News
Page: 186
Music venues come in many different shapes and sizes, but one thing the best have in common is the energy they help create before a show starts. Whether fans were lucky enough to catch rising superstar Chappell Roan at the 1,800-capacity Cain’s Ballroom in Tulsa, Okla., or witness Luis Miguel’s record-breaking tour at Mexico City’s GNP Seguros Stadium, Billboard’s 2025 top music venues were key components of the year’s most magical concert moments.
From a one-of-a-kind exosphere to $350 million renovations, Blue Ribbon fried chicken to Texas barbecue or sustainable initiatives to expert sightlines, factors large and small contribute to a building’s greatness. Here, Billboard honors 28 of the world’s best venues, classified by region, capacity and other attributes such as food and beverage and “wow factor.” The list was determined by Billboard’s reporting and editorial staff. Gross and attendance figures span from Oct. 1, 2023, to Sept. 30, 2024, as reported by Billboard Boxscore.
Top West Coast Stadium: Allegiant Stadium (Las Vegas)65,000 capacity
Trending on Billboard
Opened in 2020 near the Las Vegas Strip, the $1.9 billion Allegiant Stadium is a visual and technological marvel with its sleek black glass facade, retractable lanai doors and translucent UV-resistant roof that offers a first of its kind climate-controlled environment. The home of the NFL’s Las Vegas Raiders has hosted sellout shows by Taylor Swift, BTS and The Rolling Stones — along with WrestleMania and Super Bowl LVIII — and offers premium lounges, 127 luxury suites and a massive, 26,000-square-foot field-level club. Grossing $119.2 million from just 15 shows, Allegiant ranked as the top U.S. stadium on Boxscore’s Year-End Top 25 Stadiums chart.
Top Central U.S. Stadium: Soldier Field (Chicago)61,000 capacity
Nestled along Chicago’s picturesque lakefront, Soldier Field is a widely beloved landmark that celebrated its 100th anniversary last year as the home of the NFL’s Chicago Bears. Accented by its iconic Greek-style colonnades and glass-and-steel upper structure, Soldier Field is known for excellent sightlines and a rich rock’n’roll history. It has hosted concerts by The Rolling Stones, The Who and, in 1977, the famed “Super Bowl of Rock” that featured Ted Nugent, Lynyrd Skynyrd, REO Speedwagon, Journey and .38 Special. In the last year, Soldier Field brought in over $80 million across eight performances, according to Boxscore.
Top East Coast Stadium: MetLife Stadium (East Rutherford, N.J.)82,000 capacity
There’s nothing bigger in the New York market than MetLife Stadium, home to two NFL teams — the New York Jets and the New York Giants — as well as some of the region’s biggest concerts. Opened in 2010, MetLife is known for its striking exterior facade of aluminum louvers that change colors to represent the home team, as well as the 50,000-square-foot Great Hall pre-event gathering space, cutting-edge video boards and fully immersive audio systems that ensure every performance — including 2023 shows from Bruce Springsteen, and P!nk and The Rolling Stones last year — is top-notch. Last year, the venue grossed more than $66 million from six shows.
Bruce Springsteen & The E Street Band onstage at MetLife Stadium in East Rutherford, N.J., in 2023.
Rob DeMartin
Top International Stadium: GNP Seguros Stadium (Mexico City)65,000 capacity
GNP Seguros Stadium (formerly Foro Sol) crowned Boxscore’s 2024 Top 25 Stadiums chart with 26 shows grossing more than $135 million. Mexico’s biggest stadium has a functional design and open-air structure that blends seamlessly into the sprawling Magdalena Mixhuca Sports City complex surrounding it. GNP Seguros offers unobstructed sightlines for both general admission and premium seating areas, as well as expertly designed acoustics for legendary artists like Paul McCartney, Metallica, Luis Miguel, The Killers and Bruno Mars, who all graced its stage last year after it reopened under the GNP Seguros banner in August. Since its opening in 1993, the venue has also been home to the Formula 1 Mexican Grand Prix and Autódromo Hermanos Rodríguez circuit.
Top U.S. Festival Site: Double JJ Resort (Rothbury, Mich.)50,000 capacity
The sprawling landscape and rustic charm of Double JJ Resort are ideal for Electric Forest festival, held annually at the nearly 90-year-old site. The architecture of Double JJ Resort is rooted in its heritage as a working ranch with wooden barns, log cabins and natural beauty seamlessly integrated into the festival experience. The ranch’s layout includes multiple stages where attendees can enjoy intimate sets or dance to electrifying beats — in 2024, provided by the likes of Pretty Lights and John Summit — in expansive open spaces. Guests can also enjoy activities like horseback riding, golfing, water parks or hiking the resort’s lengthy trail system.
Top International Festival Site: De Schorre Park (Boom, Belgium)150,000-plus capacity
The expansive city park dotted with green alcoves, scenic lakes and rolling hills is home to one of the biggest annual EDM festivals, the world-famous Tomorrowland, which in 2024 featured acts including Swedish House Mafia and Dom Dolla. The site is remarkable for its dedication to detail — every installation and accoutrement at De Schorre is integrated with nature, whether it be a small wooden bridge or one of the seven friendly giant troll sculptures hidden among the trees. Thanks to its open layout and strategically positioned stages, fans can enjoy an immersive concert experience from virtually any direction.
Top West Coast Arena: Intuit Dome (Inglewood, Calif.)18,000 capacity
Opened in August with two nights of Bruno Mars, the new home to the NBA’s Los Angeles Clippers stands out in the crowded L.A. market with its distinctive diagrid exterior comprising thousands of white composite pieces, snapped together like a puzzle to provide both structural support and aesthetic appeal. Each exterior piece is made of a unique chemical formula, tailored to draw upon Southern California’s year-round climate for natural heating and cooling. The dome hosted 20 concerts before the Clippers even started their 2024-25 season and is already set for performances from Rod Wave, Mary J. Blige, Los Tucanes de Tijuana and Keith Urban this year.
Top Central U.S. Arena: United Center (Chicago)23,500 capacity
Nicknamed “The House That Jordan Built,” United Center is best known for the accomplishments of NBA Hall of Famer Michael Jordan. Opened in 1993, the arena is a Midwestern powerhouse, famous for its sleek facade and the commanding presence of its massive arches. Still home to the Chicago Bulls, United Center hosted more than 50 non-NBA events in the past year, placing the arena at No. 8 on Boxscore’s 2024 Year-End Top 50 Venues (15,000-plus capacity) chart with $123.8 million grossed.
