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Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Lola Young’s breakout hit keeps on breaking in the U.S., Timothée Chalamet’s turn pulling SNL double-duty helps shine a light on some lesser-streamed Bob Dylan cuts and a Lil Wayne and Drake favorite from a decade ago finds new TikTok virality.
Lola Young Gets “Messy” on Late Night, Breakthrough Single Surges in Streams & Sales
U.K. alt-pop/rock sensation Lola Young made her debut on stateside TV last week on The Tonight Show Starring Jimmy Fallon, with both a performance of her breakthrough hit “Messy” and an interview with Fallon. Young captivated viewers with her unpolished energy, cheeky humor and thick accent – and of course, with one of the best hits of the past few months, an anthem of frustrated individualism that had reaches a new No. 25 high on the Billboard Hot 100 this week (on the chart dated Feb. 1), following her performance last Tuesday (Jan. 21).
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The song should climb even higher next week, as “Messy” has hit new peaks on streaming and sales following her high-profile Fallon appearance. The song has racked up 8.8 million official on-demand streams across the first four days of this tracking week – a gain of 30% from the same period the previous week, according to Luminate – while also moving 4,800 copies through digital sales, a 119% gain from the week before. “Messy” has been in the No. 1 spot on the real-time iTunes chart for most of the week, suggesting that a lot of folks in this country are connecting with its “I just want to be me/ Is that not allowed?” sentiment these days. – ANDREW UNTERBERGER
Timmy Plays Twice, It’s Alright: Chalamet Boosts Bob Songs on ‘SNL’
A few weeks ago, we wrote about how Bob Dylan’s streaming catalog, including some of the most iconic hits of his early discography, had skyrocketed thanks to A Complete Unknown, the new Dylan biopic starring Timothée Chalamet. Since then, the James Mangold-directed film has scored eight Oscar nominations (including Chalamet’s second Best Actor nod), and Chalamet served as both the host and musical guest on Saturday Night Live on Jan. 25, where he covered some relatively lesser-known Dylan songs: “Outlaw Blues” and “Three Angels” as a medley, and “Tomorrow is a Long Time.”
Naturally, streams for those three Dylan songs exploded following the SNL performances, growing an even greater percentage than the legendary tracks receiving upticks from the film. “Tomorrow is a Long Time” leapt from 4,000 official U.S. on-demand streams over the previous Sunday and Monday (Jan. 19-20) to 52,000 streams from Jan. 26-27 — a 1100% bump, according to Luminate. Meanwhile, “Outlaw Blues” and “Three Angels” were up to 45,000 streams and 30,000 streams over the more recent two-day period, respectively. All told, the three songs grew from a little over 9,000 streams from Jan. 19-20 to a whopping 128,000 streams one week later. Maybe Chalamet can help out some more Dylan deep cuts with an Oscars performance? – JASON LIPSHUTZ
Lil Wayne and Drake Strip Club Anthem Becomes TikTok Wall Dance Trend
TikTok certainly loves a wall-dance trend. One of the latest songs that has countless users backing it up against the wall is “She Will,” the Drake-featuring smash from Lil Wayne’s Tha Carter IV album that reached the Hot 100’s top five back in 2011. The clip from the song used for these videos is triggered by Wayne’s “Ladies and gentlemen, Drizzy” welcoming of his co-star, followed by Drake’s own introductory “Unh” grunt – but then the vocals cut out for a Jersey clubbier remix of the song’s strip club-ready beat to soundtrack users’ wall-bound gyrations.
The challenge has become a big-enough TikTok trend to help drive consumption of the song back to some of its highest levels since its original release. “She Will” was up to 3.9 million official on-demand U.S. streams the past tracking week (ending Jan. 23), according to Luminate, part of a steady climb that’s seen the song rise 65% from 2.3 million streams it posted five weeks earlier. Lil Wayne might not have gotten the career-capping hometown gig he might have really wanted for this early year – though we’re still holding out hope he makes some kind of appearance at the Superdome on Feb. 9 – but his back catalog remains forever present in the culture regardless. – AU
The December 2024 Boxscore report is haunted by the ghosts of Christmas Past, Present, and (likely) Future: Trans-Siberian Orchestra closes out 2024 at No. 1 on Top Tours, just as it did in December of 2023, 2022, 2021, and 2019 (there was no chart in 2020 due to venue closures during COVID-19).
