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Bad Bunny is facing a lawsuit over allegations that a track from his chart-topping Un Verano Sin Ti featured an unlicensed sample from a Nigerian artist – and that the superstar’s reps later “stonewalled” efforts to resolve the problem.
In a copyright case filed May 2 in Los Angeles federal court, attorneys for the artist Dera (Ezeani Chidera Godfrey) claim that Bad Bunny’s “Enséñame a Bailar” illegally sampled from a 2019 track called “Empty My Pocket.”
Dera’s lawyers say they’ve raised the issue with reps for Bad Bunny and others behind the song, but that they’ve “turned a blind eye” and left him with “no choice but to file this lawsuit.”
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“It is not very often that a musical artist of Bad Bunny’s caliber and sophistication uses someone else’s music without permission, and then ignores the person’s efforts to resolve the problem,” writes Dera’s attorney Robert A. Jacobs, a litigator at the top music law firm Manatt Phelps & Phillips. “Such a response is especially surprising when the unauthorized use pervades the entirety of the musical artist’s work. Unfortunately, these are the circumstances here.”
The lawsuit also names as defendants The Orchard, which distributed the album, and Bad Bunny’s Rimas Entertainment, among others. Representatives for both Bad Bunny and The Orchard did not immediately return requests for comment.
Released in 2022, Un Verano Sin Ti was a mega-hit – spending 13 weeks atop the Billboard 200 and more than 150 weeks total on the album chart. “Enséñame a Bailar” was a hit in its own right, charting on the Hot 100 for two weeks and earning 72 million views on YouTube.
In his lawsuit, Dera says Bad Bunny’s song was essentially built on top of his “Empty My Pocket” – that the usage is so “extensive” that the sampling itself is “beyond question.”
“Plaintiffs’ works comprise virtually the entirety of the musical bed and a portion of the lyrics in the infringing recording and infringing composition, and, as such, account for a significant portion of the appeal of the infringing works,” his lawyers write.
They claim access to Dera’s song was provided producer Lakizo (Lekan Adesina), but that he had no authority to clear the use of the sample: “Lakizo … is not an author of ‘Empty My Pocket’ … and does not have – and never had – the right to prepare or authorize others to prepare derivative works.”
According to the lawsuit, when Dera discovered the unauthorized sample he tried to negotiate a good-faith resolution with Bad Bunny’s team, saying he wanted to “address past unauthorized uses” but also “allow future uses.” He says he also “unconditionally complied” with requests to substantiate his claim, including sharing documents showing that Lakizo had not been authorized to clear the sample.
“Despite plaintiffs’ cooperation, these defendants stonewalled plaintiffs after receiving the requested information, making clear that plaintiffs’ only option for obtaining redress for the violation of their rights would be through the courts,” Dera’s lawyers write.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Miley Cyrus returns with a ballad, Sleep Token unveil an opus and ROSÉ joins the F1 fun. Check out all of this week’s picks below:
Miley Cyrus, “More to Lose”
As she collected pop smashes over the course of her career, Miley Cyrus has also demonstrated a richness as a balladeer — and with “More to Lose,” a stirring new sample from her upcoming album Something Beautiful, Cyrus drifts above a complex tangle of classic pop production and smashes home the emotion as the song ramps up, making for a song that’s going to sound spectacular whenever it’s performed live.
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Sleep Token, Even in Arcadia
Whether you’re steeped in the lore, headbanging through the breakdowns or both, the masked British alt-metal group Sleep Token has turned its singular combination of detailed backstory and rock ambition into arena-headliner status — and with Even in Arcadia, the group is not only poised to have its biggest commercial moment to date, but will do so with a sprawling, uncompromising collection of songs.
ROSÉ, “Messy”
One week after Don Toliver and Doja Cat dropped “Lose My Mind” to kick off the rollout of the F1 soundtrack, ROSÉ has gotten in on the racing-drama fun with “Messy,” a cinematic love ballad in which the BLACKPINK star declares “If it’s messy / Then you know it’s really love,” while learning to understand her partner’s flaws, on a song that sounds primed to play over a contemplative second-act montage.