Top East Coast Arena: Madison Square Garden (New York)19,500 capacity
The world’s most famous arena has long dominated North America as the top-grossing arena on the continent, attracting millions of music and sports fans each year to Midtown Manhattan. While the Garden has been relocated and renovated throughout the decades, its power and allure will always draw from its location at the center of the country’s largest media market. According to Boxscore’s 2024 year-end data, MSG sold 2 million tickets across 145 shows and grossed nearly $300 million, as it welcomed some of the biggest tours of the year, including Madonna, Nicki Minaj, Olivia Rodrigo, Aventura, Pearl Jam, Charli xcx and Troye Sivan, Sabrina Carpenter and Billie Eilish, while Billy Joel concluded his decadelong residency in July.
Top Canadian Arena: Scotiabank Arena (Toronto)19,800 capacity
Located in the heart of Canada’s most populous city, Scotiabank Arena has been an integral part of Toronto’s cityscape since its 1999 opening. Despite having two tenant sports teams (the NBA’s Toronto Raptors and the NHL’s Toronto Maple Leafs), the arena still held more than 75 shows — drawing over 1 million fans and grossing $120 million in ticket sales — during its 25th-anniversary year, which helped it rank as the highest-grossing Canadian arena on Boxscore’s 2024 Year-End Top 50 Venues (15,000-plus capacity) chart. As it prepares for the next quarter-century, Scotiabank Arena is undergoing a $350 million “reimagination project” that is expected to conclude this summer.
Top Caribbean Arena: Coliseo de Puerto Rico (San Juan)18,500 capacity
The Coliseo de Puerto Rico José Miguel Agrelot, commonly known as the Coliseo de Puerto Rico, has been bringing music to the U.S. territory since 2004 while also developing the next generation of reggaetón, Latin and salsa stars. In 2024, the arena hosted events with Eladio Carrión, Bad Bunny, Carín León, Feid, Ana Gabriel, Camila, Jerry Rivera and Luis Miguel — whose latest world tour made history as the highest-grossing Latin outing in Boxscore history ($330 million). But the landmark venue also provides a stage for acts beyond Latin genres and welcomed artists including Culture Club, Louis Tomlinson, Evanescence and Travis Scott in 2024.
Luis Miguel at Coliseo de Puerto Rico in San Juan in 2024.
Christian Miranda/Fronthouse Media
Top International Arena: O2 Arena (London)20,000 capacity
The O2 Arena is an annual presence on Boxscore’s Year-End Top Venues (15,000-plus capacity) chart. For 2024, the building hosted more than 200 concerts, grossing $261 million with 2.6 million tickets sold. The government-owned, AEG-managed arena held the No. 3 position in 2024 (behind Sphere and Madison Square Garden) in large part thanks to the United Kingdom’s demand for concerts and London’s own reputation as a hub for European travel. Originally built as the Millennium Dome in 2000, the structure was turned into a multipurpose site, retaining its iconic design while integrating cutting-edge sound and lighting systems to further enhance top-tier live shows.
Top West Coast Amphitheater: The Greek Theatre (Los Angeles)5,900 capacity
Situated inside Los Angeles’ scenic Griffith Park, this storied outdoor venue features a striking blend of classical architecture — including columns inspired by ancient Greek amphitheaters — and abundant greenery. Owned by the city of Los Angeles and managed by Legends Hospitality, the Greek is open to promoters of all backgrounds and offers an iconic stage for acts that have graduated from clubs and are on their way to selling out arenas. The amphitheater offers curated, high-end culinary options, while fans can take in more than 95 years of live-music history that includes performances from Frank Sinatra and Fleetwood Mac and contemporary acts like Billie Eilish and Harry Styles.
Top Central U.S. Amphitheater: Red Rocks (Morrison, Colo.)9,600 capacity
Red Rocks is the ultimate aspirational venue — countless artists hope to play the idyllic amphitheater inside Red Rocks Park, a National Historic Landmark, and every fan wants to watch their favorite act while surrounded by the beautifully lit red sandstone outcrops. Opened in 1941, Red Rocks is uniquely carved into the Rocky Mountain landscape, surrounded by towering sandstone monoliths that frame the stage and provide near-perfect acoustics. Lucky for both artists and fans, the iconic venue — owned and operated by the city of Denver — has continued to extend its season each year, hosting 199 shows in 2024. With 1.6 million tickets sold, Red Rocks was the highest-grossing outdoor venue with a capacity of 5,000 to 10,000 in 2024, according to Boxscore’s year-end chart.
Top East Coast Amphitheater: Forest Hills Stadium (Queens)14,000 capacity
Forest Hills Stadium, an iconic, Tudor-style venue originally built in 1923 as part of the West Side Tennis Club, has hosted legends including Bob Dylan, Frank Sinatra, Barbra Streisand and The Beatles (for their very first stadium gigs) after opening up for concerts in the 1960s. Harmonizing with the surrounding neighborhood’s charm, the venue with unparalleled sightlines has an intimate atmosphere that makes concerts feel personal for fans. The stadium sat in disuse for decades before promoter Mike Luba helped reopen it in 2013 and has since had performances from the likes of Mumford & Sons, Ed Sheeran and Hozier, who marked a record four-night run of sellouts last June.
Top West Coast Club Or Theater: YouTube Theater (Los Angeles)6,000 capacity
Opened in 2021 as part of the SoFi Stadium and Hollywood Park complex, YouTube Theater is both a physical and symbolic steppingstone into the entertainment campus. Its marquee entrance, illuminated by digital displays, makes an eye-catching first impression on visitors. For the 2024 year-end Boxscore charts, the midsize venue reported over 100 shows with appearances from John Legend, Myke Towers, Ari Lennox, Los Ángeles Azules and Megadeth, as well as the 85th birthday celebration of soul legend Mavis Staples. With over 340,000 tickets sold for a gross of $31.2 million during the 2023-24 chart year, YouTube Theater has managed to thrive in the competitive L.A. market.
Top Central U.S. Club Or Theater: Ryman Auditorium (Nashville)2,300 capacity
Affectionately known as “The Mother Church of Country Music,” the Ryman has been a revered venue since first opening in 1892 as a tabernacle church by Confederate Civil War veterans. Inspired by the Romanesque Revival architectural movement, the Ryman stands out thanks to its unique accents — it features red brick walls, arched windows with stained glass and a distinctive gabled roof. It was formerly the home of the Grand Ole Opry (which moved to a larger venue in 1974) but was left vacant until reopening in 1994 for a new generation of music fans to sit along the restored pews and enjoy performances by artists from Neil Young to Wu-Tang Clan.
