News
Page: 223
Garbage are back, announcing their first new album in almost four years.
Dubbed Let All That We Imagine Be the Light, the new LP will be their eighth, and follows on from the release of 2021’s No Gods No Masters and a pair of EPs in recent years. Their new record arrives on May 30 via Stun Volume.
“Our last album was extremely forthright. Born out of frustration and outrage – it had a kind of scorched earth, pissed off quality to it,” singer Shirley Manson explains in a statement. “With this new record however, I felt a compulsion to reach for a different kind of energy. A more constructive one. I had this vision of us coming up out of the underground with searchlights as we moved towards the future.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“Searching for life, searching for love, searching for all the good things in the world that seem so thin on the ground right now. That was the over-riding idea during the making of this record for me – that when things feel dark, it’s best to try to seek out that which is light, that which feels loving and good.
“When I was young, I tended towards the destruction of things,” Manson adds. “Now that I’m older I believe it’s vitally important to build and to create things instead. I still entertain very old romantic ideals about community, society and the world. I don’t want to walk through the world creating havoc, damaging the land and people. I want to do good. I want to do no harm.”
Recorded in a number of locations – including Los Angeles’ Red Razor Sounds, Butch Vig’s Grunge is Dead studio, and Manson’s bedroom – the album’s announcement notably hasn’t been accompanied by a lead single. Rather, the band have promised that a preview will arrive “in the coming weeks”.
The new record also arrives following a few months of downtime for the band, with Garbage announcing in August they were forced to cancel the remainder of their 2024 tour dates due to Manson requiring “surgery and rehabilitation” for an undisclosed injury suffered while on tour in Europe. The group are slated to return to the road in March for a run of South American tour dates.
The impending release of Let All That We Imagine Be the Light will also become Garbage’s fourth album since they resumed activity in earnest in 2010, following a five-year period of hiatus.
Their debut self-titled album, Garbage, released in 1995, achieved double-platinum status and peaked at No. 20 on the Billboard 200. Their follow-up album, Version 2.0, released in 1998, reached No. 13 on the Billboard 200 and further cemented their reputation as one of the leading bands of the era.
Garbage have remained busy with musical projects in recent years, including 2021’s, No Gods No Masters. The album debuted at No. 95 on the Billboard 200 and included tracks like “The Men Who Rule the World.” They also collaborated with artists like Screaming Females and Brody Dalle on a special edition of the album, and toured with Alanis Morissette on her Jagged Little Pill anniversary tour in 2022.
Beabadoobee has used her recent time Down Under to share a cover of a beloved New Zealand classic, covering Bic Runga’s “Sway” for Like a Version, the long-running segment from Australian radio station triple j.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Recorded during the 24-year-old singer’s latest trip to Australia as part of the Laneway Festival, Beabadoobee offered up two performances for the session, including her original “Beaches” and a take on Runga’s 1997 single “Sway”.
Originally released on Runga’s debut album Drive, “Sway” peaked at No. 7 on the local New Zealand charts and has since gone on to be considered as one of the country’s most beloved songs. In 2001, the track was ranked at No. 6 on APRA’s (the Australasian Performing Right Association) list of the top 100 New Zealand songs of all time.
“ I chose to cover this song because my mum used to play it a lot when I was growing up and I mean, she’s badass,” Beabadoobee explained in a post-performance interview. “It was just really nice seeing an Asian woman kind of playing indie music like that.
“I was scared I wasn’t gonna do it justice,” she added. “But I love this song so much and if anything, I’m doing it for my mum and she doesn’t know that I’m actually covering this song so I’m really excited. Every cover I’ve done in my career has been for my mum, so I hope she likes this one too.”
Indeed, this isn’t the first cover that Beabadoobee has delivered in recent months. Back in October, she joined the BBC Radio 1 Live Lounge to share her take on Sabrina Carpenter’s “Taste,” blended with a little bit of The Corrs’ “Breathless.”
