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It was a très joyeux occasion for Paris and the world beyond this past Dec. 7, when the city’s Notre-Dame Cathedral reopened its doors after a five-year closure, which followed a 2019 fire which burned through the building’s roof. After years of rebuilding and renovations, the 860-year old Gothic cathedral has been restored to new glory.
This past weekend, celebrities and politicians including First Lady Jill Biden and President Elect Donald Trump traveled to Paris for the reopening of Notre-Dame, which included prayer, religious rites and speeches, including one from French President Emmanuel Macron.
Also, there was techno.
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A series of musical performances featured artists including Pharrell (who sang his 2013 hit “Happy”), French singer Garou, famed cellist Yo-Yo Ma, Gustavo Dudamel conducting the Orchestre Philharmonique de Radio France and French electronic producer Michael Canitrot. His 10-minute set in front of the soaring cathedral included his own tracks “Light Odyssey” and “Niteroi,” along with an unreleased production called “Icon” and a remix of Moby‘s 1991 classic “Go.”
“It was incredible, you could feel the emotion in all the artists,” Canitrot tells Billboard. “And as an electronic music artist, it was also a great opportunity to meet other artists like the violinist Gautier Capuçon or Pharrell, who played just before me with a 60-strong choir.”
See video and exclusive photo from the performance below.
Canitrot is well-acquainted with playing in the presence of historic buildings. His ongoing performance series, Monumental, has included sets in front of structures like the Eiffel Tower, the Notre-Dameof Laon cathedral in northern France and nearly 20 other architecturally and culturally signifiant buildings, largely in France, with some funding by the French National Commission for UNESCO.
With these shows, Canitrot presents historic monuments in futuristic ways, using electronic music, lights and video mapping to create immersive experiences that Canitrot says “resonate with both electronic music audiences and the wider public.” His track record with conceptualizing and pulling off these shows “certainly played an important role in securing the Notre-Dame gig,” he says.
He and his team from Monumental, made of roughly 30 visual designers, lighting experts, technical producers and more, worked for months to make this show perfect. The focus was, he says, “on paying tribute to the greatness of Notre-Dame while offering a show that highlights electronic music and heritage.”
The pressure was high for the show, especially as Canitrot had to play it without rehearsing, given that his rehearsal was cut short by heavy winds the night prior. “That’s always quite stressful on such an important and technical show,” he says, “but in the end everything went well.”
Although his performance was relatively brief, Canitrot accomplished a lot in ten minutes. His performance was sequenced into visual and sonic chapters that went through themes of architectural renaissance and honoring builders from the past and present, then nodded to life and elevation via plant-inspired visuals, then paid homage the the cathedral’s new reliquary before shifting to a message of universal peace. These visuals were created in collaboration with Canitrot’s teams at Monumental Tour, AVExtended, and frequent collaborators Jérémie Bellot, and François Deretz, who altogether brought created music and visuals that bathed the famous cathedral in swirling lights and lasers.
With this performance, Canitrot not only added a globally significant performance to his resume, but helped expose electronic music to those who may not often hear it.
“I’ll always remember the moment when, at the end of my set, one of the church officials came to congratulate me,” he says. “To be able to play [electronic] music at such a moment was really important for me, it puts it on the same level as all other music and continues to democratize it for a wider audience.”
Michael Canitrot at Notre-Dame
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Michael Canitrot at Notre-Dame
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Michael Canitrot at Notre-Dame
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The music industry is in constant transformation, driven by the advancement of technology and new forms of artistic creation. Enter All Music Works, a record label based in Málaga, Spain, that exclusively focuses on music and artists developed through artificial intelligence (AI). Founder Carlos Zehr spoke with Billboard Español about their innovative approach, the challenges they face, and how they might redefine the rules of the game in the music scene.
“This project was born out of personal frustration,” says Zehr. “I’ve always been passionate about music. I studied piano from a young age and have been a voracious consumer of concerts and festivals. But when I wanted to produce my own music, I encountered limitations in time, skills, and resources to achieve what I envisioned.” That barrier led him to explore AI tools applied to music production, a path that transformed his perspective: “I achieved results that were not only impressive in quality but also explored sounds and styles that I would like to hear in the current market.”
Zehr has a diverse background combining marketing, technology, and entrepreneurship. A 2014 graduate of the University of Granada, where he studied business administration and management, he has held leadership positions in marketing agencies and video game studios. In 2020, he founded Noname Hub, an agency focused on branding and innovation; and in 2022, he launched Nonoki, a music and video streaming platform that became one of the most popular apps in Spain and South Korea. Both projects are still active today.