Kali Uchis, Sincerely,
On her first full-length since becoming a mother last year, Kali Uchis slows down the tempo from 2024’s Orquídeas and offers the most intimate glimpse of her mental and emotional state yet: Sincerely, revels in its personal flourishes, a new stance from a genre-hopping singer-songwriter who has written anthems in English and Spanish but has never navigated her own feelings this deftly.
PinkPantheress, Fancy That
From the super-short pop tracks of To Hell With It to the commercial breakthrough of “Boy’s a Liar Pt. 2” to the sonic exploration of Heaven Knows, PinkPantheress has darted through different eras with lightning speed — and Fancy That, a bright, engrossing mixtape that riffs on ‘90s dance and garage, sounds like an artistic reset in the best way, taking the UK pop star back to the effervescent songwriting of her beginnings.
Kid Cudi, “Neverland”
Kid Cudi is a stylistic godfather in modern hip-hop, but that doesn’t mean the veteran is resting on his laurels: “Neverland,” a new single that precedes a short film of the same name, aims at summer-anthem territory, with Cudi gently crooning in the verses and then singing his lungs out on the chorus as trap drums sizzle beneath his full-throated cries.
Maren Morris, Dreamsicle
Maren Morris has described fourth album Dreamsicle as “a love letter to myself,” which explains the new set’s healing aura: Morris has changed up her style and spoken openly about her process of self-discovery over the past few years, and her latest full-length complements that journey with warmth and optimism, briskly moving forward as Morris does the same.
Editor’s Pick: Halsey & Amy Lee, “Hand That Feeds”
During the same week that Evanescence was back in the news — thanks, The Rehearsal! — band leader Amy Lee has released a harrowing new collaboration with Halsey that accentuates both artists’ respective talents: “Hand That Feeds,” from the upcoming Ballerina soundtrack, harkens back to Halsey’s alt-rock streak while giving Lee a much-deserved new platform to showcase her soaring delivery, resulting in what sounds like a no-brainer rock-radio staple.
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Source: Patrick McMullan / Getty
50 Cent has taken a fresh shot at Diddy, breaking his recent silence with a new round of online mockery aimed at his longtime foe.
As Diddy’s legal proceedings move forward, with jury selection for his trial kicking off this week, 50 Cent returned to Instagram with a post that quickly grabbed attention. The rapper shared an AI-generated image that featured himself as every single member of the jury, a humorous but pointed jab at the Bad Boy mogul.
The image was accompanied by the caption, “Sean Diddy Combs jury selection for trial is finally complete,” while 50 added his own twist, writing, “I’m not sure if this is fair but don’t worry, be happy!” The post blends sarcasm and spectacle, staying true to 50’s trademark style of using humor to taunt his rivals.
Tensions between the two artists have been simmering for years, but 50 has turned up the heat since late 2023, when serious allegations involving sexual misconduct and sex trafficking were brought against Diddy. While the music industry watches the case unfold, 50 Cent is using his platform to stay in the conversation, with his usual mix of satire and shade
This latest stunt, powered by AI and packed with attitude, is another reminder of how 50 Cent continues to blend digital creativity with real-life controversy, keeping his feud alive while entertaining his fans in the process.
Now let’s go down memory lane of all the times 50 Cent has trolled Diddy.
If it feels like it’s been a minute since you heard from Gretchen Wilson you’re not wrong. The Grammy-winning “Redneck” woman country star known for her independent streak hasn’t released an album of all-new material since 2017’s Ready to Get Rowdy or a single since 2024’s scorching “Little Miss Runner Up,” a one-off sequel to 2005’s “Homewrecker.”
But after winning season 13 of The Masked Singer this week, Wilson tells Billboard she’s ready to crank things up again after a long time out of the spotlight due to a run of serious health issues with an all-star Taylor Swift-style reboot.
“I had some post-COVID health stuff, I’m a long-hauler. I’ve got medications I’ll have to take for the rest of my life — high blood pressure, asthma — these are all things I didn’t have right before COVID,” Wilson told Billboard in her Masked Singer exit interview about why she’s been off the radar a lot over the past few years. “I also was dancing with a 6-year-old boy at a wedding, spinning, spinning, spinning, then I lost myself and I shattered my ankle and my leg, so I spent eight months in a wheelchair in a cast.”