The BBC performance also included a performance of “Beaches,” which was featured on Beabadoobee’s third album, This Is How Tomorrow Moves. The record has been her most successful to date, becoming her first to top the U.K. charts, and even reached No. 34 on the Billboard 200. It also hit No. 6 on the Independent Albums and Top Album Sales charts, and snuck into No. 10 on the Top Rock & Alternative Albums chart.
Beabadoobee is also up for British artist of the year and best alternative/rock act at the Brit Awards, which will be handed out on Saturday (March 1).
Titan Content formed a strategic partnership with Imperial Music (a division of Republic Records) to collaborate on its upcoming girl group, AtHeart. The group — which released a new teaser video and launched official social media channels alongside the announcement — will share a “pre-debut introduction song and video” on March 14, according to a press release. AtHeart consists of seven members: Michi, Katelyn, Seohyeon, Aurora, Bome, Arin and Nahyun. The group’s formation was led by former SM Entertainment CEO Nikki Semin Han.
Spotify began accepting audiobooks from ElevenLabs, an AI software company that provides voice narration technology. Authors can now distribute their ElevenLabs content to Spotify and other audiobook retailers via audiobook distributor Findaway Voices. According to a blog post, all digitally narrated titles will be “clearly marked in the metadata on Spotify” and other platforms, while the book description “will be prepended with the first sentence stating, ‘This audiobook is narrated by a digital voice.’”
Korean entertainment group Starship Entertainment struck a copyright partnership with Chinese music platform NetEase Cloud Music. The deal brings Starship’s entire catalog, including Korean girl group IVE, to Chinese audiences. According to a press release, NetEase Cloud Music boasts 206 million monthly active users.
Universal Music Japan acquired a majority stake in A-Sketch, a Japanese artist management business and record label that boasts acts including Saucy Dog, Flumpool and Ayumu Imazu on its roster. A-Sketch is also home to Mash A&R, a rock management company in Japan that manages The Oral Cigarettes, FREDERIC and Saucy Dog. Under the deal, Universal Music Japan will acquire the stake in A-Sketch that’s currently owned by Amuse. A-Sketch will now operate as a label division within Universal Music Japan and continue to be led by A-Sketch representative director/president Nobuyuki Soma, who will report to Universal Music Japan president/CEO Naoshi Fujikura. “The acquisition will further bolster Universal Music Japan’s in-house artist management capabilities and expand its ability to drive new creative and commercial opportunities for its artists,” as stated in a press release.
Reservoir Media acquired U.K. dance and electronic label New State. The deal includes New State’s entire recorded music catalog consisting of more than 13,000 tracks by artists including Zero 7, The Beloved, Paul Oakenfold, Dirty Vegas, D:Ream, Double Trouble, Rebel MC and Congo Natty. Reservoir will continue marketing and releasing new music by New State artists via its Chrysalis Records label.
Create Music Group announced a strategic catalog acquisition and go-forward venture with Pack Records (a.k.a. Pack.), a New York and New Orleans-based indie record label, publisher and artist partnership company co-founded by Sky McElroy, Jett Wells and Gavin Chops. The companies previously established a publishing joint venture. Under the deal, Pack. and its artists will have access to Create’s proprietary technology, global distribution, data-driven marketing insights and monetization tools. Pack.’s roster includes aldn, CONNIE, Blood Cultures, daine, Dava and Godly the Ruler. Its catalog boasts recording and publishing rights “at the heart of internet and gaming culture viral moments,” according to a press release, including aldn’s “icantbelieveiletyougetaway,” Ezekiel’s “help_urself,” Godford’s “Downtown,” and Internet Girl’s “PULL UP,” as well as the CONNIE-produced “DIVE IN!” by JELEEL! and “Stupid” by Lexa Gates.