Top East Coast Club Or Theater: Brooklyn Paramount (Brooklyn)2,700 capacity
When the Brooklyn Paramount originally opened in 1928, it was called “America’s first movie theater built for sound” and, as it moved through the decades, it welcomed big band jazz, hosted Alan Freed’s rock’n’roll revues and even became a lavish basketball court for Long Island University. Live Nation reopened the renovated theater in March 2024 with inspiration from its 1920s heyday. Stepping into the building is like walking into a time machine, with its intricate stone carvings, Art Deco flair and a marquee that evokes old-school charm. Since March, the venue has welcomed artists from Norah Jones and Jack White to PinkPantheress and Anitta.
Top Residency Venue: The Colosseum At Caesars Palace (Las Vegas)4,100 capacity
Originally built for megastar Céline Dion, The Colosseum at Caesars Palace has become a pinnacle of Las Vegas glamour and a concert residency jewel. The venue’s exterior is an elaborate homage to ancient Roman architecture, while its interior features plush seats, flawless sound and VIP packages that elevate the fan experience. Since its opening in 2003, The Colosseum has hosted residencies by artists including Elton John, Cher, Shania Twain, Mariah Carey, Usher, Garth Brooks and Adele, whose two-year, 100-show Weekends With Adele residency at the venue wrapped in November 2024. The iconic venue boasted nine entries on Billboard’s list of the 25 Biggest Concert Residencies of All Time.
Wow Factor: Sphere (Las Vegas)18,600 capacity
Sphere isn’t just a venue — it’s a jaw-dropping glimpse into the future of live entertainment. Launching in late 2023 with a 40-show U2 residency, which was followed by runs by Phish, Dead & Company and the Eagles, the stars of each show are Sphere’s state-of-the-art 240-foot-tall video screen inside the 366-foot-tall venue and the building-size video “Exosphere” that cloaks the venue and illuminates the desert sky. The one-of-a-kind experience also features haptic seats, sensor controls and a spatial audio system. With just 77 shows, Sphere topped Boxscore’s 2024 Year-End Top 50 Venues chart (15,000-plus capacity) with more than $420 million grossed and 1.3 million tickets sold.
Top Bucket List Venue: Billy Bob’s (Fort Worth, Texas)6,000 capacity
When it comes to live music with a Texas-size dose of character, Billy Bob’s in Fort Worth stands tall as a honky-tonk haven. Located in the historic Fort Worth Stockyards, Billy Bob’s was formerly an open-air barn used to house prize cattle for the Fort Worth Stock Show before they added the tower at its entrance adorned with a giant neon sign depicting the shape of the venue’s home state. The Lone Star site is decorated with hundreds of neon signs and 75 guitars autographed by the artists who have played there, and it features a full-blown rodeo arena with live bull riding. Add killer barbecue and cold beer, and you’ve got the ultimate night out in the heart of Texas.
Billy Bob’s Texas in Fort Worth, Texas.
Robert Gallagher
Best Concept: The Salt Shed (Chicago)5,000 capacity
This industrial-chic venue, housed in a repurposed Morton Salt warehouse along the Chicago River, makes a bold first impression to newcomers. Its iconic rooftop sign — the same as the label from the Morton Salt in your kitchen cabinet — has been preserved, along with the industrial bones of the warehouse updated with expansive glass walls and riverside patios. The Salt Shed complex includes three spaces: the 3,600-capacity indoor shed, the 5,000-capacity outdoor fairgrounds and the Three Top Lounge, which sits at the highest point of the building and offers craft cocktails and specialty food. Since opening in 2022, the Salt Shed has hosted everyone from indie darlings Fleet Foxes to genre-bending stars like André 3000.
Local Favorite, West: Belly Up (Solano Beach, Calif.)600 capacity
At first glance, Belly Up looks like a run-of-the-mill dive bar, which it was for many years before 1976, when owners Dave Hodges and Greg Gilholm made it into the live-music venue it is today. Belly Up focused mainly on rock’n’roll and blues in its early years, welcoming stars like Etta James, Big Mama Thorton and Lightnin’ Hopkins to its tiny stage. Since then, the small concert hall has hosted performances from Jimmy Buffett, George Clinton, Willie Nelson, Mumford & Sons, Mick Fleetwood and Jack Johnson, among many others. What continues to make the venue special after 50 years is the local Southern California talent that has come through, including Maroon 5, No Doubt, Snoop Dogg, Red Hot Chili Peppers and the Black Eyed Peas.
Local Favorite, Southwest: Empire Control Room & Garage (Austin)1,050 capacity
The Empire Control Room & Garage is the embodiment of Austin’s “Live Music Capital of the World” ethos, carefully blending culture and community each night into an unforgettable experience for fans and artists alike. The three-stage venue — the 1,050-capacity Empire Garage, 350-capacity Control Room and 200-capacity, creekside outdoor patio — is situated in Austin’s Red River cultural district, which boasts one of the few remaining contiguous blocks of live-music venues in the United States. Painted predominantly in black, the outside of Empire rocks an edgy aesthetic, setting the tone for what’s inside: a dynamic, distraction-free live-music venue with immersive lighting and a sound system that punches way above its weight.
Keeping It Indie: 9:30 Club (Washington, D.C.)1,200 capacity
The 9:30 Club isn’t just a music venue — it’s a cultural institution. Since opening in 1980, this standing-room-only rock haven exudes cool, beginning with its industrial brick facade and gritty, yet charming interior where every space comes with an incredible view of the stage. Originally located at 930 F St. (hence the name), the venue has thrived since moving in 1996. The iconic club has not only lasted for decades in the D.C. market but also has remained staunchly independent. For the 2024 year-end Boxscore charts, 9:30 Club reported hosting over 260 events with performances from Fontaines D.C., Royel Otis, Shaboozey and Jack White.