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Unlike other projects that have used AI to launch individual virtual artists, such as bands associated with video games like League of Legends, All Music Works proposes a much more ambitious approach: the creation of a collective of artists with their own stories, personalities and musical styles. “We design each artist’s personality, visual style and musical genres from scratch,” says Zehr. “It all starts from a human process, with a detailed study and creative approach that we then augment with AI.”
The initial catalog includes 10 virtual artists from genres as diverse as indie rock, reggaetón, alternative trap and drum & bass. Among them are The Good Dog, a group that fuses Britpop and garage rock, and Cielo Roto, a Madrid-based band that mixes indie, rock and cumbia.
But All Music Works is only just beginning. “From here, we will be launching capsules with three new artists in the coming months, while continuing to push the trajectory of current artists,” says Zehr.
The next step is to bring All Music Works’ virtual artists to the stage. The company is now developing various formats of presentation, from DJ sets to immersive experiences, depending on the identity of each artist. However, its main focus is on hologram technology. “We are collaborating with production companies and advancing in research to implement holograms in our performances,” says Zehr. “We want the experience to be as impactful as it is innovative.”
The goal is not only to generate curiosity but to consolidate the company as a leader in an emerging industry around virtual artists that combines creativity and technology.
Being a pioneer in such a disruptive area is not without its challenges. Zehr acknowledges that, although the concept has generated curiosity and admiration, All Music Works has faced criticism and questions about authenticity and ethics around the use of AI. Being a trendsetter is “positive because we are blazing a trail,” he says, “but it also means being the first to face legal, ethical and creative challenges.”
All Music Works does not intend to replace human talent but rather to expand the creative landscape. “We are offering something that would not be possible without technology, but the human element remains essential,” he says. For him, AI is a powerful tool, not a substitute, because the creative process is still anchored in human intervention, from the conceptualization of the artists down to the most technical details. “We use technology to extend the limits of what we can achieve,” he says.
Being a pioneer in such a disruptive area is not without its challenges. Zehr acknowledges that All Music Works has faced criticism and questions about authenticity and ethics around the use of AI. Being a trendsetter is “positive because we are blazing a trail,” he says, “but it also means being the first to face legal, ethical and creative challenges.”
From the lyrics to the musical arrangements, every piece of music is precisely designed, adjusting details such as key or tempo to convey the desired emotions. This approach not only allows for the exploration of new styles but also ensures the authenticity of the creations.
According to Zehr, the company has generated unexpected interest in the music community. “We’ve received a flood of requests from real composers and musicians who want to work with us,” he says.
The team is also preparing to tackle legal challenges. Operating in as-yet unregulated terrain, the company is helping to set precedents for the industry, hand in hand with expert lawyers. “We are helping to define how these issues will be handled in the future,” Zehr stresses.
According to Zehr, the company has generated unexpected interest in the music community. “We’ve received a flood of requests from real composers and musicians who want to work with us,” he says.
In addition to its catalog of artists, the label is exploring collaborations with brands to develop virtual artist ambassadors. This approach offers an innovative way for brands to connect with their audiences through personalized and creative experiences.
All Music Works is launching at the beginning of what could be a new era in music, challenging established norms and offering new possibilities for artists and the industry. “The question is not whether music will change with technology, but how we are going to adapt to this change,” says Zehr.
LONDON — As international president of Oak View Group (OVG), Jessica Koravos has a clear vision of how she wants the U.S.-based facility management and development firm to grow its already rapidly expanding global business.
“We’re trying to be the best venue operators, offering the best entertainment experiences in the world,” she says confidently. “That’s what our goal is.”
Just over six months ago, OVG’s long-planned pivot to international markets took an embarrassing stumble with the repeatedly delayed launch of Co-op Live – the United Kingdom’s biggest indoor music venue and the firm’s first major project outside the United States.
When the official opening for the 23,500-capacity arena, located in Manchester, was pushed back by three weeks following a series of highly publicized delays — including part of a ventilation system falling from the roof just prior to a show by rapper A Boogie wit da Hoodie – Co-op Live became the butt of jokes on social media and generated a slew of negative headlines.