Hook, the AI-powered platform that allows users can legally remix songs and earn income for doing so, signed a strategic partnership with digital music distributor Too Lost. More than 300,000 artists and labels will be brought to Hook through the deal, including Teddy Swims, Tommy Richman, Ty Dolla $ign, Fivio Foreign, Kodak Black, Justin Beiber, Playboi Carti, James Blake, Pink Sweats and Emei. This is Hook’s fourth distribution partnership following deals with FUGA/Downtown, Revelator and Gyrostream.
iHeartMedia and the government communications office of the State of Qatar signed a multi-year partnership that aims to develop a state-of-the-art podcast studio in Qatar and release both original and existing podcast content to Arabic audiences. Under the agreement, iHeart will also offer specialized masterclasses to develop local podcasting talent and host global industry events, including annual Web Summit gatherings — the partnership was announced at this year’s Web Summit in Qatar — in an effort to position the Middle Eastern country as a regional podcasting hub.
Synch platform SourceAudio struck a deal with the Wolfman Jack estate through which the company will repurpose and discover new monetization opportunities for the radio legend’s shows. Through the AudioGenius tool on SongLab — SourceAudio’s AI-powered suite of music tools — the Wolfman Jack estate will be able to “reuse, repurpose, control, and monetize their valuable content archives across today’s digital platforms and ecosystem,” according to a press release. According to Tod Weston Smith, son of Wolfman Jack and president of Wolfman Jack Entertainment, AudioGenius “has significantly streamlined our process, allowing our Wolfman Jack team to access and retrieve clips from our extensive digital archives in seconds, rather than spending hours searching, and we are now able to generate additional revenue from previously underutilized or unused content.”
SoundCloud partnered with Ticketmaster and its self-serve event ticketing and marketing platform Universe in an integration that will allow SoundCloud’s Artist Pro users to create and manage events; sell tickets and share shows directly on the streaming platform; and enjoy amplification opportunities across SoundCloud, Ticketmaster and Universe. They will also have the ability to use Universe to manage and track ticket sales.
Former Bad Boy Entertainment president Kirk Burrowes has sued Sean “Diddy” Combs’ mother, Janice Small (a.k.a. Janice Combs), for allegedly coordinating with her famous son and other co-conspirators to forcefully strip him of his alleged ownership stake in the iconic hip-hop label.
Per the complaint — filed by attorney Tyrone Blackburn on Wednesday (Feb. 26) in the Southern District of New York — Burrowes claims that alongside her son, then-Bad Boy Entertainment attorney Kenneth Meiselas and other unknown co-conspirators, Smalls illegally seized his alleged 25% financial stake in Bad Boy and his 15% share of the label’s annual earnings through “intimidation, violence, fraudulent, misrepresentation and financial concealment.”
The complaint references a specific incident in May 1996 during which he claims Combs stormed into his office and proceeded to threaten him while wielding a baseball bat. Fearing for his safety, Burrowes — who claims to have co-founded the label — claims he signed a contract under duress without seeking any legal counsel, effectively conveying what he claims was his 25% interest in Bad Boy to Combs.
Burrowes, who says he served as Bad Boy’s COO/GM at the time of the 1996 incident (he was promoted to president the following year) and was “instrumental in shaping the company’s success,” alleges that losing out on his claimed 25% ownership stake and Bad Boy stock options caused him “significant financial compensation and employment benefits” along with “irreparable personal, psychological and professional harm.”
“Smalls carefully maintained a facade of integrity, portraying herself as an innocent bystander while orchestrating plaintiff’s financial and professional downfall behind the scenes,” the complaint reads.
The lawsuit further claims that Smalls requested Burrowes’ counsel as recently as 2021 on a documentary about the history of Bad Boy, but that she ultimately reneged on their compensation agreement.
Burrowes previously filed suit against Combs over the alleged 1996 incident in 2003, but that earlier complaint was eventually dismissed in 2004 by a judge in the U.S. District Court for the Southern District of New York. (Combs is currently behind bars awaiting trial on sex trafficking and racketeering charges in a wide-ranging criminal case.)
