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The hard hats came off for the first official concert at TD Coliseum in Hamilton, Ontario last Friday night (Nov. 21) — and it started with a bang.
The first show at the former Copps Coliseum and FirstOntario Centre arena since its nearly $300-million transformation by American sports and live entertainment company Oak View Group was one of the most prominent music legends still playing today: Sir Paul McCartney. That’s a big flex for a venue aiming to prove itself as both a relief valve for the red-hot Toronto live music touring market and a destination in its own right, as well as Oak View Group’s new flagship venue in Canada.
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McCartney has a discography packed full of some of the most immortal songs of all time from the Beatles to Wings to his solo career, and the multigenerational crowd that packed the sold-out 18,000-capacity venue showed their appreciation by shouting and singing along with every song.
Partway through the set, the 83-year-old artist took an informal poll: “How many of you here are actually from Hamilton?” he asked, before repeating the question asking how many are not. Judging by the cheers, it sounded like 60-40 out-of-towners to Hamiltonians. It’s been nearly 10 years since McCartney last played the city, and he made it count with a marathon 36-song setlist that lasted close to three hours.
The arrival of TD Coliseum may be described as an upgrade of an existing arena, but that tag seriously underplays the significance of what is a genuinely dramatic $300 million transformation of the 18,000-capacity venue.
The ribbon cutting on Nov. 20 was attended by Ontario Premier Doug Ford (taking time out on his birthday), several of his provincial cabinet members, the mayor of Hamilton, Andrea Horwath, and high-level representatives from Oak View Group, the Denver-based international venues giant in charge of the project, and its partners, including TD Bank and Live Nation Canada.
Nick DeLuco, senior vice president and general manager of TD Coliseum, launched the event by recalling that “749 days ago, we were here, talking about a vision, a dream of what this venue was going to become, and now it’s real.”
Read more on the opening McCartney concert here and the opening of TD Coliseum here. — Richard Trapunski and Kerry Doole
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Macklam Feldman Management Celebrates 30th Anniversary
Macklam Feldman Management (MFM) is celebrating 30 years.
As the Canadian-born international talent agency embarks on its third decade, the company is welcoming new team members and a bevy of emerging talent.
Founded in Vancouver in 1995 by industry titans Stephen Macklam and Sam Feldman, the partnership initially emerged to manage Irish folk band The Chieftains. The success of the group proved their joint prowess — and Macklam Feldman Management was born.
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Since then, the management company — a subsidiary of Feldman’s A&F Music Ltd. — has overseen and guided the careers of some of the biggest artists in the world including Joni Mitchell, Norah Jones, Leonard Cohen, Bette Midler, Tracy Chapman and James Taylor alongside a roster that today includes legends Sarah McLachlan, Diana Krall, Elvis Costello, Colin James and more.
“We’ve been fortunate to work with some of the most iconic artists in the world, and this recent momentum marks the most concentrated period of investment in artist development since the company was founded,” Feldman tells Billboard Canada.
While working with icons like McLachlan and Costello, Macklam and Feldman are music industry legends in their own right. (The latter also founded The Feldman Agency, one of Canada’s biggest booking agencies, before selling the namesake company to his executive team in 2019.) Recently, however, MFM has increasingly invested in artist development.
Over the last two years, MFM has expanded its team with four new staff members — Samuel Chadwick, Sam Hughes, Connor Macklam and Wesley Attew — who are dedicated to artist development and digital marketing. They will work with artist managers Scott Oerlemans and Kyle Kubicek to strengthen MFM’s artist development and digital marketing operations for their growing roster.
Over the past year, they have welcomed a new wave of artists, including American singer-songwriter aron!, rock band Tommy Lefroy, U.K. post-punk band YAANG and country singer Dawson Gray. They join 2022 signees, emerging folk-pop trio Tiny Habits, who recently opened for McLachlan on her 30th anniversary Fumbling Towards Ecstasy tour. Each brings a fresh musical perspective and global prospects to the agency.
Read more here. — Heather Taylor-Singh
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New National Report Calls for Boost to Indigenous Music ‘Discoverability’ in Canada’s Streaming Era
As Canada updates its rules for how streaming platforms support local culture, a key opportunity is emerging to strengthen the visibility of Indigenous music at home and abroad.
The Indigenous Music Office (IMO) has released a new study that sheds light on the challenges affecting Indigenous artists and music companies accessing international markets.
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Pathways to International Markets: A Strategy to Increase Export Capacity for Indigenous Music is the music organization’s first major research project. The study establishes four key strategic directions that identify the roles that funders, music industry organizations and partners play in increasing financing, professional development and discoverability for Indigenous artists and industry professionals.
In the study, the IMO highlights that export activities generate significant career development opportunities for Indigenous music artists. However, most funds available to the Canadian music industry lack a strategic focus on assisting the development and export of Indigenous music.
“A strategy to increase the export capacity of the Indigenous music sector is timely as demand for Indigenous music is growing in Canada and around the world,” the report reads.
This includes financing the growth of a domestic Indigenous-owned and led music ecosystem, strengthening export readiness of Indigenous artists, prioritizing international showcasing, touring and networking and promoting discoverability of Indigenous music on streaming and broadcasting platforms.
The study calls for promoting “discoverability of Indigenous music on streaming and broadcasting platforms” as the most specific pathway for Indigenous artists and organizations to reach larger audiences.
In addition to working closely with the CRTC on the implementation of Online Streaming Act, the IMO has assisted in the development of the commission’s new Indigenous Broadcasting Policy, in partnership with First Nations, Métis and Inuit broadcasters, along with Indigenous content creators and audiences.
The study was developed amidst the implementation of the Online Streaming Act, a once-in-a-generation update to CanCon regulations, and ongoing Canadian Radio-television and Telecommunications Commission (CRTC) hearings. In September, various Canadian music orgs voiced their opinions on the changes, one of which highlights the importance of artist discoverability for Indigenous musicians.
An important part of the hearings was last year’s CRTC decision to enforce major foreign-owned streaming services with Canadian revenues over $25 million to pay a now-paused 5% of revenues into Canadian content funds, like the Indigenous Music Office and FACTOR.
Read more here. — HTS
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It was 20 years ago this week (Nov. 29) that 16-year-old Chris Brown vaulted onto the scene with his self-titled debut studio album and triple platinum-certified Hot 100 No. 1 “Run It!” And in celebrating that anniversary, Brown — under the guidance of manager Anthony “Ant” Wilson of Tycoon Music — has achieved various other career milestones during what’s become an even more momentous year for the singer-songwriter.
Brown kicked off 2025 with the best R&B album Grammy for his latest album 11:11 (Deluxe) — his second win in that category after 13 years. He’s now closing out the year with two more nominations for the 2026 Grammy ceremony: best R&B song and best R&B performance for “It Depends” featuring Bryson Tiller, which peaked at No. 16 on the Hot 100. Prior to that in 2024, Brown picked up his first RIAA Diamond-certified single for “No Guidance” featuring Drake.