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“It looked worse in the media than it felt on the ground,” reflects Koravos, half a year on from the venue’s troubled launch. “In the grand scheme of things, when you have been working on a project for five years, spent £400 million ($505 million) on it and it’s three weeks late, there’s a long-term perspective that says: ‘This is not the end of the world.’ When you look at it in the context of other big infrastructure projects in the U.K. I don’t think it’s going to go down in history anywhere on the list of problematic deliveries.”
Co-op Live eventually opened its doors May 8 with a headline show by local rock group Elbow. Since then, the venue has quickly become established as a key destination in the European touring circuit, selling over one million tickets and staging over 60 shows to date, including stopovers by Pearl Jam, Nicki Minaj, Liam Gallagher, Keane, Janet Jackson, Charli XCX and the Eagles‘ five-night sellout run – the group’s only U.K. dates on its farewell tour.
A general view of the Co-op Live arena as Elbow performs the inaugural live show at Co-op Live on May 14, 2024 in Manchester, England.
Shirlaine Forrest/WireImage
In November, Co-op Live hosted the MTV European Music Awards (EMAs), featuring performances from Benson Boone, Teddy Swims, Tyla and Busta Rhymes, which had a global digital reach (excluding broadcast) of over 7 billion, according to the venue’s post-event analysis. Upcoming shows at the arena include Paul McCartney, Slipknot, Cyndi Lauper and Sabrina Carpenter.
Co-op Live is one of seven new arenas that OVG has built and opened in the last two years, including the Climate Pledge Arena in Seattle, UBS Arena in New York and Acrisure Arena in Palm Springs, Calif. The fast-growing firm, co-founded in 2015 by former AEG CEO Tim Leiweke and ex-Live Nation chairman Irving Azoff, which operates more than 400 buildings globally, also has arenas under development in Nigeria, Canada and Wales, and is “actively looking” for opportunities to further expand its global footprint, says Koravos.
This fall saw the launch of a new division, OVG Stadia, headed by Chris Wright, dedicated to growing the company’s global stadium business. Its remit includes identifying international markets to develop and build new multi-purpose stadiums, as well as expanding OVG’s roster of stadium clients, which includes London’s Wembley Stadium, Scotland’s Murrayfield Stadium, Snapdragon Stadium in San Diego and the historic Cotton Bowl Stadium in Dallas. The company is additionally pursuing arena development and partnership opportunities in the U.K., Europe, Asia and the Middle East.
“That showcase of Co-op Live is very helpful and we have a lot of other cities [around the world] now saying, ‘Can we have one of those?’” says London-based Koravos, who served as president of Andrew Lloyd Webber’s Really Useful Group and formerly held senior roles at AEG Live and AEG Europe before joining OVG.
Ballooning construction costs means “it’s easier said than done,” she cautions, “but we’ll find a way.”
Koravos declines to discuss Leiweke’s publicly stated aim of building a new music arena in London, saying only that there are “announcements to come in the U.K. and continental Europe.”
In the meantime, Oak View Group is looking to grow its share of the live music business by making its full suite of venue services, including hospitality, management, booking, marketing, facility development and sponsorship sales, available to non-OVG affiliated venue owners and third-party operators in Europe, like it already does in the U.S.
To support the rollout, OVG International has bulked up its executive team with recent appointments including former Co-op Live interim general manager Rebecca Kane Burton as executive vice president of venue management and Michalis Fragkiadakis as vice president of hospitality strategy, responsible for driving forward OVG’s food and beverage business following last year’s acquisition of U.K.-based hospitality provider Rhubarb Hospitality Collection. They will be supported by Sam Piccione, international president of sales, Alex Reese, commercial and brand strategy director, and Gary Hutchinson, vice president of booking and commercial partnerships.
“We take pride in the fact that we think about third party business in the same way that we think about our own,” says Koravos. She points to OVG completing “$5 billion worth of naming rights and sponsorship [deals] in the last three years” as evidence of the “industry-leading expertise” that it is offering to venues and live music businesses. Current venue service clients outside North America include football clubs Birmingham City FC, Real Betis and AS Roma, Manchester-based arts venue Aviva Studios and Lloyd Webber Theatres.
“There are lots of facilities, arenas and stadiums all around Europe who would like to host concerts and that’s something that we’re trying to help to see if we can open up more markets for music internationally,” says Koravos. “Our goal is not to win all the contracts and to be everywhere. It’s to be with the right partners that share our values.”