Burrowes is seeking the return of his alleged 25% Bad Boy stake or compensatory damages matching the value of that stake, as well as an audit of Bad Boy’s earnings since the company’s origination.
Last April, Burrowes’ attorney Blackburn was referred to the grievance committee for New York’s federal court district by Judge Denise Cote for his alleged history of frivolous lawsuits. The judge cited his conduct in five different cases and claimed his filings featured “glaring deficiencies.” Two months prior, Blackburn had filed a sprawling lawsuit against Combs on behalf of producer Rodney “Lil Rod” Jones Jr., who accused the mogul of sexual assault, sex trafficking and various other forms of misconduct.
Billboard reached out to Combs Global in an effort to reach a representative for Smalls but did not hear back by press time.
Justin Timberlake has canceled his show in Columbus, Ohio, on Thursday night (Feb. 27), due to the flu. The star took to his Instagram Stories shortly before doors were scheduled to open at the Nationwide Arena to share a statement. “You guys. I’m heartbroken,” he wrote. “I have to cancel the show tonight. I went […]
Kendrick Lamar continues a historic campaign on Billboard’s Rhythmic Airplay chart as his single “Luther,” with SZA, ascends to the No. 1 spot on the list dated March 1. The track replaces the rapper’s own “TV Off,” featuring Lefty Gunplay, after its three-week reign. As another SZA collaboration, “30 for 30,” pushes 2-3 and his former leader “Squabble Up,” repeats at No. 4, the quartet gives Lamar a second straight week of dominating the chart’s top four spots.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
With his performance on Rhythmic Airplay, Lamar is just the second artist to simultaneously occupy the top four ranks on any Billboard airplay chart. He joins his rival Drake, who managed the feat for 11 separate weeks on the Rap Airplay survey, for seven frames in March-April 2013 and four in May-June 2018. As Drake’s runs all involved at least one song where he was in a featured role on a track by another lead artist, Lamar is the first artist to complete the achievement in all lead or co-lead capacities.
“Luther,” which concurrently rises to No. 1 on the Billboard Hot 100, captures the Rhythmic Airplay crown as the most-played song on U.S. panel-contributing radio stations in the week of Feb. 14-20, according to Luminate, a 5% gain from the previous week.
“Luther” gives Lamar his ninth No. 1 on Rhythmic Airplay. A full third have come in 2025 alone, with “Squabble Up” reigning for two weeks in January and “TV Off” leading the ratings for three weeks in February.
Here’s a review of the rapper’s entire chart-topping collection on the radio chart:
“Humble.,” three weeks at No. 1, beginning June 6, 2017“Loyalty.,” feat. Rihanna; one, Sept. 30, 2017“Love.,” feat. Zacari; one, Dec. 30, 2017“Pray for Me,” with The Weeknd; two, April 18, 2018“Like That,” with Future and Metro Boomin; four, May 18, 2024“Not Like Us,” 12, June 15, 2024“Squabble Up,” two, Jan. 18, 2025“TV Off,” feat. Lefty Gunplay; three, Feb. 8, 2025“Luther,” with SZA, one (to date), March 1, 2025
[embedded content]
For SZA, “Luther” adds a seventh Rhythmic Airplay No. 1 to her account and first since “Saturn” landed at the top last May. Here’s a recap of her leaders:
“Kiss Me More,” Doja Cat feat. SZA; two weeks at No. 1, beginning June 26, 2021“I Hate U,” one, March 19, 2022“Kill Bill,” three, March 4, 2023“Snooze,” two, July 15, 2023“Rich Baby Daddy,” Drake feat. Sexyy Red & SZA; two, Dec. 2, 2023“Saturn,” one, May 11, 2024“Luther,” with Kendrick Lamar; one (to date), March 1, 2025
Lamar and SZA are in prime position to improve to a 10th and eighth champ, respectively, and replace themselves at the summit. Their other current collaborative single, “30 for 30” (billed to SZA with Kendrick Lamar), advances to the runner-up spot with a 14% surge in weekly plays.