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Of witnessing Brown’s second Grammy win, Wilson — a 2025 R&B/Hip-Hop Power Players honoree — told Billboard in August, “Winning isn’t everything, but it feels good. And the consistent recognition of his artistry continues to solidify him as one of the biggest artists in the world.”
Between those Grammy bookends, Brown embarked on what’s since been logged by Billboard Boxscore as his highest-grossing live outing to date, the Breezy Bowl XX World Tour. Spanning 39 cities and 48 shows, his 20th anniversary and first-ever stadium run (June 8-Oct. 16) earned $300 million and drew 2 million fans across North America, Europe and the U.K. Accompanied by Tiller as a special guest through the run and Grammy-nominated artists Jhené Aiko and Summer Walker on select dates, Brown also welcomed pop-up performances along the way by Usher, 50 Cent, GloRilla, Tyga, Bow Wow, Sexyy Red and Davido during his three-hour, 56-song set.
It’s Brown’s indefatigable energy and love of performing that Wilson first focused on strategically when he became the global star’s manager 10 years ago after predecessors Tina Davis and Mike G.
“We started off doing club and spot dates,” Wilson recalls. “Then we got the Heartbreak on a Full Moon tour [2018 with H.E.R., 6lac, and Rich the Kid]. I just wanted to get him back to the touring part of the business because I felt he could touch the most fans there. That was my initial goal.”
Wilson also created the annual Tycoon Music Festival. Presented this year in association with Live Nation and 313 Presents, the festival marked its sixth anniversary on April 19 at Little Caesars Arena in Detroit. Headlined by Brown, the lineup also starred Skilla Baby, Fabolous, Gucci Mane and Wiz Khalifa with surprise appearances from Sexyy Red, G-Herbo, Payroll Giovanni and Tee Grizzley.
Based in Las Vegas, as is Brown, Wilson recently spoke with Billboard about what’s next on the drawing board for him and his superstar client.
Chris Brown and Anthony “Ant” Wilson
Travis Colbert
What’s it like managing such a tireless artist as Brown?
We don’t sleep too much over here [laughs]. That’s because he stays up working in the studio he has in his house. He’s in that studio every day until we put out an album. And then the hard part before that is figuring out what songs are going to make the album. Chris also has a billion ideas about different things. So another hard thing is trying to get those billion ideas down to at least 10.
Talk about the rapport between the two of you, which is an important part of the artist/manager collaboration.
I met Chris when I was working with Bow Wow. that’s when Tina was involved. She’s a friend of mine as well. So I used to help out whenever she needed some assistance. Mike G was there too; we were all together then. But Chris is my brother first then it’s business, I don’t hope that he wins. He has to win because he’s my family. So that’s why there is no sleeping because I’ve got to make sure he does. I don’t know if there’s a blueprint on how to manage an artist. Every artist is different. But there is one key thing: understanding the artist and the fans of that artist.
Very few artists have made the successful transition from teen to adult star. Why has Brown been able to cross that bridge?
A lot of artists can do one thing; they can either sing or they can dance. But not a lot of artists can perform the way that he does: he’s singing, he’s dancing, he’s crying, he’s laughing, he’s flying, He’s doing everything he can to please fans. He’ll take less money just for the production to be what it is. He just wants [his performance] to stand out. Breezy XX was originally three and a half hours. I’m like, “Chris, come on. We’re going to run into overtime on every show. Like I said before, that’s the hardest thing … trying to get things down to where we’re both happy [laughs].
A new album coming before this year is out has been rumored given the 20th anniversary. Any hints about the next project?
There’s always an album. The name of it always changes. The songs always change. Even with the last album, we were in the studio putting another song together on the day before it came out. So I can’t say the name or a date for the album. I’ll leave it open because he could wake up and say let’s put it out next week. I’m ready though. I have it [the album] at the moment, but it changes every week.
Chris Brown performs in San Diego, CA, on September 18, 2025.
Acre Media
What else is next? A concert movie à la Taylor Swift and Beyoncé or a return to acting?
He loves and wants to act. There are acting classes, and he’s gearing up for that. I also think the Super Bowl would be a great place for him. I believe it will happen.
Have there been any overtures on that front?
We’ll just see.
How has it been navigating the negativity that he still encounters as you work to move his career forward?
It’s nothing that I’m not used to at this point. We just smile and keep going. I just try to show improvement with work over the words, you know? I think that’s the best way. But his kids ground him. He’s a great, involved dad. I also think Chris’ fans love him so much because they can relate. He’s a real person who’s gone through things that others have but he did it in front of the world. So I feel like that’s his legacy: going through life with everyone else.
Now that Verzuz is back, is the long-rumored Usher/Chris Brown match-up a stronger possibility?
It may. Usher and Swizz Beatz are friends of mine; Swizz recently spoke to me about it. I’m not saying no if it makes sense.
Beyond your ownership of the Tycoon Festival, what other projects are you shepherding?
I also work with 50 Cent in a company called the Green Light Gang. We have 40 TV shows [in the works] at the moment and a few movies. We’re also going to build a production company in Shreveport, Louisiana. So that’s my new baby, television.
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“This year has been a nail-biter when it comes to investing,” says Kristin Lee, founder of the business management firm KLBM. “Most of our clients have chosen to keep it more conservative and keep an eye on markets rather than doing anything major. We’re always keeping an eye out for unique opportunities in times like these.”
Lee expresses a view that many share in the financial community, including Billboard’s 2025 class of top business managers.
Nominated by their firms and peers and chosen by our editors, the financial advisers profiled here take on tasks for clients that have never been more complex: auditing streaming royalties, negotiating concert tours, building equity through branding deals and selling or buying music catalogs — to say nothing of conventional chores like budgeting, filing taxes, guiding investments or estate planning.
The passage in July of major tax and spending legislation — formally a budget reconciliation act — is having a significant, but mixed, impact.
“The 2025 reconciliation act significantly favors tax relief for high-income individuals and corporations while reducing funding for essential social programs,” says Jordan L. Josephs of Royal Entertainment Business Management. “The top 10% of earners are expected to receive nearly 80% of the legislation’s total benefits. While this may positively impact our high-income clients — particularly established entertainers and executives — it could present challenges for middle-income creatives, especially those who rely on public support or educational grants.”
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Accountants typically await guidance on new tax legislation from the IRS, which has been affected by the government shutdown that began Oct. 1. The result is “uncertainty, which is always the problem with this kind of thing,” says Joshua Klein of TKG Business Management. “Clients can handle higher taxes or stricter rules, but when the rules aren’t clear, like in this bill, that’s a hard thing to plan around.”