Riyadh is gearing up for a transformative moment in its cultural history with the launch of Riyadh Music Week, a landmark initiative by the Music Commission in partnership with MDLBEAST and SRMG.
Spanning Dec. 5-14, 2024, the spotlight shines bright on the first-ever Billboard Arabia Music Awards (BBAMAs)—the pinnacle of Riyadh Music Week and a historic moment for the regional music industry.
Taking place across multiple venues in Riyadh, the week kicks off on Dec. 5 with the fourth edition of XP Music Futures, featuring workshops, panel discussions and networking opportunities along with an evening program driven by regional party brands, promoters and record labels, showcasing emerging talents from MENA and beyond. On Dec. 8, the Global Music Makers Summit marks its first edition, where it will bring together leaders and global policy makers from the music sector’s international bodies.
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The week-long event will also host the Music Cities Convention and Awards, taking place Dec. 8-10, bringing this prestigious global event to the Arab world for the first time. This achievement highlights Riyadh’s growing reputation as a leading global destination for music and arts, with the Convention focusing on the pivotal role of music in urban development and its potential to shape the future of modern cities.
With the BBAMAs taking place on Dec. 11, the ceremony aims to not only celebrate artistic excellence but also expand upon the growing global Billboard network. The Billboard Arabia Music Awards represents a regional first, adopting a pioneering approach entirely based on listener opinions and data. This year’s awards will honor over 40 categories, celebrating achievements such as Top Artist, Song of the Year, Best in Dialect Charts and Top New Artist of the Year, among other standout recognitions.
Riyadh Music Week will close out with the MDLBEAST’s groundbreaking Soundstorm music festival, the loudest in the region, mixing international superstars on the same stages as homegrown local and up-and-coming artists. The week will also host a range of fringe events and performances by various artists taking place across several venues throughout the city.
As Riyadh Music Week unfolds, the series of events stand as a testament to the region’s vibrant music scene and its aspirations as a burgeoning global music hub.
The first-ever Billboard Arabia Music Awards (BBAMAs) will take on Dec. 11 at the King Fahad Cultural Center in Riyadh, Saudi Arabia. After a year of tracking trends on the Billboard Arabia charts, this landmark event will celebrate the most talented artists from the Arab world and North Africa – those who have made waves on the charts and dominated streaming platforms worldwide. Throughout the year, Billboard Arabia’s 10 charts have spotlighted listening trends across four key dialects and four musical genres, in addition to the flagship charts: Artist 100 and Hot 100.
Winners of the BBAMAs will be determined based on their performance on Billboard Arabia’s flagship charts, such as the Hot 100 and Artist 100, as well as its four dialect-specific charts — Khaleeji, Egyptian, Levantine and Maghrebi — and genre-specific charts, including Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. These charts are built on the trusted methodology that has defined the Billboard brand.
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Beyond celebrating the year’s leading artists and tracks, the BBAMAs will highlight the region’s rich talent pool with an exciting lineup of live performances and unexpected collaborations. The event will feature a mix of established and rising stars from across the Arab world and its diaspora.
With over 40 award categories already revealed, the BBAMAs promise to be a comprehensive tribute to the region’s vibrant music scene. Below is the full list of finalists for these awards. Stay tuned; more categories will be unveiled soon.