According to figures reported to Billboard Boxscore, Trans-Siberian Orchestra earned $48.2 million and sold 581,000 tickets from 70 shows between Dec. 1-30. How does one touring act perform 70 shows in 30 days? As has been the case since its 1999 touring debut, TSO employs two ensembles, pushing one to the eastern half of the United States and another to the west. Further, as Christmas approaches, each ensemble ramps up the pace with a matinee and evening performance in each city; for 12 days out of the month, TSO played four shows.
At 70 shows, TSO was four times busier than any of the other 29 artists on December’s Top Tours chart. Pentatonix is the only other act on the ranking that played more than 10 shows in December, with 16 dates on a holiday tour of its own. Even if TSO didn’t have the advantage of being in two places at once, it’d still tower over Pentatonix and everyone else on the survey.
TSO’s annual tour began on Nov. 13 in Council Bluffs, Iowa and Green Bay, Wisc. In all, it played 110 shows in 2024, marking its fullest routing since 2009 (112). It paid off, combining to $69 million, up 1% from last year’s $68.2 million to finish as its biggest year ever. Altogether, TSO has earned $871.4 million and sold 15.8 million tickets since 1999. The ensemble has reported 2,003 concerts, more than any other act in Boxscore history.
Out of 41 cities on the December calendar, TSO grossed more than $1 million in 21. Two shows at Philadelphia’s Wells Fargo Center on Dec. 22 earned $2.1 million. That’s just the third engagement in the group’s history to eclipse the $2 million threshold, joining stops in Tampa ($2.1 million) and Cleveland ($2 million) from 2023.
Both Cleveland and Tampa were among this year’s biggest markets, with $1.9 million and $1.8 million, respectively. St. Paul, Minn. and Pittsburgh, Penn. joined with $1.8 million each. Five markets sold more than 20,000 tickets, including Rosemont, Ill. and Dallas.
Zach Bryan and George Strait follow on Top Tours, crystalizing a banner year for country acts. Bryan grossed $28.5 million over nine shows in just four markets. Just 31 miles from his hometown of Oologah, Okla., three shows at Tulsa’s BOK Center did the heaviest lifting with $9.4 million on Dec. 12-14.
It’s impressive enough that Bryan is No. 2 from shows in just four cities. But George Strait is No. 3 from the power of just one show. His Dec. 7 concert at Las Vegas’ Allegiant Stadium grossed $23.3 million from 47,600 tickets sold, handily crowning Top Boxscores. The next highest one-night engagement on Top Boxscores is Luis Miguel at No. 18 with less than a quarter of Strait’s massive Vegas pull.
Las Vegas dominates Top Boxscores, clogging the top three positions with variety in terms of genre and size. Following Strait’s country stadium juggernaut, Bruno Mars is No. 2 with six shows from his MGM residency at Dolby Live. Those grossed $16 million and sold 31,900 tickets, pushing the residency’s total earnings to $154.8 million, dating back to its 2016 launch.
Rounding out the Vegas trio, Anyma is No. 3 with the first five of eight shows at Sphere. In between Strait’s stadium and Mars’ theater, Sphere’s arena configuration translated to 84,900 tickets sold from Dec. 27-31, combining to $13.6 million. The Italian American DJ is the first electronic act to headline the famed hall, following rock turns from Dead & Company, the Eagles, Phish, and U2.
Sphere takes two more spots in the top 10, with two weekends with the Eagles at Nos. 9-10. Altogether, those shows earned $18.5 million, making them the fifth-highest grossing act of the month. Sphere ends December at No. 2 on Top Venues (15,001+ capacity), just 2% off from its older sister venue, New York’s Madison Square Garden.
Trans-Siberian Orchestra is not the only holiday act impacting the December Boxscore recap. Perennial favorites Pentatonix and Mariah Carey both hit Top Tours, with $14.2 million and $8.3 million, respectively.
As far as individual events go, Denver’s Decadence New Year’s Eve and New York’s Z100 Jingle Ball both appear on Top Boxscores. In addition to NYE performances from Anyma and Bruno Mars, Phish closed out the year with four shows at Madison Square Garden ($9.6 million) and Billy Joel performed a one-night engagement in Long Island at the UBS Arena ($3.8 million).