Best Food And Music Pairing: Brooklyn Bowl (Brooklyn)600 capacity
The headliners may change each night, but the menu at Brooklyn Bowl has remained consistent for over a decade. The Blue Ribbon fried chicken remains a standout on the elevated food and beverage menu that graces all four Brooklyn Bowl locations across the country (Brooklyn, Las Vegas, Nashville and Philadelphia). Long considered the greatest meal on New York’s rock’n’roll scene, the secret to chef Michael Psilakis’ famed recipe is all about the batter. Each dish includes a specially sourced gluten-free matzo that’s regularly flown in from Israel, giving each bite that perfectly crispy, impossibly savory taste. Paired with an ice-cold Brooklyn Brewery lager and a heap of sauerkraut mashed potatoes, there is no tastier match in music, either front of house or backstage.
Most Unforgettable Experience: Cain’s Ballroom (Tulsa, Okla.)1,800 capacity
On their 2007 track “Easton & Main,” Oklahoma natives Turnpike Troubadours give a shoutout to their local music venue by stating they left their heart “on the Cain’s Ballroom floor soaking up a bourbon stain.” Country and Americana stars have lots of love for the 1920s dance hall that has hosted sets from Hank Williams and “King of Western Swing” Bob Willis, whose regular appearances at the venue helped it earn the moniker “the Carnegie Hall of Western Swing.” The room — which features a spring-loaded dancefloor, a 4-foot neon star and a silver disco ball lighting up the log cabin — still welcomes greats, with recent performances from Charley Crockett, Wilco and Chappell Roan.
Most Environmentally Friendly: Acrisure Arena (Palm Springs, Calif.)11,000 capacity
Acrisure Arena is a climate-friendly oasis in the heart of the California desert. Built with sustainability in mind, the venue is surrounded by drought-resistant plants and sunk 25 feet below grade to limit exposure of its exterior facade to reduce dependence on its HVAC system. It gathers energy from solar panels covering its parking lot, where electric vehicles are prioritized, and sources food and beverage options from local, sustainable vendors to reduce emissions from travel. Located just hours outside of the Los Angeles metro area, Acrisure Arena grossed over $40 million in the last year, attracting top-tier talent including Madonna, Olivia Rodrigo, Stevie Nicks and Fuerza Regida.
This story appears in the Feb. 8, 2025, issue of Billboard.
Drop the needle on the latest Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business.
There’s a solid slate of personnel news this week, which in the last 24 hours has been awash with big moves from Universal Music Group (see ICYMI down there, eh). When you’re done picking your jaw up off the floor, peruse our annual list of the industry’s biggest power players, our weekly interview series spotlighting a single c-suiter and our calendar of notable industry events.
Clay Hunnicutt departed his role as executive vp of label operations at Big Machine Label Group. Hunnicutt joined BMLG in 2019 as GM of the Big Machine Records imprint and was promoted to his most recent assignment, focusing on business development, partnerships and catalog initiatives across the BMLG family of labels, in January 2024. Prior to BMLG, he spent four years leading Big Loud Records, where he shepherded a team developing Morgan Wallen. Before joining label life, Hunnicutt spent 27 years in radio, including long stretches at Clear Channel and iHeartMedia, where he rose to executive vp and GM of national programming platforms. Hunnicutt, who made Billboard’s Country Power Players list in 2023, broke the news of his departure with Country Aircheck, telling them that “moving on is always bittersweet.” The industry veteran has not announced where he’ll land next.
Trending on Billboard
Atlantic Music Group named Alex Figueroa (aka “Figs“) as vice president of creative, where he’ll work alongside president of creative Dave Rocco to expand the label’s artistic reach and vision. Figs will collaborate with artists across Atlantic, 10K Projects and 300 Entertainment, integrating creative, content, and digital strategy to strengthen artist branding. Previously, Figs served as head of content and head of creative at 10K Projects, where he played a key role in the success of Artemas’ global hit “I Like the Way You Kiss Me” and helped secure Teezo Touchdown’s feature on BETWEEN FRIENDS’ “Redlight.” He also signed influential artists like Aminé, who scored a hit on the Hot 100 in 2016, with the No. 11-peaking “Caroline.” Expressing gratitude to his former team at 10K, he emphasized the importance of collaboration, stating, “Nothing great is ever built alone.”
Capitol Records hired Brian “Busy” Dackowski as executive vp and head of pop/rock digital marketing for the storied label. Based out of Capitol headquarters in Los Angeles, he will lead digital marketing strategies for the label’s pop and rock releases. Busy joins from Atlantic Records, where he spent over 20 years, most recently as evp of viral marketing and analytics. He played a key role in launching Bruno Mars and Ed Sheeran and led successful campaigns for Fred again.., Charlie Puth, Ty Dolla $ign and others. He also oversaw digital marketing for the Barbie and Twisters soundtracks. Tom March, chairman and CEO of Capitol Music Group, praised Busy as one of the best music marketers globally. “Having him lead our digital marketing team is going to be a gamechanger for all the artists on our roster,” he said.
Tiara Hargrave // SLANG
Tiara Hargrave has been appointed general manager of SLANG, the nascent independent label under Influence Media. Hargrave will oversee operations and lead the Blackrock-backed label’s growth following a busy half-year since launching with rapper and Oscar winner Will Smith as its first signee. Since her appointment, SLANG has helped Smith snag his first No. 1 Gospel song, “You Can Make It,” and guided rapper Truththebull’s “Hype Me Up” to viral status. Previously, she was evp and GM at Alamo Records, working with artists like Lil Nas X, Lil Durk and Kid Cudi. The Baltimore native has also held key roles at Columbia Records, Universal Music Group and Red Bull. Based in New York, Hargrave will oversee a diverse roster that also includes multi-platinum producer Camper, GRAMMY-winning producer 30 Roc, rapper/singer Leaf, The Underachievers, Isaia Huron and RY XP.
Sphere Entertainment appointed Glenn Derry as executive vp of MSG Ventures, where he’ll oversee tech-centered initiatives and support Sphere Studios and the overall Sphere platform. Reporting to chief executive Jim Dolan, he will be based at Sphere Studios in Burbank, Calif. Derry joins from AGBO, where he was president of production technology, and previously served as vp of visual effects at 20th Century Fox Studios. Earlier, he founded Technoprops, an R&D firm specializing in motion capture, and developed a groundbreaking head-mounted camera system, earning an Academy Technical Achievement Award. His work includes blockbuster films like Avatar, Rogue One: A Star Wars Story, and Avengers: Age of Ultron. Derry got his start in practical effects and puppetry before transitioning into visual effects and virtual production. Dolan highlighted Derry’s impact on the entertainment industry as a creative technologist, adding, “his expertise will be an asset to Sphere as we continue to build on this next generation entertainment medium and reinforce our position at the forefront of immersive experiences.”
