International
Page: 7
Warner Music Japan has appointed longtime Universal executive Takeshi Okada as the label’s new president and CEO, with a start date of Dec. 2. He’ll report to Simon Robson, president of international recorded music, who is temporarily overseeing WMG’s recorded business in the APAC region until a permanent appointee is announced. Okada transitions from EMI […]
A British YouTuber and rapper known as Yung Filly has been charged with raping and choking a woman in a hotel room following an Australian music performance.
The 29-year-old, whose real name is Andres Felipe Valencia Barrientos, was freed on bail when he appeared Thursday (Oct. 10) on several charges in a court in Perth, the west coast city where police allege his crimes were allegedly committed on Sept. 28.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
His bail conditions include that he remain in Western Australia state, doesn’t contact his alleged victim and doesn’t post about the case on social media.
He was ordered to surrender his passport and to report to police daily. His surety was set at 100,000 Australian dollars ($67,400).
Trending on Billboard
Prosecutors had opposed bail because of a risk that he would flee the state.
His lawyer, Seamus Rafferty, did not immediately respond to a request for comment on Friday.
Barrientos is currently touring Australia and was arrested in the east coast city of Brisbane on Tuesday, a police statement said. The Colombia-born entertainer, who has 1.8 million followers on YouTube, was extradited back to Perth on Wednesday.
His Australian tour began in Perth and traveled to Melbourne and Sydney before it was scheduled to end in Brisbane.
Police allege he assaulted a woman aged in her 20s in a hotel room after he had performed in a Perth nightclub.
His show at Bar1 Nightclub was promoted by ticket-selling platform MoshTix as a “seamless blend of spontaneity, humor and music that’ll have you talking for weeks!”
He is charged with four counts of rape, three counts of assault causing bodily harm and one count of impeding the woman’s normal breathing or circulation by applying pressure to her neck, police said.
Barrientos started his YouTube career in 2013 and music career in 2017. He has also hosted or appeared in several television programs.
He won a MOBO Award, an annual British music award presentation honoring achievements in “music of Black origin,” in the Best Media Personality category in 2021.
A powerful Canadian executive is making a move to Live Nation Canada.
Melissa Bubb-Clarke is leaving her role as senior vp of music & live events at Maple Leaf Sports and Entertainment (MLSE) for a leadership role at the juggernaut promoter. She’ll serve as chief commercial officer at Live Nation Canada, leading the company’s commercial business in the country.
Bubb-Clarke worked closely with the Live Nation team while overseeing entertainment programming at MLSE, which included high-profile concerts at Toronto’s Scotiabank Arena promoted by Live Nation.
It’s a full circle moment for Bubb-Clarke, who previously worked at Live Nation as regional vp of marketing and later vp of client services.
“I am so excited to join the Live Nation Canada team as Chief Commercial Officer,” Bubb-Clarke tells Billboard Canada. “It’s such an exciting time in the live music space, I couldn’t be more thrilled to have the opportunity to help grow the business further and work with the best team in the biz.”
Trending on Billboard
Wayne Zronik, president of business operations at Live Nation Canada, notes consumer demand for live entertainment and experiences is at an all-time high, necessitating a leader who can optimize that growth. “Melissa brings an impressive track record, and we are beyond delighted to be welcoming her back into the Live Nation Canada family,” he says.
Bubb-Clarke was on the Leaderboard as one of Billboard Canada‘s top 10 Power Players this year for her work at MLSE.
She also shared career wisdom as part of the Billboard Canada Women in Music’s Industry Spotlight: “A career, in my experience, is not linear,” she said at the time. “I have accelerated, paused, and taken steps ‘back’. Sometimes it was because different parts of my life were the priority and sometimes it was just the ebb and flow of opportunity. Stick with it, keep going.”