And as reliable as TSO, the Rockettes returned to Radio City Music Hall for the annual Christmas Spectacular. No. 1 on Top Venues (5,001-10k capacity), the RCMH earned nearly $100 million from 736,000 tickets sold over 129 December shows.
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Source: Earl Gibson III / Getty / DJ Akademiks
It’s always a good day when DJ Akademiks is silenced. Word on the streaming streets is that Twitch hit the loudmouth with a ban, and deservingly so.
Spotted on The Grio, DJ Akademiks has reportedly been banned by Twitch after partaking in an inappropriate conversation with a 15-year-old who works with popular creator PlaqueBoyMax and is a regular on his live stream.
During the stream, Akademiks began asking the teen sexually explicit questions and making “jokes” about sending strippers to his house. Nour was visibly uncomfortable as Akademiks continued. Social media let the Drake stan have it on social media for being a creep.
After going on a nonsensical rant from his gaming chair in his streaming room, DJ Akademiks took accountability for his behavior during a recent stream over the weekend.
“I’ve done a lot of bulls**t up in this game. Trust me. I’ve got mine off. This issue aside – which, again. I am wrong. I will be better. This is a teachable moment. For me, obviously, I got to watch my speech. That’s clear,” The 35-year-old said. “Definitely a regrettable moment, and we’re going to use it as a teachable moment. Because I don’t think I’ve came this far, built this platform, to be that irresponsible, right?”
But his words came too late because Twitch banned that a** and disabled his channel due to violating Twitch’s policies.
Let The Celebration Begin
Social media has been celebrating Akademik’s Twitch ban. Even Meek Mill, who called Akademiks a “rapist type couch potato,” is getting in on the fun, writing on X, formerly Twitter, “He gone be drinking tonight screaming at kids from some other portal lol these guys lives be terrible “NEVER FOLLOW THE HEATHENS.”
You messed up big time when you’re getting clowned by Meek Mill.
You can see more reactions in the gallery below.
3. Not the McDonald’s app
5. Riiighhhhttt
7. This can’t be true, but still funny
9. For those who need a reminder
Wasserman Music has hired five key executives to expand its client service offerings worldwide, the company announced Wednesday (Jan. 29).
“As our clients’ needs continually expand along with our ever-evolving industry, we’ve continued to stay ahead of these changes so that we’re always able to provide best-in-class service to our artists and partners,” said Wasserman Music President Lee Anderson in a statement.
The new hires include Vince Amoroso, who joins Wasserman Music as senior vp of artist services in the company’s New York office. Amoroso will help develop new revenue opportunities for clients across industries, including commercial and digital partnerships, merchandise and e-commerce, original content and IP, gaming, film, TV, and books. He previously served as chief marketing officer for independent music company The Other Songs and as senior vp/head of marketing and business development at management services company mtheory, where he worked with A$AP Rocky, Sabrina Carpenter, J. Cole, Skrillex, Diplo, FKA twigs and Florence + the Machine.
Also in New York, Georgia McGurk joins as vp of event strategy & hospitality, taking a newly created role to enhance the broader market presence of Wasserman Music and its artists through the strategic development and execution of high-touch VIP and white-glove experiences for clients, partners and industry professionals across sectors. McGurk has spent a decade working in the sports and entertainment industries at companies such as IMG/Endeavor and, most recently, BSE Global, the parent company of the Brooklyn Nets and Barclays Center.
Elsewhere, Sharmaine Akhigbe joins as vp of brand partnerships in Wasserman’s London office, where she will develop and manage new partnerships worldwide for clients and brands across the U.K. and Europe, as well as new opportunities for Wasserman Music’s full client roster. She previously served as director of premier artists at Premier Model Management.
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Also joining Wasserman Music is Karina Gonzalez as VP of festivals for Wasserman’s L.A. office, where she will focus on client bookings for Latin music festivals in the U.S. and contemporary festivals across Latin America. She previously served as vp of touring & development at Latin concert promoter Zamora Live, where she was instrumental in expanding the company’s reach across Central America and the U.S. Gonzalez also served as an agent at UTA focused on the Latin American market for major music artists including Karol G, Lauryn Hill, Bring Me the Horizon, AURORA and Arlo Parks.
Lastly, Yasi Agahnia joins as director of corporate & special events in Wasserman’s L.A. office, where she will primarily focus on private event bookings for artists across the electronic, hip-hop and R&B genres, though she will also work with artists across Wasserman Music’s full client roster. Agahnia previously worked at CAA, where she rose from working in the company’s mailroom to becoming an agent in its private & corporate events division.