Wise Music Group elevated Dirk Lange to managing director of UK Rights Companies, overseeing Chester Music, Novello and Co, Campbell Connelly and Sparta Florida. Lange will relocate from Hamburg to London in April, succeeding Wiebke Busch, who’ll transition to a part-time role in Berlin to support the company’s classical rights division. Lange has a strong background in A&R, artist management and synch, having worked with labels and publishers throughout his career. Since 2007, he has been with Wise Music’s Berlin-based Bosworth Music, serving as head of synch and later as European creative director for new talent. He has signed prominent writers like Ólafur Arnalds and David Sylvian. “Dirk has some of the best ears in the business,” said CEO Marcus Wise. “He’s already well known to many of the composers on our roster. I’m confident his move to London will deliver significant success locally in discovering new talent, identifying acquisitions, and managing our core classical and contemporary music activities in all genres.”
AEG Presents promoted four key members of its global touring staff. Jonathan Baden is now senior vp of production and direct support, overseeing touring and festival production teams. Jenny Heifetz has been elevated to senior vp of global touring, expanding her role in operations and select tours. Lindsay Dworman and Elizabeth Pickrel, formerly directors of touring, are now vps of global touring, with Dworman’s focus on booking and managing tours, and Pickrel’s plate now including international touring. “Our global touring team is only as good as the people in it and the artists we work with” said Rich Schaefer, president global touring at AEG Presents.
NASHVILLE NOTES: Reel Muzik Werks launched the Nashville-based publishing division 507 Publishing, which will be home to writers, artist and producers in the fields of country, pop, rock and Contemporary Christian. The 507 Publishing team will include Madison Policastri (who will lead the A&R department) and A&R coordinator/producer Cooper Carr … SOURCE Nashville, the nonprofit supporting professional women across Music City, set its officers: Kari Barnhart (Studio Bank) as president, Mallory Pascal (KBFM) as vice president, Kasey Cleckler (Cape & Anchor) as secretary, and Beth Tyson (FBMM) as treasurer.
The Country Music Hall of Fame and Museum’s Troubadour Advisory Council has announced its 2025 leadership team and new council members. Elizabeth Lombardi from CAA has been named chair, with Zach Farnum (117 Entertainment), Nina Jenkins Fisher (Jody Williams Songs) and Brenden Oliver (Country Music Association) as vice-chairs. The 2025 council members include Scott Adkins, Karli Berman, Christopher Beverly, Kasey Cleckler, Katie Cline Moore, Emily Dryburgh, Taylor Edwards, Alex Hall, Brittney Hitch, Cody Kirby, Nathan Pyle, Carter Robinson, Molly Shehan, Casey Thomas, Josh Tomlinson and Max Vanberg. –Jessica Nicholson
ICYMI:
Jeffrey Remedios
Bell Partners Worldwide acquired Gotee Records and Emack Music Publishing, launching Bell Partners Christian Music with Joey Elwood and Toby McKeehan in leadership roles … Julie Adam is the new CEO of Universal Music Canada, with Jeffrey Remedios shifting to REPUBLIC … After Cindy Mabe‘s sudden departure as CEO and chairman of Universal Music Group Nashville, UMG appointed Mike Harris as CEO and Dave Cobb as chief creative officer … Dina LaPolt launched content producer LaPolt Media. [Keep Reading]
Last Week’s Turntable: BMI Lifer Eyes Retirement
Leading up to his performance in front of tens of millions this weekend, Kendrick Lamar took a relaxing drive — in his GNX, of course — with Timothée Chalamet for an introspective one-on-one conversation about making art.
In a video posted by the NFL and Apple Music Friday (Feb. 7), the rapper — who makes sure everyone’s seatbelts are on — gives the actor a ride in his signature car as the two bond over the similarities in their respective crafts, with both sharing how they push through mental blocks in the creative process. For Lamar, he says it’s all about continuing to write no matter what to keep the muscle strong — not that he has much of a choice, as the Compton musician says penning lyrics is vital “for my own sanity.”
“That’s probably one of the biggest misconceptions about me as an artist,” he told the A Complete Unknown star. “I’m always locked in, and I’m always trying new things — whether or not I like them is a whole ‘nother conversation. But I have to keep the pen warm.”
Trending on Billboard
“It’s for my own sanity,” Dot continued. “[Writing] has also given me the opportunity to learn [about] myself, you know, find out who I am. When you’re writing, man, you’ve got to sit and go through the emotions and be vulnerable about it.”
Lamar’s pen has also gotten him to the mountaintop in 2025, with the hip-hop titan — who just days prior won both song and record of the year at the Grammys for Billboard Hot 100-topper “Not Like Us” — will take the stage Sunday (Feb. 9) in between halves at the ultimate Kansas City Chiefs vs. Philadelphia Eagles game in New Orleans. His conversation with Chalamet comes in celebration of the upcoming performance — not that he gave the Wonka actor any hints about song picks or special guests.
“I’ve been given no early access,” Chalamet said in a clip with Lamar when the interview was first announced Thursday (Feb. 6). “Top-shelf secrets.”
Toward the end of their drive, the Oscar nominee commended the musician on his success. “Just being a fan of your music forever and knowing like, look where you’re at now,” Chalamet gushed. “It’s just crazy, Super Bowl Halftime Show — you just keep climbing, bro. It’s amazing.”
“I appreciate it,” Lamar replied before revealing a fact about a song on his chart-topping November album GNX. “I mean that s–t, bro — ‘Man of the Garden,’ I mean every word on that motherf–ker, man. That’s probably the easiest record to write.”
Watch Lamar’s interview with Chalamet below.
HipHopWired Featured Video
Source: The Washington Post / Getty
A historic Black church in Washington, D.C., now has the rights to the name of the Proud Boys organization after a court order.
On Monday (Feb. 3), a federal judge ruled that the Metropolitan African Methodist Episcopal Church now owns the trademark rights of the Proud Boys white nationalist organization. Judge Tanya M. Jones Bosier made the two-page ruling to fulfill a $2.8 million judgment against the Proud Boys by another judge to cover damages made to the historic Washington, D.C., church in December 2020 by members of the far-right group in what was deemed “a highly orchestrated attack” targeting Black churches after a rally by President Donald Trump.
