Music News

The Music Industry’s First North American Climate Action Summit Is Set: ‘Everybody’s Job Is a Climate Job’

With climate change having widespread effects across the music industry, a new conference will provide education and create action regarding what the music world can do to address the crisis.

The Music Sustainability Summit launches Feb. 5 in Los Angeles and is being produced by The Music Sustainability Alliance, an organization that provide science-based solutions, business case analyses, best practices, and tools for operational change across the industry.

The Summit is the first of its kind in North America.

Happening the day after the Grammy Awards, the event will be moderated by GreenBiz Group chairman and co-founder Joel Makower and feature members of MIT’s Environmental Solutions Initiative, climate change and food justice focused organization Support+Feed, industry environmental nonprofit REVERB, climate organization Planet Reimagined and global sustainability company ClimeCo. The Summit’s partner is Circular Unity, an organization focused on climate change as it relates to the entertainment industry.

The conference is intended to create alignment within the industry by bringing stakeholders on board to commit to climate action. The Summit will include the establishment of working groups meant to ensure that climate organizations are in the rooms with the key decision makers across the industry. Organizers hope that by the end of the day, those in attendance will have committed to the first steps in the industry’s collective action.

“There’s so much good work people are doing, but nobody knows about it,” says Music Sustainability Alliance co-founder and president Amy Morrison. “A goal of the conference, and what inspired it, is to help people to stop reinventing the wheel, to provide resources and get people talking and collaborating. This is a community. The power of all of this together is so much greater than individual actions.”

Hosted on the USC campus, the day-long conference will be structured into two parts, with morning programming focused on education and getting stakeholders on the same page and afternoon programming geared towards action about what the industry can do to mitigate its carbon footprint.

Along with panel discussions, a team from MIT will present a climate-focused map of the entire music industry, and the conference will provide educational materials so that even people just starting to learn about climate science will be able to follow along.

“We welcome all, the climate curious and the climate experts,” says Morrison. “There will be something for everybody.”

Tickets for the Summit are available on a sliding scale, between $25 and $200.

The Music Sustainability Alliance has already been busy bringing together stakeholders. A July organizing call had more than 30 representatives from businesses including UTA, CAA and WME, along with Sony Music, Universal Music Group and Warner Music, along with AEG and Live Nation and a number of managers and nonprofit organizations that work in the climate action space.

“It was really the first time ever all of these people had gotten on the phone together and been in a meeting to actually talk about sustainability,” says Morrison, who was the svp of marketing at Concerts West for more than two decades. “One of things that we find is really important to remember is that everybody’s job is a climate job, and there’s something that we can all do in our daily jobs.”

“It really is about working together and not working in these silos,” adds Music Sustainability Alliance director Eleanore Anderson. “It really is amazing working in these neutral parties and seeing everyone come together.”

Founded during the pandemic, the Music Sustainability Alliance is composed of music industry veterans, companies and scientists who are addressing innovation and sustainability converging in the music industry. The Alliance and the Summit both put a strong emphasis on data, research and science.

Bowen Yang Had No Clue Taylor Swift & Travis Kelce Were Going to Make ‘SNL’ Cameos

Fans are still reeling from Taylor Swift and Travis Kelce‘s surprise cameos on last weekend’s Saturday Night Live season 49 premiere. And apparently, so is the cast of SNL.

Cast member Bowen Yang confirmed that he wasn’t informed the world’s buzziest new pair was dropping by the show, much less planning on making small appearances on camera during the Saturday (Oct. 14) Pete Davidson-hosted program. When asked on the Las Culturistas podcast by his co-host Matt Rogers whether he was given a heads up about that night’s guests of honor, he said with disbelief: “No. They just came.”

“It was dress rehearsal, like great, that was fun,” he continued on the Wednesday (Oct. 18) episode. “I walk outside to go to my makeup chair, I see two people talking to two tall people. Tallest people in the world.”

“By the way, it’s one thing to see them individually,” added the Fire Island star. “I see them together and I go, ‘I’m in the Redwood Forest.’”

As Kelce himself recently confirmed, he and his new love interest had originally planned to attend SNL simply to show support for Swift’s friend and “Karma” collaborator, Ice Spice, who was that weekend’s musical guest. He was then asked if he wanted to participate in a skit already planned for the evening that just so happened to poke fun at the NFL’s coverage of his and Swift’s romance.