With Live Nation opening a new stadium in Toronto next year — just in time to welcome Oasis on their reunion tour — Bubb-Clarke will have plenty to keep her busy in the new role. – Rosie Long Decter
Shaboozey Ties Record for Most Weeks at No. 1 on the Billboard Canadian Hot 100 with ‘A Bar Song (Tipsy)’
Shaboozey has made history on the Billboard Canadian Hot 100.
On the chart for the week of Oct. 12, the Virginia singer ties the record for most weeks at No. 1. His country hit “A Bar Song (Tipsy)” has now spent 19 weeks in the top spot, a run only matched by Lil Nas X and “Old Town Road.”
If Shaboozey can hold on one more week, he’ll break the record, marking the first time that a song has spent 20 weeks atop the chart since its launch in 2007.
“A Bar Song” first hit No. 1 back in May and dominated all summer, with brief interruptions by Eminem‘s “Houdini” and Morgan Wallen and Post Malone‘s “I Had Some Help.”
Shaboozey’s road to No. 1 has been building since he first gained momentum in 2018 with his track “Start a Riot,” featured on the Spider-Man: Into the Spider-Verse soundtrack. He got a big boost earlier this year from Beyoncé when he featured on two songs off her country opus Cowboy Carter.
That album came out March 29 and “A Bar Song” dropped just two weeks later on April 12, which made the timing ripe for Shaboozey to climb the charts in his own right. “A Bar Song” first hit No. 1 on Billboard‘s Hot Country Songs chart on May 5, following Beyoncé’s “Texas Hold ‘Em,” and marking the first time two Black musicians topped the chart in a row.
A Bar Song” hit No. 1 on the Canadian Hot 100 the week after, two months before it reached No. 1 on Billboard‘s U.S. Hot 100 in July.
Last month, Billboard Canada presented Shaboozey with a plaque at his Toronto concert to honor his chart achievement. – RLD
Three Days Grace Reunites With Original Singer
Popular Canadian hard rock band Three Days Grace has announced the official return of its original singer Adam Gontier, with Matt Walst remaining as a lead vocalist. Gontier recently surprised fans during a performance in Nashville.
Following the announcement of their reunion, the band has booked an upcoming tour as direct support for Disturbed on their The Sickness 25th anniversary tour. The 12-date tour runs from Feb. 25-March 21, 2025, and includes stops at Montreal’s Bell Centre and Madison Square Garden in New York.
Since 2003, Three Days Grace has scored five charting hits on the Billboard Hot 100, four No. 1s on the Mainstream Rock Airplay chart and three No. 1s on the Alternative Airplay chart. The band consistently averages 13 million monthly listeners on Spotify and boasts over 5 billion combined streams. – Kerry Doole
Deryck Whibley of Sum 41 Details Alleged Sexual Abuse By Former Manager Greig Nori
Sum 41‘s Deryck Whibley has detailed allegations of abuse against former manager Greig Nori.
Whibley’s new memoir, Walking Disaster: My Life Through Heaven and Hell, features Whibley’s descriptions of sexual coercion and verbal abuse at the hands of Nori when Nori was in his 30s and Whibley was a teenager.
Nori fronted the pop-punk band Treble Charger and mentored a host of rising Canadian bands in the early 2000s. He denies the allegations and has retained a defamation lawyer, The Globe & Mail reports.
Whibley met Nori when he was 16 and Nori was 33. He writes that Nori first kissed him while the two were on drugs when Whibley was 18 and that Nori would go on to pressure Whibley into sexual activity. Nori lashed out when Whibley resisted, Whibley writes, claiming Whibley “owed” him.
Whibley describes Nori as exerting complete authority over his career. “Greig had one requirement to be our manager — he wanted total control,” he writes. “We couldn’t talk to anyone but him, because the music business is ‘full of snakes and liars’ and he was the only person we could trust.”
Eventually, Whibley says, he disclosed the sexual pressure to his girlfriend and eventual wife, Avril Lavigne, who told him it was abuse. After a mutual friend of Nori and Whibley learned of the alleged abuse, Whibley says, the sexual pressure stopped, but Nori was still verbally aggressive.