Song of the Year“Fouq” by Assala Nasri“Guli Mata” by Saad Lamjarred, Shreya Ghoshal, and Rajat Nagpal“Ya Leil W Yal Ein” by Al Shami“Haygely Mawgow” by Tamer Ashour“Sabran” by Al Shami
Artist of the YearAmr DiabAl ShamiNancy AjramSherine Abdel WahabAhmed Saad
Top Male ArtistAl ShamiDystinctAhmed SaadAmr DiabTamer Ashour
Top Female ArtistNancy AjramElissaAssalaSherine Abdel WahabElyanna
Top BandCairokeeMassar EgbariMiami BandSharmoofersAl Massrieen
Top New ArtistDystinctElyannaTUL8TESiilawyAl Shami
Highest GainerAmr DiabTUL8TEAnghamAl ShamiTamer Ashour
Top Arabic Collaboration of the YearAmeen Khattab and Essam Sasa – “Ehna Say’ Monharifin”Assala Nasri and Ahmed Saad – “Sabb Farhety”Nassif Zeytoun and Rahma Riad – “Ma Fi Leil”Saint Levant and MC Abdul – “Deira”Tawsen and Ayoub Anbaoui – “Dawini’
Top Khaleeji SongAdel Ebrahim – “Dl’nak”Ayed – “Lammah”Ayed – “Rdy”Fouad Abdulwahed – “Kel Ahebek”Fouad Abdulwahed – “Thaag El Ghamaam”
Artist of the Year – Khaleeji DialectAbdul Majeed AbdullahMajid al-MuhandisAyedRashed al-MajedHussain Al Jassmi
Top Male Artist – Khaleeji DialectAyedHussain Al JassmiRashed al-MajedMajid al-MuhandisAbdul Majeed Abdullah
Top Female Artist – Khaleeji DialectAssala NasriBalqeesAseel HameemShamma HamdanOumaima Taleb
Top Egyptian SongWael Jassar – “Koul Waad”Tamer Ashour – “Haygely Mawgow”Assala Nasri and Ahmed Saad – “Sabb Farhety”Assala Nasri – “Fouq”Elyanna – “Ganeni”
Artist of the Year – Egyptian DialectAhmed SaadNancy AjramAmr DiabTamer AshourSherine Abdel Wahab
Top Male Artist – Egyptian DialectTamer AshourRamy SabryAhmed SaadMohamed HamakiAmr Diab
Top Female Artist – Egyptian DialectAssala NasriElyannaNancy AjramElissaSherine Abdel Wahab
Top Levantine SongAli Saber – “Dawaat Ommi”Al Shami – “Sabran”Nassif Zeytoun and Rahma Riad – “Ma Fi Leil”Al Shami – ‘Wein”Al Shami – ‘Ya Leil W Yal Ein”
Artist of the Year – Levantine DialectAl ShamiElissaMahmod AlturkyNassif ZeytounNancy Ajram
Top Male Artist – Levantine DialectAl ShamiSiilawyNassif ZeytounWael KfouryMahmod Alturky
Top Female Artist – Levantine DialectNancy AjramMyriam FaresElissaAbeer NehmeRahma Riad
Top Magharebi SongSoolking and DYSTINCT – ‘Y Dor’Lartiste – “Zarzour”Cheb Hichem Tgv – “Fatou Liyam”Saad Lamjarred, Shreya Ghoshal, and Rajat Nagpal – “Guli Mata”Lazaro – “Mahboul Ana’
Artist of the Year – MagharebiZouhair BahaouiSaad LamjarredDystinctCheb KhaledSamara
Top Male Artist – Magharebi DialectZouhair BahaouiSaad LamjarredDystinctCheb KhaledSamara
Top Female Artist – Magharebi DialectManalHind ZiadiKawtarMarwa LoudChaama
Top Arabic Hip-Hop SongMuhab – YazmeelyDraganov – 3dabiElGrandeToto and Hamza – DellaliStormy – PopoElGrandeToto – Blue Love
Artist of the Year – Arabic Hip-HopSamaraElGrandeTotoMarwan PabloStormyWegz
Top Arabic Hip-Hop Male ArtistSamaraElGrandeTotoMarwan PabloStormyWegz
Top Arabic Hip-Hop Female ArtistRaja MezianeHalaPerrieJaraKhtek
Top Indie SongTUL8TE – “Mateegy A’ady Aleiky”Al Shami – “Sabran”Hamza Namira – “Reyah El Hayah”TUL8TE – “Habeeby Leh”Elyanna – “Ganeni”
Artist of the Year – Arabic IndieSiilawyMuslimTUL8TEElyannaCairokee
Top Arabic Indie Male ArtistAl ShamiTUL8TESiilawyMohammed SaeedMuslim
Top Arabic Indie Female ArtistZeyneEmel MathlouthiDana SalahGhaliaaElyanna
Top Mahraganat SongEslam Kabonga and Kalosha – “Elli Nefso Feya Beti Maytawehsh”Eslam Kabonga – “Aywa Ya Habibty Wahashtiny”Reda El Bahrawy and Muslim – “Lafena El Donya”Hamada El Leithy and Amr Salama – “Tarek El Andal”Reda El Bahrawy – “Aal Doghrey”
Artist of the Year – MahraganatMuslimEssam SasaHassan ShakoshAmeen KhattabEslam Kabonga
Top Mahraganat ArtistHassan ShakoshMuslimEssam SasaEslam KabongaAmeen Khattab
Top Shelat SongMohammed Bin Grman – “Ma Gelt Lak”Mohammed Bin Grman – “Alek Akhaf”Abdullah Al Farwan – “Jamalek Gheer”Nawaf Fraih – “Thalath Ayam”Asad Albathari – “Makhboob Khelli”
Artist of the Year – ShelatNader AlsharariMohammed Bin GrmanGhareeb Al MokhlesBadr AlezziAbdullah Al Farwan
Top Shelat Song“Alek Akhaf” by Mohammed Bin Grman“Jamalek Gheer” by Abdullah Al Farwan“Thalath Ayam” by Nawaf Fraih“Al Makhoob Khelli” by Asad Albathari
Sony Music UK has appointed Azi Eftekhari as its chief operating officer, effective immediately. Reporting directly to Jason Iley, chairman and CEO of Sony Music UK & Ireland, she’ll oversee key operational areas, including the label’s Commercial Group, and play a pivotal role in shaping the company’s overall growth strategy.