“I didn’t know what the skit was, like, which skits were coming up,” Kelce explained on his New Heights podcast. “I’m pretty sure it was just ironic they were doing a skit on Swiftmania. I thought it was hilarious when they asked me to be a part of it. I was like, ‘Man I’d be honored.’”

 “I don’t even remember what I said — I blacked out,” he continued. “As soon as they cued to me, the entire place erupted, which was very overwhelming, and I’m not even sure if I said anything.”

Later, Swift also turned up onscreen to introduce one of Ice Spice’s performances. After the show wrapped, the pop star and Chiefs tight end were spotted arriving at the SNL afterparty together, holding hands.

Listen to the new Las Culturistas episode here.

Philadelphia High Schoolers Take Songwriting to New Heights in John Legend-Produced ‘Stand Up & Shout’: Watch Trailer

John Legend is teaming up with his Get Lifted Co., Mike Jackson and Ty Stiklorius to executive produce an upcoming HBO Original documentary about a group of students at a Philadelphia public school who take part in a unique songwriting collaboration.

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In the new trailer for Stand Up & Shout: Songs From a Philly High School, shared exclusively with Billboard on Thursday (Oct. 19), we are introduced to the 10th graders at Hill-Freedman World Academy, as they work with local musicians to create an album of powerful original songs that capture both the challenging times they’re living in and the joy that music brings. Joining the Hill-Freedman World Academy High School students in their creative pursuit are award-winning musical talents Kristal Oliver, Andrew Lipke and Bethlehem Roberson, along with program director and music technology teacher Ezechial Thurman.

'Stand Up & Shout' key art

Courtesy HBO

The Amy Schatz-directed documentary “explores the transformative power of music and how arts education can unlock creativity and be a source of hope and healing,” per a press release, and will air on HBO on Nov. 7 at 9 p.m. ET. Stand Up & Shout: Songs From a Philly High School will also be available to stream on Max.

“I am thrilled audiences will soon be able to witness the magic of the students at Hill-Freedman World Academy through Stand Up & Shout,” John Legend said in a press statement. “Amy Schatz has perfectly captured these students’ remarkable journey and the entire Get Lifted Film Co. team and I couldn’t be prouder of this project.”

Stiklorius added, “I’m honored to serve as an executive producer on Stand Up & Shout. Amy Schatz has created a beautiful documentary and tribute to the impressive students at Hill-Freedman World Academy. Their success inspires me, and I can’t wait for audiences to see this powerful film.”

Stand Up & Shout is a powerful reminder of the importance of music education and its ability to transform lives,” Jackson shared. “Witnessing the students at Hill-Freedman World Academy is a privilege and I am excited for viewers to share in their confide.”

Watch the trailer below:



Taylor Swift Praises Sabrina Carpenter’s Cover of ‘I Knew You Were Trouble’

No nonsense here! Taylor Swift is delighted by Sabrina Carpenter‘s cover of her song “I Knew You Were Trouble.”

“Well she nailed it,” Swift wrote on a screengrab of the Disney actress’ take on the Red hit for Spotify Singles, which arrived on Wednesday (Oct. 18), on her Instagram Stories. The pop superstar also added two clapping and two hand-heart emojis to the post, in which she also tagged the 24-year-old performer.

“I Knew You Were Trouble” peaked at No. 2 on the Billboard Hot 100 in January 2013, and was on the tally for 36 weeks.

Carpenter transformed Swift’s poppy original by stripping it down to an acoustic ballad that featured her breathy vocals. In addition to “I Knew You Were Trouble,” the singer-actress also offered her own “Feather,” off the deluxe version of her album, Emails I Can’t Send Fwd.

The “Vicious” singer will next be joining Swift on her mega Eras World Tour in November, when the trek kicks off its international leg with three shows at Rio de Janeiro’s Estádio Olímpico Nilton Santos. After joining Swift for shows in South America that will also stop in Argentina and Brazil, Carpenter will again join the 12-time Grammy winner to open a series of February and March shows in Australia and Singapore.

“That is one of my main inspirations ever since I was a little girl, and now to just be able to watch that show every night is going to be so special,” Carpenter previously told Billboard of touring with Swift. “Watching her in and of itself is how you learn. I admire her work ethic and her talent and she’s just so amazing.”