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Wilson says the cascade of health issues got her wondering if she might still have the stamina to “do a 75-minute show in Yuma, AZ” outdoors in August. But, after the reality singing show came knocking and she had a season-long run nailing rock, pop, R&B and Latin dance pop she realized she was ready to return to the spotlight.
Saying she has “lots of irons in the fire” at the moment, Wilson, 51, reveals the most exciting thing on tap this year is a “re-creation” of her breakthrough 2004 album, Here For the Party. “I am gonna do my version, sort of the way Taylor did, but on my label [Redneck Records],” she says. “But instead of just recreating it the same way, I am going to have a guest vocalist on each song. I’ve got a few absolute yes’s so far, but I was waiting for this [post-Masked Singer] moment so that when I make the rest of the calls they are quicker yes’s.”
While it’s still a work in progress, so far Wilson is proud to tease a duet with Travis Tritt on an unnamed song, something she’s been wanting to do her whole career. “I can’t think of another voice that would pair up with me perfectly,” she says. In addition, she’s re-worked her song “Chariot” with country trio Chapel Hart and has a number of feelers out to some “huge names” that she’s not able to talk about yet.
“I want to make sure [they know] I’m not trying to reinvent myself with the album, I’ve got other things going on and this will be good for them,” she said of the message to the A-list collaborators she’s shooting for.
One of those other irons is a role as “tour manager” or, as she dubbed it “tour momager” on the upcoming music competition series The Road. The show executive produced by Taylor Sheridan (Landman, Mayor of Kingstown), Blake Shelton, David Glasser, Lee Metzger and Keith Urban is slated to premiere in the fall on CBS and stream on Paramount+.
“Tour manager is the hardest job because it all comes down to you,” Wilson laughs. “Obviously on this production I didn’t have to do all the jobs a tour manager does — I wasn’t wrangling the buses or hotel rooms — but in the venue I was doing all the other parts a tour manager does: getting them on and off the stage, making sure they’re taking care of themselves, discussing songs changes, keys, modulations with the band on their behalf… just being the last face they see before they go on and the first face they see when they get off. It’s more like a tour momager role.”
She says none of the contestants on the show are “super young,” but most are younger than her and she calls them “kids” because, let’s be honest, they don’t have nearly the experience she’s had on the road. From playing in three or four bars bands at the same time at 16, to touring the world, Wilson says her road dog experience is worth its weight in gold as she helps the contestants make their way across the country. “What my role was to bring them my experience, any knowhow I’ve gained over the years, any tricks or secrets I know,” she says. “It’s not hard: go to be early, shut up, don’t talk too much, save it for the show. Just somebody to bounce ideas off of, to yell at.”
In the meantime, Wilson has a summer full of shows on her calendar, including slots at the Natchitoches Jazz and R&B Festival in Natchitoches, LA this weekend, as well as a spot at the Hoofbeat Country Fest in Cadott, WI the weekend of June 26-28 and a Grand Ole Opry House show on July 8 in Nashville.
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Source: Gylee Games / Ra Ra BOOM
Gylee Games’ new original game, Ra BOOM, aims to deliver a gut punch and not be just another mindless button-mashing beat’em up experience.
We are genuinely in a beat ’em up game renaissance, with games like TMNT: Shredder’s Revenge, Double Dragon Gaiden: Rise of the Dragons, the forthcoming Double Dragon Revive, Streets of Rage 4, and others restoring the feeling of the classic video game genre that used to gobble up all the quarters in arcades.
With Ra Ra BOOM, Gylee Games hopes to keep that momentum going. In essence, the game is a classic beat’em game in which playable characters take out hordes of villains and eventually the big boss. Still, once you pick up the sticks and press start, you will see the game studio is hoping to deliver a much deeper experience.
Source: Gylee Games / Ra Ra BOOM
Ra Ra BOOM’s Story
In the vibrant, fast-paced game, players can choose from five playable ninja cheerleaders, a combination we are sure you never thought of. They aren’t your typical cheerleaders; they have been trained to take on a rogue AI that has forced humans to leave Earth, but find themselves back on the planet, and must punch, kick, and shoot through hordes of angry robots and other foes and fight as a squad to save humanity.