A perennial top priority for business managers is “security, security, security,” says Mike Merriman of PARR/3. But he adds: “Our industry is on the precipice of a new era of cyberattacks with [artificial intelligence], social engineering and more sophisticated scams than we’ve seen before. Part of protecting our clients’ wealth is to create multilayered security systems that constantly update and stay two steps ahead.”
Timothy J. Jorstad, founder of his own firm, Jorstad, notes that for some clients, “crypto and AI-related investments are very popular but come with very high risks. It is important that clients limit their overall risk exposure to alternative investments to no more than 10% of their total portfolios.”
The alternative investments that clients choose never fail to surprise business managers, and Billboard always invites our honorees to offer examples of the unusual places where artists and executives invest spare cash — while respecting the confidentiality of those clients. This year, those investments range from a cricket team to dinosaur fossils.
One client of U.K. business manager Colin Young of the London-based firm CC Young invested in “a share in a zoo,” he says, “with an optional participation in feeding the hippopotamus.”
Ivan AlarcónOwner/CEOCarolina MedinaJuan RodriguezLaura SuarezProject managers, Vibras Lab
Alarcón was the CFO for Bad Bunny’s Puerto Rico residency and will fill that role for the artist’s upcoming European and Latin American tours. His clients also include Karol G and J Balvin. His firm helped close agreements with merchandising company Bravado and spirits maker Casa Dragones for Karol’s new tequila, 200 Copas. Vibras was involved in tours that sold 3.5 million concert tickets in the past 12 months, according to the company, including outings by Natalia Lafourcade and Balvin’s Back to the Rayo tour.
What’s affecting client income: “I believe we are on the verge of a reappraisal cycle: Catalogs could appreciate significantly because they will power the next generation of [artificial intelligence]-driven entertainment, from immersive experiences to personalized music for every listener,” Alarcón says. “My advice to clients has shifted toward protecting, structuring and retaining ownership of their rights because what today is a licensing opportunity could become the foundation of entire new revenue streams tomorrow.”
A booking to play the Apple Music Super Bowl LX Halftime Show on Feb. 8, 2026, has confirmed the superstar status of Bad Bunny, a client of Ivan Alarcón of Vibras Lab, who was the CFO of the artist’s history-making residency in Puerto Rico.
Cheery Viruet
Belva AnakwenzePrincipal/business manager, Abacus Financial Business Management
“The evolving role of business managers is no longer just managing existing income but actively helping clients build long-term wealth through ownership, diversification and strategic capital deployment,” Anakwenze says. Her firm has guided several musician and actor clients in launching everything from wellness brands to tech startups, providing the financial infrastructure and strategic planning needed to transform creative professionals into successful entrepreneurs. “This diversification has proven crucial as AI and industry consolidation continue to pressure traditional revenue sources,” she adds.
What’s affecting client income: “The shift toward playlist-driven discovery and shorter attention spans means our musician clients must fundamentally rethink their creative and business strategies. We’re advising clients to focus on building direct fan relationships through platforms like Patreon and Bandcamp rather than relying solely on Spotify or Apple Music, where payouts remain fractional unless you achieve massive scale success.”
Jose Luis AristizábalFounder/CEO, CamaleOn
Camaleon is turning ambitious artist projects into profitable ventures, made possible by the firm’s “full-service approach and the strong team we’ve built,” Aristizábal says. This is exemplified by how it directly manages the full touring revenue cycle. “We don’t just plan tours — we also [oversee for] our clients all the extra income sources like VIP packages, merch sales and meet-and-greets,” he adds. “By keeping these [operations] in-house and handling everything from logistics to financial planning, we cut out middlemen and increase profits for our artists.” The company also manages legal, tax and royalty matters, while ensuring its artists “keep as much of their earnings as possible” with “a strong, profitable business behind them.”
What’s affecting client income: “Whether it’s AI, streaming changes or other shifts, our team looks at everything through the lens of profit, legal safety and long-term strategy — so our clients always have a clear and complete plan.”
Angie BarajasLouis BarajasCo-founders/business managers, Business Management LAB
Business Management LAB has achieved its highest revenue growth year, something Louis Barajas attributes to the company’s focused attention on its clients. “As [business management] firms consolidate and grow in size, Angie and I made a firm commitment to stay boutique and cater and double down to [serve] musicians and executives in the Latin music community,” he says. Their clients range from regional Mexican music stars like Ivan Cornejo, Natanael Cano and Julion Alvarez to Latin urban and pop acts like Yandel and Elena Rose.
What’s affecting client income: “We are seeing that the younger artists that are more technology-savvy are using AI, new and multiple streaming platforms and the direct-to-fan and creator economy. [They] are learning to monetize their music and rely on less traditional [music label] platforms,” Louis says.
The Alma Tour 2025, promoted by Live Nation, will bring Elena Roseto nine U.S. cities beginning Nov. 28 in Miami Beach. She is among the clients of husband-and-wife business managers Angie and Louis Barajas of Business Management LAB.
Kevin Winter/Getty Images
Harrison BaumanSenior vp of investments, Raymond James & Associates
Bauman says the most important issue for his clients is their “personal security — planning for their future and setting the right expectations.” He has in-depth conversations regarding the sale of their catalog and how it affects today versus tomorrow. New streaming payment models and catalog sales are affecting clients’ income, he says. Raymond James & Associates has also assisted clients with implementing certain retirement plans at a young age in order to reduce their taxable income and, over the past year, the company has helped with the financing for clients relocating to different states or new homes.
Impact of the Reconciliation Act: “Section 181 allows entertainers to deduct certain production expenses,” Bauman says, referring to the provision of the tax code that previously applied solely to qualified film, TV and live theatrical productions.
Tyson BeemCEOChristopher FazzolariShane GlassTodd KamelharJohn MenneciMelissa MortonRichard MozenterAnton PamerMike SkeetBill TannenbaumManaging directors, Gelfand Rennert & Feldman
As one of the nation’s oldest, largest and most skilled business management firms, GRF plays a leadership role within Focus, an interdependent partnership of wealth management, business management and related financial services firms. Drawing upon the global Focus ecosystem, GRF delivers its guidance to leaders in music, film, TV, sports, social media and other creative arts. As CEO, Beem has connected the various experts and resources across the company including the U.S. and U.K. business management teams, the U.S. and international tax teams, tour accounting, production accounting, music and royalty examination services, music publishing, record-label administration and intellectual-property valuation. Offering “a wide spectrum of expert services,” Beem says, “creates exceptional results for clients.”
What’s affecting client income: “We are continuing to see a proliferation of monetization opportunities for music rights,” Beem says. “That includes acquiring various rights, selling various rights and, of course, confirming that recurring revenues are calculated properly. You’re seeing these valuation opportunities evolve as you see new buyers including private equity enter the market.”
