says a statement from the West Shore RCMP detachment.
The gunfire follows Dhillon’s recent major label signing with Republic Records, with “Old Money” marking the first release as part of that deal. –Rosie Long Decter
The Spanish recorded music industry is having a promising year, so far. PROMUSICAE (Productores de Música de España), which represents more than 95% of Spain’s recording industry, recently released half-year figures — and they continue to ascend. The recorded music industry has generated a total revenue of 249.8 million euros ($277.3 million) during this period, reflecting an impressive growth rate of 16.6% compared to the same period in 2023 when the income stood at 214.3 million euros ($237.9 million).
“It is very encouraging that in this first part of the year the figures growth of recorded music in Spain keep over 16%, as this highlights that the efforts and talent of Spanish artists and recording companies bear fruit, and music continues grabbing the interest of the public,” said Antonio Guisasola, president of PROMUSICAE.
The digital market remains a catalyst for this growth, experiencing a significant rise of 18.8%. Digital formats now account for 89.7% of the industry’s turnover, totaling 224.15 million euros ($248.82 million). That’s nearly all streaming, which captured 88.8% of the total market and generated revenues of 221.86 million euros ($246.28 million) — up 19.1% compared to the first half of 2023.
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Audio streaming represented 83.5% of all consumption and contributed 185.22 million euros ($205.6 million) to the industry. Video streaming accounted for 36.64 million euros ($40.67 million), totaling to 16.5% of streaming.
Karol G, Sabrina Carpenter, Spanish indie rock band Arde Bogotá, Dani Fernández, and Benson Boone are some of the artists that have placed No. 1 songs on the Spanish charts. Meanwhile, albums by Quevedo, Karol G, Bad Bunny, Aitana, and C.Tangana continue to dominate the 100 Albums annual chart.
Guisasola added, “Streaming is obviously the main way in which we consume recorded music and the greatest economic support of recording market, but the public is still demanding physical products such as vinyl, which sales steadily grow and is most valued by consumers.”
The physical market this year so far matches the growth of the same period of 2023, ever so slightly increasing to 0.03%. The consumption of vinyl rose 11.9% in 2024, like last year, whereas CD purchases decreased by 15%. Other formats also decreased compared with the same period of 2023, down 32.9%, and DVD salesdecreased by 15.1%.
“The challenge remains to push the Spanish recording production even stronger, helping companies of our country to invest in national talent, for which it is essential to be supported with public measures as can be tax incentives to Spanish production and the support to internationalization of our recording production,” stated Guisasola.
He mentioned that the challenges the industry faces is to get the public to “make a decided commitment to consume music through payment subscriptions, as it happens in our surrounding advanced countries.” Guisasola stated that this not only enhances the listening experience but also provides the financial returns needed to continuously support our artists’ talent.
Spanish Recorded
PROMUSICAE
LONDON — The U.K. competition regulator has launched an investigation into Ticketmaster over its much-criticized sale of tickets for Oasis‘ reunion tour, which prompted hundreds of complaints from fans and fierce condemnation from British politicians.
The probe was announced by the Competition and Markets Authority (CMA) on Thursday (Sept. 5) – less than a week after tickets for Oasis’ Live ‘25 tour went on sale. The investigation will look into whether Ticketmaster broke consumer protection laws and engaged in “unfair commercial practices” by failing to notify ticket buyers in advance that prices would surge based on demand.
Standard standing, or general admission, tickets for Oasis’ U.K. and Ireland comeback tour were advertised as costing £148.50 ($195), but the price unexpectedly soared to £355.00 ($467) after several hours of being on sale due to high demand, provoking an angry backlash from fans.
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The CMA said its investigation would examine whether consumers were given “clear and timely information” to explain that the tickets would be subject to dynamic pricing, including the price they would eventually pay for purchases.
CMA officials will also look at whether people were put under pressure to buy tickets within a short period of time at a higher price than they originally intended to pay.
The competition regulator said it will be engaging with Ticketmaster, the band’s management and event organizers to gather evidence to assess whether the Live Nation-owned ticketing company broke consumer protection laws.
Officials will also consider whether to widen the scope of the investigation into other companies involved in the highly anticipated reunion tour, which is jointly promoted by Live Nation, SJM Concerts, MCD and DF Concerts.
Fans who purchased, or attempted to purchase, tickets from Ticketmaster for the shows are invited to submit evidence to the watchdog, including an screenshots they may have taken during the purchasing process. Submissions close on Sept. 19.
“It’s important that fans are treated fairly when they buy tickets, which is why we’ve launched this investigation,” said CMA chief executive Sarah Cardell in a statement.
“It’s clear that many people felt they had a bad experience and were surprised by the price of their tickets at check-out. We want to hear from fans who went through the process and may have encountered issues so that we can investigate whether existing consumer protection law has been breached,” said Cardell.
Ticketmaster did not respond to requests to comment when contacted by Billboard on Thursday. The company has previously stated that all ticket prices for Oasis’ reunion tour, including platinum, in-demand (dynamic) and VIP were set by the tour promoters and management.
In the fallout to the weekend’s ticketing furore, the British government said it would be looking into the practice of dynamic pricing for music concerts as part of its previously announced consultation into the secondary ticketing market.
The Advertising Standards Authority (ASA) said it had received 450 complaints about “misleading claims about availability and pricing” concerning the sale of Oasis’ tickets by Ticketmaster. The regulator said it was “carefully assessing these complaints” and couldn’t comment further.
Responding to the hundreds of complaints from frustrated fans, a representative of Oasis said on Wednesday that the decision to apply surge pricing to its reunion shows was made by the band’s management and tour promoters, and “and at no time [the group] had any awareness that dynamic pricing was going to be used.”
“While prior meetings between promoters, Ticketmaster and the band’s management resulted in a positive ticket sale strategy, which would be a fair experience for fans, including dynamic ticketing to help keep general ticket prices down as well as reduce touting, the execution of the plan failed to meet expectations,” said the statement from Oasis’ publicist. “All parties involved did their utmost to deliver the best possible fan experience, but due to the unprecedented demand this became impossible to achieve.”
Earlier this week, Oasis announced the addition of two new dates at London’s Wembley Stadium to next year’s tour, bringing the total number of shows up to 19. To avoid a repeat of the weekend’s on sale debacle, tickets to the two new Wembley shows are to be sold via an invitation only ballot that gives preference to fans who failed to get tickets in the initial launch.
According to organizers, the Oasis Live ’25 tour was the biggest concert launch ever seen in the U.K. and Ireland with more than 10 million people from 158 countries attempting to buy tickets, which all sold out in less than a day.