Whibley claims Nori also insisted on receiving songwriting credits for songs he didn’t help compose.
Sum 41 fired Nori after releasing and touring their third full-length, 2004’s Chuck.
In an interview with The Toronto Star, Whibley said he welcomes a legal challenge from Nori.
“If he wants to challenge it, I welcome that,” Whibley said. “Let’s go to court. Let’s go under oath. That would be f — king great! I welcome that part. Let’s get into discovery. I’ll have my lawyers grill you. They can grill me all they want. I mean, that would be f — king perfect! Finally, let’s get it on record!” – RLD
Glastonbury Festival’s ticket release is one of the most eagerly — and dreaded — days for British music fans. The performing arts festival, which began in 1970, is a staple of the summer’s festival scene and the 210,000 tickets usually sell out instantly amidst queues and a scramble to secure passes. Now the festival has […]
Mimis Plessas, a beloved Greek composer whose music featured in scores of films, television shows and theatrical productions and who provided the soundtrack to millions of Greeks’ lives, has died just a week shy of his 100th birthday.
His death was confirmed Saturday (Oct. 5) by his wife, Loukila Carrer. Prime Minister Kyriakos Mitsotakis paid tribute to Plessas, writing, “A leading composer, a great scholar and a kind man has left us.
Born in Athens on Oct. 12, 1924, Plessas began his musical journey at a young age. He became a piano soloist at state radio before entering international piano competitions while still in his 20s. His gift for composition would cement his legacy.
Plessas became a constant presence on Greek television, his mild manner and singalong melodies endearing him to generations. Often seated at the piano, accompanying renowned Greek stars, he was a fixture of musical moments and celebrations for decades, his music becoming intertwined with the nation’s cultural fabric. His 1969 composition, “O Dromos” (The Street), remains one of the highest-selling albums in Greek history.
He collaborated with a constellation of Greek music icons, including Nana Mouskouri, Vicky Leandros, Giannis Poulopoulos, Marinella, and lyricist Lefteris Papadopoulos, shaping the landscape of Greek music. His work defied genre, blending traditional Greek music forms with elements of jazz and classical, creating an easy-on-the-ear signature sound — softer than the hard jangle of many of his contemporaries.
“His ‘Road’ was rich, full of melodies that start from jazz and permeate Greek song, as well as Greek cinema,” Mitsotakis said. “Mimis Plessas was unique, just like the moments he will forever give us with his music.”
Plessas’ contributions extended beyond composing. He produced a popular radio quiz show, In 30 Seconds, and he served as a judge on numerous Greek and international music competition panels. He was also a member of prestigious artistic societies, including the Greek Society of Theatrical Authors and the Society of Greek Composers and Lyricists.
Plessas is survived by his wife, a son and a daughter. Funeral arrangements were not immediately known.
Spotify is reportedly raising prices for subscribers in Canada.
The move comes amidst the implementation of the Online Streaming Act, which sees the Canadian Radio-television and Telecommunications Commission (CRTC) requiring major foreign streamers — those with revenues over $25 million — to pay 5% of revenues as base contributions into funds for Canadian content.
The price increase also comes as the streaming giant raises costs in markets beyond Canada. In July, Spotify increased prices in the U.S. from $11 monthly for individuals to $12. That increase follows a previous hike in 2023, which affected both the U.S. and Canada, and marked the app’s first price increase since 2011.
In a statement to Billboard Canada, a Spotify spokesperson does not explicitly link the increase to the “streaming tax” but does indicate the company is part of a legal challenge against the CRTC. Spotify joined Amazon and Apple filed legal challenges against the CRTC this summer, following the June announcement of the regulation.
“As we continue to innovate and invest in providing our listeners with greater value than ever before, we occasionally update our prices,” a spokesperson for Spotify tells Billboard Canada. “We may also adjust our prices to reflect local macroeconomic factors and meet market demands while offering an unparalleled service. We, along with a number of others, have filed a legal challenge against the CRTC streaming tax in Canada, and so will not be commenting further publicly at this time.”