Julie BoosOwner/chairman/business managerDuane ClarkOwner/president/business managerJamie CheekOwner/CEO/business managerErica RosaOwner/vp of royalties and contract compliance/business managerDavid BoyerJen CongerDan KillianCarmen RomanoOwners/business managersPaul BarnabeeDirector of West Coast operations/business managerChris HughesBetsy LeeJason LeissBusiness manager, FBMM
FBMM is focused on ways to find cost savings for clients in various areas, including touring. “We’re constantly looking for opportunities to leverage our clients’ collective buying power to negotiate cost savings, whether that’s through preferred pricing with bus vendors or discounted fuel card rates,” Cheek says. The company also continues working to help clients protect their creative works in the age of AI. “It has been important to work with artists’ legal teams and managers to ensure awareness of the potential issues and developing new best practices for handling the use of AI and evaluating strategies to protect artists’ names, likenesses and intellectual property,” Cheek says.
Pressing issue: “The changing cost structure and ultimate potential impacts on profitability of touring,” Cheek says. “Three primary cost centers that are affecting this are acquiring and retaining great staff with shortages in nearly all departments; travel costs, which have skyrocketed over the past two years; and production costs. These inflationary measures we have seen before — but not all at the same time.”
Charles BradbrookJanice LloydStephen MarksSteven WrenPartners, SRLV
SRLV “has played a key role in supporting high-profile clients through major transitions — including international tours, catalog sales and strategic projects — all while maintaining a personalized, hands-on approach to business management,” Marks says of the company, which launched in 1988. And part of what has contributed to that success is the addition of three partners: two in the creative division and one in the private client international tax division. “These partners,” Marks says, “exhibit our continued commitment to excellence in client service, particularly in navigating complex financial landscapes.”
Impact of the Reconciliation Act: “QSBS [qualified small business stock] relief has been available for some time but has often been overlooked in favor of pass-through tax arrangements,” Marks says. “However, the enhanced QSBS relief provides significant tax advantages. So when new ventures are being discussed, more consideration will be given to a qualifying QSBS structure. This is particularly relevant for the entertainment industry, where asset value appreciation continues to be robust.”
Joseph CallaghanMark CarterSimon WintersPartnersThomas SmithPartner/entertainment industry leaderScott DunnachieDirector, Prager Metis
Over the past year, the Prager Metis team has focused on “creating diverse revenue streams for our clients, from merchandise lines to exclusive VIP experiences,” Smith says. Moreover, when considering possible revenue events, the company’s executives look beyond the immediate rewards that opportunity may provide and consider the question: “ ‘How will this decision impact our client’s business in five or 10 years?’ ” he says. “Thinking ahead allows us to build sustainable growth strategies for our clients, creating long-lasting success in an ever-changing market.”
What’s affecting client income: “With the touring season in full swing, we’re advising artists and touring companies to sharpen their financial strategies, especially by cutting overhead and negotiating smarter contracts,” Smith says. “Industry shifts like AI-driven production tools, evolving streaming revenue models and the surge in music catalog sales are reshaping how income is earned and managed. Staying agile is key.”
Adam CaswellDirector of business managementRoger RamosAccount manager, Fineman West & Co.
Fineman West & Co. has expanded its royalty and catalog valuation division, taking steps that include the integration of AI-driven analytics. This has helped the firm’s clients — a roster that includes Aerosmith frontman Steven Tyler, producer J.R. Rotem and Sam Farrar of Maroon 5 — “uncover missed royalties, identify new revenue streams and make more informed decisions when evaluating catalog sales,” Caswell says. The changes at the firm reflect “how business management is becoming more proactive, data-driven and creative — serving not just as financial stewards but strategic partners in our clients’ long-term growth.”
Pressing issue: “One of the biggest challenges right now is managing cash flow amid rising costs of living, shifting touring margins and the ebbs and flows of royalty payment schedules,” Caswell says. “Business managers are balancing the need for liquidity with long-term planning — helping clients stay financially steady while continuing to invest in their careers, businesses and future opportunities.”
Lauren CooperFounder/CEO, LC Business Management
Cooper founded LC Business Management in 2024 with one goal in mind: to provide a more tailored and personal experience for talent and creators. Over the past year, her business has doubled in size, which Cooper says “is both exciting and a testament to the need for a more thoughtful, client-first model in this space.” She adds, “We are not just handling numbers but supporting our clients across every facet of their financial lives.” To diversify beyond music, the company works closely with clients to build sustainable, long-term financial health through investments, brand partnerships, entrepreneurship and other ventures that align with their values and lifestyle.
Pressing issue: “One of the most pressing issues we face is bridging the financial literacy gap, especially with younger or emerging talent. We are not just managing money. We are educating clients on taxes, investing and how to build lasting wealth through ownership. Empowering them with that knowledge is essential to protecting their futures.”
José “Pepe” CruzManaging director, Solución Estratégica
Focused on building sustainable financial strategies that support both artistic goals and long-term business vision — like Ozuna’s 2025 summer tour across Europe — Cruz has guided his clients beyond touring and into business ventures across hospitality, agriculture and digital media. “One of the most interesting projects I’m currently overseeing is the development of an entertainment content platform designed to expand Latin music’s digital footprint and audience engagement,” he says. “My goal is to help clients like Ozuna protect their assets while building diverse, forward-thinking business models that extend well beyond music.”
Impact of the Reconciliation Act: “The most meaningful change is the formal enactment of the HITS Act tax breaks. This puts the music industry on equal footing with film and television, giving independent creators financial relief and greater access to professional resources. It’s a game-changer that encourages more investment in new music, supports creative growth and strengthens the overall ecosystem.”
Lester DalesPaul MakinDirectors, Dales Evans & Co.
Coldplay’s Music of the Spheres world tour is poised to become the highest-grossing trek ever with the September announcement of another 138 shows. The Dales Evans & Co. client’s tour has already brought in $1.4 billion with its first 211 shows through July 27. A year on from helping shepherd Queen’s record-breaking $1.3 billion catalog sale to Sony, Dales and Makin remain focused on supporting clients in similar one-off “milestone” deals amid the general “constructive support services” they offer. “Decisions around asset sales — to sell or not to sell — remain fundamentally important for many and need to be carefully considered based on each individual client’s circumstances and aspirations,” Dales says. “But for many, tour planning and income generation remain of prime importance.”
Pressing issues: “Maximizing and monitoring income flows,” Dales says. “As many clients become more reliant on worldwide touring, the mitigation of and planning for international withholding taxes. Then the preservation and growth of our clients’ assets.”
With its September announcement of 138 more concert dates, Coldplay’s Music of the Spheres world tour is poised to become the highest-grossing trek ever. The band is advised by Lester Dales of Dales Evans & Co.