Each character is fully upgradable, has unique hand-to-hand abilities, and wields a firearm to allow players to fight from a distance. To use your character’s special ability, you fill up a meter by landing hits on enemies; the power of the ability is determined by how full the meter is.
Source: Gylee Games / Ra Ra BOOM
HHW Gaming got hands-on with the game at PAX East and experienced the two levels during a brief demo. Ra Ra BOOM has been on our radar since seeing it during Kinda Funny’s Game Showcase two years ago.
Why Ra Ra BOOM Uses Ninja Cheerleaders?
Source: Gylee Games / Ra Ra BOOM
Speaking with the game’s creative director, Chris Bergman, our first question was why cheerleaders? His answer? Why not cheerleaders?
“I wanted to create a 90s aesthetic. And, like, Saturday morning cartoons, fun and vibrant,” Bergman tells HHW Gaming. “Like what the f**k’s more vibrant than a cheerleader?”
He also notes that teens who still attend school while living off the planet were raised to fight AI-controlled robots but use cheerleading to build teamwork.
That makes all the sense in the world when you think about it.
Ra Ra BOOM Features A Deeper Narrative
Source: Gylee Games / Ra Ra BOOM
What also sets this game apart from other beat ’em up games is that Bergman wanted his game to have a meaningful narrative, as he feels that’s where the video game genre traditionally falls short.
“Well, I don’t think beat ’em up games have good narratives,” Bergman said. “They’re really limited in what you can do. So part of it was a creative challenge of, like, can we introduce a real narrative into a new creative IP and a new game, and I fell in love with these characters so much. I wanted to make sure that that story was heard.”
In crafting the game’s story, Bergman also used his personal experience, his father-in-law’s passing, and the grief he experienced from a traumatic moment to enhance Ra Ra BOOM’s narrative experience further.
He also used writing the game’s story to help him cope with his father-in-law’s death, and hopes the story will do the same for players.
Ra Ra BOOM is due out this summer and will be available on PC via Steam, PS5, and Xbox Series consoles, and will most likely cost $19.99 when it releases. It will have DLC content sometime after its launch, ensuring players will keep running it back after they beat the game.
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HipHopWired Featured Video
CLOSE
Source: Gylee Games / Ra Ra BOOM
Gylee Games’ new original game, Ra BOOM, aims to deliver a gut punch and not be just another mindless button-mashing beat’em up experience.
We are genuinely in a beat ’em up game renaissance, with games like TMNT: Shredder’s Revenge, Double Dragon Gaiden: Rise of the Dragons, the forthcoming Double Dragon Revive, Streets of Rage 4, and others restoring the feeling of the classic video game genre that used to gobble up all the quarters in arcades.
With Ra Ra BOOM, Gylee Games hopes to keep that momentum going. In essence, the game is a classic beat’em game in which playable characters take out hordes of villains and eventually the big boss. Still, once you pick up the sticks and press start, you will see the game studio is hoping to deliver a much deeper experience.
Source: Gylee Games / Ra Ra BOOM
Ra Ra BOOM’s Story
In the vibrant, fast-paced game, players can choose from five playable ninja cheerleaders, a combination we are sure you never thought of. They aren’t your typical cheerleaders; they have been trained to take on a rogue AI that has forced humans to leave Earth, but find themselves back on the planet, and must punch, kick, and shoot through hordes of angry robots and other foes and fight as a squad to save humanity.
Each character is fully upgradable, has unique hand-to-hand abilities, and wields a firearm to allow players to fight from a distance. To use your character’s special ability, you fill up a meter by landing hits on enemies; the power of the ability is determined by how full the meter is.
Source: Gylee Games / Ra Ra BOOM
HHW Gaming got hands-on with the game at PAX East and experienced the two levels during a brief demo. Ra Ra BOOM has been on our radar since seeing it during Kinda Funny’s Game Showcase two years ago.
Why Ra Ra BOOM Uses Ninja Cheerleaders?
Source: Gylee Games / Ra Ra BOOM
Speaking with the game’s creative director, Chris Bergman, our first question was why cheerleaders? His answer? Why not cheerleaders?