Taylor Swift Unveils Live Version of ‘Cruel Summer’ & New Remix ‘For Old Time’s Sake’

Summer isn’t over just yet. Taylor Swift announced Wednesday night (Oct. 18) that the live version of her resurgent Lover single “Cruel Summer” is here, in the same week that The Eras Tour concert film hit theaters.

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“What a truly mind blowing thing you’ve turned The Eras Tour Concert Film into,” Swift wrote on X. “I’ve been watching videos of you guys in the theaters dancing and prancing and recreating choreography, creating inside jokes, casting spells, getting engaged, and just generally creating the exact type of joyful chaos we’re known for [angel emoji] One of my favorite things you’ve done was when you supported Cruel Summer SO much, I ended up starting The Eras Tour show with it.”

She continued of her show opener, “For old times sake, I’m releasing the live audio from the tour so we can all shriek it in the comfort of our homes and cars PLUS a brand new remix by  @LPGiobbi.”

“Cruel Summer” was originally featured on Swift’s 2019 album, Lover, and while it was never an official single, it quickly became a fan-favorite and continues to make waves on TikTok even four years after its release.

Earlier this month, “Cruel Summer” became her sole longest-leading No. 1 on Billboard’s Pop Airplay chart, topping the survey (dated Oct. 7) for an eighth week, beating her seven-week reign with “I Knew You Were Trouble.” in 2013. It’s so far peaked at No. 3 on the Billboard Hot 100.

Listen to “Cruel Summer (Live From Taylor Swift | The Eras Tour)” and the LP Giobbi remix below.





Jharrel Jerome Explains Why He’s Releasing Music ‘Packs’: ‘Album Culture Is a Little Dead’

Jharrel Jerome has been making his way into hip-hop, releasing two EPs this year — Rap Pack and Trip Pack — after working on music for the better part of the past decade. The Moonlight actor sat down for the latest episode of Billboard News to talk about why he’s dropping music in this way, the deeper meaning behind his project and what his future in film looks like.

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“I’ve been writing music for a long time, and I want to prove that with what I release — I’m talking maybe six or seven years of me in the studio creating records I never released. The reason I’m releasing it in packs like this is because I believe album culture is a little dead right now,” he explained of his rollout process. “Instead, I want to dish it out in a way that’s digestible and understandable. For me, I want to make sure at the end of it all, I’m not just an actor-turned-rapper, but that I’m an artist. And I want people to not only see that I’ve been doing it for a long time, but to believe that I’ve been doing it for a long time.”

The EPs are part of a greater project that Jerome is working on titled Someone I’m Not. The actor explained that the title has multiple meanings, pertaining to his career on film, as well as how he’s perceived on the outside. “[The title]’s a play on the profession that I do in my career, embodying something that I’m not and transforming into a character that I have to create, but to me the irony is also how it correlated to my real life as well,” he stated. “My life changed dramatically in the last few years of my life. I’m still trying to adjust … I’m not all the way ready to be [a certain person] to somebody, so here he or she is viewing me as somebody I’m not.”

As for Jerome’s acting career, he is very much interested in keeping himself open to starring in more movies, but is choosing to be selective with what he invests his energy in. “I feel like I got spoiled early by being a part of projects that are culturally so impactful. I think when you receive a chance like that you don’t wanna go back,” he said of his past projects, which includes Full Circle, When They See Us and more. “You don’t wanna do anything less. I would never quit acting; I’m very selective and I want the role to challenge me and I want to be 45 and look at my credits and be like ‘Damn, I was patient and I was willing to do the harder things.’”

Watch Jerome’s full Billboard News interview in the video above.

Billie Eilish Shows Off Back Tattoo & NSFW Drake Lyric in Photo Dump

Billie Eilish showed off some new ink in a red-and-black themed photo dump — likely inspired by her current hair color.

The back tattoo, which was done by artist Matias Milan, features swirl and scratch patterns down her spine. The dump also featured a name drop from Drake in his “Another Late Night” lyrics, in which he raps, “She had big tits like Billie Eilish but she can’t sing.”