Samir Hussein/WireImage
Ed EschlemanOlga GoldovskayaDirectors, Armanino Advisory
Eschleman says Armanino Advisory has overseen several successful international tours for his clients, which “involves making sure proper insurance coverage, tax compliance and other regulatory compliance matters are addressed prior to and during touring.” But the biggest questions Eschleman sees are about recordings and listening: “How will artists be compensated for their works that are used to train AI models? Will AI-created music start to make up a large part of the music catalog that consumers listen to?” he says.
Impact of the Reconciliation Act: “The act extends film/TV’s Section 181 treatment to music. You can immediately expense up to $150,000 per project of U.S. sound-recording production costs — think studio time, session players, engineering, mixing/mastering and certain eligible release assets — instead of amortizing over years,” Eschleman says. “Net effect: lower taxes the year you cut the record and more cash for marketing, which is especially powerful for indie artists and labels.”
Kella FarrisStephanie SelfCatherine MooreStephanie AldermanPartners, Farris Self & Moore
Farris Self & Moore marked its 10th anniversary in January and continues to guide clients with their financial needs, from structuring catalog sales to evaluating tour opportunities and setting a proper foundation for emerging artists. FSM has been able to separate itself from competitors by being less of a financial administrator and focusing more on strategic advice. “Whether that’s pressure-testing a tour budget before a client commits to dates, working through the mechanics of a brand partnership or walking someone through what a major transaction actually means for their taxes and long-term planning,” Alderman says, “the goal is the same: help clients understand their options clearly so they can make decisions that align with their goals.”
What’s affecting client income: “Touring economics,” Alderman says. “What used to function as a reliable revenue stream has created a stark divide: Top-tier artists are breaking touring records while emerging acts can still book shows for exposure and experience, but the middle tier has essentially hollowed out.”
Marco FonsecaCEO, Red Mind Global
Fonseca developed a “scalable” business management team to prepare Red Mind Global’s “next stage of growth” and “ensure we can welcome new artists without compromising the quality of service,” he says. “We have invested in building technology-driven tools across our back-office departments to provide managers and artists with real-time financial and operational data,” Fonseca says, encouraging artists to understand how to navigate “today’s overload of information” for more accurate decision-making. “At Red Mind,” he adds, “we believe that streamlined, high-quality data is the foundation that enables artist projects to grow sustainably.”
What’s affecting client income: “Artificial intelligence,” Fonseca says. “My advice to artists is to treat AI as an ally, not a threat: Those who understand it early will be the ones shaping how it works for them instead of having it imposed on them. But AI should never replace artists. The soul, emotion and human experience behind music is irreplaceable, and that is where true value lies.”
Pete FrosticFounder/CEO, The Greenroom Resource
Before Frostic founded The Greenroom Resource to advise entertainment stars, he was an entertainer himself. “I was a touring musician for 10 years prior to gaining my MBA,” Frostic says. “I’m proud of how that ethos informs our interactions with clients.” Although many of his specific achievements are confidential, Frostic is proud “to help clients all across the revenue spectrum find a way to present their art to their fans in a way that is conducive to a profitable business that drives their personal net worth up over time.” As the cost of touring rises, Frostic knows his work is more important than ever, noting that these increasing costs are “always in conflict with our clients’ desire to deliver their performances in a way they envision it creatively.”
What’s affecting client income: “I believe strongly in the long-term value of content ownership. As new monetization models appear and disappear over time, the owners of the [intellectual property] assets are the ones with the power. I do my best to help clients retain and/or reclaim these rights.”
Lidia GámezManuel LópezCo-CEOsDaniel RuizCFO, MAAS/Sympathy for the Lawyer
Dellafuente’s two sold-out shows in June at Madrid’s Metropolitano Stadium drew 130,000 fans and generated an economic impact of 35 million euros (about $40 million), according to the artist’s business management firm, MAAS/Sympathy for the Lawyer, which oversaw the venture. “Given the ambitious and innovative artistic proposal, which required a massive financial investment and complex structuring, coupled with the challenges currently facing large-scale events in Spain — including a forced venue and date change from the originally planned Santiago Bernabéu — this endeavor represented a monumental challenge that our team successfully managed and delivered,” López says.
Pressing issue: “In today’s industry, artists and managers need far greater control and clarity over their data,” López says. “Yet the information is often fragmented. At MAAS, our commitment as business managers is to provide simple, agile and comprehensive visibility across all three pillars of the business — recorded music, live and publishing — without requiring clients to consult dozens of separate dashboards.”
Some 130,000 fans turned out in June for two sold-out shows at Madrid’s Metropolitano Stadium by Dellafuente, according to his business management firm, MAAS/Sympathy for the Lawyer.
Aldara Zarraoa/Redferns
Adrien GoodFounder/business manager, Luma Business Management
As a go-to business manager for songwriters and producers who power the top of the Billboard Hot 100, Good has carved out a unique lane in the music industry with Luma Business Management, which marks its fifth anniversary this year. Helping clients like Dan Nigro, Steph Jones, Sam Sumser and Petey Martin, Good says the most important thing he advises writers and producers to do is to future-proof their finances now. For creators with sporadic income, he adds, “that means building real liquidity cushions to help them hit their personal lifestyle goals, not just get them to the next royalty statement.”
What’s affecting client income: “For our producer/songwriter clients, catalog positioning for a potential sale in the next three to five years is front and center. Every new deal comes with a discussion of what that will mean for the catalog value and where they will be in recoupment when that time comes.”
Trending on Billboard Grammy-winning country duo Dan + Shay have signed with The Core Entertainment’s co-founders/CEOs Simon Tikhman and Kevin “Chief” Zaruk for artist management. “We’ve always admired The Core’s ‘music-first’ mentality, and from our first conversations with Simon, Chief, and the entire team, we knew that it was the perfect home for us,” said […]
Trending on Billboard
Entertainment management company Milk & Honey Music + Sports has acquired U.K.-based firm Bigfoot Music Management, Milk & Honey tells Billboard.
Under the terms of the deal, Bigfoot is being absorbed by Milk & Honey, meaning the firm will exist entirely under the Milk & Honey banner. As a result, Bigfoot’s current staff will now be part of the Milk & Honey team, and its entire client roster, which includes pioneering electronic producers Adam Beyer and Joris Voorn, will become Milk & Honey management clients. Beyer’s longtime manager, Jeremy Ford, will be senior vp of electronic for Milk & Honey globally and be based in the company’s London offices.
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The move further expands the dance/electronic footprint at Milk & Honey, as the company hired longtime music manager Andrew Goldstone as head of electronic music this past March. Goldstone brought manager Taren Smith into the company, along with clients including the dance/electronic artists Kream and Sullivan King.
“As diverse as the Milk & Honey brand is in mainstream music genres, we are equally invested in underground music,” Milk & Honey founder and CEO Lucas Keller tells Billboard. “The company looks after unique talent across all facets of the music business, and this deal with Bigfoot to join Milk & Honey represents a further investment into techno and electronic music which is a top priority for the company. We are very excited to have Jeremy and his team in our UK office and joining the global M&H outfit.”