Trending on Billboard
The Online Streaming Act was implemented this year after extensive consultations last fall. The base contributions from major streamers are expected to generate 200 million in funds for Canadian content, with the contributions directed toward “areas of immediate need,” including funding bodies FACTOR and Musicaction, as well as the Indigenous Music Office.
Music rights-holders have called for increases to streaming prices, which haven’t matched inflation over the last decade. Spotify has been re-evaluating its prices and royalty models as it invests in audiobooks, making changes to its revenue share payouts which have de-monetized songs receiving fewer than 1000 plays per year.
The company has also made adjustments to its presence in Canada, laying off Nathan Wiszniak, Head of Artist & Label Partnerships at Spotify Canada, during a round of cuts last December. The company has since hired Elizabeth Phipps as Label Partnerships Lead, Canada.
During the consultations for the Online Streaming Act last fall, Spotify’s Olivia Regnier provided testimony before the government that suggested they might make changes to how Spotify operates in Canada if forced to pay.
“If asked to make a burdensome contribution, irrespective of our existing investments, Spotify will need to make financial decisions to sustainably run our business,” said Regnier. “Additional costs could require us to cut expenses, including [reducing] our resources for editorial, partnership, and promotional programs in Canada; reduce resources currently going back to the music ecosystem; or force us to raise prices for Canadian consumers,” she continued.
When the decision was announced in in June, organizations like the Motion Picture Association — Canada, which represents platforms like Netflix and Disney +, expressed dismay.
Others, like the Canadian Independent Music Association (CIMA), welcomed the announcement. “As we look towards the future of music in Canada, this decision lays the groundwork for a dynamic partnership with digital platforms where Canadian talent can thrive both domestically and internationally,” said CIMA President Andrew Cash.
Spotify has more than 600 million users and reported 3.6 billion euros in first quarter global revenue this year.
This article was originally published by Billboard Canada.
Billboard Arabia‘s special edition “Jalsat” (session) stands out in form and purpose. The exclusive video series “Jalsat Billboard Arabia” was launched in February 2024 and featured some of the region’s most groundbreaking artists, from Ahmed Saad to Siilawy and Saint Levant. This time, in celebration of Saudi National Day, Billboard Arabia traveled back to the 1980s to revive the voice of an icon—a trailblazer who made music history in the Kingdom of Saudi Arabia, Etab. Released on the 94th Saudi National Day (Sept. 23), Billboard Arabia deployed AI technology to bring Etab’s iconic voice and performance back, with a fresh take on her tribute to Saudi in the song, “Ya Saudi” (Hey Saudi).
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Etab’s legacy as Saudi Arabia’s first female singer and a trailblazer in Khaleeji music continues to shape Arabic music and culture. She broke down barriers in a male-dominated industry and paved the way for generations of Arab women. Her songs are deeply rooted in Bedouin cultural heritage, which still resonates today. To celebrate Etab’s milestones, Billboard Arabia has reintroduced her iconic song with a contemporary remastering of the track. With the help of AI technology, the track was reimagined to showcase how Etab might have performed on the Jalsat Billboard Arabia stage. The new version preserves the timeless essence of Etab’s classic Arabic artistry while appealing to today’s listeners.
Trending on Billboard
While many know Etab’s famous hits, “Ya Saudi” has not received the same level of recognition. Billboard Arabia aims to change that by using advanced AI and smart technology to remaster her performance and give new life to the track. The song, updated with modern elements, is designed to resonate with longtime fans and new listeners, acting as a bridge between generations. Etab’s story and music are a reminder that cultural authenticity has the power to connect across borders, and this initiative brings her artistry into the digital age for a new generation to discover.