The superstar and her collaborator/brother Finneas were guests on Jimmy Kimmel Livewhere the pair talked about a range of topics. Billie talked songwriting (it helps to get “a prompt, a story to write about”); their latest single, “What Was I Made For” from the Barbie movie, which went to No. 1 in the U.K. and Australia, and has clocked 600 million streams (“It’s pretty nuts. That’s a lot of listens”); and she managed to poke fun at her biggest hit. “Objectively ‘Bad Guy’ is the stupidest song in the world,” she says, immediately clarifying “but it’s really good.” The song, a No. 1 hit on the Billboard Hot 100 in 2019, is “supposed to be goofy.” It’s an act of “trolling,” she quips.

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See her new tattoo in the post below.

ENHYPEN Light Up ‘The Kelly Clarkson Show’ With High-Energy ‘Bite Me’ Performance: Watch

ENHYPEN made their highly anticipated return to The Kelly Clarkson Show less than two weeks before Halloween, to fittingly perform their steamy track “Bite Me” for the Wednesday (Oct. 18) episode of the newly returned daytime show.

The K-pop group — which consists of members Heeseung, Jay, Jake, Sunghoon, Sunoo, Jungwon and Ni-ki — appeared on the stage in brooding, fitted black leather capes with crisp white shirts underneath, black trousers and matching shoes for their showcase of the track, which saw the boys bringing their high-energy performance style to the table.

“It’s you and me in this world/ Again, come to me, tie me/ If you are goin’ to save me/ Just come kiss me and bite me/ It’s you and me in this world/ In this darkness, light me/ If you’ll give me a chance/ Just come kiss me and bite me,” the K-pop stars sing on the track’s chorus, while expertly hitting its intricate choreography.

“Bite Me” was released as the lead single from ENHYPEN’s most recently released album, DARK BLOOD. The track peaked at No. 61 on the Billboard Global Excl. U.S. chart and spent a total of five weeks on the all-genre tally.

Speaking with Billboard about the track following the release of DARK BLOOD, Jake said, “‘Bite Me’ is a little different from our previous lead singles, but it does the perfect job of capturing the essence of DARK BLOOD. It reveals a fresh side of us, and lyrics like ‘Just come kiss me and bite me’ deliver the message of a fateful blood-bond in a straightforward way.”

Heeseung added, “I aimed to make the highlight of the song stand out so that ENGENEs would be completely captivated and focused on the members during that moment.”

Watch ENHYPEN perform “Bite Me” in the video above.

Luis Figueroa’s ‘Bandido’ Tops Tropical Airplay Chart: ‘It Has Become a Fan Favorite!’

Luis Figueroa adds his second No. 1 on Billboard’s Tropical Airplay chart as “Bandido” lifts to the top of the Oct. 21-dated ranking.

“I am so excited with the reaction from everyone with this song … it has become a fan favorite!” Figueroa tells Billboard. “I am also proud to represent this new salsa movement. Salsa es lo que hay!”

“Bandido” lands at the summit with a 23% gain to 5.7 million audience impressions on reporting radio stations during the Oct. 6-12 tracking week, according to Luminate. The song was released Aug. 17 via Magnus Media/Sony Music Latin, with Figueroa one of its six writers.

“It was amazing to work with so many talented musicians and lyricists on this song,” Figueroa adds. “I have been looking forward to putting this record out for a while, so for everyone to finally listen to it, and the reaction it has received, is so gratifying.”

Notably, “Bandido” becomes the first salsa track to crown Tropical Airplay among the five tropical tunes that have notched their first weeks at No. 1 in 2023. Let’s look at the winners, by core style:

Peak Date, Artist, Title (style)
Feb. 4, Romeo Santos & Rosalia, “El Pañuelo” (bachata)
April 8, Marshmello & Manuel Turizo, “El Merengue” (merengue)
July 8, Prince Royce, “Me EnRD” (bachata)
Aug. 5, Chayanne, “Bailando Bachata” (bachata)
Oct. 21, Luis Figueroa, “Bandido” (salsa)

“Bandido” is the first salsa No. 1 on Tropical Airplay since Marc Anthony’s “Mala” in March 2022.

“Bandido” concurrently translates into a new No. 1 for Magnus Media. The label last ruled Tropical Airplay through another Figueroa song, “Hasta El Sol de Hoy,” for one week in July 2021.

Beyond its Tropical Airplay coronation, “Bandido” rebounds to its No. 18 high on the overall Latin Airplay chart. It became Figueroa’s second top 20 entry there, following the No. 15-peaking “Todavía Te Espero” in 2022.