Eftekhari brings two decades of experience in the music and entertainment industries to her new position, having most recently served as co-president of Universal Music Recordings, managing global artists such as The Beatles, Elton John, Amy Winehouse, The Rolling Stones and The Spice Girls at the label’s catalogue division.
Prior to UMG, Azi held a significant role at YouTube as head of label relations, where she spearheaded the launch of YouTube Music across Europe and secured a landmark partnership with The BRIT Awards, further cementing her reputation as an innovator in the intersection of music and technology. Additionally, she co-led Remedy Inc., a creative agency delivering projects across music, theatre and branding.
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Eftekhari’s career began at Mercury Records, where she collaborated with Iley as director of digital and publicity, contributing to campaigns for artists like U2, Justin Bieber and Rihanna. Her leadership extended beyond individual companies, as she also served on the boards of the Official Charts Company and the Entertainment Retailers Association, showcasing her influence within the broader music industry.
Iley expressed confidence in Eftekhari’s “depth of experience straddling the world of music, tech and culture combined with commercial acumen,” while Azi voiced her gratitude for the opportunity to work with Illey. “He’s built an exceptional, future-facing company and I look forward to playing a part in continuing to champion the incredible roster of artists,” she said. “In this rapidly changing marketplace, there are many exciting opportunities to harness, and I can’t wait to help drive the business into the next chapter.”
FACTOR Canada says it has fallen victim to serious cyber theft.
Court filings by the music funding body, The Foundation Assisting Canadian Talent on Recordings, reveal claims that $9.8 million was stolen from a Scotiabank account earlier this year.
FACTOR distributes millions in funding to thousands of artists and music organizations in Canada — last year, the organization dispensed $50 million. Now, it’s alleging that an amount equivalent to nearly a fifth of that annual distribution was transferred by a cyberthief to a numbered company.
James Campagna, shareholder for said company, then allegedly transferred $9.4 million to a cryptocurrency-owned account and converted the funds into crypto.
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Today (Nov. 29), a hearing took place at the Ontario Superior Court of Justice on the matter.
In a statement on the foundation’s website titled “FACTOR’s Response to the Scotiabank Cybertheft: The Facts,” the company clarifies its side of the story that was reported on in the media and says that it aims to “defend the baseless allegations being made by Scotiabank against our systems and staff.”
“It is true that FACTOR has been a victim of a significant financial crime that occurred on June 12, 2024, by way of a one-time fraudulent wire from our Scotiabank account on ScotiaConnect in the amount of $9,772,875.33,” the statement reads.
But the response from FACTOR adds new details to the story, particularly in regards to Scotiabank’s involvement.
The organization says it reported the crime to law enforcement on June 14, but that Scotiabank “has acknowledged it has never reported this financial crime to law enforcement.”
The statement also asserts that the money transfer was 300x larger than any transfer previously made from that account, “with no alerts to FACTOR of this highly unusual, suspicious, and illegal activity.”
If the funds aren’t recovered swiftly, there’s reason to be concerned that artists — who rely on FACTOR funding for recording, music video production, touring and more — could be affected.
More on this story as it develops – Rosie Long Decter
Drake Tells Interviewer to Turn Off The Weeknd and Put on Blink-182
Drake’s got a lot of enemies right now.
After Kendrick Lamar released his new album but before news broke of Drake’s two different legal actions against his parent label Universal Music Group and Spotify, the rapper joined Quebecois streamer xQc for a livestream on Kick on Sunday (Nov. 24).