Etab’s career began in the 1950s and continued until her passing in 2007, spanning hundreds of songs and dozens of albums. She collaborated with prominent figures from the Gulf and Egypt while remaining true to the musical styles connected to her culture and homeland. Perhaps there is no better song than her ’80s hit “Ya Saudi” to celebrate her enduring legacy and the national festivities across the Kingdom. The song stands out against other National Day songs for its jubilant lyrics, set to a vibrant, upbeat rhythm, expressing the joy of the people coming together and celebrating their homeland.
In interviews, Etab spoke about her pride in the song and its popularity. She first heard the melody in 1984; created by Talal Maddah, who is considered one of the most impactful Arabic music composers, Talal Maddah, who shared it because of how distinct it was from his usual style. Ibrahim Ghazi penned its lyrics, and Mohammad Shafiq wrote the melody. The song was released on her album Al Qarar Se’eb (Deciding is Difficult), and it also appeared as a duet performed by Etab and Talal Maddah on the album Talal Madah and Etab No. 4. Later, various versions with new arrangements were released, covered by different artists.
“At Billboard Arabia, our goal is to spotlight Arab voices and MENA’s growing music industry, providing a platform and infrastructure to help both established and new artists reach wider audiences,” says Rami Zeidan, Managing Director of Billboard Arabia. “It was only befitting to celebrate Saudi sensation Etab. She was more than just a singer; she was a cultural icon. Her music reflects the rich culture of Saudi Arabia and the Gulf, and her fearlessness as a female artist in a male-dominated industry continues to inspire generations of Arab women in music. By using AI to revive ‘Ya Saudi,’ we are not only celebrating her legacy but also highlighting modern Saudi Arabia – where tradition and innovation come together in harmony.”
Etab and her direct family members have all passed; a surviving relative was informed of this project, however. The song rights for this performance have been secured through the appropriate label.
Central Hall Westminster was alive with the energy of cross-cultural musical exchange as the Saudi National Orchestra and Choir took to the stage alongside the Royal Philharmonic Orchestra to present an evening of musical dialogue. This conversation culminated when both orchestras were joined in concert together in several key moments, chief among them, their rendition of Adele’s “Rolling in the Deep” mashed up with Saudi classic “Adeet fi Marqab” (I Passed in Marqab) to the stunning medleys of iconic Saudi music presented with a Western twist.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
On Sept. 28, London became the fourth stop in the Saudi National Orchestra and Choir’s “The Marvels of Saudi Music” performance alongside the Royal Philharmonic Orchestra in celebration of the 94th Saudi National Day. Under the patronage of Prince Badr bin Abdullah bin Farhan Al Saud, Minister of Culture and Chairman of the Music Commission, the concert was a vibrant tribute to Saudi heritage and cultural diversity, blending authentic Saudi music with top-tier international performances at the iconic Central Hall Westminster, featuring a hundred talented Saudi musicians. Here are some standout moments from the concert.
Tribute to the Late Poet Badr bin Abdul Mohsen
Trending on Billboard
The concert opened with a heartfelt homage to the late Saudi poet, His Royal Highness Prince Badr bin Abdul Mohsen. The orchestra performed “Ana Min Hal Ardh” (I Am From This Land) , a song originally penned by Prince Badr and sung by the legendary Mohammed Abdo. Abdo was celebrated as Billboard Arabia’s first cover in December 2023, with an interview about the artist’s 60-year legacy and deep impact on Arabic music. In the Saudi Orchestra and Choir performance in London, the tribute of his famed song “Ana Min Hal Ardh” (I Am From This Land) elegantly captured the poetic legacy of the late Prince, serving as a significant gesture of appreciation for one of Saudi culture’s most beloved icons.
Samri Art and Esmahili yal Gharam
The Saudi National Orchestra and Choir delivered a captivating rendition of Samri art, a traditional Saudi folk art, set to the enchanting melody of “Esmahili yal Gharam” (The Wound of Betrayal), another iconic Mohamed Abdo song. This intricate blend of traditional art with a contemporary interpretation stood out as a remarkable moment of the concert, highlighting the rich artistic heritage of Saudi Arabia.