Beyond the top tracks, both Lamar and SZA cement their stranglehold with more titles on Rhythmic Airplay. SZA’s third tune in the top 10, “BMF,” pushes 12-10 (up 9% in plays), while Lamar has a fifth, the AzChike-assisted “Peekaboo,” which debuts at No. 37.
Lola Young may be “Messy,” but she’s been climbing the chart with her breakthrough, viral single.
“Messy” hit No. 1 on the U.K. Singles Chart, dethroning Gracie Abrams’ “That’s So True.” The track also peaked at No. 14 on the Billboard Hot 100.
“What I’m realizing about myself as an artist is that I’m not about the glitz and the glam — I don’t scream ‘Hollywood’,” the rising star previously told Billboard of her musical journey. “For a long time, I wanted to represent this ideal of Westernized beauty – but then I realized I’m not that. I now choose to give realness and truth. I’ve got a bit of a belly out, I f–cking swear a bunch and I have fun. And that’s what people are resonating with.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Below, find the lyrics to Lola Young’s “Messy.”
You know I’m impatientSo why would you leave me waiting outside the stationWhen it was like minus four degrees? And II get what you’re sayin’I just really don’t wanna hear it right nowCan you shut up for like once in your life?Listen to me, I took your nice words of adviceAbout how you think I’m gonna die, lucky if I turn thirty-threeOkay, so yeah, I smoke like a chimneyI’m not skinny and I pull a Britney every other weekBut cut me some slack, who do you want me to be?
‘Cause I’m too messy, and then I’m too f—ing cleanYou told me, “Get a job”, then you ask where the hell I’ve beenAnd I’m too perfect ’til I open my big mouthI want to be me, is that not allowed?And I’m too clever and then I’m too f—ing dumbYou hate it when I cry unless it’s that time of the monthAnd I’m too perfect ’til I show you that I’m notA thousand people I could be for you when you hate the f—ing lotYou hate the f—ing lotYou hate the f—ing lotYou hate, you hate
It’s taking you agesYou still don’t get the hint I’m not asking for pagesBut one text or two would be nice andPlease, don’t pull those facesWhen I’ve been out working my a– off all dayIt’s just one bottle of wine or two, but, heyYou can’t even talk, you smoke weed just to help you sleepThen why you out getting stoned at four o’clockAnd then you come home to me?And don’t say hello ’cause I got high againAnd forgot to fold my clothes
‘Cause I’m too messy, and then I’m too f—ing cleanYou told me, “Get a job”, then you ask where the hell I’ve beenAnd I’m too perfect ’til I open my big mouthI want to be me, is that not allowed?And I’m too clever and then I’m too f—ing dumbYou hate it when I cry unless it’s that time of the monthAnd I’m too perfect ’til I show you that I’m notA thousand people I could be for you when you hate the f—ing lotYou hate the f—ing lotYou hate the f—ing lot
Oh, and I’m too messy, and then I’m too f—ing cleanYou told me, “Get a job”, then you ask where the hell I’ve beenAnd I’m too perfect ’til I open my big mouthI want to be me, is that not allowed?And I’m too clever and then I’m too f—ing dumbYou hate it when I cry unless it’s that time of the monthAnd I’m too perfect ’til I show you that I’m notA thousand people I could be for you when you hate the f—ing lotYou hate the f—ing lotYou hate the f—ing lotYou hate the f—ing lotYou hate the f—ng lot
Lyrics licensed & provided by LyricFind
WRITERSLola Young, Conor Dickinson
PUBLISHERSLyrics © Sony/ATV Music Publishing LLC
iHeartMedia expects first-quarter revenue to decline in the low single digits and full-year revenue to be flat, suggesting the radio giant hasn’t yet turned the proverbial corner financially, according to the company’s latest earnings release. After revenue was up 5.5% in January, February is on track for a 7% decline as consumer sentiment dropped to a level not seen since 2021, CFO Rich Bressler said during Thursday’s earnings call.