Wednesday’s news follows Wasserman Music’s announcement earlier this month that it had onboardedthree top executives from rival agency WME — Kevin Shivers, James Rubin and Cristina Baxter — to join its executive leadership team.
Wasserman Music
Dave Matthews has pulled out of two major events coming up fast this week — FireAid and the MusiCares Grateful Dead — to tend to a family emergency. In a statement posted to the Dave Matthews Band Instagram account Wednesday (Jan. 29), Matthews’ team wrote, “Due to a critical illness in the family, Dave Matthews […]
How much are 1,000 streams worth? A new report from catalog investor and lending platform Duetti attempts to answer this question.
According to the report, released Thursday (Jan. 23), independent artists and others who own master recordings received about $3.41 per 1,000 streams globally in 2024.
That global payout rate is down from $4.04 per 1,000 streams in 2021, according to the study, which included data related to Spotify, Apple Music, YouTube, Amazon Music, TIDAL, Qobuz, Deezer, SoundCloud and Pandora.
Of those companies, Amazon Music paid the most at $8.80 per 1,000 streams in 2024.
While the rate paid per 1,000 streams has declined each year since 2021, Duetti CEO Lior Tibon says rates appear to be plateauing because the higher price of streaming subscriptions at some companies is raising royalty payouts. Tibon says they also found that the portion of overall payouts coming from YouTube, which Duetti found pays more than Spotify, increased for the artists in its study — while the portion coming from Spotify for those artists decreased 2%.
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Duetti, which provides financing for independent artists in exchange for a stake in their master recordings, says that Spotify’s Discovery Mode and its greater adoption outside the U.S. are the main drivers driving down payout rates, even though Spotify raised subscription prices in most major markets. Artists who sign up their tracks for Spotify’s Discovery Mode program gain more algorithmic exposure on the platform through Spotify Radio and autoplay in exchange for a lower royalty rate. The program, which was expanded in 2023 to be open to anyone with access to Spotify For Artists, has been criticized by music trade organizations and some in Congress who are concerned it puts artists in a position where they feel the need to pay to play.
Spotify did not immediately respond to a request for comment.
The growth of Discovery Mode’s contribution to overall streams for independent artists in this study is slowing, which means its impact on payout rates is starting to stabilize, Tibon says.
“We are at the point where it is not going to continue to increase as much as it did over prior years, and the growth of YouTube is counteracting the impact of its growth outside the U.S. and [the growth of] discount plans,” Tibon says.
Certain subgenres, such as hyperpop, saw slightly higher royalty payouts — as much as 30 cents more per 1,000 streams — than mainstream genres, in part because artists who produce this music less often enroll in Discovery Mode, according to the report.
WHO PAYS WHAT
According to the study, Amazon Music pays the highest royalty rate of any streaming service at $8.80 per 1,000 streams. (Amazon Music services are bundled with a Prime membership, which costs $139 per year.)
TIDAL pays the second most at $6.80 per 1,000 streams, while Apple Music pays $6.20 per 1,000 streams “due to their foothold in higher price markets, and the lack of ad-supported tiers,” the report found.
Though YouTube’s payout rates vary significantly among artists, Duetti found that on average across the independent artists in its study, the video streaming platform paid out $4.80 per 1,000 streams in 2024.
Meanwhile, Spotify paid out around $3 per 1,000 streams due to “high usage, geographical mix, reliance on discounted [and] free plans, and their Discovery Mode program,” according to the report.
Counter to conventional wisdom, going viral on TikTok only resulted in higher royalty payouts 15% of the time, the report found.
Amazon, TIDAL and YouTube did not immediately respond to requests for comment.
TikTok has said in the past that it plays a major role in artists getting their songs discovered, claiming that 84% of all songs on the Billboard Global 200 in 2024 started as viral hits on its platform.
DATA FROM CATALOG VALUATIONS
Founded in 2022, Duetti is a catalog investment company that provides independent artists with capital — amounts range from $10,000 to $3 million — in exchange for a stake in the master recordings of certain songs. The data Duetti uses to value artists’ catalogs before buying them — including royalty statements, streaming performance and other analytics — underpin the findings in the report.