You never know what Drake will say with a live mic, so many fans tuned in to see if he’d have words about the Kendrick beef or any other hot topics. Between confirming an upcoming Australia tour and giving an update on his collaborative album with PartyNextDoor, he also threw some subtle shade at his former friend The Weeknd.
As his song “Starboy” started playing, Drake quickly told xQc to “switch that one off.” When the host asked him why he doesn’t listen to it, he answered “we’re real 6ixers, we don’t listen to that.” He told him to turn on Blink-182 instead. “I want to hear that real sh-t,” he said over the sounds of “Dammit.”
The Weeknd was born in Scarborough, Ontario, a district of Toronto, a.k.a The 6ix. The Weeknd began his career affiliated with Drake, but the two have had their own long-simmering beef. The Weeknd was spotted in the audience at Kendrick Lamar’s “Pop Out” concert on Juneteenth, which included performances of all of the rapper’s diss tracks and multiple performances of the scathing “Not Like Us.”
Former Toronto Raptor DeMar DeRozan was also at that concert. That clearly upset Drake, who called him out on a recent game broadcast. Evidently, he still has beef with The Weeknd too.
Drake didn’t address Kendrick or his new album by name, but did reference Kendrick and his “false accusations” indirectly. “You need facts to take me out, fairy tales won’t do it,” he said. –Richard Trapunski
Drake is heading back to Australia and New Zealand in early 2025.
On Thursday (Nov. 28), the Canadian superstar revealed the dates for his upcoming The Anita Max Win Tour, which marks first visit to the region since 2017.
The Live Nation-produced tour launches with two nights at Melbourne’s Rod Laver Arena on Feb. 9-10 and wraps with back-to-back shows at Auckland’s Spark Arena on Feb. 28 and March 1. The seven-date tour will also make stops in Sydney and Brisbane. See the full tour itinerary below.
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Tickets will be available for purchase through various presales beginning Tuesday (Dec. 3). The general onsale begins Dec. 6 at 12 p.m. local time.
The Anita Max Win Tour is named after a viral moment from Drake’s December 2023 livestream on Kick, where he introduced a new “alter ego” named Anita Max Win. The name is a playful pun on the gambling phrase “I need a max win,” referring to hitting the maximum payout on a slot machine.
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Drizzy first hinted at the tour on Nov. 24 during a livestream with gaming streamer xQc, saying, “February 9th for anybody that’s watching from Australia, I’m coming back to Australia for the first time in eight years. Coming back to Australia on tour. Melbourne, Sydney, Gold Coast… February 9 ’til like… March something.”
This marks a major return for Drake’s Australian and New Zealand fans, who last saw him live during the Boy Meets World Tour in 2017. “Funny enough, it’s actually called the Anita Max Wynn Tour,” the Toronto MC said during the xQc livestream.
In August, Drake also announced his forthcoming collaborative album with PARTYNEXTDOOR. PND recently went live on Instagram, sharing exciting news about the joint project. “Guys, I have one more show left on this tour,” PARTYNEXTDOOR told his followers. “Then the album is getting finished. That’s all I gotta say.”
Drake’s tour announcement is especially noteworthy as it coincides with Kendrick Lamar’s highly anticipated Super Bowl Halftime Show performance on Feb. 9 — the same date as the start of Drake’s tour. The two rappers have been at the center of a well-publicized rivalry in 2024, trading shots through diss tracks like Lamar’s “Not Like Us” and Drake’s “Push Ups.” Lamar also recently dropped his surprise album GNX, adding more fuel to the fire.
See Drake’s Anita Max Win Tour dates below.
Feb. 9: Melbourne, Australia (Rod Laver Arena)Feb. 10: Melbourne, Australia (Rod Laver Arena)Feb. 16: Sydney, Australia (Qudos Bank Arena)Feb. 17: Sydney, Australia (Qudos Bank Arena)Feb. 24: Brisbane, Australia (Brisbane Entertainment Centre)Feb. 28: Auckland, New Zealand (Spark Arena)March 1: Auckland, New Zealand (Spark Arena)
Salford Lads Club has confirmed it will remain open, after the historic Greater Manchester venue faced the threat of closure earlier this year.
Last month, it was reported that the club was struggling financially due to rising maintenance costs and a drop in grant funding. To remain open, it was forced to try and raise £250,000 by mid-November, and called out for support from the wider music community.
By offering sports and creative activities six days a week, the venue serves as a safe space for young people from some of the city’s most deprived communities, and was opened by Scouting founder Robert Baden-Powell in 1904. The cover of The Smiths’ iconic third studio album, The Queen Is Dead, was famously shot outside Salford Lads Club.