“I wanted to create a 90s aesthetic. And, like, Saturday morning cartoons, fun and vibrant,” Bergman tells HHW Gaming. “Like what the f**k’s more vibrant than a cheerleader?”
He also notes that teens who still attend school while living off the planet were raised to fight AI-controlled robots but use cheerleading to build teamwork.
That makes all the sense in the world when you think about it.
Ra Ra BOOM Features A Deeper Narrative
Source: Gylee Games / Ra Ra BOOM
What also sets this game apart from other beat ’em up games is that Bergman wanted his game to have a meaningful narrative, as he feels that’s where the video game genre traditionally falls short.
“Well, I don’t think beat ’em up games have good narratives,” Bergman said. “They’re really limited in what you can do. So part of it was a creative challenge of, like, can we introduce a real narrative into a new creative IP and a new game, and I fell in love with these characters so much. I wanted to make sure that that story was heard.”
In crafting the game’s story, Bergman also used his personal experience, his father-in-law’s passing, and the grief he experienced from a traumatic moment to enhance Ra Ra BOOM’s narrative experience further.
He also used writing the game’s story to help him cope with his father-in-law’s death, and hopes the story will do the same for players.
Ra Ra BOOM is due out this summer and will be available on PC via Steam, PS5, and Xbox Series consoles, and will most likely cost $19.99 when it releases. It will have DLC content sometime after its launch, ensuring players will keep running it back after they beat the game.
1. Ra Ra Boom
Source:Ra Ra Boom
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Source:Ra Ra Boom
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Susanna Hoffs, Muni Long and more have been added to the lineup for the 2025 Grammy Hall of Fame gala, presented jointly by the Recording Academy and Grammy Museum. The event is set for Friday (May 16) at the Beverly Hilton in Beverly Hills, Calif. – the site of the first Grammy Awards ceremony in 1959.
Performances will pay tribute to the 2025 Grammy Hall of Fame inducted recordings, which were announced on Feb. 13.
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Susanna Hoffs of The Bangles will perform Cat Stevens’ “Wild World” from the singer-songwriter’s 1970 album Tea for the Tillerman. Emmylou Harris, her producer Daniel Lanois, and jazz drummer Brian Blade will perform selections from Harris’ 1995 album Wrecking Ball. Leslie Odom Jr. will perform the title track from Luther Vandross’ 1981 album, Never Too Much, and Ledisi will perform Clara Ward’s 1951 song “How I Got Over.”
Latin Grammy nominee Leslie Grace will deliver Miami Sound Machine’s 1985 breakthrough hit, “Conga.” Percussionist Cindy Blackman and guitarist Orianthi, joined by longtime Santana band member Andy Vargas, will perform Santana’s “Smooth” from the band’s 1999 album Supernatural; Blackman is married to Carlos Santana.
Eddie Floyd and Jody Stephens, drummer of iconic power-pop band Big Star will perform Floyd’s 1966 hit “Knock on Wood.” Stephens is also expected to perform a track from Big Star’s 1972 album #1 Record. The other five 2025 Grammy Hall of Fame inducted recordings are: J.D. Crowe & The New South’s J.D. Crowe & The New South; Jay-Z’s Reasonable Doubt; Fela Kuti & Afrika 70’s Zombie; Linda Martell’s “Color Him Father”;and Geeshie Wiley’s “Last Kind Words Blues.”
In addition, John Mellencamp, Conan Gray and Long will perform as part of a tribute to this year’s label honoree, Republic Records. Atlantic Records was the initial label honoree at last year’s gala, which marked the first time there was a stand-alone event to honor the inducted recordings. Last year’s gala was held at the Novo Theatre at L.A. Live.
Jon Batiste, the inaugural recipient of the Ray Charles Architect of Sound Award, will also perform. This new annual honor, created in partnership with The Ray Charles Foundation, recognizes an artist whose creative legacy reflects the visionary innovation of Ray Charles.