Yanbu Art and Hana Talabana Allah
A highlight of the evening was the performance of the Yanbu art through the song “Hana Talabana Allah” (We Ask God), which showcases the depth of Saudi cultural heritage. This performance underscored the importance of traditional arts in preserving cultural identity and demonstrated the orchestra’s commitment to presenting authentic Saudi music to a global audience, celebrating the richness of the 13 regions that the orchestra has been working to present in the “Marvels of Saudi Music” show.
Saudi Twist on Adele’s “Rolling in the Deep”
In a bold and innovative move, the Saudi National Orchestra and Choir concluded the concert’s first half with a unique Saudi rendition of Adele’s “Rolling in the Deep.” This mash-up creatively fused Adele’s song with the Saudi classic “Adeet fi Marqab,” generating exceptional moments showcasing the orchestra’s talent blending international music with an Arab twist. The song was a breakthrough moment in the performance, when the Saudi Orchestra and Choir entered into a contemporary dialogue with the Royal Philharmonic Orchestra.
Royal Philharmonic Orchestra Plays Zarqa’ al-Yamama
In the concert’s second act, the Royal Philharmonic Orchestra showcased a selection of Western and Arabic classical music pieces, including the composition Zarqa’ al-Yamama. The renowned opera singer, Dame Sarah Connolly, added a special touch by singing in Arabic, enhancing the cultural fusion. The opera originally premiered in Saudi Arabia in April 2024, featuring Dame Sarah Connolly performing alongside Saudi opera singer Sawsan Al Bahiti and Italian soprano Serena Farnocchia.
Collaboration with the Royal Philharmonic Orchestra
In the final act, the Saudi National Orchestra and Choir collaborated with the Royal Philharmonic Orchestra to present medleys of songs by some of Saudi Arabia’s musical icons. They collectively performed various medleys by famed Saudi musicians including Mohammed Abdo, Talal Maddah, Rashed Al Majed, Fawzi Mahsoun, Abdel Majeed Abdullah, Khaled Abdul Rahman and Ayed.
Concert Finale with Ashginag
The concert concluded with Rashed Al Majed’s “Ashginag” (We Loved You), released in honor of the 90th Saudi National Day on Sept. 23, 2020. The song’s lyrics celebrate the beauty and diversity of Saudi Arabia, making it a fitting choice to close the event, spreading the enchantment of Saudi music and culture from the heart of London to the world. It was in these closing medleys that the conversation that was promised between British and Saudi culture culminated with a sense of possibility.
This London concert marked the fourth stop in the “Marvels of the Saudi Music” series, following successful performances in Paris’ Théâtre du Châtelet, Mexico City’s Grand Teatro Nacional and New York’s Metropolitan Opera House. The Saudi National Orchestra and Choir plans to continue its journey, bringing its art to additional locations around the globe. Their mission is to introduce the international community to the masterpieces of Saudi music and foster cultural exchange worldwide.
Narcís Rebollo has been appointed CEO and president of Global Talent Services, Universal Music Group’s full-service company for Latin artists spanning management, booking, live events, promotion and brand partnerships.
In line with Rebollo’s appointment, which was announced by Universal Music on Tuesday (Oct. 1) and is effective immediately, Global Talent Services (GTS) becomes a standalone company, with its management and operation now handled independently from UMG’s local music labels.
In the newly created role of GTS CEO and president, Rebollo — who is based in Madrid — will oversee the company’s operations in the U.S., Latin America, Spain and Portugal, reporting to Jesús López, chairman and CEO of Universal Music Latin America and Iberian Peninsula. Further details of leadership appointments within Universal Music Iberian Peninsula will follow shortly, said UMG in a statement announcing the structural changes.
Trending on Billboard
Launched in 2007, Global Talent Services provides a full suite of artist services for Latin artists and operates offices in eight countries, including the U.S., Spain, Portugal, Brazil, Mexico and Columbia.