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In an update shared to Instagram earlier Thursday (Nov. 28), the owners have now confirmed that the club has reached its fundraising goal and can move forward with operating as usual.
“We did it! Salford Lads and Girls Club is officially saved. Thanks to the incredible generosity of our supporters, we’ve smashed our £250,000 target, ensuring the doors of this iconic building remain open for our young people and the community,” the post began.
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“From historic concerts to changing lives through youth work, this club has stood as a beacon of hope, culture, and connection. This funding ensures we can continue to make an impact for generations to come,” it added.
“A heartfelt thank you to every individual, business, and partner who stepped up to help us keep the lights on. This is your victory as much as ours. Together, we’ve shown what’s possible when a community rallies together.”
Morrissey, Graham Nash and Noel Gallagher were among those who donated or raised funds. The former reportedly donated £50,000 to a public GoFundMe page, having previously provided financial support in the past when essential maintenance work was required for the building.
Legendary songwriter Nash, meanwhile, joined over 1,000 online donors by contributing £10,000 to the cause, having spent his childhood in Salford. Gallagher auctioned a guitar and helped create an Oasis exhibition at the club to raise funds to keep the site open.In October, The Guardian reported that Salford Lads Club’s income for 2023 reached £160,000 ($202,574) with outgoings adding up to approximately £394,700 ($499,725). Last year, the club faced insurance and utility bills of a combined £43,000 ($5444).
The BRIT Awards has announced the three shortlisted artists for its Rising Star Award. Elmiene (Polydor/Def Jam US), Good Neighbours (Polydor) and Myles Smith (RCA) comprise the all-male field of contenders. The winner will be announced on Dec. 5 on BBC Radio 1’s New Music Show With Jack Saunders.
This is only the second time that the field of contenders has consisted entirely of male artists or groups. James Bay, George the Poet and Years & Years were the 2015 finalists.
The award is voted on by a panel of music journalists, heads of music at radio and music TV stations, songwriters, producers and live bookers. The award is open to British artists who have not yet achieved a top 20 placement on the Official Albums Chart, or achieved more than one top 20 single on the Official Singles Chart before Oct. 31 of this year.
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The Rising Star Award (previously called Critics’ Choice) originated in 2008 and was most recently collected by baroque-pop group The Last Dinner Party. Previous winners include Adele, Sam Smith, Sam Fender, Ellie Goulding, Florence + The Machine, Griff and FLO, while Dua Lipa, Anne-Marie, Lewis Capaldi, Cat Burns, Michael Kiwanuka, Mabel and Years & Years have also all been finalists.
Elmiene released his most recent EP, Anyway I Can, in October, fusing his love of R&B, jazz and pop. He has performed at Glastonbury and collaborated with Stormzy, Syd, Sampha, BADBADNOTGOOD, A$AP Ferg and more, and recently headlined a 3,000-capacity show at London’s Troxy.
Speaking on his nomination, Elmiene said, “If I could put the feeling of being nominated into words, I would say it’s like being completely satisfied with a meal you bought and then finding out it comes with dessert and a drink. Didn’t know it could get any better.”
Myles Smith’s single “Stargazing” has had considerable success in the U.K. and abroad this year. The pop song, first released in May, peaked at No. 4 on the Official U.K. Singles Chart and reached No. 20 on the Billboard Hot 100. Smith recently released his second EP, A Minute…, and had a debut U.S. TV performance on Jimmy Kimmel Live!
In a press release, Smith said, “Growing up in Luton, I started playing pubs and open mic nights when I was just 12 and music quickly became my way of understanding the world and connecting with others. This recognition feels like a reflection of that journey – the highs, the challenges and the incredible people who’ve supported me along the way.”
Indie-pop duo Good Neighbours have had a triumphant year following their TikTok hit “Home,” which has topped 322 million streams on Spotify alone. The song peaked at No. 26 in the U.K., and rode the Hot 100 for 11 weeks, reaching No. 77.
The pair said of the nomination: “The BRITs have always been a huge dream for both of us growing up. We started Good Neighbours purely for the fun of it, so to be up for an actual BRIT award at this stage in our career is the biggest honour. Thank you.”
The winner will be recognised at the BRITs ceremony on March 1 at London’s O2 Arena. The ceremony will be broadcast on ITV and ITV X.