Over the years, Ford and his team have helped guide and grow international dance brands, including Beyer’s Drumcode label and Voorne’s Netherlands-based house and techno label, Spectrum. Other artists on the Bigfoot roster who will now be represented by Milk & Honey include Juliet Fox, Sarah Story, Sam Wolfe, Simon Patterson and Will Atkinson.
“Over the past three decades, Jeremy Ford and Bigfoot Management have built one of the most respected operations in electronic music,” adds Milk & Honey head of artist management & sports Dave Frank. “From Adam Beyer and Joris Voorn to the iconic Drumcode brand that encompasses record label, events, fashion and globally syndicated radio, their team has played a big role in shaping modern techno and house. We’re thrilled to welcome the Bigfoot team into the Milk & Honey family as we combine our networks, relationships and resources in representing and growing world-class talent who are and will be the global stars that drive our scene into the future.”
“Since its inception, Bigfoot has always championed talented artists who possess authenticity and ambition as well as brands, labels and events that also share a purposeful, global vision,” says Ford. “We’ve always strived to embrace, nurture and develop visionary leaders within the scene. Joining Milk & Honey represents an incredible opportunity for us to expand our reach and strengthen our ability to serve artists in a wider capacity. We share the same values, drive, work ethic and belief in building long-term careers so with this partnership and the fusion of two such talented teams we look forward to an exciting future that will no doubt shine a brighter spotlight on those we represent.”
Trending on Billboard Clipse has taken another step forward in the duo’s post-comeback resurgence: signing to CAA. The deal comes after the revered rap duo, composed of Pusha T and Malice, ended its 15-year hiatus with the critically acclaimed album, Let God Sort Em Out. Released in July and executive-produced by Pharrell Williams, the album […]
Trending on Billboard
Bryan Andrews’ vitriol is going viral. The up-and-coming country artist’s song, “The Older I Get,” contains lyrics in its verses that take on big pharma, corporate greed and un-Christ-like Christians. But it’s the bridge that has drawn the most attention, as he makes references to the Jeffrey Epstein files (“Raise your right hand / plead the Fifth / Tryna cover up names on a list / lie and say that it doesn’t exist”), ICE (“Heaven help you if you’ve got brown skin”) and the Israeli/Palestinian conflict (“Watch ‘em starve on Gaza Strip”).
“The Older I Get” originally came out in June. But in mid-October, a tirade Andrews delivered on social media propelled the song into virality: this week, it debuts at No. 3 on Billboard’s Country Digital Song Sales and No. 8 on the overall Digital Song Sales chart while Andrews debuts at No. 16 on the Emerging Artists chart.
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His outburst, which he titled “Crash Out,” features a camo-wearing Andrews seated in his truck, ranting about ICE agents “carting them off in the back of U-Hauls…and the worst part is I have to watch some of you cheering it on like you’re watching a f-cking football game,” saving his ire for people who call themselves Christians who applaud these actions. “I started writing songs about this sh-t because I’m not oblivious to the platform I have,” the Carrollton, Missouri native continues, adding he knows it’s risky for his career to be so outspoken, especially in the often conservative country community, but he feels he has no choice but show “what side of history he’s on.” The reel has garnered more than 7.5 million views on Instagram alone, and proved an effective — if unintended — marketing tactic for the song. And that success earns Andrews’ manager, 10 and 8 Management owner Nicholas Mishko, the title of Billboard’s Executive of the Week.
Here, Mishko, who began managing Andrews almost two years ago after one of the former pipe welder’s songs popped up in his TikTok feed, discusses the song’s success, and gives some context to Andrews’ rise and his signing with Disruptor/Sony five months ago. “Bryan has been creating music for about five years,” Mishko says. “TikTok proved to be a pivotal moment in his career, allowing his music to reach a national audience, open new doors and pursue music full time.” A number of high-profile music executives liked Andrews’ post, which Mishko says, “has opened doors for conversations and opportunities that weren’t possible before.”
The song originally came out in June, but exploded around two weeks ago after Andrews’ “Crash Out” social media post. How were you building the song the past four months until then?
We were building the song through TikTok and Instagram, steadily gaining momentum with each viral moment. We also shared the track with key influencers early on, which helped generate press and expand its reach.
How has it helped spread the word given the celebrities like Mark Ruffalo have liked and commented on Andrews’ post? How are you tying that back to the music?
The attention from high-profile celebrities has helped bring Bryan’s music to audiences who might not have discovered it otherwise. Each repost, share, like or comment generates conversation and drives new listeners to the song and his other work.
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It’s not until two-thirds through “The Older I Get” that Andrews gets overtly political with the bridge that alludes to the Epstein list, “brown skin” and Gaza. Was there any thought to making a version without those references?
The song was largely complete before Bryan wrote that bridge. He added those verses after seeing current events unfold. Those experiences inspired him to address issues and bring awareness.
Andrews posted that people were upset by “Crash Out,” “especially in the country music space.” Was it mainly country music fans or did you hear from people in the country music industry?
The backlash mostly came from fans who felt the song challenged their expectations of country music. We also heard from a few people within the industry, though it was never overwhelming. Overall, the reaction showed that the song was sparking conversation and engaging people with the issues Bryan wanted to highlight.
Andrews signed with Disruptor/Sony in April and you led with “Blue,” which was a much more traditional, though biting, country song about a broken heart, as opposed to something political. Why?
The song highlights Bryan’s songwriting and storytelling, making it a strong introduction for a wider audience. Disruptor’s team, especially Adam Alpert and Julie Leff, has been fantastic to work with, emphasizing from day one that their artists should feel in control of their art. They were fully on board with this first release.
What are your radio plans for “The Older I Get?”
Right now, our focus is on building strong momentum online, letting Bryan’s songs gain traction with fans and influencers. From there, we’ll evaluate whether and how to approach radio, using the buzz as a foundation for any future push.
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On YouTube, so many of the comments are from people who say they hate country music, but they love this song. How are you capitalizing on those new fans?
One of the top comments we’ve seen across platforms is, “I don’t listen to country, but I do now because of you.” We are engaging those new fans by highlighting the song across social platforms and encouraging them to explore more of Bryan’s music. By sharing behind-the-scenes content, stories about the songs and interactive posts, we’re turning casual listeners into loyal fans. It’s exciting to see new fans coming into country music and discovering a side of the genre they haven’t experienced before.
Does he follow “The Older I Get” with another political song or something more traditional?
Bryan has been country his entire life. I have been to his hometown and seen the small-town, blue-collar farming community he grew up in. He is living that life, and with this next song, he is showing listeners that he truly is a country artist and that his authenticity is undeniable.
Are you waiting for the White House to take notice and comment, as they have on Zach Bryan’s song, “Bad News?”
I’m always curious to see who is commenting and what they’re saying, and it’s clear the song has sparked meaningful conversation across a wide audience.