Duetti works with more than 500 artists, including Shayne Orok, known for his Japanese versions of pop songs, and Adán Cruz, a Mexican rapper and songwriter, to promote their works digitally, including across Duetti’s network of YouTube channels.
“YouTube has always been the foundation of my career, allowing me to connect directly with fans and build a sustainable livelihood doing what I love,” Orok said in a statement from Duetti. “Partnering with Duetti has taken that connection to the next level by helping my music reach new audiences in ways I couldn’t achieve on my own.”
A new federal report on artificial intelligence says that merely prompting a computer to write a song isn’t enough to secure a copyright on the resulting track — but that using AI as a “brainstorming tool” or to assist in a recording studio would be fair game.
In a long-awaited report issued Wednesday (Jan. 29), the U.S. Copyright Office reiterated the agency’s basic stance on legal protections for AI-generated works: That only human authors are eligible for copyrights, but that material created with the assistance of AI can qualify on a case-by-case basis.
Amid the surging growth of AI technology over the past two years, the question of copyright coverage for outputs has loomed large for the nascent industry, since works that aren’t protected by copyrights would be far harder for their creators to monetize.
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“Where that [human] creativity is expressed through the use of AI systems, it continues to enjoy protection,” said Shira Perlmutter, Register of Copyrights, in the report. “Extending protection to material whose expressive elements are determined by a machine, however, would undermine rather than further the constitutional goals of copyright.”
Simply using a written prompt to order an AI model to spit out an entire song or other work would fail that test, the Copyright Office said. The report directly quoted from a comment submitted by Universal Music Group, which likened that scenario to “someone who tells a musician friend to ‘write me a pretty love song in a major key’ and then falsely claims co-ownership.”
“Prompts alone do not provide sufficient human control to make users of an AI system the authors of the output,” the agency wrote. “Prompts essentially function as instructions that convey unprotectible ideas.”
But the agency also made clear that using AI to help create new works would not automatically void copyright protection — and that when AI “functions as an assistive tool” that helps a person express themselves, the final output would “in many circumstances” still be protected.
“There is an important distinction between using AI as a tool to assist in the creation of works and using AI as a stand-in for human creativity,” the Office wrote.
To make that point, the report cited specific examples that would likely be fair game, including Hollywood studios using AI-powered tech to “de-age” actors in movies. The report also said AI could be used as a “brainstorming tool,” quoting from a Recording Academy submission that said artists are currently using AI to “assist them in creating new music.”
“In these cases, the user appears to be prompting a generative AI system and referencing, but not incorporating, the output in the development of her own work of authorship,” the agency wrote. “Using AI in this way should not affect the copyrightability of the resulting human-authored work.”
Wednesday’s report, like previous statements from the Copyright Office on AI, offered broad guidance but avoided hard-and-fast rules. Songs and other works that use AI will require “case-by-case determinations,” the agency said, as to whether they “reflect sufficient human contribution” to merit copyright protection. The exact legal framework for deciding such cases was not laid out in the report.
The new study on copyrightability is the second of three studies the agency is conducting on AI. The first report, issued last year, recommended federal legislation banning the use of AI to create fake replicas of real people; bills that would do so are pending before Congress.
The final report, set for release at some point in the future, deals with the biggest AI legal question of all: whether AI companies break the law when they “train” their models on vast quantities of copyrighted works. That question — which could implicate trillions of dollars in damages and exert a profound effect on future AI development — is already the subject of widespread litigation.
Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.
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Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered either by networking or coming across their music at a showcase, and beyond. See our recommendations this month below:
Artist: Alleh & Yorghaki
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Country: Venezuela
Why They Should Be on Your Radar: By the end of 2024, the landscape of social media was ablaze with the captivating sounds of “Capaz (merengueton),” a viral sensation crafted by two talented artists hailing from Valencia, Venezuela. This track quickly gained momentum in the Latin music scene, showcasing a vibrant fusion of traditional merengue rhythms and contemporary reggaeton beats, all enhanced by modern electronic elements. The playful and flirtatious lyrics of “Capaz,” which translates to “maybe,” explore the nuanced feelings of a budding romance filled with possibilities.