The ruling states that in addition to the church owning the trademark, the Proud Boys now have to get consent from them to use it. Also, any proceeds from merchandise with the trademark, including hats and t-shirts that are sold by the organization, can be seized by the AME church at will. “The Church has a long history of standing up for justice and against all forms of hate,” the church’s leader, Rev. William H. Lamar IV, told CNN in an interview. “We are determined to hold the Proud Boys accountable and we will continue this fight.”
In a long statement on X, formerly Twitter, Proud Boys leader Enrique Tarrio blasted the judgment by stating the church “must be subjected to a thorough audit, and its non-profit status revoked immediately” before adding, “This church has engaged in a campaign of harassment and falsehoods. We were subjected to unjust incarceration and mistreatment at the hands of our own government, leaving us no recourse. Their actions are a betrayal of justice, reminiscent of Judas’ treachery. I hold in contempt any motions, judgments, and orders issued against me.” Tarrio, who confessed to vandalizing the church in 2021, was recently freed by President Trump while serving a 22-year sentence for his role in the Jan. 6 insurrection at the U.S. Capitol. He would later add another post on X, claiming: “The Proud Boys are now changing our name to the … ‘African Methodist Episcopal Boys.’”
Reverend Lamar was unfazed. “They need to know that it’s not OK to do this to Metropolitan, and it’s not OK to do this to anyone,” Lamar said to NBC Washington 4. “They must pay what the judge said, and now we own what is valuable to them, and we will collect.”
After a former music executive criticized her speech calling for improved healthcare and pay for artists at the 2025 Grammys, Chappell Roan is clapping back and asking him to open his wallet for underpaid artists.
In a post to Instagram Stories early Friday morning (Feb. 7), Roan responded to Jeff Rabhan’s guest column published in The Hollywood Reporter, in which he called her speech “wildly misinformed.” Over a screenshot from the article, Roan directed her message straight to Rabhan, who is a former A&R executive who has worked at both Atlantic and Elektra Records.
“@jeffrabhan wanna match me $25K to donate to struggling dropped artists?” she wrote. “My publicist is @biz3publicity let’s talk.”
Trending on Billboard
In a second post, the “Pink Pony Club” singer told her fans that she would keep them “updated on the much awaited @jeffrabhan response,” including receipts of donations, before directing one more message to the former executive. “Mr. Rabhan, I love how in the article you said ‘put your money where your mouth is,’” she wrote. “Genius !!! Let’s link and build together and see if you can do the same.”
That quote in particular came from a section of Rabhan’s column in which he compared Roan to mega-stars such as Prince, Tom Petty and Taylor Swift, claiming that those artists didn’t simply call for change in the music industry (specifically when it came to negotiating better deals with their labels), but acted on it. “Skin in the game earns a seat at the table,” he wrote. “But that table requires a willingness to leave blood on the floor and to put your money where your mouth is.”
In the best new artist acceptance speech Rabhan was critiquing, Roan called out labels for failing to provide a livable wage or healthcare coverage to their artists, pointing to her own experience after being dropped by Atlantic Records in 2020. “If my label would have prioritized artists’ health, I could have been provided care by a company I was giving everything to,” she said.
Elsewhere in her Instagram Stories, Roan took a moment to highlight four artists who she said “deserve more love and a bigger platform” — she shared screenshots for the Spotify pages of Hemlocke Springs, Sarah Kinsley, Devon Again and Baby Storme.
Roan is not the only artist to call out Rabhan’s criticism. In a post on Thursday, Halsey lambasted the former executive’s criticism of Roan, calling his op-ed “boot licking behavior” and pointing out that what the singer was calling for wasn’t unwarranted. “[The music industry is] a game of investment but the investment is towards producing the materials,” they wrote. “the person *the ORGANIC MATERIAL* that is producing that product needs access to things like health care. Shocking, I know. If you want to profit off of someone else’s art; that artist should have the basic living means to feel safe enough to create that art.”
Other industry executives and advocates responded positively to Roan’s speech at the Grammys. In an interview with Billboard, the Music Healthcare Alliance’s founder and CEO Tatum Allsep said he was “jumping on my couch” when he heard her speech. “I was like, ‘Gosh, thank you for bringing this up.’ The conversation was started. What’s really important to know for all the young artists who are listening is you don’t have to go without if you are making a living within our industry.”
Billboard and The Hollywood Reporter are both owned by PMC.
HipHopWired Featured Video
Source: Julia Beverly / Getty
Fonzworth Bentley has some explaining to do. Chopper from Da Band says he stole a $70,000 chain from him and was known to be a thief.
As per HipHopDX, the former Bad Boy Entertainment talent conducted another interview with The Art Of Dialogue podcast. On this episode, Chopper revisited his time being a recording artist on the famed Hip-Hop label. He discussed his experiences about being around Fonzworth Bentley and revealed that Diddy’s former assistant finessed him out of his jewelry.
“In the beginning. I thought Mr. Bentley was the coolest person in the world. I’m talking about THE coolest person in the world,” Chopper explained. “And then eventually Bentley started stealing. And one time we got our advance check and I went and got this [$72,000] chain. I asked him could he hold my chain [because] we had a show and he was like, ‘Yeah, I got you.’ And then he never quite gave me back my chain.”
Chopper went on allege that Fonzworth never returned the diamond piece. “And then every time I’d ask him, he always came up with beaucoup excuses of why I can’t get my chain. And ever since then, I knew right then and there what kind of dude Mr. Bentley was. A f***ing thief. Mr. Bentley is a f***ing thief. Period. And that was his reputation too around there. Everybody knew Mr. Bentley was a thief. He used to steal sh*t.
Chopper also disclosed that Fonzworth was not financially compensated for assisting Diddy. “Maybe he was stealing sh*t because Diddy probably wasn’t compensating him – embarrassing the man on national TV and not really paying him what he needed to pay him. I don’t think Diddy had no respect for Mr. Bentley. None.”
Fonzworth Bentley has yet to address the allegations. You can see Chopper’s interview below.
HipHopWired Featured Video
Source: Rodin Eckenroth / Getty
DaBaby is back at it, and this time, he’s shooting his shot at none other than the baddie herself, Yung Miami just in time for Valentine’s Day. The Charlotte rapper, known for never backing down when it comes to going after what he wants, took to X and put the question out there for his fans: “Somebody find out if Yung Miami Valentine for next week?” The man’s got no chill, and it looks like he’s ready to make moves.