Returning as host is CBS News journalist Anthony Mason. The show will again be produced by Ken Ehrlich, alongside Ron Basile, Lindsay Saunders Carl and Lynne Sheridan. Ehrlich produced or executive produced the annual Grammy Awards telecast for 40 years. Cheche Alara, a Grammy and Latin Grammy Award-winning composer, producer and conductor, will serve as musical director for the event.
This year’s additions to the Grammy Hall of Fame meet the main requirements – they exhibit “qualitative or historical significance” and are at least 25 years old. Eligible artist(s), producer(s), engineer(s), and mixer(s) of these 13 recordings will receive a certificate from the Recording Academy.
The Grammy Hall of Fame was established by the Recording Academy’s national trustees in 1973. Inducted recordings are selected annually by a member committee drawn from all branches of the recording arts with final ratification by the academy’s national board of trustees. Counting these 13 new titles, the Grammy Hall of Fame totals 1,165 inducted recordings. The full list of past inducted recordings can be found here.
The Grammy Hall of Fame Gala serves as a fundraiser to support the Grammy Museum’s national education programs. It includes a cocktail reception, dinner, and concert program. Tickets are on sale now. Individual tickets are $1,250. For more information, visit this site.
An online auction is currently underway, featuring a collection of guitars signed by such artists as Chappell Roan, Charli xcx, Chris Martin, Sabrina Carpenter, and Lady Gaga & Bruno Mars. They are also auctioning off platinum tickets to the 68th Grammy Awards and more. Proceeds will benefit the Grammy Museum’s education programs. For more information, visit this site.
It’s time to drop the needle on another Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been quite a bit of staffing news this week, “Da Pope” included, so let’s get to it.
Downtown Music Publishing appointed Jason Taylor as vice president of business development, based in Los Angeles and reporting to chief creative officer Jedd Katrancha. Taylor, who brings prior experience from ICONOCLAST, Hipgnosis Songs Group and Big Deal Music Group, will focus on expanding DMP’s global roster, emphasizing legacy catalogs and B2B partnerships. Additionally, Bea Koramblyum was promoted to global head of business affairs and vice president of business development (GHBAVPBD for short), recognizing her role in strategic dealmaking and catalog growth. A newly appointed chair of the Music Business Association, Koramblyum has been key in deepening industry relationships. These appointments follow a strong year for DMP, including over 30 Grammy noms-noms and notable signings like Peso Pluma and Tori Amos. Katrancha praised both execs, saying “Jason brings a rare blend of creative instinct and commercial acumen, with a track record of cultivating long-term relationships and building enduring catalog value” and that “Bea’s expanded role is a reflection of the leadership and vision she has brought to Downtown for many years.”
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The change train keeps a-rollin’ at Audacy, with the departure of longtime chief technology officer Sarah Foss, effective May 2. Foss joined the company (then Entercom) in mid-2020 as chief information officer and helped guide the company through the pandemic. “We innovated. We cut costs. We modernized. We got scrappy. We held virtual planning events. We went back to the office,” she said in her announcement on LinkedIn. Taking over is Steve Rollins, reviving the CIO title, who will oversee all IT and technical operations at the radio and podcast giant. Rollins arrives from Gabstin LLC but he previously served as CIO of SESAC — where he worked with Kelli Turner, who replaced David Field earlier this year as Audacy’s president and CEO. The shakeup at Audacy has also seen the recent departures of CMO Paul Suchman (replaced by Jenny Nelson), COO Susan Larkin, chief digital officer J.D. Crowley, and general counsel Andrew Sutor (succeeded by Michael Dash).
Range Music launched a new composer division, expanding its music management services into film and television scoring. L.A.-based industry veteran Jeff Jernigan joins as the first hire, bringing a roster that boasts Steven Price (Gravity), Tom Howe (Ted Lasso) and Helen Park (KPOP). Jernigan, formerly with Kraft-Engel Management, will represent composers, music supervisors, songwriters and executive music producers, working alongside Leah Cook, Range’s vp of creative sync and strategy. Range already has a strong foothold in music supervision, with clients like Andrea von Forester (Yellowstone) and Jordan Carroll (Dear Evan Hansen), and Jernigan has worked with Range’s film co-presidents Fred Berger and Brian Kavanaugh-Jones on projects like La La Land and A Complete Unknown. “As the first hire for this division, Jeff brings with him a wealth of knowledge, an incredible roster, and vast experience working along our film division,” says Berger and RMP co-founding managing partner Matt Graham.