Trending on Billboard
Melbourne, Australia — Paul Dainty is embarking on a new voyage in artist management.
The legendary Australian concert promoter joins forces with his son, Sam Dainty, on Voyager Management Group, which launches proper with its first signing, Charly Oakley.
Voyager was initially created with Brian Walsh, the late publicist and executive director of television at pay-TV platform Foxtel, and is completely separate to TEG Dainty, which Paul Dainty continues to lead.
The new venture serves to oversee several agencies, including IMC and Mark Gogoll Artists, and Monument Management, explains Sam Dainty, a film and TV professional who came on to board in 2022 to help operate the business and was mentored largely by Walsh, who passed in 2023.
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“Charly is the first artist Paul has managed and the first artist signed to us,” Sam Dainty tells Billboard. “We had hoped to do this further down the line but when we discovered Charly we were just so impressed and wanted to get moving.”
Paul Dainty knows something about talent. The U.K.-born impresario has forged an impressive career in his adopted homeland, producing tours and concerts with the world’s leading rock and pop artists, and selling more than 50 million tickets along the way.
The Melbourne-based executive established the Dainty Group/Dainty Corporation in the early 1970s, and got on a roll early on with the Bee Gees, Diana Ross, Cat Stevens and the Jackson Five. Dainty produced the Rolling Stones’ tour of 1973, a visit that would set up the success that followed.
It was Dainty who produced ABBA’s 1977 tour of Australia, a visit that remains the stuff of legend. Through the friendships made on that trip, ABBA’s Benny Andersson and Björn Ulvaeus entrusted Dainty to tour Mamma Mia! 25 years later.
Dainty has also produced tours for the likes of Paul McCartney, U2, Guns N’ Roses, Eminem, David Bowie, George Michael, Prince, Katy Perry, and Britney Spears, and expanded the business into international markets.
He continues to serve as president and CEO of TEG Dainty, which, since 2016, has been a part of the TEG Group. The following year, he was appointed a Member of the Order of Australia (AM), and in 2023, he was appointed Officer of the Order of Australia (AO) for his “distinguished service to the community”. Upcoming TEG Dainty shows include national treks by Ricky Martin, Oprah, and Richard Marx.
A 22-year-old pop singer and songwriter, Oakley celebrates their new deal with the release of a debut single “Against The Odds” through AWAL. Oakley will support the release with a launch show next Thursday, Oct. 30 at Night Cat in Fitzroy, Melbourne.
Oakley is a special artist with the world at their feet, Sam Dainty reckons.
“We believe that Australian talent is extremely under-represented on a global stage, we have ambition for Charly in the future to be a huge name and figure in the music world,” Dainty says. “We have been able to give Charly the platform to receive feedback, help and guidance from not only us but huge names in the music industry and they have confirmed out belief in the artist and now it is time for the world to begin to hear the music.”
Pop-rock artist Role Model has signed with Good World Management’s Brandon Creed and Dani Russin, Billboard can confirm.
Role Model joins a stacked roster of superstars at the firm, including Charli xcx, Troye Sivan, Ariana Grande and Demi Lovato.
In April, Role Model parted ways with his manager, Best Friends’ Danny Rukasin, who helped the artist become a breakout star. The singer-songwriter recently scored his first Hot 100 hit with “Sally, When the Wine Runs Out.” The song is off the deluxe edition of Role Model’s 2024 album, Kansas Anymore, which arrived in February.
Role Model signed to Interscope in 2018 and released his debut album, the more alternative-sounding Rx, in 2022. But last year’s Kansas Anymore — which featured a softer, more Americana-inspired sound — changed the course of his career and helped solidify him as one to watch.
Since the release of Kansas Anymore, Role Model has opened on tour for Gracie Abrams and, more recently, celebrated two sold-out shows in Los Angeles; at one of those shows, he welcomed Reneé Rapp on stage as a surprise guest during “Sally.” Attendees at the L.A. concerts included Laufey, The Kid Laroi, Shaboozey, Shaboozey and Jason Sudeikis.
In May, it was announced that Role Model will make his acting debut in the upcoming Lena Dunham-directed Netflix film, Good Sex, starring Mark Ruffalo and Natalie Portman. He will be credited under his born name of Tucker Pillsbury.
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Creed founded Good World in August 2023. At the top of 2025, he was named Billboard‘s Manager of the Year along with his tight-knit team. In the interview, he said of signing new talent: “We are extremely discerning,” before adding, “We have room, don’t get me wrong, for the right thing.”
In 2015, Dana Biondi was looking for the future.
The frat-rap and weed-rap crazes in the early 2010s catapulted artists like Wiz Khalifa and Curren$y to fame, but by the middle of the decade, Biondi — who had promoted shows at New Haven, Conn., club Toad’s Place and had some rap management experience — sensed a different energy on hip-hop’s horizon. “I had really seen a lot of the fans sit at shows and just kind of bob their head,” he recalls. “I knew that the industry was pushing toward a new movement.”
Biondi found that future in $uicideboy$. At the dawn of what would come to be known as the SoundCloud rap era, the New Orleans hip-hop duo, consisting of cousins $crim and Ruby da Cherry, had quickly attracted a passionate cult following with their strikingly personal lyrics, rock-influenced sonics and attitude, and, particularly, their riotous live shows. “The first show that I went to to see them was at the Roxy [in Los Angeles] — and it was chaos like I had never seen before,” says Biondi, now 36. “Between the mosh pits and the fandom and the overall show just being… chaotically beautiful, in a way. I [knew] that they were really special.”
He started managing the Boy$ shortly after — along with longtime friend Kyle Leunissen, who introduced him to the duo — while also serving as music manager for G59 Records, the cousins’ own label. Distributed by The Orchard, G59 now boasts a battalion of similarly minded artists like Shakewell, Germ and Night Lovell who have since cultivated their own fan bases. But the empire all revolves around $uicideboy$, who have not only hit the top 10 of the Billboard 200 with each of their four official studio albums but also become a popular arena act with their annual Grey Day Tour (which in 2024 grossed $50.7 million, according to Billboard Boxscore) and a dominant brand in artist merchandise. (Biondi cites merch sales of over $30 million in 2024 alone.)
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Biondi initially endeared himself to $uicideboy$ and proved his capabilities by helping organize their early merch operations. But his versatility is what made him indispensable; now a G*59 label partner, he finds himself “jumping from a marketing call to a merchandising call to a call directly with the artist, to a call with the artist’s family, to a call with a major label, to a call with a lawyer,” wearing many different hats for both artist and label. (In a more literal hat-wearing sense, during his Zoom call with Billboard, Biondi reps the brand with a GREY59 skull-and-crossbones cap that complements a G59 RECS hoodie.)