Yung Miami, never one to let a chance at some playful back-and-forth slip by, hit him with the perfect response: “If you want me you know where to find me.” That’s all the confirmation fans need to know things might be heating up between these two.
This flirty exchange comes right after DaBaby’s first annual “Billion Dollar Baby Bash” concert in Charlotte, where he celebrated all his wins and accomplishments. Now, it looks like he’s ready to unwind with Yung Miami and enjoy a little V-Day action. With both of them being major players in the rap game, it wouldn’t be a surprise if their Valentine’s Day is full of good vibes, good company, and a whole lot of flexing on the haters. Will we see a new couple in the making or just some friendly fun? Only time will tell, but one thing’s for sure—it’s gonna be a hot Valentine’s Day.
Everyone’s curious about the teens and twenty-somethings who make up Gen Z. How do they interact with each other? Do they even dance in the clubs anymore? What’s the dating world like for them? With his new Wonderlove album, rising ATL-bred R&B singer Chase Shakur may have a few answers.
Introduced by singles like “Focus on Me” and the TyFontaine-assisted “Fairytailes in Midtown,” Wonderlove arrived on Friday (Feb. 7) as Shakur’s debut studio album — and his second full-length project under Def Jam. His new record charts its moody, introspective emotional odyssey through a soundscape that amalgamates gospel, soul, dancehall, Miami bass, trap, Afrobeats and more. Inspired by the surrealist world of Quentin Tarantino’s Oscar-winning Pulp Fiction and the globe-traversing DJ sets of his closest friends, Shakur sought to make an album that truly examined what love looks like for Gen Z in 2025.
“Sometimes we look at love kinda surface-level,” he tells Billboard just two days before the album drops. “We look at love for what we can get from it instead of adding to one another. I wanted to make a body of work that feels like a hug.”
Trending on Billboard
After bursting onto the scene with his 2022 debut project, It’ll Be Fine, Shakur spent the next two years pumping out music and hitting the showcase circuit in 2023. Last summer, he toured the globe alongside The Kid LAROI on the Grammy nominee’s The First Time tour.
A rapper-turned-singer with deep reverence for the roots of traditional R&B, Shakur displays tremendous growth across his debut album, which he began recording while touring London in December 2023 and finished during The Kid LAROI’s tour. On “Fairytales,” he slickly flips Sexyy Red’s raucous “Get It Sexyy” into a brooding, sensuous ballad, and he even buried a trap-inflected hidden track on the back half of the album’s closer, “A Song for Her.”
Billboard caught up with Chase Shakur about Wonderlove, deepening his film knowledge, his forthcoming tour, and honoring his family legacy through music.
Do you have a favorite moment from the creative process for this album?
Just living in L.A. for three months and being hella disciplined. I was on a meal prep routine and going to the gym; we only wore black clothes so we could lock in and not be distracted by anything else.
How do you feel you’ve grown as an artist and as a person since your debut?
I have a better understanding of what I’m trying to do with my career and my art. I’m learning maturity in my music.
What are some elements that you would consider immature in your older music?
Being scared a girl I’m talking to might hear something that I say [on a record] and crash out on me. I used to be nervous about that, but now I’m like “F–k that s—t.”
How do you think your growth manifests itself on Wonderlove specifically?
I’m a lot more fearless on this project. I had a session with No I.D. and Raphael Saadiq, and No I.D. gave a n—a the illest advice about not giving a f—k about perception. Just tell your story and bring those special nuances. I was nervous as f—k because they’re my inspirations, but they’re mad cool. In between recording, I would walk out into the lobby and get to hear how they did “How Does It Feel” with D’Angelo. We [as up-and-coming artists] overthink it. Listening to them talk about how the song was made because D’Angelo was looking for weed… we overthink a lot of the time!
You dropped your first two projects in back-to-back years. Why’d you take a bit more time with this one?
I wanted to make a story that people could understand. This was my first time doing something that had elements of surrealism, but I still wanted to keep it rough at the same time. When I was on tour [with The Kid LAROI], I was watching a bunch of movies that I hadn’t seen but everybody else had seen. I watched Pulp Fiction for the first time, and it felt real but like… your friend not gonna tell you no s—t like that, you know what I’m saying? [Laughs]. I’m trying to blend that world with my production and lyrics and make a full body of work, not just one song.
What does the term “wonderlove” mean and when did you know that was the title?
I came up with the title after coming home from tour and going to my grandma’s house. I grew up in a house with eight people, split between the women in the family and the men in the family. In Black households, we all have that picture that everybody knows. I was flipping through the photo album with my grandma, and there’s a picture of her and my grandpa. I never met my grandpa, but my grandma used to always tell me about the love they had for each other and the type of man he was. In her telling me that, I wanted to make something that was the opposite of what people are talking about right now.
Other than Pulp Fiction, what else were you consuming while making Wonderlove?
I listened to a lot of stuff. Reggae, a lot of Afrobeats, R&B of course. I watched Belly and Paid in Full – I know, I’m supposed to have been seen that shit – and Eternal Sunshine of the Spotless Mind. I’ve just been studying film, man; I’m trying to make my visuals stand out with those elements of surrealism.
I think when people see me – I don’t know what they think really – but I feel like there’s an element of mystique. And with mystique, there’s a little bit of magic.
How did the Smino collaboration come together?
I was on The Kid LAROI’s tour, and he sent his verse a month before I left Baltimore. I randomly got it on the bus, and I was like, “What the f—k!” In my personal opinion, we got the best Smino verse in a minute. The video for that is gonna be wild too, so I’m excited. There’s always an element of unpredictability; I was playing his s—t months before that particular exchange even transpired. I like having a blend of vocals or a different contrast when I collaborate with people. I also want to step outside [my comfort zone] and mix genres.
You got a track on here called “Sex N Sade.” What’s your favorite Sade song?
“Soldier of Love!”
You end the album with a slightly more traditional piano-led ballad. How do you keep traditional R&B present in your style?
For this album, I would say the [main traditional] element was gospel music. With “2ofUs,” my mentor, Ari PenSmith, really helped me understand how to use my voice in a way that still has what I grew up on: the gospel and blues elements of traditional R&B.
In the past, I undermined my vocal evolution. I listened to the last project I dropped a couple of days ago, and vocally, I’ve made a 180 [degree turn]. When you listen to the first joint and then listen to me now, I’m much more confident and open.
“Undercover Angel” is a sick mix of Miami bass and dancehall. What was that studio session like?