NASHVILLE NOTES: Country Music Hall of Fame and Museum curator of recorded sound collections Alan Stoker retired at the beginning of the month, exactly 51 years after he started with the institution. His audio preservation and remastering expertise has been applied to recordings by Hank Williams, Patsy Cline and Merle Haggard, among others … Prescription Songs promoted Kelly White to A&R Coordinator. Based in Nashville, she works with artists, songwriters, and producers across Atlanta, LA, and Nashville, including Big Boss Vette and Trent Dabbs. A Belmont University graduate, she recently organized a songwriting camp with Tay Keith’s Drumatized label and plans additional camps to support Nashville’s growing creative community … Christian imprint Centricity Music promoted five longtime team members to senior roles, including John Mays as president of A&R and Camy McArdle and Andrew Lambeth as co-GMs. John Stokes becomes svp of marketing and operations, and Chad Segura is now svp of publishing.
Reliant Talent Agency expanded its talent division with four agents. Scott Simpson has been named as head of talent, to lead Reliant’s Talent, Comedy, Unscripted Television and beyond. Also joining Reliant Talent Agency is Jonathan Perry, who will lead West Coast Talent, alongside talent agent Katie Edwards. Melanie Moreau will lead the Unscripted Department. Industry veterans, president Steve Lassiter and his partners Heath Baumor and Matt McGuire will lead the Nashville-based agency, which had a concentration in concert touring prior to this expansion. The new infrastructure will give the agency talent outposts in Chicago, Los Angeles, Nashville, New York and Tampa. –Jessica Nicholson
WME appointed Alexis Rosenberg as senior director of external relations in its Nashville office, a new role designed to enhance connections with the Nashville business and entertainment communities. Reporting to WME senior partners and Nashville co-heads Becky Gardenhire, Joey Lee and Jay Williams, Rosenberg will work with corporate communications and marketing to foster corporate partnerships, sponsorships and strategic relationships. She will act as a liaison across music, sports, and business sectors, boosting WME’s industry presence and client support. Rosenberg brings over a decade of experience in professional sports, including roles with the NBA’s Orlando Magic and Major League Soccer’s Nashville Soccer Club.
Ralph Torrefranca has been promoted to executive director of writer creative at Angry Mob Music Group, where he has been a key player since 2015. Torrefranca has significantly contributed to the success of hits like “My Fault” by Shaboozey and “She Likes It” by Russell Dickerson. He has also fostered the growth of writers and producers such as Bus and Bailey Bryan. In his new role, Torrefranca will continue to oversee the creative development of Angry Mob’s roster and expand his influence across company projects. He founded The New Normal, an inclusive writing camp that highlights underrepresented voices in music, with over 70% women participation and representation from over 10 cultural backgrounds. Torrefranca is based in L.A. and will continue to report to Angry Mob’s CEO Marc Caruso, who said “his ability to work with and develop relationships that reach the core of who our writers and artists are as humans and creatives is incredibly unique and unlike any other A&R in music publishing.”
RADIO, RADIO: Connoisseur Media acquired Alpha Media, forming a combined company under the Connoisseur name, led by CEO Jeff Warshaw. The new entity will operate 218 stations across 47 markets, covering 20% of the U.S., and rank among the top 10 U.S. radio groups by station count and revenue. The deal, subject to FCC approval, is expected to close in late 2025 … Hope Media Group promoted Jeff Evans to vp of radio, having joined as WayFM Network program director in July 2023. In his new role, he’ll oversee WayFM programming, all program directors, and the creative audio services department, enhancing talent development across the Houston media group’s brands, including WayFM, Vida Unida and the God Listens Prayer App.