The company ended 2024 with fourth-quarter revenue up 4.8% to $1.11 billion, while adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) spiked 18.2% to $246.2 million. Revenue growth was below the company’s previous guidance due to lower-than-expected political advertising and a slowdown in non-political advertising before the election, said Bressler.
The fires in Los Angeles created a disruption to iHeartMedia’s business in the first quarter, although CEO Bob Pittman called it “a little bit of a blip” and said a larger impact comes from people returning to work. “Traffic is getting long again, and I hate to sound cynical here, but traffic jams are our friend,” he said. “We’re a company that benefits from people with longer commutes and more time in the car.”
Mired in a weak advertising market for broadcast radio, iHeartMedia is busy finding ways to create value from its broadcast assets. To that end, in March the company will make its broadcast advertising inventory available to programmatic buyers through Yahoo DSP and Google’s DV360 ad-buying platforms. “This is a critical early step in aligning our broadcast assets with digital buying behavior,” said Pittman, “which will allow iHeart’s broadcast radio assets to participate in the growing digital and programmatic [total addressable markets].”
Last year, iHeartMedia took steps to cut costs and improve its balance sheet. The company expects to have net savings of $150 million in 2025 and beyond — $200 million from cost reductions undertaken in 2024 and an additional $50 million of expenses. In December, iHeart reduced its debt load and extended maturity dates through a debt exchange that attracted a 92.2% participation rate.
For the full year, iHeartMedia’s revenue totaled $3.86 billion, up 3% year-over-year (and flat if political advertising is excluded). Adjusted EBITDA increased 1% to $705.6 million while EBITDA margin improved to 22.0% in 2024 from 19.5% in 2023. The multiplatform group, which includes the company’s core broadcast stations, saw its revenue decline 2.6% to $2.37 billion, while the digital audio group’s revenue increased 8.9% to $1.16 billion due to increased advertising demand for podcasting. The audio and media services group had revenue of $327 million, up 27.4%.
Cumulus Media, the country’s third-largest radio company by revenue, fared a bit worse in 2024. For the full year, Cumulus’ revenue fell 2.1% to $827.1 million and adjusted EBITDA dropped 8.8% to $82.7 million. While digital revenue grew 5.3% to $154.2 million, broadcast revenue slipped 5.1% to $564.1 million. In the fourth quarter, revenue dipped 1.2% to $218.6 million and adjusted EBITDA grew 9.8% to $25 million.
Cutting costs and restructuring debt are common tactics in the radio business. Just as iHeartMedia shaved its expenses, Cumulus will realize $43 million in annualized cost savings, with $15 million of savings coming in 2024. In addition, in May, Cumulus completed a debt exchange, which lowered its outstanding debt by $33 million and extended maturity dates while securing “attractive” interest rates.
iHeartMedia shares fell 7.9% to $2.09 before earnings were released, and dropped another 9.9%, to $1.90, in after-hours trading. Through Thursday, iHeartMedia shares are down 1.9% year-to-date but have more than doubled since May 2024.
Cumulus, which reported earnings earlier in the day, saw its share price decline only 0.3% to $0.90. Year-to-date, Cumulus shares have gained 16.9%.
“I thought we had something good in our hands,” Damiano David sings on his new single, “Next Summer.” But what fans actually have is something good in our ears.
The song — the third single from the Måneskin frontman’s upcoming debut solo project — arrived on Thursday (Feb. 27) and finds the Italian musician continuing on his pop journey, this time with a notable ache and jealousy in his voice.
“Call me when he breaks your heart next summer/ Baby, I’ll be waiting here/ Call me when you’re all f–ked up, my lover, and I’ll be there to lick your tears/ You had to throw away our love to find out nothing’s as good as us/ So call me when he breaks your heart next summer,” he sings, full of longing on the tender chorus.
While the song may seem like it’s about a spurned lover bitter about the end of his relationship and eager to rekindle the snuffed flame, David says there’s much more to it.