Artists signed to GTS’ management roster in Spain include Antonio José, Salma, Natalia Lacunza and Mala Rodriguez with the company’s live events team booking over 500 shows in the country last year, according to Universal Music.
Other markets where UMG says Global Talent Services is experiencing solid growth include Mexico, where it booked 175 shows for 25 artists in 2023; and Brazil, where the company has had strong success as a booking agency and managing partner for artists projects by Maneva, Leo Santana, Atitude 67, Felipe Araújo and Paula Fernandes.
One of GTS’s biggest campaigns to date has been establishing Colombian band Morat as one of the leading Spanish-speaking pop-rock acts in the world with its “Si Ayer Fuera Hoy” 2023-2024 global tour — which included a sold-out show at New York City’s Madison Square Garden Theater in January — selling more than one million tickets across 125 concerts and over 15 countries, according to the company. GTS also operates the multi-date Universal Music Festival, which takes place every year in the Spanish capital city of Madrid.
Prior to today’s appointment, Rebollo served as president of Universal Music Iberian Peninsula since 2015, where he was responsible for UMG’s recorded music and GTS operations in Spain and Portugal. Under his leadership, the company grew its operations to include concert booking and promotion, festivals, touring and live events with GTS clients including Latin artists David Bisbal, David Bustamante, Pablo López, Lola Indigo, Aitana and Camila Fernández.
Before joining Universal, Rebollo held senior roles at Spanish independent music company Divucsa, BMG, electronic dance music label Max Music and Spain’s biggest independent label, Vale Music, which Universal acquired in 2006.
“Narcís is one of the most experienced executives in Latin music,” said Jesús López in a statement. “His vision of the evolution of the business and the expansion of Latin music around the world in recent years, has led him to create a very successful team in Spain and Portugal in the areas of management, booking, promotion and brands.”
López went on to say that GTS was born “with the purpose of being a full-service agency for artists, and the time has come for it to become an independent business unit within UMG.” Rebollo, added López, is the “perfect leader” to lead the growth of GTS globally.
“Today more than ever, our artists need strategic support from a company that is both fully focused on management, but with the ability to deliver global services and support,” said Rebollo in a statement. “With the explosion of interest and influence of live music, and music driving social engagement and conversation more than ever, I strongly believe that GTS is perfectly positioned to provide the best support for Latin artists around the world.”
Changes are coming to Montreal’s nightlife. Following public outcry over the closure of the popular venue La Tulipe, Mayor Valérie Plante announced this week (Sept. 25) that venues will now be exempt from the bylaw that led to its closure.
The venue announced this week it would cease operations due to a decision by the Quebec Court of Appeal, which mandated the venue to not emit sound that could be heard in an adjacent building.
Specifically, in the Plateau-Mont-Royal borough of Montreal (a popular area for live music), music venues will no longer be subject to Section 9 of the bylaw governing noise regulation, which specifies that amplified sound cannot be audible in a neighbouring building. Projet Montreal, Plante’s party, has also committed to improving the city’s soundproofing program and presenting a new nightlife policy in October.
Trending on Billboard
Plante posted a video on Instagram, sharing her own dismay at the news that La Tulipe would be closing its doors for the foreseeable future. She expresses concern that one person could derail an entire music venue.
“Yes to neighbourliness, but no to the dictatorship of neighbours,” Plante says in the video.
La Tulipe isn’t the only venue in the city to be affected by noise bylaws. Popular spots like Divan Orange and Diving Bell Social Club have previously closed down due to noise complaints.The outcry to the news about La Tulipe indicated a growing frustration amongst cultural laborers in the city, which has a reputation as a haven for arts production in Canada. – Rosie Long Decter
Newly Announced Rogers Stadium Will Become One of Canada’s Biggest Music Venues
On Thursday (Sept. 26), Live Nation and Northcrest Developments announced Rogers Stadium, the new 50,000 capacity outdoor venue in Toronto opening in June 2025. The venue will instantly become one of the biggest in Canada, with a slightly higher capacity than Toronto’s other stadium, Rogers Centre. It’s also one of the world’s few venues of the size that isn’t also home to a sports team.