444 Sounds, the label services and management firm founded by former HITCO marketing exec Joe Aboud, appointed Izzy Parrell as director of streaming and digital partnerships. Parrell will manage streaming and digital strategies, enhancing the firm’s focus on long-term artist development and fan engagement. Previously at Apple Music, she shaped the platform’s global editorial voice, specializing in viral and pop playlist curation. As part of Apple Music’s global programming team, Parrell worked on Apple Music’s Viral Hits playlist and contributed to the 100 Best Albums list. “I’m beyond excited to join 444 Sounds at such a pivotal moment.” said Parrell “This team is reshaping the future of digital strategy in today’s ever-evolving music landscape, and I’m honored to be part of a mission that champions creativity, culture, and community.”
Tresóna named Jann-Michael Greenburg as president of the specialty licensing company. Greenburg, who has served as vp of business affairs since 2017 and interim president since 2024, brings early-career experience as an analyst for Deloitte UK. Founded in 2009 and based in Scottsdale, Ariz., Tresóna uses proprietary technology to streamline music licensing, ensuring proper rights for performances and recordings. Mark Greenburg, Tresóna’s Founder and Chairman, praised Jann-Michael’s impact on the business and his commitment to fair remuneration for songwriters.
Dynamic Talent International further expanded its Nashville presence with the opening of its new office at 401 Commerce Street. The company has also hired Nashville-based agent Robert Baugh, who will work alongside fellow Dynamic Talent International representatives in promoting artists including Danielle Bradbery, Drew Green and Erin Kinsey. Dynamic Talent International has operated in Music City for the past decade and has been instrumental in the K-pop arena, helping P1Harmony become the first K-Pop act to play at the Grand Ole Opry and aiding K-Pop artists including Mamamoo. –J.N.
Alex Stolls is now partner at Boyarski Fritz LLP, a top music and entertainment law firm where he has worked since 2017. Specializing in entertainment and intellectual property law, NYC-based Stolls represents a high-profile roster that includes the Estate of Maurice White, Lil Kim, Will Smith, JISOO of BLACKPINK, and top producers like Louis Bell and Hit-Boy. He also serves as outside business affairs counsel for companies such as Create Music Group and BMG. His early career included roles at William Morris Endeavor and Cowan, DeBaets, Abrahams & Sheppard LLP. Founding partner Jason Boyarski praised Stolls as a “homegrown success story,” citing his strategic thinking and key role in the firm’s growth.
ICYMI:
Andrew Spencer
AEG promoted Katie Pandolfo from Dignity Health Sports Park to GM of Crypto.com Arena in L.A., effective June 1, succeeding Lee Zeidman … AEG also announced that Andrew Spencer has been named chief operating officer of AEG Presents Europe … EarthPercent, the Brian Eno-founded org taking on climate change, appointed five new U.S. board members … and Sara Nix and Joe Mortimer were named co-heads of creative at Capitol Music Group. [Keep Reading]
Last Week’s Turntable: New Head of Lumineers Label
E-40 is back with his first solo single since 2023, and Billboard has the exclusive premiere of his new music video. On Friday (May 9), E-40 dropped off his new track “Beating They Ass” alongside a new music video. The minimalistic, black and white visual includes a memorable cameo from Vital Versatility CEO Didier Morais […]
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Source: Mike Marsland/Variety / Mike Marsland/Variety
Kendrick Lamar, Future, and Metro Boomin have been hit with a lawsuit over their chart-topping track “Like That,” stemming from alleged unpaid royalties related to a sample.
Veteran rapper Rodney O claims that the song uses elements from his classic track “Everlasting Bass” without proper compensation or credit. The legal action also targets the estate of Barry White, whose music appears on the Kanye West remix of the song. Rodney O argues that he never received full payment or acknowledgment for the use of his work, especially when the song was submitted for Grammy consideration without his name in the songwriting credits.
He also says he was not given the version of the track that features Kendrick Lamar’s headline-making verse dissing Drake, which has become one of the most talked-about moments in recent rap history. A spokesperson for Metro Boomin countered the claims, stating that they did secure rights to the sample and paid Rodney O $50,000. They also pointed to the Barry White estate as a possible reason for delayed royalty distribution, citing its ties to Epic Records as a potential complication.
The Barry White estate has yet to issue a statement regarding the lawsuit. As “Like That” continues to dominate the conversation in hip-hop, the legal dispute adds another layer of controversy—highlighting ongoing issues around sample clearances, fair compensation, and proper credit in the music industry.