And as Biondi has helped the duo build its empire, they’ve mostly avoided traditional pathways to mainstream success: The pair, which has no real conventional hits and only reached the Billboard Hot 100 for the first time in 2024 (with “Us vs. Them,” which peaked at No. 96), has minimal radio promotion and does few media appearances. But Biondi is proud of what he has achieved with the Boy$ — who’ve already surpassed 1 billion on-demand U.S. streams in 2025 alone, according to Luminate — largely outside of the broader industry machine, and he believes it will only get easier for artists like them to blaze their own trails.
“If you’re a phenomenal artist and you’re very creative and you wrap the right team around you, the world’s yours,” he says. “I think that the future is indie.”
Dana Biondi photographed May 20, 2025 in New York.
Matthew Salacuse
When you saw $uicideboy$ the first time, could you see parallels between them and any other artists?
At the time, the fandom is what caught me. I saw how the crowd was chanting “G59.” I saw how mesmerized these fans were. There was only, what, 300 or 400 at the show? Maybe even less than that. But they were so engaged — and I just recognized early on the brand [strength]. And to me, that’s the most important thing: creating a brand and creating the stickiness of a brand with fans. That’s what will keep you around forever.
As far as comparing them [to other artists], I saw a combination of a hard-rock audience that was wearing black — and that was like skaters and more alternative — but then, obviously, they’re rappers, so I was able to hear the hip-hop influence of Three 6 Mafia and Bone [Thugs-N-Harmony]. It was kind of the perfect mesh of both genres, and that was really appealing to me because I had grown up listening to a lot of Bone Thugs and a lot of different alternative music.
They’re obviously much bigger now. When was the first moment that you went, “OK, this isn’t just something that can happen — this is something that is currently happening”?
When we started working full-on together, one of the first things I did was I brought them overseas and had them play proper club rooms. That was kind of a defining point — I was in the middle of Europe and the fandom was insane. I was like, “Man, this is going to work on a very big level, both here and domestically.”
A large part of our early success was doing a proper tour with proper routing overseas, in Australia and in Europe, and kind of showing the U.S. fans that this was a cultural movement and it was worldwide… and they were pulling the same amount, if not more, of people overseas than they were pulling in the U.S. The U.S. had to play a little bit of catch-up.
It’s pretty unconventional for mainstream acts to do an annual outing like the Grey Day Tour, as opposed to touring in conjunction with an album or a promotional cycle. What made you confident that this was the best touring strategy?
Growing up, I had always loved the concept of Warped Tour and how they went to so many different cities and brought so many different people around. It really created a yearly concert that each fan, no matter what, just signed up for. They were like, “We trust the Warped team to give us a great bill.”
The year that we started Grey Day [2019] — the year before was the last year of Warped. I saw a void in the marketplace, and that’s where Grey Day came from. Our lane was emerging, and it was very similar to that hard-rock, Warped lane — but it was obviously much more focused on hip-hop.
So I said, “Let’s just create our own yearly [tour], and let’s always look at some new artists that are up-and-coming — some friends that we just like to work with and like to tour with — and continue to keep it fresh and new and give the fans what they want.”
Dana Biondi photographed May 20, 2025 in New York.
Matthew Salacuse
Earlier this year, Billboard reported that you guys were shopping the catalog. Why did you think now’s the time for that, and has anything come of it yet?
It’s something that we are doing, and we just felt like it was a good time to try and gauge interests, really, and see where the market was for it. The guys have put out a lot of great music, and we plan on putting out a lot more albums and a lot of other great music. We look at the new music, starting this year, as the next phase of $uicideboy$. We’re just interested in the reach of the old music and looking for a partner to possibly consider for that.
But nothing firm there yet?
We have something firm, but it’s not done yet. So I can’t really speak on that.
Are there specific goals that they or you and the team have for the next few years?
We’ve hit so many different home runs in terms of touring and ticket sales and merchandise sales and streaming numbers. It would be nice to finally get some notoriety on the awards side of things, just because we feel like we are one of the biggest artists in music and our numbers and all of our credits show it.
And then, other than that, just continuing to make the Grey Day Tour bigger and continuing to get more eyes and views on the music. There’s still so many times where somebody will ask me what I do and I’ll tell them, and they’ll say, “Oh, I’ve never heard of those guys.” Which means that there’s more fans for us to attract. It’s always something that I enjoy hearing and shows that we still have some more work to do.
Would $uicideboy$ play the Grammys?
(Laughs.) I think so. They would definitely do it their own way because that’s how we do it. But I think they would. I think they would rock the house, and I think the rest of the world would view that performance as something really different and something that they might enjoy themselves. A lot of people would discover the $uicideboy$ on a stage like that.
Dana Biondi photographed May 20, 2025 in New York.
Matthew Salacuse
As $uicideboy$ become $uicidemen, have you had a conversation with them about what the next 10 or 20 years look like? So much of what they’ve done so far is centered on youth culture and around their fans discovering them at a formative time in their lives. And I’m sure that’ll continue. But as the guys enter their 30s and 40s, have you talked about how to keep the brand vital?
We like to focus on about a year or two at a time. It just helps us stay more on the pulse. I mean, nobody knows how or where music is sonically going – and they don’t focus too much on the overall sound of everything. But I think our focus is always about a year or two out, and we kind of plan our moves accordingly. Like I said, they’re going to be around forever. What that looks like in five to 10 years? I don’t know.
Time will tell. We’ve worked at a really fast pace to this point between doing 50-, 60-, 70-plus shows a year and traveling the world and putting out two to three albums a year. Their pace has been phenomenal. At a certain point, it’s got to let up. But for now, we have a lot of great releases and a lot of really good plans in the future for the next couple of years.
What advice would you give young artists or labels that are just starting to catch their footing?
Picking the right people around you and formulating a team is the most important thing for me. Having everything from an agent to a lawyer to a marketing guy… It’s not just a one-man show — it’s a whole team, and everybody has responsibilities on that team to move the ball downfield. I would also say concentrating on your fans and continuing to develop your brand.
There has been a lot of discourse about the lack of developed hip-hop superstars in the past five years — but it seems like when people have those conversations, they’re mostly talking about the top-level crossover hit-makers of the last 30 years. Do you think cult stars like $uicideboy$ are the future of hip-hop stardom? Is the future of hip-hop independent?
I think so. Fans are now just focused on what they want to listen to. We did so many years of going on a playlist, like a RapCaviar, and finding out about songs. And now I think word of mouth is back and hearing about songs — whether it’s through quick videos like Instagram or TikTok or friends that are listening and hearing about new sounds — I think it’s back to the streets, even though the streets are in a different form these days.
Digital streets.
Yeah, the digital streets — and I think that’s the key to the future. People will take notice over time. It might not happen immediately — or it might happen immediately — but people will take notice. It’s all about developing that brand and creating something that has stickiness and has power.
This story appears in the June 7, 2025, issue of Billboard.