The venue will be located at YZD, on the site of what used to be the Downsview Airport in North Toronto. Bombardier used the land for an air field, air force base and testing base for aircrafts. In 2018, Bombardier sold the facility to Northcrest Developments and will move its operations to Pearson Airport.
Rogers Stadium in Toronto
Courtesy of Northcrest Developments/Billboard Canada
The company is redeveloping the land into mixed-use residential communities, a $30B plan that is slated to take 30 years. In the meantime, the 370-acre site, now called YZD, is being used for a variety of arts, community and other initiatives as part of “Meanwhile Use Strategy.”
After the announcement press conference, Billboard Canada spoke to Erik Hoffman, president of music at Live Nation Canada, about why they decided to open the venue and why now. Hoffman says the decision was inspired by a specific artist.
“The idea came from [working with] a major artist who we were very frustrated that we couldn’t find dates [for],” says Hoffman. “They were just going to bypass Toronto on their world tour.”
That act (unrevealed, but there’s plenty of room for speculation) will now play Rogers Stadium next summer, one of 12-15 shows on the 2025 slate. Hoffman says almost all of those shows are already booked.
“It’ll be the biggest year we’ve ever had in stadium-level touring. By far,” he says. “It’s the kind of acts that you would traditionally see at an NFL stadium in the U.S. or the Rogers Centre here. The biggest acts in the world, and some of them setting up for multiple days.”
Stadium and festival-size shows are in high demand, he says, and Toronto is one of the top stops on any world tour. The city is also multicultural and multilingual, which makes it an ideal market for exploding genres from around the world including K-pop, Latin music and Punjabi music. Stadium shows from Indian star Diljit Dosanjh in Toronto and Vancouver this summer have shown there’s an appetite.
“If the fans weren’t coming, [artists] wouldn’t stage shows that big,” Hoffman says. “Not to dumb it down too much, but if they keep selling out stadium shows you do more stadium shows.” – Richard Trapunski
Somali-Canadian Artist K’naan Charged with Sexual Assault
Canadian musician K’naan has been charged with sexual assault.
A charge sheet was filed this week (Sept. 26) in Quebec City for the musician and director, born Keinan Abdi Warsame, for a count of sexual assault dating back to 2010, The Canadian Press reports.
The arrest warrant alleges that the assault took place between July 16 and 17 in Quebec City, which coincides with a show he played at Festival d’été de Québec (FEQ) in 2010. CBC reports that the complaint was first filed in May of 2022 with the Montreal police, but was later transferred to Quebec City. The assault allegedly took place in a hotel room on territory covered by the Quebec City police force.
K’naan, who’s known for his 2009 hit “Wavin’ Flag” (later rerecorded as the global anthem for the 2010 FIFA World Cup), took an extended break after his 2012 album Troubadour and spent time in both Canada and the United States. Recently, he has recently returned to prominence.
The Somali-Canadian musician returned with “Refugee” in 2023, a song that he said was intended to feel “like a home for those of us made homeless by conflict.” K’naan won the Best Song for Social Change Award by the Recording Academy at this year’s Grammy Awards.
Just over two weeks ago, K’naan made his debut as a director, premiering his feature film Mother Mother at this year’s Toronto International Film Festival. This week, on Sept. 24, K’naan attended the SOCAN Awards at History in Toronto and accepted the SOCAN Cultural Impact Award for the lasting global impact of his anthem, “Wavin’ Flag.”
Warsame was not in attendance for the proceedings in Quebec. The case has been set for April 2025. According to Radio-Canada, Warsame’s lawyer has requested he be tried in English in front of a jury. – R.T.