“I put down in words a moment I lived during the summer,” he tells Billboard of the track that he wrote while he was in Los Angeles last fall. “I guess it was a way, as I always do with my music, to cope with my experiences in life and feelings.”
“The lyrics are very simple, quite childish. So I’ve asked myself why I ended up with this kind of lyrics, and I guess it’s because what I tried to do was tell a more intense and complicated feeling in the easiest way possible,” he explains. “It’s about not dealing with yourself and being stuck in your own limits without really understanding why things happen. It’s about not being able to face our mistakes, and instead, in a cowardly way, wishing that your mistakes could be someone else’s.”
Ahead of “Next Summer,” the musician released a cover of Miley Cyrus and Mark Ronson’s “Nothing Breaks Like a Heart” as a Spotify Single for Valentine’s Day. From his own upcoming project, he dropped the peppy “Born With a Broken Heart” in October as his second solo single, and “Silverlines” in September for his debut song.
Speaking to Billboard at the time about going his own way musically and introducing listeners to the solo Damiano David via “Silverlines,” he shared of the vulnerable and melancholic track, “It’s basically describing my whole journey.” He added, “The goal of this song is not topping the charts. I’m introducing myself to the world … But I’m just very glad I have the opportunity to do this, and the results will come.”
What’s also coming for the singer is a 33-date world tour, with multiple shows already sold out. That includes the tour-opening performance Sept. 11 in Warsaw, followed by dates in Berlin, Paris, London and Rome before the trek heads to Australia, Japan and South America, and finally landing stateside in Seattle Nov. 21. The tour is slated to end Dec. 16 in Washington, D.C.
Stream Damiano David’s “Next Summer” below:
A woman has sued 300 Entertainment CEO Kevin Liles for allegedly harassing and raping her while the two worked together at Def Jam in the early 2000s, according to documents filed in New York Supreme Court on Wednesday (Feb. 26).
Filed by attorneys Lucas Franken and Mallory Allen at New York firm Pfau Cochran Vertetis, the suit claims that Liles began sexually harassing the woman — identified as Jane Doe in the complaint — beginning in 2000, shortly after she started working as the executive assistant to Def Jam’s then-GM. During this time, she alleges that Liles — who was then serving as president of the storied hip-hop label — “pressed his body” against her breasts, grabbed her buttocks and made “sexually inappropriate comments and advances towards her on numerous occasions, “which she rebuffed.”
The woman claims this behavior ultimately culminated in Liles sexually assaulting and raping her.
Also named as defendants are Def Jam and its corporate parent Universal Music Group, which the woman accuses of “permitting, aiding, abetting, conspiring, ratifying and enabling” Liles’ harassment and rape. The suit alleges that the companies “knew or should have known of” Liles’ alleged propensity for sexual abuse “motivated by gender animus” and are liable for “ignoring, dismissing, and failing to take any action” against him, including by reporting him to the police. It also claims that the companies “permitted” Liles “to entrap their employees in locations that enabled his sexual abuse, assault and rape.”
As a result of the alleged harassment and assault, the woman says she suffered “severe emotional and psychological distress and personal physical injury…including severe mental anguish, humiliation, and emotional and physical distress.”
The lawsuit was brought under the Gender-Motivated Violence Protection Law in New York, which allows survivors of gender-motivated violence whose claims were previously time-barred to file suit against their alleged abusers.
The woman is asking for compensatory and punitive damages, among other relief.
Liles served as president of Def Jam Recordings in the late 1990s and early 2000s before being named executive vp at Warner Music Group. He went on to found the management firm KWL Enterprises in 2009 and, later, record label 300 Entertainment alongside Lyor Cohen, Roger Gold and Todd Moscowitz in 2012. Following 300’s acquisition by Warner Music Group in 2022, he assumed the role of chairman/CEO at 300 Elektra Entertainment. He stepped down from that role in September.
Representatives for Universal Music Group, Def Jam and Liles did not immediately respond to requests for comment.