The Puerto Rican’s new achievement follows his first-time nomination for a Billboard Latin Music Award this year, for tropical artist of the year, solo.



Tragically Hip Frontman Gord Downie’s Daughter Remembers Late Father, 6 Years Later

On this day in 2017, Gord Downie died at the age of 53. The frontman for the iconic Canadian rock band The Tragically Hip left an undeniable mark on the country’s cultural landscape and its charts. In the years since, his legacy has been dissected and cemented, with tributes coming in from Drake to Justin Trudeau. He was a champion of Indigenous reconciliation, a rock and roll poet, one of the continent’s best performers. He was a lot of things at once.

For Gord Downie’s daughter Willo Downie, it’s been difficult to grapple with the public perception of her father — who he was to the country and who he was to her. Six years since we lost him, she feels ready to reflect on the lessons he taught her and how it squares with the man the world knew through his music and writing. Now that she’s establishing her own artistic career as a visual artist, Willo Downie feels grateful for the gift he gave her: a life of art, and of art as a way of life. — Billboard Canada digital editor Richard Trapunski

Here is Willo Downie’s remembrance of Gord Downie for Billboard Canada:

To live is to create, and what a gift that is.

The greatest gift we can give in thanks for our life is creation.

I know and feel this deeply. My dad taught me.

Six years after his death, I still grapple with the public’s perception of who my dad was. It often feels surreal and overwhelming to reconcile. To me, for so long, he was “just” my dad. King of my heart, as a young girl.

But Gord Downie threw himself earnestly into each of the roles he filled — and they were many, beyond that of being a truly amazing father.

I can recognize that more deeply as each year goes by and I grow older myself. My understanding of his legacy is a tapestry that will continue to weave itself into completion, forever.

For as long as I can remember, my dad kept his public life very separate from his private life. His family, of course, fell under the arm of “private.” I will endeavour to respect that boundary even now, while I dive into what I consider to be a celebration of the beautiful life he led, here, in this piece.

Dad had cultivated his creativity within and around him until it had become the very foundation of his being by the time he turned thirty. And then he became a father. It’s one of my greatest points of pride — to have come from and been raised by a man who embodied, fully, what it meant to create one’s own life as though it were a work of art.

Your frame of mind. Your inner world. Your surroundings. Your relationships. Your work. It was all art to him — to be molded and shaped with diligence and intention.

The notion that we, as humans, are inherently creative beings permeated most decisions made and the interests us kids pursued… Music, painting and sculpture, food, dance, sports. Everything had an inherent beauty to it, in our parents’ eyes. Art was a vessel that could hold history, the opportunity for activism, a way to process pain and a way to celebrate joy.

I’ll never forget my school’s grade 9 “Take Your Kid To Work Day.” Dad took me to the Art Gallery of Ontario. We spent the entire day there, absorbing each of the collections and exhibits, together. He taught me a lot about the Group of Seven that day. Emily Carr, too.

I try to retrieve the reasoning behind that choice of his sometimes… of why he’d choose the AGO, of all places. In hindsight, I think he was trying to relay the message that his “career” was so much more to him than just one discipline, one art form. It was a way of life — the choice to move through the world in pursuit of beauty and truth. He was setting that example for me, too.

Fast forward a few years, and I can remember a specific conversation with my dad. I was choosing what to do after high school.

“Willo, what makes you happy?”

“A lot of things, dad…”

“What can’t you live without?”

“I need to paint”

“Then do that”

Then the doubt set in, and he responded, “Willo, choose, and you’ll make a way.”

That last line always stuck with me. This guy never minced his words. His choice to say “you’ll make a way” could very well have been “you’ll find a way” or, “the way will make itself known to you.” But he had chosen to try to empower me instead, to create the life and career I so desperately wanted — needed — in order to feel complete.

He was a man who continually chose to try, try, and try again. His dedication and discipline in his work got him to a place from which he was able to create with such output and raw, undiluted honesty. It was awe-invoking. Truly. The guy didn’t have an “off-switch.” He wouldn’t dare tamp down his life force — his will to create or advocate for others — for anything.

And so, his legacy: He lived to create, and he created, in pursuit of a loving, full life.

What an example to have set.

Here is a painting by Willo Downie with Gord Downie’s handwriting superimposed on top:

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This article was originally published by Billboard Canada.