Following the success of their hit single, Alleh and Yorghaki launched their highly anticipated debut album La Ciudad last year. This set features 12 tracks that showcase the duo’s distinct artistic vision and musical identity. The album is an inviting journey through lively melodies and infectious rhythms that resonate deeply, allowing listeners to connect with the pair’s artistic expression amidst the vast array of musical trends that flood the industry daily. — INGRID FAJARDO
Song For Your Playlist: “El Ingeniero”
Artist: Chuwi
Country: Puerto Rico
Why They Should Be On Your Radar: Hailing from Isabela, on the northwest coast of Puerto Rico, comes the indie quartet Chuwi. Composed by siblings Lorén on vocals, Willy on bass guitar, Wester on keyboards, and family friend Adrian on the drums, the group tastefully blends traditional Caribbean rhythms (plena, bomba, salsa) with soulful alternative melodies. Sonically, the band that’s been making the rounds since 2020 is progressive, energetic and stylish. Lyrically, Chuwi is proudly rooted in its culture, mainly singing about La Isla del Encanto with some feel-good love songs here and there.
I first discovered this talented bunch last summer during an album listening session with PJ Sin Suela, who collaborated with the group on “Escúchame,” where I was instantly smitten by Lorén’s powerhouse yet warm vocals. Chuwi kicked off 2025 gaining well-deserved momentum thanks to their feature on the flirty “WELTiTA” track from Bad Bunny’s DeBí TiRAR MáS FOToS. — JESSICA ROIZ
Song For Your Playlist: “Escúchame,” PJ Sin Suela feat. Chuwi
Artist: Hamilton
Country: Colombia
Why They Should Be on Your Radar: Dubbed the Afro Rock Star of Colombia, Hamilton has stood out as a reference for Afrobeats in his country, including through collabs with artists like Ryan Castro (“A Poca Luz”), Justin Quiles and Lenny Tavárez (“Atardecer”). With a velvety voice and an Afro-tropical vibe that is pleasant to the ear both musically and lyrically, he is preparing to release his debut album, Afro Rockstar, after presenting singles such as “Besitos Dulces” and “La Favorita de mi Mamá” in recent months. — SIGAL RATNER-ARIAS
Song For Your Playlist: “La Favorita de mi Mamá”
Artist: Hendry el Mero Mero
Country: U.S. by way of Cuba
Why They Should Be on Your Radar: Hendry el Mero Mero is a name that’s making the rounds in the East Coast. I first heard about the singer/songwriter/producer through Moises Mucho Mas, host and founder of the Onda Regional Show — a podcast that showcases the emerging wave of regional Mexican music in the New York Tri-State area. Born in Cuba and shaped by a decade in Ecuador, now based in New Jersey, Hendry’s musical journey has evolved from Latin rock to reggaetón, and most recently, a corridos tumbados fusion — a style he embraced after immersing himself with “la raza,” as he puts it, in the U.S.
His 2023 single, “Malditas Ganas,” is a melodic blend of mariachi brass and pulsating hip-hop rhythms, showcasing his versatility and fusion prowess. “Pregúntale al Diablo” further showcases his captivating mix of corridos tumbados with electronic beats. Hendry’s distinctive raspy voice adds a raw, authentic quality to his music. His latest single, “Trotamundo,” encapsulates his journey, mingling reflective lyrics with a contemplative sound that invites listeners into his world. — ISABELA RAYGOZA
Song For Your Playlist: “El Mero Mero”
Artist: Saul Villarreal
Country: U.S.
Why They Should Be on Your Radar: George Prajin, Peso Pluma’s manager, recently signed this 19-year-old singer-songwriter from Austin, Texas. Villarreal is one of those artists who is hard to categorize within a specific genre, which is what makes him fascinating. While joining a roster that includes mainly corrido/Mexican music hitmakers, Villarreal stands out for a far more stripped-down and mellow approach to the genre, often accompanying his songs with a piano or an acoustic guitar. Villarreal entered the scene in 2023, and has so far released a handful of songs that showcase his talents as a singer and songwriter. — GRISELDA FLORES
Song For Your Playlist: “Vete”
In December, Influence Media Partners, the music investing company backed by BlackRock and the Warner Music Group, joined the growing music industry trend of using asset-backed securitization to finance acquisitions and operations by raising about $360 million through a private placement in a deal lead by Goldman Sachs, sources say.