Everybody thought I was crazy when I said [that was gonna work], ain’t gon lie. That’s slick how it goes a lot of the time, and then it works! A lot of my friends are DJs, and I go to their events and listen to their mashups and s—t. I record them when they blend Afrobeats and all that, I think it’s cool. I don’t know what made me want to have those dancehall elements, but I just wanted people to have fun. People be like, “What the f—k?” when they hear it – especially when the bass drops.
“Face” also has some overt house influences. Do you plan on exploring dance music further on future projects?
I try everything in the studio. I have rock songs, I got jazz songs, I got country songs, everything. When I tried making dance songs for the first time, it wasn’t cause I could dance. I can’t f—king dance. When I started working on this album, I was going to a lot of clubs where it wasn’t section culture. I’m in Atlanta, so I’m pulling up on R&B nights and seeing it’s possible for us to have fun and be cool at the same time. That’s what inspired me to make and throw out more dance songs.
How have you grown personally and professionally since signing to Def Jam?
I learned that everything is a choice. Somebody told me that, at this stage, you can choose to do three shows a night or do one show and go home. But it’s all up to you to put in 10,000 hours — not just with recording, but performing and being an all-around artist too. I know I want to be an artist with longevity, and being on Def Jam is teaching me ways to be patient with that.
Do you have any tour plans?
It’s gonna be a family affair, man. I’m excited about the tour. I got SWAVAY opening up and my family with me. Got a couple of shows being opened up by artists from the [Forever N September] collective. We’re coming with a stage that tells a story. It’s my first time doing some stage design, so this is a real learning process. I’m most excited to perform “Say That You Will.”
Bell Partners Worldwide has acquired Tennessee-based Christian label Gotee Records’ label operations and Emack Music Publishing arm. The partnership marks the launch of a new division, Bell Partners Christian Music, aimed at expanding the global reach of Christian music artists.
Gotee executives Joey Elwood and Toby McKeehan (tobyMac) will continue in leadership roles at Gotee as well as at Bell Partners Christian Music, with Elwood serving as CEO of the latter.
Producers Todd Collins and Elwood, along with Grammy-winning artist tobyMac, founded Gotee Records in 1992. The label has launched the careers of artists including Christian hip-hop pioneers GRITS, Christian R&B group Out of Eden, Relient K (“Who I Am Hates Who I’ve Been”), Jennifer Knapp, SonicFlood (“I Could Sing of Your Love Forever”) and Jamie Grace. Gotee’s current roster includes Jon Reddick (“God Turn It Around”), Cochren & Co. (“Money Can’t Buy”), Terrian (“In The Arms”), Ryan Stevenson and Joseph O’Brien.
Trending on Billboard
Bell Partners Worldwide is headquartered in Stockholm, Sweden, with operations across the United States, Europe, Asia and Latin America. The multifaceted music company specializes in rights management, publishing, synchronization, licensing and label services.
“This isn’t an exit strategy — it’s a strategic evolution,” Elwood said in a statement. “After many discussions with Bell Partners, we saw the potential in combining our 30 years of independent label experience with Bell Partners’ global infrastructure. This partnership allows us to elevate Christian music on a worldwide scale, and we’re excited for what’s ahead.”
Hayden Bell, founder/CEO of Bell Partners, added, “We are excited to welcome Gotee Records into the Bell Partners family. Joey and Toby have built an amazing company that has been a cornerstone of the Christian music industry, and I couldn’t wish for better partners as we move forward. This partnership not only strengthens our commitment to nurturing talent but also underscores our dedication to expanding the global influence of Christian music. Together, we will unlock new opportunities for artists, empower their voices, and share their inspirational messages with audiences around the world.”
Universal Music Group announced on Friday (Feb. 7) that Julie Adam has been promoted to president and CEO of Universal Music Canada. She succeeds longtime chief Jeffrey Remedios, who has been named president of strategic development for REPUBLIC Collective, which includes Island, Def Jam, Mercury, and Republic Records. Both appointments are effective immediately.
Adam has served as executive vp and general manager of UMC since March 2023. In that role, she drove record-breaking success for UMG’s global and domestic artists in Canada, expanded e-commerce and direct-to-consumer initiatives, and strengthened brand partnerships. As CEO, she’ll lead the company’s overall strategy and operations. Before joining Universal, Adam spent nearly 24 years at Rogers Media. As president of news and entertainment, she led the strategy and oversaw the management and development of a portfolio of brands that spanned dozens of radio stations, podcast networks and TV channels.
“Julie is a generous, intuitive, and astute leader. Her impact since joining Universal has been transformative and can be felt industry wide: with artists, our team, and partners,” said Remedios. “Her passion and drive, coupled with her ability to laser-focus on results, all while ensuring the artist comes first, has propelled our roster to new heights. With Julie’s continued leadership, UMC is poised for the next phase of growth and evolution.”
Trending on Billboard
After a decade as chairman and CEO of UMC, Remedios will now lead high-priority growth initiatives for Republic’s labels, focusing on international A&R, Republic recording studios, brand expansion and more. He will work from both New York and Toronto, reporting to REPUBLIC Collective CEO Monte Lipman and COO Avery Lipman.
Jeffrey Remedios
Katherine Holland
During his time at UMC, Remedios redefined the company’s A&R strategy, dramatically boosting revenue for Canadian-signed artists. He also spearheaded the creation of UMC’s creative campus in downtown Toronto, establishing it as a hub for the broader music industry.
Reflecting on his tenure, Remedios stated deep pride in UMC’s evolution and appreciation for UMG leadership’s support. “I’ve dedicated my career to serving artists, and I’m incredibly proud of what we’ve built at Universal Music Canada,” he said, while also thanking Universal CEO Lucian Grainge and executive vp Michele Anthony for their mentorship. “The company I joined in 2015 and the one I leave in 2025 are vastly different—proof of our growth through creative innovation.”
“Jeffrey brings a wealth of experience as a leader and entrepreneur to the collective, said Monte Lipman. “In his new role, focused on exploring and capitalizing on opportunities in emerging areas of the industry, Jeffrey will play a critical role in scaling our business and proving new creative and commercial outlets for our artists.”
The leadership change in Toronto reflects similar actions taken by UMG approximately 700 miles south a day earlier. Following Cindy Mabe’s departure as CEO and chairman of Universal Music Group Nashville on Thursday, UMG announced the appointment of Mike Harris as CEO and producer and nine-time Grammy winner Dave Cobb as chief creative officer.