Besides the Influence Media deal, the waning months of 2024 also saw Concord raising $850 million through its third asset-backed bond offering run by Apollo Global Management in October; while Blackstone led a $1.47 billion securitization for its Hipgnosis Song Asset company. In each deal, the bonds and notes are collateralized by the music assets and income streams of the respective companies. The offerings from Concord and Hipgnosis have public filings with the appropriate regulatory agencies, but the Influence Media offering, as a private placement, does not have to file with the U.S. Securities and Exchange Commission.
As interest rates rise, asset-backed securities (ABS) are expected to become increasingly popular funding vehicles for music companies because they have fixed, five-year interest rates. In the past, Concord CEO Bob Valentine has compared these securitizations to fixed, low-interest-rate loans.
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Influence Media co-managing partner Lynn Hazan, the former CFO for Epic Records, worked with BlackRock executives on the deal, according to sources.
Influence Media, which was founded in 2019, has since bought stakes in some 30 music catalogs, and in early 2022 received additional funding to the tune of $750 million provided by BlackRock and the Warner Music Group. The acquired catalogs include music by Enrique Iglesias, Future, Logic, Julia Michaels, Ali Tamposi, Tainy and Harry Styles collaborator Tyler Johnson. The new funding is expected to be deployed in buying more music catalog assets.
Initially, it looked like the Influence Media Partners asset-backed securities offering was slow in coming together as bond investors looked at the Concord and Hipgnosis offerings, but in the end, the Influence offering — which also had Truist as the co-structuring and co-placement agent — came together nicely for the New York-based music investment company, attracting funding from about a half-dozen investors, sources say.
Billie Eilish, Finneas, Johnny Marr, Pharrell Williams, Timothée Chalamet and Zendaya are among those who will pay tribute to composer Hans Zimmer in Hans Zimmer & Friends: Diamond in the Desert. The film will feature a live performance of some of Zimmer’s most famous scores, including Dune, Gladiator, Interstellar and The Lion King.
Directed by Emmy winner Paul Dugdale, with Jerry Bruckheimer serving as an executive producer, the film offers viewers a glimpse into Zimmer’s creative process. The German composer’s works are brought to life by his band and an orchestra at Dubai’s Coca-Cola Arena, the Al Wasl Plaza dome at Expo City Dubai and other venues.
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The film will feature conversations with, in addition to those named above, Bruckheimer, Sir Christopher Nolan, Denis Villeneuve and Tanya Lapointe.
“The Hans Zimmer Live tour has been one of the most exciting experiences of my career,” Zimmer said in a statement. “Seeing these compositions transform from their big-screen origins to the live show then back to the big screen is a delightful full-circle moment. I hope audiences enjoy this peek behind the curtain as much as we enjoyed making it.”
Hans Zimmer & Friends: Diamond in the Desert will be released in select theaters across the Americas, Europe, Asia and United Arab Emirates, with limited screenings beginning Wednesday, March 19. Theaters in Australasia and other countries in the Middle East will screen the film at a later date. Tickets are on sale from Wednesday, Feb. 5, at 9 a.m. ET on the film’s website.
Zimmer, 67, has won four Grammys and two Oscars. He has received 12 Oscar nominations in scoring categories, across five decades, from the 1980s to the 2020s, winning for The Lion King and Dune.
Eilish paid tribute to Zimmer when she and Finneas won an Oscar for best original song for “No Time to Die” from the film of the same name, which Zimmer scored, calling him “so amazing.” Elton John and Tim Rice also paid tribute to Zimmer when they won Oscars for best original song for “Can You Feel the Love Tonight” from The Lion King. “To Hans Zimmer, who did a wonderful job with the songs,” John said.
Dugdale has won two Primetime Emmys — outstanding directing for a variety special for Adele: One Night Only (CBS) and outstanding variety special (live) as a co-executive producer of Elton John Live: Farewell From Dodger Stadium (Disney+). He was also nominated for outstanding variety special (pre-recorded) as executive producer of Billy Joel: The 100th – Live at Madison Square Garden (CBS).
Dugdale has also received three Grammy nods for best music film for Coldplay’s Live 2012 and Ghost Stories and Adele: One Night Only.
The film, which runs more than 2-1/2 hours, was produced by Simon Fisher, Steven Kofsky, Michael Marto, Omar Saab and John Featherstone. Executive producers are Bruckheimer, Dugdale, Steven Kofsky, Michael Marto, and Omar Saab. Distribution is by Trafalgar Releasing (in all markets excluding the Middle East, where it will be distributed by VOX).